Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Movies that had limited awards releases last year are seeing their full-fledged openings this week. Top among them is “Pillion,” the debut from British writer-director Harry Lighton, starring Alexander Skarsgård and Harry Melling as two men who become engaged in a dominant-submissive relationship.

Alexander Skarsgård, left, and Harry Melling in the movie “Pillion.”

(A24)

In her review, Amy Nicholson writes of the film, “This fetishy adventure is a minimalist romantic comedy in which submissive meets dominant, and submissive explores his physical and emotional vulnerabilities. Marriage and a baby carriage are off the table; the journey matters, not the destination. … Lighton’s biker BDSM rom-com might sound niche, but free yourself to see it and you’ll discover it’s a universal romance.”

Emily Zemler asked Skarsgård about what has been guiding his decisions lately when choosing roles. As he said, “People think there’s this invisible ladder and you have to get to the next rung of the ladder. It’s easy to forget to check in with yourself and ask, ‘Well, what do I want to do?’ You can get swept away. I’m trying to get down the ladder to the ground.”

Some other notable openings this week are “Dracula,” “Scarlet,” “The President’s Cake,” “Natchez” and “The Love That Remains.”

Points of interest

‘Porn Chic’ revival at the New Beverly

Sylvia Kristel in the movie “Emmanuelle.”

(Severin Films)

For most of the month of February, the New Beverly will refashion itself into the Eros, the adult movie theater it was called throughout much of the 1970s. (There’s even a commemorative T-shirt.) Married film dudes throughout the city are presumably coming up with inventive rationales and/or excuses as to why they simply must attend some of these screenings.

The programming leans into what was referred to in The Times as “porn chic” — movies that were meant to work as cinema, even appealing to couples, while also fulfilling the needs of the raincoat crowd. This Friday and Saturday will be a double bill of Just Jaeckin’s 1974 “Emmanuelle,” starring Sylvia Kristel, and Bitto Albertini’s 1975 “Black Emmanuelle,” starring Laura Gemser.

When The Times’ Charles Champlin reviewed “Emmanuelle” after it opened in 1975 at the Fine Arts in Beverly Hills, he noted, “It may be the first porno film designed for people who don’t really want to see one.”

Other notable titles during the New Bev’s Eros month include “The Opening of Misty Beethoven,” directed by Radley Metzger under the pseudonym Henry Paris, Russ Meyer’s “Vixen” (with star Erica Gavin in-person), Ingmar Bergman’s “Summer With Monica,” Roger Vadim’s “Pretty Maids All in a Row,” “The Fireworks Woman,” directed by Wes Craven (credited as Abe Snake), Nagisa Oshima’s “In the Realm of the Senses” and Gerard Damiano’s “Deep Throat.”

Quentin Tarantino’s “Once Upon a Time … in Hollywood” will be playing on Fridays at midnight, which includes a knowing line about the Eros when Margot Robbie asks, “What’s happening at the dirty movie place?”

A 1976 article in The Times by Barry Siegel states that there were then 47 adult theaters operating within the city limits of Los Angeles, even while charting the rapid rise and quick decline of porn-chic movies in the wake of the success of “Deep Throat” in 1972.

‘sex, lies and videotape’ with star Laura San Giacomo

Laura San Giacomo in the movie “sex, lies and videotape.”

(Criterion Collection)

The Los Angeles Film Critics Assn. continues its 50th anniversary series at the Egyptian Theatre on Tuesday with a screening of Steven Soderbergh’s 1989 debut feature “sex, lies and videotape,” a key title in kicking off the independent filmmaking scene of the 1990s. Actor Laura San Giacomo, who won LAFCA’s New Generation Award for her performance, will be there for a Q&A moderated by Lael Loewenstein.

Soderbergh was all of 26 years old when the film premiered at what was then called the U.S. Film Festival (the precursor to Sundance), where it won the audience award before heading to Cannes, where it won the Palme d’Or. (James Spader picked up an acting prize there too.) Among the film’s many other accolades, Soderbergh would also be nominated for an Academy Award for original screenplay.

Spader plays Graham, an enigmatic wanderer who inserts himself into the lives of his old friend John (Peter Gallagher), his wife Ann (Andie MacDowell) and her sister Cynthia (San Giacomo), drawing out all manner of confessions and revelations.

In her original review of the film, Sheila Benson called the film an “electrifying psycho-sexual comedy … the funniest and saddest American movie since Jim Jarmusch landed straight in the middle of our consciousness, and it’s possibly the most compelling.”

Benson added, “What is not apparent from a thumbnail description is the film’s lacerating wit, its beautiful look and sound, and the bravura quality to each performance. Or the terrible vein of melancholy that Soderbergh touches.”

‘In the Soup’ in 35mm

Steve Buscemi and Seymour Cassel in the movie “In the Soup.”

(Factory 25)

Winner of the Grand Jury prize at 1992’s Sundance — the same year “Reservoir Dogs” premiered there — is “In the Soup.” Directed and co-written by Alexandre Rockwell, the film follows an aspiring filmmaker (Steve Buscemi) who falls in with an irresistibly charming gangster (Seymour Cassel, who won Sundance’s first acting award) as his erstwhile producer. A recently restored 35mm print of the film will be playing in L.A. for the first time Sunday at Brain Dead Studios.

The cast of the film also features Carol Kane, Jim Jarmusch and Jennifer Beals, the last married to director Rockwell at the time. Reviewing the film in November 1992, Kenneth Turan called it “a charming pipsqueak of a movie, a playful film of ragged and shaggy appeal.”

Director Michael Almereyda on the ’90s vampires of ‘Nadja’

Elina Löwensohn in the movie “Nadja.”

(Arbelos Films)

As much a survey of late-night diners, bars and 3 a.m. conversations, Michael Almereyda’s “Nadja” is very much a vampire film. It is also a wonderful example of the creative freedom of the ’90s indie boom — everything from its cast to its look to its deadpan humor.

Executive produced by David Lynch (who paid for the film out of his own pocket and appears in a small role), “Nadja” combines the 1936 horror film “Dracula‘s Daughter” with Andre Breton’s 1928 surrealist novel “Nadja.” In the movie, a New York City vampire (Elina Löwensohn) looks to avenge the death of her father at the hands of Dr. Van Helsing (Peter Fonda) while also dealing with a complicated swirl of relationships involving her brother (Jared Harris), his nurse (Suzy Amis), Van Helsing’s nephew (Martin Donovan) and his wife (Galaxy Craze).

Re-released by Grasshopper Film and Arbelos Films with a streaming and home video release to follow, the new 4K restoration of the film’s original version that premiered at the 1994 Toronto International Film Festival is a few minutes longer than what played at Sundance just a few months later. (It was there that Almereyda also made the documentary “At Sundance,” interviewing filmmakers for their thoughts on the future of movies.) This new “Nadja” is playing on Feb. 6 and 8 at the Philosophical Research Society, then at Vidiots on Feb. 21 and 22 and Frida Cinema on Feb. 25 and 26.

On the phone from Sao Paulo, Brazil, where he is prepping an adaptation of Don DeLillo’s 2016 novel “Zero K,” the thoughtful and reflective Almereyda shared some of his memories of making the film.

Peter Fonda, left, Jared Harris, Martin Donovan and Galaxy Craze in the movie “Nadja.”

(Arbelos Films)

How did you get the idea of combining “Dracula’s Dracula” with Breton’s “Nadja”?

Michael Almereyda: It was fairly spontaneous. David Lynch had offered to help me make a movie if I could come up with something that was definably genre. And I went to [NYC movie theater] Film Forum at a time when — do you remember [film historian] William K. Everson? He would show up at Film Forum unannounced to start talking before the movie. This was one time when I showed up late and he was talking and they read a raffle ticket and there was silence. And I reached in my pocket: I had won the raffle. And that was to get a book of William K. Everson’s about horror movies. And so it was kind of a gift that I read about “Dracula’s Daughter.” I’d never seen it and I liked the outline of the plot and I chased it down and it felt like I could retrofit a number of ideas I had about New York with that story. It felt like the two things talked to each other.

One thing about vampire movies is that the best ones are always about something else. For you with “Nadja,” what’s the something else?

Almereyda: It’s not really a scary movie and it wasn’t really designed to be. It’s certainly atmospheric but the emotion of it, when I saw it again recently, had to do with both the comic aspects of being in love and the miserable aspects. It’s kind of a side-winding answer, but that’s partly what it’s about. It’s about family ties, obviously. I think I made or wrote enough scripts about tangled families that I began to sort of get over it. But we all come from these families.

David Lynch in the movie “Nadja.”

(Arbelos Films)

Did David Lynch‘s presence impact the tone at all? Do you feel the movie became in any way Lynchian?

Almereyda: Well, David’s impact on me and my whole generation of filmmaking and the generation behind us is vast. And I wouldn’t want to pretend it’s not, but direct influence is kind of minimal. It might be more fair to say that David’s art school background rhymes with mine. And that we had similar influences. People don’t really talk about how much David did or didn’t know about Maya Deren and Cocteau, but it’s kind of hard to miss. And there was just a certain sensibility and attitude. I felt close to David’s Midwestern-ness, and you combine that with some fondness for and knowledge of French culture, including surrealism, and you’re halfway to David Lynch without specifically thinking about it.

I really haven’t addressed this question much, but when he died, I ended up writing a fair bit of my memories and it’s moving to me how much impact he had when he died. There was such a wave of mourning and celebration, too, that it felt more phenomenal than he could have anticipated. It was clear how famous he was — how recognizable he was — within the time I knew him. But the love of David Lynch is really moving to me and it’s still something we’re swimming in, I hope, in a dark time.

For all the difficulties of being an independent filmmaker, what keeps you doing it?

Almereyda: I’m stumped. I was just going through my head and I know you just interviewed Ethan Hawke and he’s a true comrade that I’ve been lucky to work with a few times. And he was in the interview with Rick Linklater when we did our “At Sundance” movie. They had “Before Sunrise” at the festival and Rick started by quoting Truffaut, talking about the future of film is the personal film.

Even if it’s a fantasy, even if it’s a vampire movie, you’re still relating to your experience and your sense of an emotional reality. So that feels like a candle that doesn’t go out for me. And despite all the derailments and dead ends, I don’t question continuing. It just feels like a natural path, even if it’s winding and difficult.

In other news

Timothée Chalamet, tributee

Timothee Chalamet in the movie “Marty Supreme.”

(A24)

I will leave the ins and outs of this year’s awards campaigns to my trusted colleague Glenn Whipp at The Envelope, but one event jumped out as worth noting: Announced this week and immediately selling out is an eight-film American Cinematheque retrospective of Timothée Chalamet‘s movies, with the actor in person for all screenings.

Chalamet is currently an Oscar nominee as both actor and producer for “Marty Supreme.” And he has an impressive roster of collaborators who will be appearing with him to show their support, including Edward Norton with “A Complete Unknown,” Denis Villenueve with “Dune” and “Dune: Part Two,” Christopher Nolan with “Interstellar” and Elle Fanning with “Beautiful Boy.”

If there were some murmurs last year that Chalamet didn’t do enough conventional campaigning to win for his turn as Bob Dylan in “A Complete Unknown,” this year he seems to be pulling out all the stops.

President Trump told the New York Post that music artist Bad Bunny was a “terrible choice” to headline the 2026 Super Bowl halftime show and that the NFL’s selection of the Puerto Rican singer and rapper sows “hatred.”

Department of Homeland Security adviser Corey Lewandowski suggested that Bad Bunny loathes the U.S. “It’s so shameful that they’ve decided to pick somebody who just seems to hate America so much to represent them at the halftime game,” he told conservative podcaster Benny Johnson.

Sen. Tommy Tuberville (R-Ala.) said on Monday that Bad Bunny disseminates “anti-American propaganda.”

The upshot: Bad Bunny (aka Benito Antonio Martínez Ocasio) is an enemy of the state. An outsider who doesn’t possess American values. A Super Bowl wrecker.

Bad Bunny took home multiple trophies from the 68th Grammy Awards last weekend in Los Angeles, including for album of the year. Very American, sir.

(Matt Winkelmeyer / Getty Images for the Recording Academy)

Heated debate around who is worthy to perform the halftime show is an American tradition (Prince, yes. The Red Hot Chili Peppers, no). But now, unsurprisingly, politics are part of that debate, so the mere fact that Bad Bunny is brown and Latino and sings in Spanish is seen by some as an affront to the right. Clearly the “Woke Bowl” is disrespecting the tough-on-immigration president, and in Español, no less.

But Bad Bunny is an American citizen, as are most people born in Puerto Rico after 1898, thanks to the Jones-Shafroth Act of 1917. Bad Bunny, born in 1994, made the deadline with 96 years to spare. If the fear is that foreigners are coming here to take our jobs and ruin beloved American traditions, there are plenty of nonnative artists to grouse about.

For decades, outsiders have foisted their foreign music upon us at the Super Bowl between commercials for Doritos and Budweiser.

The United Kingdom’s Phil Collins played the 2000 Super Bowl XXXIV Halftime Show, as did Enrique Iglesias, who is from Spain. The Irishmen of U2 stole jobs away from Americans when they played the 2002 Super Bowl. The following year it was sneaky Canadian Shania Twain and a sus character from England referred to only as Sting.

Then came bad hombre after bad hombre from the UK: Paul McCartney, the Rolling Stones, the Who, Coldplay. And don’t even get me started on Shakira, gyrating her Colombian self into 2020’s Super Bowl LIV Halftime Show, or the following year, the Weeknd using his sweet voice to distract from the fact he’s Canadian.

Remember all the anti-immigrant furor around those aforementioned performances? Of course not — because there was none. And this year, if the delicately reunited U.K. duo Oasis was to pull things together for 2026 and play the Super Bowl, it most certainly wouldn’t inspire the same kind of vitriol.

The right remembers that Bad Bunny criticized the Trump administration for its handling of Puerto Rico’s hurricane recovery, and that that he has spoken out against ICE’s inhumane treatment of immigrants. But calling Bad Bunny a dissenter is too direct, too Stalinist. It’s better to cast doubt upon the singer’s loyalty to America via thinly veiled racist rhetoric.

Turning Point USA, the right-wing group founded by Charlie Kirk and helmed by his wife, Erika Kirk, following his assassination, has organized its own counter-concert called the “All-American Halftime Show”. It will star rap-rocker Kid Rock and country artists Brantley Gilbert, Lee Brice and Gabby Barrett. The show is counter-programmed to compete with the Super Bowl halftime show, airing on X and conservative networks such as TBN and OAN around the same time as Bad Bunny’s set.

When the “alternative” show’s lineup was announced this week, Kid Rock took a jab at Bad Bunny in a statement: “He’s said he’s having a dance party, wearing a dress, and singing in Spanish? Cool. We plan to play great songs for folks who love America.”

Kid Rock isn’t known to wear dresses on stage, as Bad Bunny has done, but it’s unclear which songs of his he’ll play in the name of “loving America.”

Turning Point spokesman Andrew Kolvet said the show will reflect conservative values such as “faith, family, and freedom,” so Kid Rock likely won’t perform his 2001 track “Cool, Daddy Cool,” where he sings “Young ladies, young ladies, I like ‘em underage see / Some say that’s statutory, but I say it’s mandatory.” It’s also unlikely he’ll bust out his 2007 song “Lowlife (Living the Highlife)”: “I make Black music for the white man / Keep cocaine upon my nightstand.”

One thing is certain: He’ll continue to sing Trump’s praises, in English.

Feb. 6 (UPI) — A handful of events began earlier in the week — curling, figure skating and ice hockey — but the 2026 Milan Cortina Winter Olympics officially got underway Friday afternoon in Italy.

The opening ceremony started at 2 p.m. EST at Milan’s historic, 100-year-old San Siro Stadium in Milan, a nearly 4-hour celebration of the Games that is expected to include a range of performances, the parade of nations and, finally, the lighting of the Olympic cauldron.

The Milano Cortina Olympics will be the first to include two venues in the opening ceremony and the first to light two caldrons for the Games: one in Milan at the Arco della Pace and another at Piazza Dibona in central Cortina d’Ampezzo.

Organizers have said that lighting two cauldrons is meant to represent harmony between the two cities of Milan and Cortina — which are jointly hosting the Games — as well as other areas that the Games are being held.

In addition to dance, light and special effects shows at San Siro, performances by Maria Carey, Andrea Bocelli, The White Lotus and The Paper star Sabrina Impacciatore, Italian actor Pierfrancisco Favino and Italian singer Laura Pausini have been announced.

Events at this year’s Winter Games have been spread among several towns in northern Italy, in addition to the two towns, which the Olympic ceremony director, Maria Laura Iascone, told NBC News is among the efforts of Italy chart “a new course” and innovate “a new spirit” of the opening ceremonies.

The Big Show

The majority of the intricate, ornate opening ceremony is being held at San Siro Stadium, which opened in 1926, has hosted several World Cup-linked events and is home to two Italian soccer clubs.

The Olympics is set to be its final event before the owners of those two teams demolish the stadium to build a newer, more modern facility for the two clubs.

In addition to San Siro, the cauldron will be lit elsewhere in Milan, and athlete parades are set to be held at other venues in the city as organizers have sought to show off Milan, Cortina and other parts of the country. Overall, there are 13 venues hosting Olympic competition this year.

The two cauldrons — at Milan’s Arco della Pace and Corina’s Piazza Dibona — are in addition to opening ceremony events in Cortina, Livigno and Predazzo.

On top of splitting up the ceremonies, there are multiple Olympic villages that athletes are staying in, a decisions made so that they will not need to travel far between lodging, sporting venues and the opening and closing ceremonies.

Events get underway

The ceremony opened with the Italian Olympic Committee spotlighting the southern European country’s position as a “Winter wonderland,” which included video presentations of mountains and towns that gave way to dance routines focused on community, love and harmony, according to organizers.

The glittery winter look moved toward an ode to Italian operat with actors dressed as Gioachina Rossini, Giuseppe Verdi and Giacomo Puccini performing to Rossini’s William Tell Overture.

Maria Carey, who performed for free, sang the Italian classic “Volare” in Italian blended with some of her song “Nothing Is Impossible,” and wowed the crowd ahead of introductions of the President of Italy and of the International Olympic Committee were introduced.

In a significant tribute to legendary fashion designer Giorgio Armani, dozens of models decked out in loose red, white and green suits — the colors of the Italian flag — filed out into the center stadium.

Model Vittoria Ceretti, who is also known for dating Leonardo Dicaprio, carried an Italian flag out to an honor guard before Pausini sang the Italian national anthem, “Fratelli d’Italia” and Favino recited the Giacomo Leopardi poem “L’inifnito.”

As dancers once again filled the center of the arena, two rings — with actors reclining on them — floated out to the stage. Once the actors got off the rings, they joined three others high above the crowd to form the Olympic rings.

This is a developing story. Please check back for updates throughout the afternoon and evening.

In 1948, as the foundations of the Israeli state were being laid upon the ruins of hundreds of Palestinian villages, Albert Einstein wrote a letter to the American Friends of the Fighters for the Freedom of Israel (AFFFI), condemning the growing Zionist militancy within the settler Jewish community. “When a real and final catastrophe should befall us in Palestine the first responsible for it would be the British and the second responsible for it the terrorist organisations built up from our own ranks. I am not willing to see anybody associated with those misled and criminal people.”

Einstein — perhaps the most celebrated Jewish intellectual of the 20th century — refused to conflate his Jewish identity with the violence of Zionism. He turned down the offer to become Israel’s president, rejecting the notion that Jewish survival and self-determination should come at the cost of another people’s displacement and suffering. And yet, if Einstein were alive today, his words would likely be condemned under the current definitions of anti-Semitism adopted by many Western governments and institutions, including the controversial International Holocaust Remembrance Alliance (IHRA) definition, now endorsed by most Australian universities.

Under the IHRA definition, Einstein’s outspoken criticism of Israel — he called its founding actors “terrorists” and denounced their betrayal of Jewish ethics — would render him suspect. He would be accused not only of delegitimising Israel, but also of anti-Semitism. His moral clarity, once visionary, would today be vilified.

That is why we must untangle the threads of Zionism, colonialism and human rights.

Einstein’s resistance to Zionism was not about denying Jewish belonging or rights; it was about refusing to build those rights on ethno-nationalist violence. He understood what too many people fail to grasp today: that Zionism and Judaism are not synonymous.

Zionism is a political ideology rooted in European colonial logics, one that enforces Jewish supremacy in a land shared historically by Palestinian and other Levantine peoples. To criticise this ideology is not anti-Semitic; it is, rather, a necessary act of justice and a moral act of bearing witness. The religious symbolism that Israel uses is irrelevant in this respect. And yet, in today’s political climate, any critique of Israel — no matter how grounded it might be in international law, historical fact or humanitarian concern — is increasingly branded as anti-Semitism. This conflation shields from accountability a settler-colonial state, and it silences Palestinians and their allies from speaking out on the reality of their oppression. Billions in arms sales, stolen resources and apartheid infrastructure don’t just happen; they’re the reason that legitimate “criticism” gets rebranded as “hate”.

READ: Ex-Israel PM accuses Netanyahu of waging war on Israel

To understand Einstein’s critique, we must confront the truth about Zionism itself. While often framed as a movement for Jewish liberation, Zionism in practice has operated as a colonial project of erasure and domination. The Nakba was not a tragic consequence of war, it was a deliberate blueprint for dispossession and disappearance. Israeli historian Ilan Pappé has detailed how David Ben-Gurion, Israel’s first Prime Minister, approved “Plan Dalet” on 10 March, 1948. This included the mass expulsion and execution of Palestinians to create a Jewish-majority state. As Ben-Gurion himself declared chillingly: “Every attack has to end with occupation, destruction and expulsion.”

This is the basis of the Zionist state that we are told not to critique.

Einstein saw this unfolding and recoiled. In another 1948 open letter to the New York Times, he and other Jewish intellectuals described Israel’s newly formed political parties — like Herut (the precursor to Likud) — as “closely akin in… organisation, methods, political philosophy and social appeal to the Nazi and Fascist parties.”

Einstein’s words were not hyperbole, they were a warning. Having fled Nazi Germany, he had direct experience with the defining traits of Nazi fascism. “From Israel’s past actions,” he wrote, “we can judge what it may be expected to do in the future.”

Today, we are living in the very future that Einstein feared, a reality marked by massacres in Gaza, the destruction of civilian infrastructure, and the denial of basic essentials such as water, electricity and medical aid. This is not about “self-defence”; it is the logic of colonial domination whereby the land theft continues and the violence escalates.

Einstein warned about what many still refuse to see: a state established on principles of ethnic supremacy and expulsion could never transcend its foundation ethos. Israel’s creation in occupied Palestine is Zionism in practice; it cannot endure without employing repression until resistance is erased entirely. Hence, the Nakba wasn’t a one-off event in 1948; it evolved, funded by Washington, armed by Berlin and enabled by every government that trades Palestinian blood for political favours.

Zionism cannot be separated from the broader history of European settler-colonialism. As Patrick Wolfe explains, the ideology hijacked the rhetoric of Jewish liberation to mask its colonial reality of re-nativism, with the settlers recasting themselves as “indigenous” while painting resistance as terrorism.

READ: Illegal Israeli settlers attack Palestinian school in occupied West Bank

The father of political Zionism, Theodor Herzl, stated in his manifesto-novel Altneuland, “To build anew, I must demolish before I construct.” To him, Palestine was not seen as a shared homeland, but as a house to be razed to the ground and rebuilt by and for Jews alone. His ideology was made possible by British imperial interests to divide and dominate post-Ottoman territories. Through ethnic partition and military alliances embellished under the 1917 Balfour Declaration to the ironic Zionist-Nazi 1933 Haavara Agreement, the Zionist project aligned perfectly with the West’s goal, as per the 1916 Sykes-Picot Agreement.

Israel is thus criticised because of its political ideology rooted in ethnonationalism and settler colonialism. Equating anti-Zionism to anti-Semitism is a disservice not only to Palestinians, but also to Jews, especially those who, like Einstein, refuse to have their identity weaponised in the service of war crimes. Zionism today includes Christian Zionists, military allies and Western politicians who benefit from Israel’s imperial reach through arms deals, surveillance technology and geostrategic partnerships.

Zionism is a global power structure, not a monolithic ethnic identity.

Many Jews around the world — rabbis, scholars, students and Holocaust survivors and their descendants — continue Einstein’s legacy by saying “Not in our name”. They reject the co-option of Holocaust memory to justify genocide in Gaza. They refuse to be complicit in what the Torah forbids: the theft of land and the murder of innocents. They are not “self-hating Jews”. They are the inheritors of a prophetic tradition of justice. And they are being silenced.

Perhaps the most dangerous development today is, therefore, Israel’s insistence on linking its crimes to Jewish identity. It frames civilian massacres, apartheid policies and violations of international law as acts done in the name of all Jews and Judaism. By tying the Jewish people to the crimes of a state, Israel risks exposing Jews around the world to collective blame and retaliation.

Einstein warned against this. And if Einstein’s vision teaches us anything, it is this: Justice cannot be compromised for comfort and profit. Truth must outlast repression. And freedom must belong to all. In the end, no amount of Israel’s militarisation of terminology, propaganda or geopolitical alliances can suppress a people’s resistance forever or outlast global condemnation. The only question left is: how much more blood will be spilled before justice prevails?

The struggle for clarity today is not just academic, it is existential. Without the ability to distinguish anti-Semitism from anti-Zionism, we cannot build a future where Jews and Palestinians all live in dignity, safety and peace. Reclaiming the term “Semite” in its full meaning, encompassing both Jews and Arabs, is critical. Further isolation of Arabs from their Semitic identity has enabled the dehumanisation of Palestinians and the erasure of shared Jewish-Arab histories, especially the centuries of coexistence, the Jewish-Muslim golden ages in places like Baghdad, Granada/Andalusia, Istanbul, Damascus and Cairo.

Einstein stood up for the future for us to reclaim it.

The way forward must be rooted in truth, justice and accountability. That means unequivocally opposing anti-Semitism in all its forms, but refusing to allow the term to be manipulated as a shield for apartheid, ethnic cleansing and colonial domination. It means affirming that Jewish safety must never come at the price of Palestinian freedom, and that Palestinian resistance is not hatred; it is survival.

And if Einstein would be silenced today, who will speak tomorrow?

OPINION: Palestinian voices are throttled by the promotion of foreign agendas

The views expressed in this article belong to the author and do not necessarily reflect the editorial policy of Middle East Monitor.

The new Netflix show follows five women who set out to rob a bank

Netflix has just dropped a new crime thriller perfect for your weekend binge-watch session.

Cash Queens or Les Lionnes follows five women who take on a daring money heist, led by single mum Rosalie.

When she realises that her family has to live on just €30 a week in order to pay off her incarcerated husband’s debt, Rosalie comes up with a plan.

She sets out to rob €100,000 from the bank where she works as a receptionist. Her best friend Kim soon catches wind of the heist and jumps on board, hoping to use her share to open a massage therapy salon.

Rosalie’s cousin, Alex, also joins in and uses her skills as an architecture student to perfect their plan.

They later recruit Sofia, another desperate single mum in need of cash before social services hunt her down. And their final member is Kim’s client Chloé, who is married to the town’s shady mayor.

The newfound friend group then take on the tricky heist, cleverly disguised as men. However, “it’s not long before politicians, police, and gangsters are on their tails, scarcely imagining that a group of ordinary women are behind this band of mercenaries,” states the synopsis.

Its ensemble cast is led by Rebecca Marder, who plays leading lady Rosalie. She is joined by Zoé Marchal as Kim, Naidra Ayadi as Sofia, Pascale Arbillot in the role of Chloé and Tya Deslauriers as Alex.

While the French drama’s plot seems far-fetched, it is actually inspired by a gang of robbers from the late eighties.

According to Tudum: “The series is inspired by the Gang des Amazones, five women who robbed seven banks in the South of France starting in 1989. “

The women famously disguised themselves as men by wearing wigs and fake moustaches.

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

Since the eight-episode series premiered last night (February 5), it hasn’t received many reviews just yet. However, Screen Rant described it as a ‘must watch’.

Entertainment publication Gazettely also shared a thoughtful review, writing: “Cash Queens provides a sharp look at economic desperation. It replaces heist glamour with the frantic reality of survival.”

The review continued, praising the show’s plot device of masculine disguises as “biting commentary on the invisibility of working-class women”.

“This production represents a shift in streaming content toward stories prioritizing character depth over spectacle. It succeeds as a grounded portrait of resistance against a system designed to ignore the poor,” they concluded.

Cash Queens is streaming now on Netflix

Welcome to Black History Month, 2026 style.

President Trump posted a video Thursday to his social media site that contains animated images depicting former President Obama and First Lady Michelle Obama as apes.

The White House took down the post Friday, and after first calling it nothing more than a meme, they dubbed it a mistake by a staffer. Sure.

But while the justifiable outrage over this overt racism spins itself into a brief media circus (because we all know something else will come along is about three minutes), let’s look a bit deeper into why this video is more than an affront to everything America stands for, or should stand for, anyway.

It’s no accident that the images of the Obamas are embedded deep inside a video about voter fraud conspiracies from the 2020 election (which are untrue, if I need to say it again). This video is an escalation in the assault that is likely to come on voting rights and voting access in the midterms.

“Absolutely, there’s a connection to the vote,” Melina Abdullah told me Friday. She’s a professor at Cal State Los Angeles and co-founder of Black Lives Matter-LA.

“This is about more than just about the Obamas,” added Brian Levin, a professor Emeritus at California State University, San Bernardino, and founder of the Center for the Study of Hate and Extremism. “It’s about people that are (perceived as) undermining our elections and our democracy.”

I caught Levin the day after he turned in a chapter about authoritarianism for a new book, which happens to look at how discrimination and the imposition of social hierarchies ties in with power.

Let me summarize. Vulnerable groups are smashed down as dangerous and not fit to be full citizens, so a smaller group of elites can justify power by any means to protect society from these lowly and nasty influences.

Let me make that messaging even simpler: Black and brown people are bad and shouldn’t be allowed to participate in democracy because they don’t deserve the right.

How does that play out at the ballot box?

All that talk about voter identification and election integrity is really about stopping people from voting — people who legally have the right to vote. Those who are least likely to be able to obtain proof of citizenship — which might require a passport, or birth certificate along with the money and know-how to get such documents — are often Black or brown people. They are often also poor, or poorer, and therefore have less time and money to put into obtaining documents, and also live in urban areas where they share polling places.

Is it such a stretch to imagine some kind of federal oversight at those types of polling places, turning away — or simply intimidating away — legal voters who have long made up a strong block of the Democratic base?

Let’s hope that never happens. But the current undermining of the legitimacy of Black and brown voters is, said both Levin and Abdullah, systemic and concerning.

Trump’s latest video is “part of a floodgate of bigotry and conspiracy that relates to elections and immigrants and Black people and it’s important to condemn the manner in which these puzzle pieces are put together to label African Americans and immigrants as a threat to democracy with respect to the vote,” Levin said.

The premise of the video in question is that Democrats have engaged in a complicated and decades-long scheme to steal elections. It’s presented as a documentary, and the images of the Obamas have been weirdly inserted as almost a subliminal flash near the end.

If you’ve missed the white supremacist postings that have now become commonplace on official government communications such as those from the Departments of Labor and Homeland Security, let me assure you that Levin is right and this primate video is indeed part of a “firehose” of white nationalist rhetoric coming not just from Trump but from the federal government as a whole.

The Civil Rights Division of the U.S. Department of Justice, for example, has turned its focus toward punishing diversity, equity and inclusion. Just this week, another federal agency, the Equal Employment Opportunity Commission, began a probe against Nike for allegedly discriminating against white people in hiring.

“It has been not even a dog whistling, but a Xeroxing of the exact kind of terms that that I’ve been looking at on white supremacists and neo Nazi websites for decades,” Levin said.

It’s not my place or intent to warn Black people about racism, because that would be ludicrous and insulting, but I’ll warn the rest of us because in the end, authoritarianism targets everyone. This video is a clear statement that Trump’s vision of America is one in which every non-white group, every vulnerable group really, is a second class citizen.

“He’s enabling an entire group of people who want to take this country back to a time when rampant violent white supremacy was enabled in the law,” Abdullah said. “What they mean is recapturing an old school, oppressive racism that is pre-1965 pre-Voting Rights Act.”

That message, Levin said, has “a resonance with a decent part of his base,” and when fed ceaselessly into the system, can have violent outcomes.

Levin uses the example of when Trump tweeted during the protests over the killing of George Floyd, “When the looting starts, the shooting starts,” a phrase with a violent and racist history.

Levin said Black people have always been the primary targets of hate crimes in the United States, but after that tweet, it was some of the “worst days” for violence aimed by race.

“When a high transmitter, like a president, circulates imagery with regard to prejudice, it creates these stereotypes and conspiracy theories, which then are the groundwork for further conspiracy theories and aggression,” he added.

Abdullah said she worries that even if the voter crackdown isn’t officially sanctioned, those empowered conspiracy theorists will take action anyway.

“So the people who are so-called ‘monitoring,’ self-appointed monitors … this is who’s going to be pulling people out of voter lines, and so this is what he’s whipping up intentionally,” she said.

Keep your eye on the ball, folks, because the far-right Republicans running the show are laser-focused on it. The midterm elections have to go their way for them to remain in power.

The easiest way to ensure that outcome is to only allow voters who see things their way.

Raducanu suffered a listless second-round exit at January’s Australian Open and subsequently split with coach Francisco Roig.

However, she has shown real grit throughout her run in Romania to reach the final.

“I’m so proud of how I competed, how I came back in the third set and how I managed the match,” Raducanu said.

“I don’t think I could have done it without everyone’s support here so thank you so much.”

Raducanu’s father, Ion, is from Bucharest and an exhausted but thrilled Raducanu briefly addressed the crowd in Romanian after her victory.

Home hope and third seed Sorana Cirstea or Ukraine’s Daria Snigur stand between Raducanu and her first piece of silverware since the 2021 US Open.

Raducanu failed to serve out the opening set at the first time of asking, allowing Oliynykova to break back before winning the next two games – wrapping it up after a gruelling hour and 15 minutes.

But the top seed’s momentum faltered further in the second set and she was broken three times as Oliynykova forced a decider, where Raducanu was forced to fight back from a break down.

And after missing her first two match points at 5-3, the Briton saved two break-back points and served out the win at the third time of asking.

The victory snapped a six-match losing streak in deciding sets for Raducanu, while it was her first three-set win since she beat Ann Li in the first round of Eastbourne in June.

United States President Donald Trump has again stoked outrage over his online posts, this time for sharing a video depicting former President Barack Obama and his wife, Michelle Obama, as apes.

The reposted clip came as part of a flurry of late-night messages on Trump’s Truth Social account.

By midday on Friday, the video had been removed — but not after an outpouring of bipartisan condemnation, slamming the post as blatantly racist.

In a post on the social media platform X, Tim Scott, the only Black Republican currently serving in the Senate, said he was “praying” that the video “was fake because it’s the most racist thing I’ve seen out of this White House”.

“The president should remove it,” he added.

Another Republican, Representative Mike Lawler, also called on Trump to delete the post, calling it “incredibly offensive — whether intentional or a mistake”.

Democrats, meanwhile, sought to tie the video to Trump’s history of insensitive remarks, and they called on Republicans to condemn this latest episode.

“President Obama and Michelle Obama are brilliant, compassionate and patriotic Americans. They represent the best of this country,” said Hakeem Jeffries, the top Democrat in the US House of Representatives.

“Donald Trump is a vile, unhinged and malignant bottom feeder. Why are GOP leaders like John Thune continuing to stand by this sick individual?”

The White House, for its part, initially defended the post as an “internet meme”. Later, it said the post had been shared “erroneously” by a White House staffer, not by the president.

Stoking outrage

Trump has long had an adversarial relationship with the Obamas, who became the first Black couple in US history to serve as president and first lady.

One of Trump’s first forays into national politics came during Barack Obama’s 2012 re-election campaign, when he pushed false claims that the Democratic leader had not been born in the US.

Trump, a Republican, is known to be a prolific social media user, and he co-founded Truth Social in February 2022 after being temporarily banned from other major social media sites.

There, he often reposts memes and videos generated through artificial intelligence that promote his public image and political platform.

The video that includes the Obamas came at 11:44pm Eastern US time (04:44 GMT) as part of a series of shared clips.

The image of the Obamas as apes comes about 59 seconds into a video that only lasts one minute and two seconds.

It appears dropped into a documentary-style segment that pushes baseless claims that the 2020 presidential election was marred by malfeasance involving electronic voting machines. Trump has repeatedly spread lies denying his loss to Democrat Joe Biden in that race.

The video, which bears the watermark of a site called Patriot News Outlet, briefly pairs the doctored image of the Obamas with the 1961 song The Lion Sleeps Tonight.

Critics have regularly accused Trump of intentionally stoking outrage to distract from politically damaging domestic issues, including the recent release of millions of files related to disgraced financier and convicted sex offender Jeffrey Epstein. Trump’s name has featured in those files.

Midterms ahead

Some Republicans, like Lawler in New York, also face punishing re-election campaigns ahead as the country nears its November midterm elections.

Trump has warned that, if Republicans lose control of Congress, he could face new impeachment proceedings.

Initially, in the hours after the video was reposted on Trump’s Truth Social account, the White House dismissed the backlash as overblown.

White House spokesperson Karoline Leavitt told several US news outlets that the image of the Obamas was excerpted from an “internet meme video depicting President Trump as the King of the Jungle and Democrats as characters from ‘The Lion King’”, a 1994 animated feature film.

“Please stop the fake outrage and report on something today that actually matters to the American public,” she said in a statement to ABC News.

But that explanation did not dampen the bipartisan push for Trump to renounce the video.

Republican Senator Pete Ricketts of Nebraska was also among those calling for the post to be taken down.

“Even if this was a Lion King meme, a reasonable person sees the racist context to this,” Ricketts wrote on X.

“The White House should do what anyone does when they make a mistake: remove this and apologize.”

Democrats, meanwhile, questioned Trump’s fitness for the presidency. In a social media post, Representative Raja Krishnamoorthi drew a line between the video and the long history of racist depictions of Black people in the US.

He pointed to similarly dehumanising illustrations that were shared during the Jim Crow era, a period from 1865 to the mid-20th century when Black people faced segregation and unequal rights following the abolishment of slavery.

“This kind of Jim Crow-style dehumanisation is pathetic and a disgrace to the office,” he wrote.

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JESY Nelson has revealed that she wanted to leave Little Mix after just two years of being in the band.

The singer, 34, joined the popular girl group after winning The X Factor in 2011, subsequently catapulting her into fame.

The group toured all over the world, accumulated numerous number one hits, and were only one year off celebrating their 10th anniversary as a band – when Jesy decided to call it quits.

But now Jesy’s shared that she actually wanted to leave Little Mix seven years sooner than she did.

Speaking on the Great Company with Jamie Laing podcast, Ms Nelson sat across the table wearing a knitted camouflage patterned zip-up.

Jamie praised her for having the courage to go her own way, and then she explained how doing that “had presented itself” way before she made the final decision to leave.

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“That [leaving] presented itself far before I made that decision,” Jesy said.

“There was a time where I was like ‘oh, I want to leave’ and I remember sitting down with my family… and it was actually because of my brother that in the end I stayed.”

She continued: “The first time I wanted to leave I remember I went home and we were kinda weighing up the [pros and cons]… and at that point we weren’t even like at our biggest.

“We were, it had only been like two years, but we were still big. Everyone still knew who Little Mix were so it was like ‘if you leave now, what are you going to do?’”

Her brother praised her strength, encouraging her to stay, but also encouraging her to make as much money as she could off of Little Mix‘s fame.

“My brother was like ‘you are so much stronger than you give yourself credit for and I think you can stick this out for another few years.’

“I’m going to be completely honest about what he said, he said ‘just make as much money as you can, you’ve got a chance to really change your family’s life. If somewhere in you can do this for another few years, do it, and then leave, because you’ll never get this opportunity again.’”

Jesy continued to note that her brother “was right” and said she’s now grateful that she stayed and could “change her family’s life” – including getting extra treatments for her twin girls.

She gave birth to Ocean and Story last year and heartbreakingly discovered that they both have spinal muscular atrophy type 1 (SMA), and may never learn how to walk.

If SMA is caught early preventative treatments can assist newborn’s quality of life. However, the symptoms weren’t realised instantly in Jesy’s children, who will now suffer with unknown permanent difficulties.

Jesy did get her twins the treatment they needed, but they were at that point around 8 months old.

The brave mother has since been rallying for SMA screening to be mandatory after every birth to stop the 50 babies per year born with it from suffering.

Around the time of the devastating diagnosis Jesy and her partner Zion called time on their relationship.

They continue to co-parent their daughters during an incredibly tough time.

For Mikayla Tencer, being self-employed already meant juggling higher taxes, irregular income and the constant pressure of finding her own health insurance. This year, it also meant rethinking how often she could afford to see a doctor.

The 29-year-old content creator in San Francisco paid $168 a month last year for a Blue Shield health plan through Covered California. This year — without enhanced federal subsidies that expired at the end of December — that same plan would have cost $299 a month, with higher copays.

“People assume that because I’m young, I can just pick the cheapest plan and not worry about it,” Tencer said. “But I do need regular care, especially for mental health.”

Tencer is among tens of thousands of middle-class Californians facing steep increases in health insurance costs after Congress allowed enhanced federal subsidies for Affordable Care Act plans to expire Dec. 31.

Those extra subsidies were enacted in 2021 as part of temporary, pandemic-era relief, boosting financial help for people buying coverage on state-run insurance marketplaces such as Covered California. The law also expanded eligibility to people earning more than 400% of the federal poverty level, about $62,600 for a single person and $128,600 for a family of four.

Mikayla Tencer records a TikTok video featuring eyeliners. Her blog showcases Bay Area attractions and local businesses.

(Paul Kuroda/For The Times)

With the expiration of the enhanced subsidies, people above that income threshold no longer receive federal assistance, and many who still qualify are seeing sharply higher premiums and out-of-pocket costs. On top of the loss of the extra federal benefits, the average Covered California premium this year rose by 10.3% because of fast-rising medical costs.

To lower her monthly bill, Tencer switched to the cheapest Covered California option, bringing her premium down to about $161 a month. But the savings came with new costs. Primary care and mental health visits now carry $60 copays, up from $35.

When she showed up for a psychiatric appointment to manage her ADHD and generalized anxiety disorder, she said, she learned her doctor was out of network.

“That visit would have been $35 before,” she said. “Now it’s $180 out of pocket.”

Because of the higher costs, Tencer said she has cut therapy from weekly to biweekly sessions.

“The subsidies made it possible for me to be self-employed in the first place,” Tencer said. “Without them, I’m seriously thinking about applying for full-time jobs, even though the market is terrible.”

For another self-employed Californian, the increase was even more dramatic.

Krista, a 42-year-old photographer and videographer in Santa Cruz County, relies on costly monthly intravenous treatments for a rare blood disorder. She asked that her full name not be used but shared her insurance and medical documents with The Times.

Last year, she paid about $285 a month for a Covered California plan. In late December, she received a notice showing her premium would rise to more than $1,200 a month. The rise was due to her loss of federal subsidies, as well as a 23% increase in the premium charged by Blue Shield.

“It terrified me. I thought, how am I ever going to retire?” she asked. “What’s the point?”

Krista ultimately enrolled in a plan costing about $522 a month, still nearly double what she had been paying, with a $5,000 deductible. She said she cannot downgrade to a cheaper plan because her clinic bills her treatment to insurance at roughly $30,000 a month, according to medical statements.

To cut costs and preserve the ability to save for retirement and eventually afford a place of her own, Krista decided to move into an RV on private land. The decision came the same week she received notices showing a rent increase and a steep jump in her health insurance premiums.

Mikayla Tencer, a marketing influencer, with her elder dog, “Lucky” at Alamo Square Park.

(Paul Kuroda/For The Times)

Krista said she had been planning for more than a year to find a long-term living situation that would enable her to live independently, rather than continue paying more for an apartment.

“Nobody asks to be sick,” Krista said. “No one should have their life ruined because they get diagnosed with a disease or break a leg.”

Jessica Altman, executive director of Covered California, said that about 160,000 Californians lost their subsidies when the enhanced federal assistance expired because their incomes were higher than 400% of the federal poverty level.

Although overall enrollment in Covered California this year has held steady, Altman said, she worries that more people will drop coverage as bills with the higher premiums arrive in the mail.

Those fears are already playing out.

Jayme Wernicke, a 34-year-old receptionist and single mother in Chico who earns about $49,000 a year, said she was transferred from Medi-Cal to a Covered California Anthem Blue Cross plan at the end of 2023. Her premium rose from about $30 a month to $60, then jumped to roughly $230 after the subsidies expired.

“For them to raise my health insurance almost 400% is just insane to me,” Wernicke said.

Her employer, a small family-owned business, does not offer health insurance. Her plan does not include dental or vision care and, she said, barely covers medical costs.

“At a certain point, it just feels completely counterintuitive,” she said. “Either way, I’m losing.”

Wernicke dropped her own coverage and plans to pay for care with cash, calculating that the state tax penalty is less than the cost of premiums. Her daughter remains insured.

Two other Californian residents told The Times that they also decided to go without coverage because they could no longer afford it. They declined to provide their full names, citing concerns about financial and professional consequences.

Under California law, residents without coverage face an annual penalty of at least $900 per adult and $450 per child.

One, a 29-year-old self-employed publicist in Los Angeles requires medication for epilepsy. Last year, she paid about $535 a month for a silver plan through Covered California. This year, the same plan would have cost $823.

After earning about $55,000 last year, she calculated that paying for care out of pocket would cost far less. Her epilepsy medication costs about $175 every three months without insurance, and her annual doctor visits total roughly $250.

“All of that combined is still far less than paying hundreds of dollars every month,” she said.

Another, April, a 58-year-old small-business owner in San Francisco, canceled her insurance in December after her quoted premium rose to $1,151 a month for a bronze plan and $1,723 for a silver plan, just for herself. Last year, April said she paid $566 for both her and her daughter. This year, her daughter’s premium alone jumped from $155 to $424.

The bronze plan also carried a $3,500 deductible for lab work and specialist visits, meaning she would have had to pay thousands of dollars out of pocket before coverage kicked in, on top of the higher monthly premium.

“The subsidies were absolutely what allowed me to sustain my business,” April said. “They were helping me sustain my financial world and have affordable care.”

She rushed to complete medical tests before dropping coverage and hopes to go a year uninsured.

“The scariest part is not having catastrophic coverage,” she said. “If something happens, it can be millions of dollars.”

Tencer, the content creator in San Francisco, believes that in order to make the nation healthier, affordable healthcare should be universal.

“Our government should be providing it.” she said. “People can’t go to the doctor for routine checkups, they can’t get things checked out early, and they can’t access the resources they need.”

Fair play to Scottish Rugby – not words you often hear, it’s true. Fair play to them for their enthusiasm in putting players and coaches in front of cameras and around tables, fair play for all the access and all the opportunity to pick brains before the Six Nations. If the championship was decided on such things, the Scots would be contenders. Favourites, possibly.

The other week we had six different players put in front of us on a loop on the same afternoon. Radio, television, social media, newspapers, podcasts. They did the lot, with a smile. But…

Everybody’s bored of an unchanging narrative. The players have had it up their tonsils with the fighting talk, knowing that only deeds and not words are going to get the job done, beginning in Rome on Saturday.

There are some wonderful communicators in this Scotland team but, in the politest sense, they’re fed up communicating and are just desperate to start delivering. They can’t say they’re going to deliver, of course, because they’ve never delivered. They think they’re capable, but they haven’t proven it. They’re all in a rugby no-man’s land.

These past weeks, in their search for truth, they’ve walked the line between self-belief and self-criticism. They know that, in part, they can be brilliant and, in other part, they can be brutal. They can dominate chunks of a game with their excellence and then contrive to lose that same game with their mental wobbles.

To hear them engaging in psychoanalysis you could be forgiven for thinking that they’ve spent as much prep-time for Rome in therapy as they have on the training ground. These are fine players, almost in pain with the frustration of not being able to kick on with their country as most of them are doing with their clubs.

From the outside, it would be understandable if you thought Scotland are fancying their chances this year, what with Glasgow Warriors tearing it up in the United Rugby Championship and Champions Cup. There are nine Warriors in the starting line-up against Italy and another five on the bench.

Understandable, but ignorant of the way things are. The fatalism, the quarter of a century of not contending, the grinding down of expectation. Hope lives – as it must – but there isn’t a more realistic bunch of supporters in this tournament than the Scots. When they hear outsiders describing them as bullish they tend to wonder what planet these people are living on.

The backdrop to this Six Nations is anger over head coach Gregor Townsend and his inability to take the team forward. This is his ninth campaign. On his watch, Scotland have finished fifth once, fourth on five occasions (including the past two) and third twice. He’s won 19 out of 40 Tests.

Harshit Rana sustained the knee injury in a warm-up match against South Africa with Mohammed Siraj now taking his place.

India seam bowler Harshit Rana has been ruled out of the Twenty20 World Cup with a knee injury, India’s cricket board (BCCI) announced on Friday, with Mohammed Siraj named as a replacement.

Rana, who has also ⁠developed into a handy lower-order batter, sustained the injury during a warmup match against South Africa on Wednesday when he bowled just one over before leaving the field.

Skipper Suryakumar Yadav had said that Rana’s injury did not look good, but that they had enough depth ⁠in the squad to deal with it.

Jasprit Bumrah and Arshdeep Singh are likely to share the new-ball duty, while India also have seam-bowling all-rounders in Hardik Pandya and Shivam Dube.

“It’s a big blow obviously because you make a squad of 15 players with a lot of combinations in mind,” Suryakumar said before ‌Saturday’s Group A contest against the United States.

“If he is not available for us going forward, then we will set other combinations. We have enough ‌players.”

The International Cricket Council said they had approved Siraj as a replacement for Rana.

India are ‌bidding to be the first team ⁠in the tournament’s history to successfully defend their title and also be the first host to win a T20 World Cup.

India’s revised squad

Suryakumar Yadav (captain), Abhishek Sharma, Sanju ‌Samson (wicketkeeper), Ishan Kishan (wicketkeeper), Tilak Varma, Hardik Pandya, Shivam Dube, Axar Patel (vice-captain), Rinku Singh, Jasprit Bumrah, Arshdeep Singh, Kuldeep Yadav, Varun Chakaravarthy, Washington Sundar, Mohammed Siraj

THE WORLD’S most welcoming cities have been revealed and a UK destination with famous Turkish Baths and vibrant gardens has been named amongst them.

Though technically not a city, Harrogate in North Yorkshire, sits on the edge of the Yorkshire Dales National Park.

And according to Booking.com, Harrogate is one of the most welcoming destinations in the world and the only spot in the UK to feature on the list.

Booking.com commented: “Harrogate is an elegant English spa town full of historic charm.

“Quaint boulevards and ornate Victorian façades frame a town filled with modern and contemporary cafés, indie shops and scenic garden paths perfect for leisurely strolls.”

One top spot mentioned by Booking.com is Valley Gardens, formed of 17 acres of English Heritage Grade II listed parkland.

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In the gardens, visitors will find themed areas, different flower species and a number of historic buildings.

There’s also a children’s play area and entry to the entire park is free.

One recent visitor said: “What an absolute gem of a park.

“Very picturesque, serene and pleasant walk through with a beautiful Victoriana style cafe and beautiful views across the park.

“I could spend a day there with a book, flask with hot tea and snacks and relax. It has a very calming aura.”

Harrogate is also well-known for its Turkish Baths – a unique spa experience that dates back to 1897.

The Harrogate Turkish Baths are one of the best-preserved Victorian Baths in the UK and were once used as a luxury and therapeutic experience by wealthy Victorians.

The spa still operates today and has a frigidarium, steam room, different heat rooms and a plunge pool.

Sessions usually cost £37 per person for an hour and a half to two hours access.

And if you find the history of the spa town interesting, then head to the Royal Pump Room Museum, where you will find the strongest sulphur wells in Europe.

You will also learn about Harrogate’s connection to Russian royalty.

It costs just £4.20 per adult and £2.40 per child to visit.

The Montpellier Quarter then dubs itself as “Harrogate’s best-kept secret”.

Here visitors will find over 50 independent shops including cosy cafes.

Across the cobbled streets in the Montpellier Quarter, there are gardens, ornate lamp posts and lots of flowers.

One visitor said: “This is a rabbit warren of individual antiques and curios shops under one roof.

“There is art, jewellery, ornaments – too much to mention but all very interesting and great for provoking memories of things our grandparents had in their time!”

If you are looking for somewhere to stay in the town, then you could head to The Old Swan Hotel – which is the hotel where Agatha Christie was discovered after she had been missing for 11 days in 1926.

The ivy-covered hotel is just a three-minute walk from the Royal Pump Room Museum and features suites with four-poster beds.

Rooms cost from around £68 per night.

For a bite to eat, definitely check out Bettys Café Tea Rooms – a famous spot for afternoon tea and coffee.

You can opt for the Grande Breakfast which includes muesli, pain au chocolat, toasted fruit loaf, tea or coffee and a choice of either poached egg and avocado, scrambled eggs and Yorkshire smoked salmon or poached egg and dry-cured bacon for £22.50 per person.

Booking.com added: “Captivating with its harmonious mix of culture and greenery, Harrogate invites travelers to unwind while discovering the quieter corner of northern England.”

Other cities named among the most welcoming in the world include Montepulciano in Italy.

This hilltop town in Tuscany, Italy, is famous for its red wine.

Due to being on the hilltop, the town has stunning panoramic views.

Other destinations named as welcoming cities include Fredericksburg, Texas, United States and Klaipėda, Lithuania.

In other destination news, the cheeky 48-hour holidays to Europe’s best cities, beach towns and islands this summer from £167.

Plus, five stunning European holidays that are cheaper than a UK train fare – with £2 prosecco and stunning beaches.

Gina Bashir is a 46-year-old farmer from Askira Uba, in Borno, northeastern Nigeria. At the peak of the Boko Haram insurgency, she lived in Benisheik, a small town in Borno, with her husband and six children.

During the height of the Boko Haram insurgency, she lost her brother, nephew, and six other relatives.

In this video, we talk about her survival and her ambition for her children.

Reported and scripted by Sabiqah Bello

Voice acting by Rukayya Saeed

Multimedia editor is Anthony Asemota

Executive producer is Ahmad Salkida

A few months back, a discussion broke out in the De Los chat about whether or not Bad Bunny would win album of the year at the 68th Grammy Awards for his LP “Debí Tirar Más Fotos.”

I was firmly in the “yes” camp from the day the nominations were announced and I was right!

But if I’m being honest, I had my doubts that it would happen until the second that presenter Harry Styles called out the Puerto Rican singer’s name Sunday night.

Those in the “no” camp — who were still rooting for him to win — had history in their favor. It’s so rare for any major awards show, but especially the Grammys, to recognize artists at the peak of their powers. It’s almost as if these voting bodies feel that some (usually Black) artists must go through a weird humiliation ritual before being deemed worthy.

In 2015, Beyoncé’s self-titled LP lost album of the year in favor of Beck’s “Morning Phase.” She was overlooked again when Adele won album of the year for “25” over her seminal album “Lemonade” at the 59th Grammy Awards. Her club classic “Renaissance” also missed out on the top prize in 2023, with Styles’ “Harry’s House” taking home the award.

Rapper Macklemore won the rap album Grammy over Kendrick Lamar’s “good kid, m.A.A.d. City” at the 56th iteration of the award ceremony. At the 2016 Grammys, Lamar’s deeply layered LP “To Pimp a Butterfly” lost album of the year to Taylor Swift’s “1989.” Mumford & Sons’ “Babel” won album of the year in 2013 over Frank Ocean’s “Channel Orange.”

The anti-Blackness in the Recording Academy — the voting body that chooses Grammy winners — cannot be understated.

But in a rare move the voters, which included the Latin Grammy Awards’ voting body for the first time this year, chose the album that actually reflected the cultural zeitgeist.

Really it was less so that I believed Bad Bunny would win as much as I felt that he needed to win.

The past year has been exceedingly trying for the Latinx community as Immigration and Customs Enforcement raids have been conducted throughout the country. It has oftentimes felt as though being Latinx — looking a certain way, speaking Spanish, having certain names — is a crime. I don’t know how many times I’ve seen videos of or heard heartbreaking stories of Latinx people being separated from their families, harassed or even killed due to activities of federal agents.

So even if it was just a moment of recognition for Bad Bunny, I had a lot riding on one win for Latinx people. A win for an album that is unapologetically in Spanish, explored ideas of resistance toward colonization and dared to be joyful, would mean something to me.

When he won, I had the same reaction as him. I couldn’t believe it and I cried — genuine tears in my Latina eyes.

It felt like an acknowledgment that Latinx people exist and matter. I was also moved when he explicitly shouted out immigrant and Latinx communities. There was just something that felt radical, too, in him giving the majority of his acceptance speech in Spanish.

De Los writer Andrea Flores also had faith in Bad Bunny’s Grammys viability from the very beginning.

“I knew Bad Bunny was going to win big at the Grammy Awards the moment he released this album,” she told me. “Bad Bunny made music for Puerto Rico, and the world listened.”

“I cried when I saw that Bad Bunny won album of the year. For me, it felt like sweet vindication for Latinx artists — reggaetoneros, more specifically — who have long been ignored, and at times vilified, by mainstream media for so many years. But what made me even more emotional was seeing posts on X showing Bad Bunny in 2016 as a bag boy at a local Puerto Rican supermarket. He looks familiar in that picture, like a cousin, brother or childhood friend. That was only 10 years ago. It’s proof to me that so much can change if you believe in your art and in yourself.”

It’s weird that a Latinx artist from an American colony is the most powerful cultural figure in the country at the same time that Latinx people face the most tenuous situation in the U.S. that I’ve seen in my life.

When Bad Bunny takes the stage for the Super Bowl halftime show on Sunday, I wish he’d get up there and call out ICE again on an even-bigger stage or do some kind of spectacular act of protest against the vile political class that has always and continues to push through discriminatory policies against non-white communities.

It’d be awesome if that happens, but even if it doesn’t, there will still be something profoundly radical about him simply being there and performing exclusively in Spanish.

(Jackie Rivera / For The Times; Martina Ibáñez-Baldor / Los Angeles Times)

The latest on Trump’s immigration enforcement

(Joel Angel Juarez / Getty Images)

After killing two U.S. citizens, forcibly extracting immigrants and using force against protestors, some 700 federal agents are being pulled out of Minnesota. About 2,000 officers will remain in the state, White House border czar Tom Homan said early this week.

On Tuesday, immigration officers in Minneapolis pulled their guns on and arrested protestors who were trailing their vehicles, the AP reported.

Meanwhile, my colleague Gavin J. Quinton reported that the Senate isn’t “anywhere close” to reaching an agreement on ICE funding, as Democrats demand “nonnegotiable” ICE reforms.

In some good news, Liam Conejo Ramos — the 5-year-old from Minnesota who was famously photographed wearing a bunny hat and Spider-Man backpack while detained by ICE agents — and his father, Adrian Conejo Arias, were released from a detention facility in Dilley, Texas and are back home in Minnesota.

The duo was released thanks to a ruling from the U.S. District Judge Fred Biery.

“[T]he case has its genesis in the ill-conceived and incompetently-implemented government pursuit of daily deportation quotas, apparently even if it requires traumatizing children,” the judge wrote in his ruling.

Stories we read this week that we think you should read

Unless otherwise noted, stories below were published by the Los Angeles Times.

Politics and Immigration

Arts, culture and entertainment

Latin America

WASHINGTON — President Trump shared a short video clip on social media late Thursday depicting former President Obama and former First Lady Michelle Obama as apes, drawing immediate public backlash that the White House characterized as “fake outrage.”

The image, which Trump posted on his official Truth Social account around midnight, was included toward the end of a one-minute video clip that promoted a conspiracy theory about voting irregularities in the 2020 presidential election. In it, the Obamas are portrayed as apes as “The Lion Sleeps Tonight” plays in the background.

The White House said the clip was taken from “an internet meme video,” in which Trump is depicted as a lion and several high-profile Democrats — including former President Biden, former Vice President Kamala Harris, U.S. Sen. Adam Schiff and California Gov. Gavin Newsom — are rendered as giraffes, turtles, antelopes and other animals. The clip, which was shared by a social media account in October, is captioned: “President Trump: King of the Jungle.”

Only the image of the Obamas is included in the clip shared by Trump.

“Please stop the fake outrage and report on something today that actually matters to the American public,” Karoline Leavitt, the White House press secretary, said in a statement Friday.

The post, however, quickly drew fierce criticism from Democrats, some Republicans and civil rights organizations. The imagery was condemned for echoing long-standing racist tropes that have historically been used to demean Black Americans.

“Trump posting this video — especially during Black History Month — is a stark reminder of how Trump and his followers truly view people,” the NAACP wrote on X. “And we’ll remember that in November.”

Newsom, a Democrat, said it was “disgusting behavior by the president” to amplify such an image.

“Every single Republican must denounce this. Now,” Newsom wrote on X.

Sen. Tim Scott, a Black South Carolina Republican who is the chairman of the National Republican Senatorial Committee, said the image was “the most racist thing I’ve seen out of this White House.”

“The President should remove it,” Scott wrote on X.

“I am Tom Brady, and I am a Patriot.”

That’s what the man who led New England to six Super Bowl victories and nine appearances in the NFL’s championship game said when he was inducted into the Patriots Hall of Fame in June 2024.

“I am a Patriot for life!”

That’s what the retired quarterback told the crowd at Gillette Stadium in September 2023 at the start of the first NFL season since the end of his 23-year career, which included three seasons and one more Super Bowl win with the Tampa Bay Buccaneers.

“I don’t have a dog in the fight in this one. May the best team win.”

That’s what Brady said on the “Let’s Go!” podcast earlier this week. The comment wouldn’t have been a big deal if he had been talking about this year’s Puppy Bowl, in which his clone dog Junie will not be a participant.

But alas, he was talking about Super Bowl XL, which pits the Seattle Seahawks against the team that has a 17-foot bronze statue of Brady outside its stadium (a.k.a. the Patriots).

Now, Brady is a minority owner of the Las Vegas Raiders, but they fell just a teensy bit short of making the playoffs after finishing the season at 3-14 and aren’t a factor at all in this weekend’s game in Santa Clara.

Also, as a color commentator for NFL games on Fox Sports, he might feel compelled to remain neutral — but the Super Bowl is on NBC this year, so Brady won’t be calling that game.

Former New England Patriots quarterback Tom Brady speaks at the August 2025 unveiling of a bronze statue of himself at Patriot Place in Foxborough, Mass.

(Charles Krupa / Associated Press)

Brady actually did provide plenty of context along with his comment, and we’ll get to that shortly. But first, how about some reactions from Brady’s former Patriots teammates?

Retired linebacker Tedy Bruschi said he has no problem showing his support for New England and coach Mike Vrabel, who played for the Patriots teams that won Super Bowls XXXVI, XXXVII and XXXIX.

“That’s the way Tom feels. I got a big-a— dog in the race, I’m telling you that right now,” Bruschi said on Boston’s WEEI 93.7 FM. “That’s my boy right there, you know, Vrabel — eight-year teammate, like a brother of mine. I mean, all of us, really. It’s like, we’ve got a dog in the fight. My dog is big and I’m cheering for him.”

Retired defensive lineman Vince Wilfork called Brady’s neutral stance “political bullcrap.”

“Raiders ain’t in it,” Wilfork said on WEEI. “Say what it is, what you see.”

He added: “At the end of the day, if you’re a Patriot for life … don’t give me that political bullcrap. That’s just what it is. If you don’t think we’re gonna win, just pick Seattle then. Don’t straddle the fence.”

Retired cornerback Asante Samuel wrote on X: “Tom Brady I am highly I mean highly disappointed in you not rooting for your ex teammate, Mike Vrabel who is about to do something special.”

In a separate post, Samuel suggested that Brady wants to be “the only one winning super bowls.”

Retired tight end Rob Gronkowski said on the “Up & Adams” YouTube show that he hadn’t talked to Brady about the matter yet, but he did have a theory on why his good friend might not be rooting for the Patriots.

“He probably wants to be the quarterback. He’s that competitive,” Gronkowski said. “He wants to be the guy in the Super Bowl right now.”

Retired offensive linebacker Damien Woody said on ESPN’s “Unsportsmanlike” that Brady’s comment was “ludicrous,” then continued, “I don’t care if you’re the minority owner of the Raiders. Dammit, you have a statue in Foxborough. Make it known. Nobody wants to hear all this, ‘I don’t have a dog in the fight.’ The hell you do! If Robert Kraft put that damn statue outside of his stadium, oh, you better believe you got a dog in the fight.”

OK, now on to what Brady actually said on the podcast. Host Jim Gray asked what this Super Bowl is like for him as someone so closely associated with the Patriots and their past success. As part of his answer, Brady pointed out that there are “always different chapters in your life.”

“And now, in a different phase of my life, I really root for people and the people I care about, the people who I know the work that goes into what they’re trying to accomplish,” Brady said. “So I really want to sit back as a fan and enjoy the game, enjoy the moment. And I always think, may the best team win. You know, it’s not going to be who I’m cheering for, who I think is going to win. It’s going to be decided by the people out there on the field.”

Brady added: “I just want to see good football. I want to see good plays, good throws, good strategy, good decisions. And that’s the joy in the game for me. … So listen, I don’t have a dog in the fight in this one. May the best team win. And in terms of the Patriots, this is a new chapter in New England, and I’m glad everyone’s embraced the Mike Vrabel regime, all the amazing players that have worked so hard to get their club to this position.”

Gray brought up the “idiotic” perception that Brady and other members of the Patriots dynasty might not want this year’s team to succeed and somehow distract from their accomplishments. Brady agreed that such thoughts are “idiotic” and said that all the memories and relationships he built during that era will always mean something to him.

“No one can take those away from me,” Brady said. “So regardless of what anyone would say or think or want to add to the conversation, I’m just excited that the two best teams who have been consistently the best teams all year are playing for the Super Bowl.”

Feb. 6 (UPI) — The Mexican state of Michoacán increased its avocado shipments to the United States by nearly 20%, projecting about 130,000 tons of fruit for consumption during Super Bowl LX this Sunday, the export sector reported.

Exports were concentrated during December 2025 and January 2026 to meet demand linked to the event, considered one of the largest avocado consumption spikes in the United States.

Salvador Bustos, commercial director of packing and exporting company Boka Foods, said Michoacán avocados once again broke records.

“This year there was an increase of up to 130,000 tons, 20% more than last year. In terms of quality and sizes, Michoacán avocados are always a standout at the Super Bowl,” he said.

Bustos noted that despite strict U.S. sanitary regulations for avocado imports, all requirements have been met to ensure the timely arrival of the fruit in the North American country.

“The increase in tonnage compared with last year implies that there are favorable conditions to continue exporting in the same way and increasingly better,” he added.

At a press conference on Feb. 2, Michoacán Secretary of Economic Development Claudio Méndez Fernández described the Super Bowl as one of the most important marketing windows for the state’s fruit.

Michoacán authorities said that nearly 90% of the avocados consumed in the United States are imported from Mexico, and the product’s commercial value grew by 23% between 2023 and 2024.

Governor Alfredo Ramírez Bedolla said the United States is one of the most important markets for Michoacán avocados and that the adoption of environmental certifications such as ProForest Avocado is strengthening the position of the exported product.

This picturesque coastal town sits in the Roseland Peninsula and is a favourite location of King Charles and Queen Camila – and was even enjoyed by the late Queen Elizabeth II

Sitting on the south coast of Cornwall within an Area of Outstanding Natural Beauty is a gorgeous, tucked away town with one of the mildest climates in Britain and temperatures comparable to Mediterranean resorts.

Set within the Roseland Peninsula district of Cornwall, which itself is an unspoilt landscape of cliffs, creeks, woods and beaches, this beautiful beach town is renowned as a premier sailing spot with a pretty harbour and countless independent shops.

St Mawes boasts a unique ‘subtropical’ climate meaning it can offer warmer temperatures, even in the winter, than the rest of the UK. Unsurprisingly, this makes it a very popular holiday location – even with the Royal Family – and its relaxed coastal atmosphere and quaint, narrow streets and stunning sea views encourage those visiting to stay even longer.

A favourite holiday haunt of King Charles, Queen Camilla and even the late Queen Elizabeth II, the area’s maritime climate one-of-a-kind in the UK.

Influenced by the Gulf Stream with the Atlantic acting as a thermal buffer, St Mawes regularly experiences warm, sunny summers and mild, wet winters with little to no frost or snow. Visitors can enjoy water sports, scenic walks, all-year round boat trips from Falmouth, high-quality dining and St Mawes Castle – a well-preserved coastal fortress built by Henry VIII.

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The infamous King built the Castle to guard the important anchorage of Carrick Roads – the estuary of the River Fal. The distinctive clover-leaf shaped castle provides breath-taking views of the sea and passing ships from its battlements and has a number of carved inscritions praising Henry VII and his son Edward VI.

Away from history, St Mawes’ charming town centre has a number of quaint galleries, local shops and a variety of waterfront pubs and restaurants.

The aesthetics of the area are outstanding – from thatched roofs, white-washed cottages to Marine Parade which offers lovely independent shops and Waterside Gallery which houses galleries and stylish boutiques filled with timeless coastal fashion.

St Mawes has several lovely beaches for visitors to choose from including Summers Beach and Tavern Beach ideal for swimming and rock-pooling and Harbour Beach which, although only accessible at ow-tide, is dog friendly all year round with calm water sheltered by the estuary.

For walkers, the coastal path to St Just also in the Roseland peninsula is unforgettable or, in summer, tourists can use the ferry to the small, tidal inlet of Place Creek to follow the scenic trail to St Anthony’s Lighthouse.

One reviewer of St Mawes said: “We walked up to the castle and back in the beautiful and picturesque village of St Mawes. We definitely want to revisit this beautiful and classy village.”

Another said: “St Mawes is beautiful in all weathers and is well worth a visit any time of the year.”

Want to check it out for yourself? You can find plenty of beautiful stays in St Mawes with the likes of Sykes Holiday Cottages and Cottages.com.

Wizz Air has added a new route to the Greek island of Santorini from London Gatwick starting July 2026, with flights from £45.99 offering crystal-clear waters and whitewashed villages

Wizz Air has unveiled new routes to a stunning island boasting scorching sunshine and crystal-clear azure waters, with fares kicking off at just £45.99.

As dreary British weather continues, many of us are fantasising about a sun-drenched holiday, making it the perfect moment to discover that Wizz Air has expanded its routes to the iconic Greek island of Santorini. The breathtaking destination has remained a firm favourite amongst holidaymakers craving a peaceful retreat amongst its whitewashed and blue-domed clifftop villages.

The fresh Wizz Air route connecting London Gatwick to Santorini will officially launch on 1 July 2026, as the airline bolsters its Greek connections ahead of the busy summer travel season. The new service, offering Brits greater flexibility for their summer holiday plans, will run twice weekly on Wednesdays and Sundays.

Direct flights begin at only £45.99 one-way, making it simpler than ever to secure that tranquil getaway during the summer break without the eye-watering cost. Santorini delivers plenty for travellers, from its spectacular clifftop vistas and black volcanic sand beaches to some of the most breathtaking golden sunsets imaginable.

Tourists can meander through cobbled pathways flanked by whitewashed structures adorned with pink bougainvillaea blooms for a picture-perfect Mamma Mia! moment. Due to its dramatic position perched atop volcanic cliffs, there’s an array of hiking trails to appreciate the island’s distinctive charm, including the renowned Fira-Oia trail.

Beyond that, visitors can discover the ancient ruins at Akrotiri, embark on a boat excursion across the turquoise waters, enjoy a dip in Santorini’s hot springs, and taste local wines during a vineyard tour. Additionally, there’s a wide selection of delightful restaurants, lively bars and authentic cafes where guests can savour Greek cuisine, from Gyros to Horiatiki.

The introduction of the new Wizz Air route to Santorini arrives as the carrier continues to broaden its UK- Greece connections. Wizz Air has also announced extra flights to Chania, Corfu, Mykonos, Rhodes and Zakynthos launching this summer.

Yvonne Moynihan, Managing Director at Wizz Air UK, said: “The addition of Santorini to our London Gatwick network comes at the perfect time ahead of the peak summer season. Our upcoming Greek routes are already set to become firm favourites with our customers, and Santorini is a bucket list destination that people dream of visiting.

“As London’s low-cost airline, we’re delighted to give travellers the opportunity to experience this iconic island destination at an affordable price. We listened carefully to what customers wanted, and through our Customer First Compass framework, we are making sure their needs remain front and centre in every decision we take.”

The upcoming flights from London Gatwick to Santorini, with a journey time of less than four hours, will soon be available for booking on the Wizz Air website or through their app. Prices for a one-way direct ticket will kick off at £45.99, with the inaugural flight scheduled for 1 July 2026.

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