KATIE Price has plugged a questionable weight-loss jab – that’s ‘not intended for human use’.
The former glamour model, 48, is championing the injectable which is not approved in the UK.
She wrote on X: “Guys, I have started my peptide journey with @supreme_cbd and this is a great offer to start on! £40. Wow that’s brilliant.”
Katie continued: “I’m loving these peptides.”
She then added a discount code, confirming, “If you want to lose weight.”
Concerned fans commented: “What Katie? Why?”
A second worried user pointed out: “Commented this on the post but surprisingly got nothing back, so I’ll try with you… ‘not for human consumption?’”
Another bemused fan queried: “Why would you be on a peptides, there’s f*** all on you?”
Tesamorelin is legal to possess in the UK for scientific research but it is not authorised for human consumption in the UK.
It is legal to buy, possess and sell tesamorelin in the UK strictly for in-vitro laboratory research and scientific investigation.
However, it is not a licensed human medicine in the UK and is not approved by the MHRA for clinical use.
It cannot legally be marketed, sold or labelled for human consumption, therapeutic treatment or veterinary applications and is licensed in the US for people with HIV-associated lipodystrophy.
In June, she admitted her weight had plummeted due to “stress” after her estranged husband Lee Andrews was first arrested in Dubai.
The mum-of-five recently shared a health update on son Harvey as he continues his fat jab journey.
She previously shared her concerns over her 24-year-old son’s health after revealing he weighs 30st.
Harvey, who lives with Prader Willi Syndrome, blindness and autism, started taking fat jab Mounjaro earlier this month.
Katie revealed that Harvey’s BMI is double that of someone classed as obese – and also recently said on her podcast that he had been taking fat jab Mounjaro for nearly a month.
In August, the terrified mum said she feared Harvey would suffer a heart attack.
It comes after she ended her marriage to Lee Andrews, 43.
The model appeared on Good Morning Britain earlier this week and admitted she’d had enough of Lee’s lies.
The final straw came when she discovered a crypto account he claimed contained £37m had just £2.20 in it.
Meanwhile, Lee said that he hasn’t “pulled the wool over anyone’s eyes” nor has he “thrown Katie under the bus”.
WHILE weight loss jabs have been hailed as a breakthrough in helping tackle Britain’s obesity crisis, some users say they’re missing out on their waist-shrinking powers – and it could be down to some simple mistakes…
POOR PENMANSHIP
Many people don’t correctly use the injection pen, according to Ana Carolina Goncalves, a pharmacist at Pharmica in Holborn, London.
Make sure to prime your weight loss pen correctly, as per the instructions. If nothing comes out, try again, and if it still doesn’t work, switch the needle or ask a pharmacist for help.
It’s also recommended to rotate injection sites between the abdomen, thigh and upper arm to avoid small lumps of fat under the skin.
TIME IS OF THE ESSENCE
Make sure you’re using the jabs on the most effective day of your schedule.
For example, taking the jab right before a takeaway or party won’t stop you from indulging, says Jason Murphy, head of pharmacy and weight loss expert at Chemist4U.
Weight loss injections need time to build up in your system, so if you’re planning for a heavier weekend, inject your dose mid-week.
MAKING A MEAL OF IT
You may not feel the urge to overeat at mealtimes due to the jabs. But skipping meals altogether can backfire, says Dr David Huang, director of clinical innovation at weight loss service Voy.
If a person is extremely malnourished, their body goes into emergency conservation mode, where their metabolism slows down.
FOOD FOR THOUGHT
A key mistake using weight loss jabs is not eating the right foods.
As well as cutting out sugary drinks and alcohol, Dr Vishal Aggarwal, Healthium Clinics recommends focusing on your protein intake.
DE-HYDRATION STATIONS
Dehydration is a common side effect of weight loss injections. But it’s important to stay hydrated in order for your body to function properly.
Dr Crystal Wyllie, GP at Asda Online Doctor, says hydration supports metabolism, digestion, and can reduce side effects like headaches, nausea and constipation.
MOVE IT, MOVE IT
It can be easy to see the jabs as a quick fix, but stopping exercising altogether is a mistake, says Mital Thakrar, a pharmacist from Well Pharmacy.
Exercise helps maintain muscle mass and help shape the body as you lose weight, which may be crucial if you’re experiencing excess skin.
QUIT IT
While there’s the tendency to ditch the jabs as soon as you reach your desired weight, stopping them too soon can cause rapid regain.
Mr Thakrar recommends building habits like healthier eating during treatment for sustaining results.
Jean-Luc Ichard/iStock Editorial via Getty Images
Nestle (NSRGY) is reviewing its options after Russia placed the Swiss food company’s local operations under temporary state administration, adding to mounting pressure on Western businesses that still hold assets in the country.
The move was announced in a presidential
Rothesay County Championship, Division One, Headingley (day four)
Yorkshire 212 & 275: Hill 89, Bess 77; Overton 3-44
Somerset 201: Cliff 8-76 & 101: Lammonby 32; Coad 4-33
Yorkshire (19 pts) beat Somerset (3 pts) by 185 runs
A relentless Yorkshire bowling performance put a significant dent in Somerset’s County Championship title challenge, the hosts consigning the pre-game Division One leaders to a hammer blow defeat at Headingley.
Somerset – chasing 287 – started day four on 73-3, quickly slipped to 79-6 and were later bowled out for 101 just before 12:00 BST to lose by 185 runs.
A third defeat of the season, and a second against Yorkshire, means that Warwickshire now lead Division One by 11 points from second-placed Somerset, who have never won this title. Nottinghamshire will also be in the mix come next week’s final round even if they lose against Sussex later on Friday.
For the mid-table White Rose, they claimed their fifth win in 13 games and backed up May’s success at Taunton. New ball seamers Ben Coad and Ben Cliff starred today, Coad finishing with four wickets and Cliff three.
Outstanding Cliff ended with career best match figures of 11-105, the 13th best match analysis in his county’s first-class history.
Cliff and Coad struck in the space of five balls inside the day’s opening half an hour, putting Yorkshire on course for a 19-point haul to Somerset’s three.
They removed not out batters Tom Lammonby and Tom Abell as Somerset lost two wickets for the addition of only three runs – 76-5.
Lammonby was squared up and caught behind off Cliff for 32 before Abell looped a catch up to backward point off the shoulder of the bat against Coad.
And when Coad struck again almost three overs later, at the end of the 39th, Somerset were in significant trouble, with James Rew caught at second slip on the drive.
Yorkshire came into day four knowing they had the edge, but one wicket they were desperate for was that of Craig Overton, who had broken their hearts back in July here with a stunning 79 not out off 30 balls in the Vitality Blast quarter-final.
Cliff got him caught behind pushing forwards in the 42nd over for five, also trapping Lewis Gregory lbw three balls later.
At 88-8, it was all but game over under an overcast Headingley sky but not quite matching the gloomy Somerset outlook.
The Overton and Gregory wickets were Cliff’s 10th and 11th in the match following his eight in the first innings.
Like Overton, Migael Pretorius had scored a first-innings fifty. But George Hill had him caught behind, leaving Somerset at 92-9.
Matthew Revis then wrapped things up by yorking Jake Ball, with day four lasting only 82 minutes in all.
Somerset face Surrey at the Cooper Associates County Ground, Taunton in the final round of fixtures, which starts on Thursday, while Yorkshire can continue to play the role of spoilers when they travel to face Nottinghamshire at Trent Bridge.
ECB Reporters’ Network supported by Rothesay.
Artificial intelligence (AI) has stirred up more controversy than most things in the past five years. Ever since the introduction of accessible generative AI in 2022, institutions, universities, students, scholars, activists, cognitive specialists, public policymakers and members of the public have all been divided over the ethics of its use. As of the beginning of this month, even the founders of AI companies have taken the same stance. Dario Amodei, chief executive of Anthropic, released an essay calling on AI companies to slow the development of their most advanced models, as the safeguards currently in place are unable to keep up. Shortly after Amodei’s essay, his position was endorsed by Sam Altman of OpenAI, Elon Musk of xAI, Demis Hassabis of Google DeepMind, and Satya Nadella of Microsoft. In addition, Sam Altman said that OpenAI will not be going public in 2026, as further safety advances are still required. While on the surface this may seem like a development in the collective conscience, the problem is far more multifaceted and layered – leaving the industry and the intended audience divided.
Take a look at the products that each AI giant sells. Amodei, Altman, Musk and Hassabis sell models, while Nadella sells the cloud those models run on. Both groups have advised slowing down. On the other hand, Jensen Huang, founder, president, and CEO of Nvidia, sells the chips that these companies buy before they can build anything. Huang does not advise a slowdown and has instead asserted that AI does not need new legislation because market forces can push companies towards safe innovation without the need for regulation. Mark Zuckerberg, whose company gives its models for free, warned that the proposal could expose companies to greater legal risks.
The common thread between these divisive recommendations is profit. Some companies will benefit from a slowdown, while others will earn greater profits by moving faster. Nvidia’s ability to charge high prices has benefitted from the intense competition between these AI companies, which fear falling behind their rivals. If this competitive pressure decreases, companies may be less willing to pay a premium for Nvidia’s chips. Hence, Huang’s opposition to the proposal may reflect both genuine concerns and Nvidia’s commercial interests.
In the world of AI, antitrust law prevents these companies from holding private meetings to decide what they can and cannot do. This is intended to prevent them from coordinating the pace of development and engaging in unfair competition. However, some of these AI companies have now come forward arguing that they should be allowed to work outside antitrust law for the sake of technological safety. Huang and David Sacks, the White House AI lead, have been critical of this request, as it could reduce competition and increase the influence of these AI companies over their rivals. Sacks also questioned the independence of nonprofit evaluators tasked with evaluating AI safety “independently”. In essence, he asks: how is it fair for one company to inspect another?
Amodei’s proposal would deny China access to the most powerful AI chips and advanced semiconductor manufacturing equipment, and prevent smuggling and remote access to computing capacity abroad. China’s foreign ministry countered the proposal, saying that these warnings are a fearmongering tactic aimed at slowing down China’s technological advancement, echoing the Cold War. Amodei did admit that China poses the toughest predicament for his plan. Despite its alleged advantages, the proposal gives American firms leverage over Chinese ones.
Supporters of AI coordination have compared it with the regulation of banks following the 2008 financial crisis. Basel III was introduced only after a major financial crisis had already occurred. Attempts to regulate AI before harm occurs can represent a genuine effort to prevent future risks, rather than reflecting the commercial interests of AI companies. However, there is an important difference between these two cases. Banking regulations were imposed by external regulators, whereas the proposed AI regulations would involve competing companies coordinating with one another.
Before this debate began, researchers had already issued warnings about the capabilities of AI models. OpenAI slowed down the development of its leading systems after a security incident. Amodei and Altman have both claimed that Anthropic and OpenAI will aim to bring in independent evaluators – a practice not seen among “cartels”. Both concerns can coexist: companies may genuinely fear the risks associated with AI while also pursuing their own commercial interests. The more relevant question remains whether the proposed solution adequately addresses the problem it is intended to solve. An agreement between five major American companies, to be overseen by evaluators they fund, would not apply to international competitors such as those in China and would require an exemption from existing competition law. This solution appears to reflect the structure and interests of the AI industry more closely than the nature of the risk it is intended to address.
Much of the debate surrounding the pace and regulation of AI development has taken place without meaningful participation from other regions, including the Arab world. PricewaterhouseCoopers (PwC) estimates that $31.6 trillion will be invested in AI infrastructure worldwide by 2050. Countries that can provide large amounts of cheap, reliable and low-carbon electricity will be particularly well positioned to attract this investment. Hence, the significant energy, land and investment required for AI infrastructure may provide countries capable of supplying these resources with considerable bargaining power. These states could seek a greater role in determining the conditions under which AI companies operate within their jurisdiction. This could include negotiating who evaluates these AI systems, how the evaluations are to be conducted and who bears legal responsibility when autonomous systems cause harm. This means that the debate goes beyond whether AI development should be slowed to questions of who has the authority to make decisions about its development, and whether other countries should accept decisions made elsewhere.
The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.
DEVELOPING STORYDEVELOPING STORY,
Attack not immediately claimed, but an ISIL affiliate and the Pakistani Taliban (TTP) are both active in the region and regularly target troops.
Published On 18 Sep 202618 Sep 2026
A bomb attack at a mosque in Pakistan’s restive north-west has killed at least 15 people, with more than 50 reported injured.
An explosive-laden car was rammed into the entrance of a mosque at a police headquarters in Kohat, in the province of Khyber Pakhtunkhwa near the Afghan border, as people gathered for Friday prayers.
At least 15 bodies and more than 50 injured people were taken to hospital in the town, Dr Tahir Shah said, according to the dpa news agency. The death toll could rise as several injured people were in a critical condition, he added.
There was no immediate claim of responsibility for the attack. However, both a regional affiliate of the ISIL armed group and the Pakistani Taliban (TTP) are active in the region and regularly target security forces.
Violence has surged in Pakistan’s remote regions near the Afghan border in recent years. Islamabad accuses Afghanistan’s Taliban rulers of allowing militants who orchestrate attacks in Pakistan to operate from Afghan territory.
Officials in Kabul deny the accusation. However, the issue has seen the pair swap strikes across the border across recent months.
More to come…
A solitary man believes he’s been wronged by a vast, overarching system. Feeling helpless to take it on directly, he picks up a gun and violently confronts the most powerful person he can think of who embodies his grievance.
It is a chilling dynamic that keeps repeating itself in American culture, and one at the heart of “American Hostage,” a dramatic miniseries making its debut Sunday on MGM+.
The eight-episode series re-creates the true story of Tony Kiritsis, an Indianapolis man who, in 1977, kidnapped Richard O. Hall, a mortgage broker whose family Kiritsis blamed for his own financial hardships.
The standoff lasted 63 hours, during which Kiritsis kept a shotgun attached by wire to Hall’s neck, and it became a national media spectacle. Throughout the crisis, Kiritsis made live calls to Fred Heckman, a local AM radio news broadcaster, pleading to listeners for the justice he believed he was due.
A half-century after this incident, not even the creators and stars of “American Hostage” can say for certain why we find stories like this so compelling — or why they keep happening in real life.
“We haven’t quite figured this situation out,” said Jon Hamm, who plays Heckman in “American Hostage” and is one of its executive producers.
Jon Hamm plays Fred Heckman, a radio news broadcaster, in “American Hostage” and is an executive producer.
(Jason Armond/Los Angeles Times)
The “Mad Men” star — no stranger to period pieces — said that beneath its retro production values and wide lapels, “American Hostage” is fundamentally about how people who feel voiceless in our society fight to be heard, even if the means is violence.
“There’s a lot that really resonates in the current media landscape and culture 50 years down the road, that people can still really connect with,” Hamm said.
Hamm and his colleagues hardly need to argue that point when the nation has been fixated on the case of Luigi Mangione, who in August pleaded guilty to federal charges in the December 2024 killing of Brian Thompson, the chief executive of UnitedHealthcare.
Though work on “American Hostage” had begun before Mangione’s crimes and the show was not inspired or motivated by them, series co-creator Shawn Ryan said that audiences have a boundless fascination with these types of stories — with or without any counterparts in current events.
“Dramatically, it’s always very interesting to see somebody do the wrong thing for the right reason,” Ryan said.
The TV series originated with a 2022 scripted podcast, produced by Criminal Content and also called “American Hostage,” on which Hamm also played the role of Heckman. It told of how Kiritsis, an Army veteran, enacted the kidnapping on his belief that the Hall family had swindled him on his mortgage — a loan for land where he had hoped to build a shopping center.
While Kiritsis sought to use Hall’s life as a bargaining chip for prosecutorial immunity, he also portrayed himself as an underdog taking on powerful financial interests. On the other end, Heckman wrestled with the moral predicament of giving airtime to a potential murderer while hoping to keep Hall alive. (Hall survived the ordeal and Kiritsis, acquitted of his crimes by reason of insanity, was later institutionalized.)
In the spring of 2022, Hamm approached Ryan, the creator of TV thrillers like “The Shield” and “The Night Agent,” with the idea of adapting the “American Hostage” podcast into a miniseries.
Ryan created the TV adaptation with Eileen Myers, a collaborator of his on shows like “Last Resort” and “Mad Dogs.” They both saw in the source material a story that was a combination of classic 1970s films like “Network” and “Dog Day Afternoon.”
(In a parallel development, Kiritsis’ story was also adapted into the Gus Van Sant film “Dead Man’s Wire,” which was a box-office disappointment earlier this year.)
Ryan and Myers said they were fascinated with how the American news media covered the kidnapping in instantaneous fashion and in an era long before the internet. In the 1970s, Ryan said, “There were fewer journalists and they were better and more trusted, and if Walter Cronkite said something, you believed it.”
Shawn Ryan, Jon Hamm and Eileen Myers executive produce the TV adaptation of “American Hostage.” Hamm approached Ryan, who brought in Myers to co-create and co-showrun the series.
(Jason Armond / Los Angeles Times)
The question that journalists like Heckman were confronted with, Myers said, was, “Do you allow a man who’s got a shotgun to somebody’s head dictate the terms of whether you’re going to put them on the air or not?”
Hamm, who has played alluring if ultimately disreputable characters on “Mad Men” and now Apple TV’s “Your Friends & Neighbors,” said he appreciated that “American Hostage” gave him a character who an audience can feel good about rooting for.
“I thought, I’m 55 years old,” Hamm said. “I was close to Fred’s age when this all went down. It was fun to play somebody morally conflicted that is actually on the good side.”
With some hesitation, Hamm pointed to the career trajectory of Bryan Cranston, who followed his celebrated heel turn on “Breaking Bad” with projects like “All the Way,” the play and TV film about President Lyndon B. Johnson.
“I don’t want to draw a comparison that’s stretching the bounds of reality,” Hamm said, “but Bryan went from Walter White to LBJ. You go, ‘All right — he’s still morally conflicted, but at least he’s on the right side of things.’”
“American Hostage” also benefited from the casting of Giovanni Ribisi (“Saving Private Ryan,” “Avatar,” “Sneaky Pete”), who brings a blend of volatility and humanity to the role of Tony Kiritsis.
Hamm recalled how Ribisi was in the midst of shooting another project — the upcoming Prime Video miniseries “The Greatest,” about Muhammad Ali — when he agreed to do a reading for “American Hostage” over Zoom.
“He brings value to every project he does, and he’s picky, as he should be,” Hamm said. “He’s a phenomenal DP — he might just go be a camera person or something if he wants to do it. So we were lucky to get him.”
Giovanni Ribisi plays Tony Kiritsis, the man who kidnapped Richard O. Hall. “So we were lucky to get him,” Hamm said.
(Steven Ackerman / MGM+/Sony Pictures Television)
There are of course unavoidable parallels between the stories of Kiritsis and Mangione, including the fact that both men were celebrated as folk heroes by some people who identified with their broader resentments.
But Hamm drew a crucial distinction between the two cases: Mangione “killed a guy,” he said. “He shot a man in cold blood. Like, I don’t care how good your point is. That’s not how we do it.”
Going back to the Boston Tea Party, Hamm said, every era of American history has had its dissidents who feel “wronged and done over by a system that is stacked against you” and are willing to take aggressive actions against it.
Hamm said that feeling persists and thrives today. “I think this is a big part of the rise of Trumpism,” he said. “I think this is a big part of the rise of the MAGA mentality, of ‘I have been done wrong and no one is hearing my complaints.’”
When those feelings go unaddressed for long enough, Hamm said, people will come to accept a certain amount of lawlessness from the figures they feel can solve their problems.
“We have a guy in the Oval Office right now who thinks that the laws don’t apply to him and a Supreme Court that said, ‘Yeah, they don’t — you can do whatever you want,’” he said.
For supporters of President Trump, Hamm said, “I think it’s fun for them to be able to flout the law and say, ‘Who cares?’ and all the things that they’re currently saying, but it’s not the principles that we were founded on.”
Hamm and Ryan make no secret of the fact that they’d like to keep “American Hostage” going as an anthology series and explore more of what Hamm called “these watershed moments of American life, to see how they rippled and how we got here from there.”
One could certainly imagine other events that would fit the show’s interest in real-life hostage crises that became media spectacles — the 1974 abduction of Patty Hearst; the 1963 kidnapping of Frank Sinatra Jr. — though Hamm kept any specific plans for the series close to the vest.
Perhaps the upper limits they face are the hours in a day to make and to broadcast the show.
“We’re living in great times right now for television,” Hamm said. “There’s so many opportunities to tell stories. Almost too many.”
Published on
Britain’s most valuable private company has clarified where it intends to sell its shares.
Nik Storonsky, Revolut’s founder and CEO, told French newspaper Les Echos on Thursday that the group is weighing a dual listing across the London Stock Exchange and the Nasdaq, confirming earlier media reports.
A spokesperson for Revolut confirmed the report to Euronews.
The US remains Storonsky preference, and he was candid about why, stating that “it’s a larger market. It includes institutional investors, hedge funds, fund managers and a considerable number of individual investors.”
“So we have the choice between selling in a small market with few buyers, or in a gigantic market with a huge number of buyers who will compete fiercely for our shares,” Storonsky added.
The comments mark a softening.
The Revolut CEO argued in 2024 that the London Stock Exchange simply could not compete with American venues, citing thin liquidity and the UK’s 0.5% stamp duty on share purchases, and had appeared to rule out listing at home altogether.
The London exchange has endured a prolonged drought of new listings, with companies either staying private or heading west. For instance, payments group Wise moved its primary listing to New York this year, and AstraZeneca has also expanded its presence in the US.
Revolut going public at anything near its current valuation would make it one of Britain’s largest listed companies, potentially worth more than Barclays or NatWest.
A secondary share sale in July valued the business at roughly $115 billion (€100bn), up from $75 billion (€65bn) in November.
When asked by Euronews about internal discussions regarding a timeline for the IPO, the spokesperson refused to comment, but pointed to a previous interview with Bloomberg in April of this year where the Revolut CEO stated “in two years time, but it depends on how good the market is.”
Progress as certainly been made as the company has spent this year assembling the regulatory foundations a listing will require.
It secured a full UK banking licence in March after a long wait that Storonsky has publicly blamed on British regulators, obtained a French licence in August, received conditional approval for a US national bank charter this month, and announced on Wednesday that it had applied for a Swiss licence alongside plans to invest more than 150 million Swiss francs (€158m) there.
Revolut has not stated which venue would host the primary listing, whether the two would happen simultaneously, or when formal preparations might begin.
Allen barged into the endzone and found Joshua Palmer for a 43-yard touchdown, before Dawson Knox scored early in the second quarter.
The Lions replied with Jared Goff finding Jahmyr Gibbs, who became the NFL’s highest-paid running back in the off-season, for an 11-yard touchdown catch.
But Dalton Kincaid stretched Buffalo’s lead and the Bills remained comfortable throughout the second half.
Detroit, who beat the New Orleans Saints in overtime last week, cut the deficit with two touchdowns by Amon-Ra St Brown and another from Sam LaPorta.
But Allen, the NFL’s Most Valuable Player for the 2024 season, and James Cook scored for the Bills to ensure the Lions only got within 10 points.
Before the game in Buffalo, which is on the US border with Canada, both the American and Canadian national anthems were played.
The latter was sung by Canadian band Barenaked Ladies as the Bills chose to honour their Canadian fans amid rising tensions between the two countries.
LOOKING for your next big holiday? Look no further as British Airways has revealed a major update to its summer 2027 schedule with flights to TWO East African destinations.
British Airways (BA) has announced that it will be launching new flights to Tanzania from May 29, 2027 – which last took off 14 years ago.
The flights will take off from London Gatwick Airport and head to Kilimanjaro before heading onto Zanzibar.
The flights will then continue for the season, until October 31.
In Kilimanjaro, you can obviously visit the famous mountain, which is Africa’s highest peak and the world’s highest free-standing mountain.
It takes about 45 minutes from the airport to reach Moshi – the gateway town.
Read more on travel inspo
The National Park is home to rainforest, as well as an arctic summit.
In the region, there’s also Tanzania’s loved Northern Safari Circuit to explore, which is one of the continent’s most famous wildlife routes.
It includes the Serengeti Wildlife Park, where the Great Migration is found, as well as UNESCO World Heritage Ngorongoro Crater, which is home to the Big 5.
Or head to Tarangire National Park as well, which is well-known for its elephant herds.
Meanwhile, Zanzibar is famous for its white, sandy coast that’s home to an abundance of marine life including dolphins and sea turtles.
There’s also the UNESCO-listed streets of Stone Town to explore, with hand-carved wooden doors and coral-stone buildings.
Across the island, there are a number of spice plantations, giving visitors the chance to sample fresh vanilla, cinnamon and nutmeg.
Flights will take off three times a week from London Gatwick, landing in Kilimanjaro, before going on to Zanzibar.
Flights from London Gatwick to Kilimanjaro International Airport and then onwards to Zanzibar, will take off on Mondays, Thursdays and Saturdays.
The flights will depart at 9:05am and land in Kilimanjaro at 8:20pm,before then taking off to Zanzibar at 9:20pm and landing there at 10:25pm.
Return flights from Zanzibar back to London Gatwick, will take place on Tuesdays, Fridays and Sundays, departing at 12:25am and landing at 7:55am.
Flights will cost from £849 return.
Neil Chernoff, British Airways’ Chief Planning and Strategy Officer said: “We’re excited to be launching flights to two exceptional new destinations that showcase the very best of Tanzania.
“From the vast plains of the Serengeti and the foothills of Mount Kilimanjaro to the turquoise waters and white-sand beaches of Zanzibar, these new routes strengthen our footprint in East Africa and open the door to some of the world’s most extraordinary travel experiences.
“Alongside these new routes, we are strengthening our wider long-haul network, adding capacity to a number of popular destinations across Africa, the Americas and the Caribbean.
“By increasing frequencies and extending seasonal services, we’re giving customers more choice and flexibility, while deepening London’s connectivity to key destinations around the world.”
In addition to the Tanzania flights, BA is increasing its capacity to Latin America by 25 per cent.
There will also be new non-stop flights to Buenos Aires, Argentina and onward service to Santiago, Chile.
Additional seats have been added to Rio de Janeiro, Brazil as well, and flights to San José, Costa Rica, will become year-round.
Las Vegas in America and Cape Town in South Africa will also gain additional flights.
Vaibhav Sooryavanshi told to be patient after playing back up to Abhishek Sharma and Sanju Samson in Sri Lanka series.
Published On 18 Sep 202618 Sep 2026
India coach Gautam Gambhir said Vaibhav Sooryavanshi will have to wait for his chance to break into the side after he left the 15-year-old prodigy on the sidelines of their three-match Twenty20 series sweep against Afghanistan.
Abhishek Sharma and Sanju Samson opened for India in the series, with Abhishek scoring the third-fastest century in T20 internationals in Thursday’s 127-run victory in New Delhi.
list of 4 itemsend of list
Sooryavanshi, who was the highest scorer in this year’s Indian Premier League, made his international debut against England in July, but the top-order batter failed to make an impact as the hosts dominated India in the T20 series.
He scored two fifties against Zimbabwe in Harare later that month but has not played for India since.
“Whether you’re a 15-year-old or a 30-year-old, when you have to wait for your opportunity, you have to wait for your opportunity,” Gambhir told reporters after the match.
“We know the kind of talent he has and what he can do, but someone who has been performing for the last two to three years will always be ahead of someone who has just entered the team.”
Sooryavanshi will travel to Nagoya for India’s Asian Games campaign, with a one-off T20 against hosts Japan set for Tuesday before the Asiad quarterfinal on September 28.
“Whenever he gets his run, he will get a longer run as well … We want competition and talent in the dressing room,” Gambhir added.
A NEW hotel has opened at Bristol Airport that couldn’t feel farther from a classic pre-flight stay.
Each room is inside a former shipping container, it even has an orchard area and the airport is under a 10-minute walk away.
Called Nodpods, each room is self-contained and inside visitors will find a king size bed and en-suite with a shower.
There’s complimentary tea, coffee, hot chocolate, biscuits and there’s the option of a croissant in the morning.
There’s also a smart TV, WiFi, hairdryer, full length mirror, and towels are provided too.
One woman who stayed inside a Nodpod described it as being “really cosy” thanks to its small, snug size.
And unlike airport hotels, the pods have some outdoor space too, it even has an orchard area where some visitors have spotted wildlife, like rabbits and squirrels.
Someone else who had stayed wrote in the comments: “I’ve stayed in this place, so convenient for Bristol airport, and it’s spotless.”
On Tripadvisor, the Nodpods have 22 reviews with a high average rating of 4.5 out of 5.
Lots praise the alternative accommodation for its convenience, others for their affordability.
One wrote: “Staying at nodpods has cut our pre-flight costs in half (we used to stay in a hotel in Bristol and paid for parking overnight) so we have more money to spend on holiday!”
The pods can be booked for as little as £90 for one night for two people which works out to £45 each.
Meanwhile, a stay at Hampton by Hilton Bristol Airport starts from £129.
At the Nodpods there is free parking at the pods, although it is caveated that this is for your stay there only – not for the duration of your holiday.
While there isn’t a restaurant at pod site, The Airport Tavern is a three-minute walk away, and The George & Dragon is a five-minute drive.
Bristol Airport recently submitted plans to expand with thousands more flights and long-haul journeys – so the NodPods would be a great option to stay before jetting off.
Along with more passengers the terminal will be larger, there will be new shops, restaurants as well as an extended runway at the cost of £500million.
The proposal revealed the airport had plans to reach “world cities within Europe and beyond”.
This includes a limited number of new flights to North America, the Middle East and Asia.
EVER dreamt of getting a World Record? Well, you soon can have a chance at securing one in a huge new UK attraction dedicated entirely Guinness World Records.
Guinness World Records London, which is the first permanent entertainment venue from Guinness World Records, will open at The O2 in Greenwich, this winter.
Spanning across 2,322sqm, Guinness World Records London will be home to 45 different official Record Challenges, in five arenas.
Challenges include Loudest Scream, Fastest Typist, Fastest Basketball and Fastest Buzzwire.
Visitors testing out the different challenges could even walk away a Guinness World Record holder themselves.
There will be a number of interactive exhibits as well.
Read more on travel inspo
While no specific opening date has been revealed yet, on the attraction’s website it states “late 2026” as the expected opening.
The website adds that there will also be “themed food and drink”, as well as a shop with “record-breaking souvenirs”.
Ahead of the attraction opening to the public, Guinness World Record London are looking for the UK’s most competitive family.
The winning family will be the first to look at the new attraction and try out the different challenges.
Will Munford, Adjudicator at Guinness World Records, said: “Guinness World Records London will give every guest the unique chance to take on our line-up of brilliantly fun and exciting record attempts, and potentially walk away a world record breaker themselves.
“We know how competitive families can get, so we want to find out who is the most competitive of them all and get them along to our new attraction to see if they have what it takes to become our first record breakers!”
A STRIKE at a major airport in Belgium has forced Ryanair to cancel at least 30 flights, with more to follow.
The industrial action by air traffic control staff could continue well into October, affecting evening schedules.
Industrial action by air traffic control workers at Charleroi Airport started on September 16.
The strike will continue to take place during every night shift from 22pm to 8am the following morning until October 10.
It’s been reported that as a result, Ryanair has cancelled at least 30 flights so far.
Ryanair flies to Charleroi from three UK airports; Newcastle, Manchester and Edinburgh.
Looking at today’s schedule, it’s mostly arrivals into the airport after 9.30pm that are affected.
Only two flights from the UK are affected by the strike action today.
The first is a flight from Manchester Airport to Charleroi which was scheduled for 10.55pm and has since been cancelled.
The second is a flight from Charleroi to Manchester Airport which was scheduled for 19.35pm and has also been cancelled.
Ryanair has asked passengers to monitor their Ryanair App for the latest updates regarding their flight.
In a previous statement, the airline said: “We sincerely apologise for any inconvenience caused as a result of these ATC strike delays/cancellations, which are entirely beyond airlines’ control.”
Yesterday, about 40 flights in total were cancelled at Charleroi Airport.
According to Skeyes, the Belgium‘s official national air navigation service provider, the nightly strikes are expected to affect more than 800 flights.
We’re hunkered down in a dark stairwell on the side of a hotel facing a busy street in Hollywood. To passersby, we could easily be mistaken for two teenagers hiding in the shadows. In reality, I’m sitting with Kelela, the electronic R&B architect whose uncompromising vision has quietly reshaped the contours of alternative music.
Dressed in oversize sunglasses, an acid-washed tee, light blue jeans, checkered Vans and a vibrant auburn-colored French bob with micro bangs, she effortlessly rolls a joint with long ombre nails that mimic smoke and fire. She slips it between her lips and flicks a lighter stamped with a single word: Gotham.
(Robert Gauthier / Los Angeles Times)
Her lighter choice is pure coincidence, she says, but it fits the apocalyptic visual universe she’s built for “New Avatar,” her dark, guitar-heavy third album that merges her early D.C. indie roots with shoegaze, grunge, futuristic club music and R&B. Produced almost exclusively by Oscar Scheller — who has crafted tracks for PinkPantheress and Lily Allen — the 12-track project finds Kelela chasing intimacy, desire and emotional refuge in the midst of an increasingly chaotic world. From the color-inverted cover art to her icy white hair and bleached brows in the video for “idea 1” — a song that draws inspiration from Octavia Butler’s 1993 sci-fi classic “Parable of the Sower” — the world-building is unmistakable.
“I used it to describe the context … of these stories on the record,” Kelela explains about the Gotham visual concept. “It’s a basic reference, but it feels like it applies. It’s the context for people needing to be saved and everything being f— on some level, but there still being hope.”
Just a few miles from the Hollywood stairwell where we’re sitting, Kelela will translate her genre-flexing record for the stage at the Wiltern during two back-to-back shows on Sept. 21 and 22.
Although she’s a New Yorker now, Los Angeles plays a crucial role in her musical journey. In 2010, the Ethiopian American singer-songwriter moved to Venice to work as a nanny before taking a gig as a solar panel telemarketer — a job she picked to avoid moving back home but unexpectedly excelled at.
“I’ve sold solar power to hundreds of people in the L.A. area,” she quips. “I would level with people. I didn’t sound like a salesperson because I can’t sell something that doesn’t make sense.”
(Robert Gauthier / Los Angeles Times)
The job funded her first solo apartment in MacArthur Park, but an insurance payout from a totaled car ultimately gave her the financial runway to leave sales behind and focus solely on music. That freedom manifested into her debut mixtape “Cut 4 Me,” featuring fan favorites like “Send Me Out” and “Bank Head.”
“It’s a very L.A. story,” she says with a laugh.
More than 10 years after the breakthrough record, Kelela returned to L.A. to record “New Avatar” with Scheller at his home studio in Silver Lake.
During their first session, she played him “Outta Time,” a track featuring British singer-producer A.K. Paul (Jai Paul’s brother) that she’d been holding onto for a decade until she was ready to make her first guitar-centered album. She also showed Scheller her “white bag” playlist — a collection of indie, rock and alternative tracks she loved as a teenager, from Incubus to Deftones to the Red Hot Chili Peppers. He understood the assignment and by the end of their session, they walked away with two songs: the lead single “Idea 1” and the sensual, U.K. garage-infused “Don’t Piss Me Off.”
“I had a sketch and I think that felt very magical,” Kelela says.
Their natural flow was part of the reason why Kelela was able to release “New Avatar” sooner than previous albums. It arrives just three years after its predecessor, “Raven.”
(Robert Gauthier / Los Angeles Times)
But leaning into her “white bag” wasn’t just about nostalgia. It’s a return for the artist who was once the frontwoman of indie rockers Dizzy Spells and was rocking out with her then-boyfriend, guitarist Tosin Abasi (of Animals as Leaders). It’s also a direct confrontation with the industry’s racialized genre boxes — a phenomenon Kelela identifies as “sonic racism.”
“It’s designed to keep us apart, to keep us out,” she says, “and I think clocking that is really important.”
She points to the unspoken kinship that forms when Black fans who love heavier guitar music find each other in white-dominated crowds.
“When they meet it’s a different type of bond through the music — like ‘I’ve always felt on the outside,’ but also ‘We are so inside,’” she says. “That catharsis is another feeling and I knew so much of my audience had an experience with this music, but maybe had to compartmentalize and be on the outside in order to enjoy it.” With “New Avatar,” she wanted to “dismantle and disrupt” that dissonance without abandoning her R&B roots, she says.
(Robert Gauthier / Los Angeles Times)
That philosophy echoes through the record’s lyricism. Where 2023’s “Raven,” a rave-inspired, post-pandemic offering that ruminated on the times and being firm in your boundaries, “New Avatar” is its older sister who is a bit more wise and speaks with even sharper conviction.
“We need space to feel over it,” she says, “and to not be considered Debbie Downers. That’s basically the role that Black women have been sort of relegated to — to be truth tellers. Then everyone’s like ‘Ugh, come on…’ But it’s like we’re laughing all the time. I’m so happy. I’m not unhappy.”
She adds, “The key is not rooted in escapism. The key is rooted in being honest about what you saw, and that’s kind of the tradition that I’d want my work to live in.”
On “Point Blank,” Kelela explores the emotional labor for a woman in a one-sided relationship: “By now, I hope you see/That bullet set me free/And the more I pour, the more you reap/And I’m too spent too weep.” As the title implies, “Don’t Piss Me Off” sees a woman losing her patience with a lover: “Know you want me/Tell me I’m wrong/Takin’ all night/Don’t piss me off.” But by the album’s closer “If We Meet Again,” she cuts ties entirely: “If we ever amend/Nevermind, over and out.”
“A lot of the songs are like “Y’all ain’t s—,’” she says laughing, “But I try to say it in an artful way.”
Two bright spots on the album arrive in the final act: the dream pop-infused “New Life Forms” featuring Fousheé and “The Bridge,” a song about yearning with PinkPantheress, who returned the favor after Kelela appeared on her track “Bury Me.” Directed by Yasser Abubeker, “The Bridge” music video features a memorable, sultry dance number between the two singers — a sequence Kelela encouraged fans to learn before her shows.
“I cried the first time that Yasser sent me the edit,” she says. “It’s like a love letter to Black queer culture, our intimacy. It’s so sexy without me and her having an overt love interest. It just feels so implied in this smart way.”
The day before we met in Hollywood, Kelela gave an intimate live performance for Spotify. Backed by an all-Black femme band featuring a string quartet, guitar, bass and backup vocals, she performed “Idea 1” and a cover of Incubus’ “Mexico” — a rendition that earned her praise on social media from Incubus’ frontman, Brandon Boyd, himself.
“It’s a really important image,” says Kelela about the video. “In addition to it sounding exquisite, I’m not gonna lie, it also tore visually and symbolically.”
She’ll also be backed by a full band during her “New Avatar Live” tour, which she envisions as a high-energy rave that could break into a mosh pit at any moment.
(Robert Gauthier / Los Angeles Times)
“It’s another medium for me to be able to articulate or dismantle those constructs around what makes sense together,” Kelela says. “It’s going to be first and foremost — like any record or anything that I do — cathartic for me.”
She continues, “So I’m going to be living my best f— life and through that I know I will give a good show because it just excites me. It’s a dream come true to be able to pull these things together.”
“The Pineapple” promised to be intense, but even hours before the show had begun, it had me startled.
I was warned, via a waiver attendees must sign to experience the production, to expect “intimate, and/or aggressive physical contact,” “confined spaces and passageways,” and that I may be asked to crawl, kneel or lie down. All of it would happen in a show that I was cautioned would present simulated violence or “disturbing imagery.”
As much as I love participatory, immersive theater — productions that often rely on some form of audience participation — “The Pineapple” was providing me with a checklist of things I generally avoid. It was a feeling that only grew when I reached the waiver’s end, and signed off that I was OK with claustrophobia (I am not).
What had I done?
None of it, though, had fully prepared me for what Candle House’s “The Pineapple” actually was. By the time the hourlong experience in North Hollywood had reached its conclusion, I had been straddled by a woman who forced a gloved finger down my throat, outfitted with hooded, vision-impairing face masks, grabbed by the wrists as they were taped together, ordered to crawl toward a blood-stained room, and spooned or kissed by multiple male performers.
“The Pineapple” is a secretive hourlong show that seeks to disorient attendees.
(Sona Earnest)
“The Pineapple” is a buzzed-about show among the tight-knit immersive community, one that fits into the medium’s long tradition of productions designed for a sole audience member. A short run last year in New Jersey sold out. Candle House has such a devoted following that its L.A. shows have been selling out almost as instantly as they are announced. While it’s thus far been shrouded in secrecy — “The Pineapple” will not even release a program or cast list until its run has concluded — it comes highly recommended from acquaintances who saw it on the East Coast. I was alternately excited and apprehensive to take part, and my editor would like me to note that I pitched this story on my own accord.
“The Pineapple” in its limited online description promises an alien encounter. Sign up, and an email will tell you that it will “change your life.”
For the passionate crowd of immersive enthusiasts who may want to experience “The Pineapple” and are worried I just spoiled the show, I call nonsense. For one, I believe audiences should know exactly what they are paying for, and two, I do not think “The Pineapple” can be properly spoiled. It was at times otherworldly, in moments psychedelic, and while there were scenes in which I felt fear, there were also others in which I laughed. While “The Pineapple” flirts with horror, torture and conspiracy nuts, it also provides space for Jimmy Buffett’s “Margaritaville.”
And in “The Pineapple’s” best instances, it created a sense of personal intimacy with its performers. These were actors who may have earlier been needling at or attempting to push my boundaries. “The Pineapple” wants to toy with our trust, to create a safe space where it can intermix themes of abuse and empathy until their lines are blurred. Consider its waiver, then, not just a warning but an attempt to weed out those who may be offended or triggered.
“The Pineapple” tries to break us. And it charges nearly $250 for the privilege.
“How do I put this,” says the show’s core creator/director Evan Neiden when asked his intentions behind “The Pineapple.” “I think the show is designed to boil you. Like the lobster in the pot. It gets warmer and warmer and warmer and it’s slowly acclimating you to this new set of rules that keep changing to this new environment of degeneracy and conspiracy.”
“The Pineapple” teases an alien encounter. It is theatrical production designed for one guest.
(Sona Earnest)
Neiden, the 27 year-old founder of Candle House, has long specialized in one-on-one phone productions designed to be done from the caller’s home. While drastically different in narrative content, his horror show “Claws,” in which its solo guest acts as an emergency line operator, is good prep for “The Pineapple” as it also seeks to push people to the brink of comfort.
If there is an artistic thesis behind the work of the New York-based Candle House, it is to cast its audience as performers, but then poke, prod and disorient until they stop performing and start reacting on instinct — or, in theory, become unguarded. It’s an idea that simply to get through the day we are playing a role of sorts, tuning our conversations to please others, or presenting exaggerated, false or tidied-up versions of ourselves on social media.
“In an experience like this, you’re alone with the inhabitants of the world, and they’re all there as part of your hallucination, your dream and your journey,” Neiden says. “You don’t need to worry about presenting a certain way or being perceived in a certain way. All the characters in ‘The Pineapple’ are degenerates, and this show invites you to become one as well. That’s very hard to do if someone from the respectable, outside world is watching.”
The setup for “The Pineapple” is simple. I was playing a respondent to an ad for a meeting with an alien. But things quickly spiral beyond clear narrative recognition, as piecing together the story becomes a puzzle unto itself. And it will shift depending on how one reacts, as there are multiple endings. But know only that in its opening minutes we learn that we have been swindled and are now part of a ritual of sorts to summon said alien.
“The Pineapple” offers intimate actor interactions designed to push boundaries.
(Sona Earnest)
You may find yourself, as I did, raising your voice, as “The Pineapple” did light research on me. My career was insulted, and I was mocked for fumbling around while attempting to juice a pineapple with a woefully inadequate kitchen utensil. Neiden says many attendees try to break the show itself, to push back and see how far its narrative can bend. This is typically not how I play, wanting to experience a production as its designers have intended and thus I let “The Pineapple” take the lead rather than trying to force my will upon it.
I am not easily offended and never used the safe word provided, although there were instances where I came close, namely when my feet were being aggressively, unwelcomely massaged. And yet there were scenes in which I thought about deeply personal relationships I have had, specifically when a character asked me to think of a time when forgiveness or an apology was craved from someone I am no longer closely connected with.
“The Pineapple” then began to feel like a metaphor. As I moved from darkened room to darkened room, ridiculed in one, flirted with in another, a thread of finding one’s own personal paradise in a hellscape began to emerge. Is it aliens we are seeking, “The Pineapple” begins to ask, or simply perhaps purpose? The act of forgiveness, Neiden tells me, was on his mind when crafting the show.
“I never really felt like I fully understand it,” Neiden says. “What is forgiveness? Some people say it’s letting someone off the hook. Others say it’s releasing yourself of the burden of a grudge. And it’s a word wrapped in religion and politics. There are so many definitions of it, and we hear it everywhere — forgiveness and its counterparts of guilt, shame and accountability. What does it mean? The show doesn’t answer that.”
Maybe. That’s up to the audience, not its creator.
Days after I’ve seen “The Pineapple,” friends and peers keep asking if I enjoyed it, and I don’t think it’s a simple answer. It’s not for everyone. I’m not sure it’s even for me. Simulated torture is not my idea of a good time. But “The Pineapple” did wear me down, and it’s beautiful in the way it highlights the lonely anguish at the heart of Buffett’s “Margaritaville.”
As its small cast obsesses over a fabled alien encounter and seems willing to stop at nothing to find release in a divine being, be careful, “The Pineapple” argues, of the personal Eden you seek.
At least that was my takeaway. You might walk away with an entirely different message.
“Maybe you just fell in with the wrong crowd and got abducted by aliens,” Neiden says.
A U.S. Air Force F-16 Fighting Falcon crashed in northern Michigan today, according to WOOD-TV, a local NBC affiliate. The pilot was reported to be in stable condition after ejecting from the aircraft.
A spokesperson with the Michigan Department of Military and Veterans Affairs told the station that “the F-16 is a part of the 149th Fighter Wing from Joint Base San Antonio-Lackland in Texas.”
Video emerging on social media showed what is claimed to be the wreckage of the aircraft in flames.
According to air traffic control (ATC) audio, the pilot’s wingman said, “we have a possible mayday. My wingman may have taken a bird.” TWZ cannot independently confirm what caused the crash. The audio continues and offers a fairly dramatic and raw look at how the incident occurred over the air waves.
We have reached out to the 149th Fighter Wing, the Michigan Department of Military and Veteran Affairs, the Grand Traverse County Sheriff’s Office and the Grand Traverse County Emergency Management Office for further details.
A shelter-in-place order was issued by Grand Traverse County Emergency Management for residents near the plane crash.
“Shelter indoors, close windows/vents,” the order stated. “Follow instructions from emergency personnel. More information to follow. This shelter in place applies to residents in the indicated area ONLY.”
This is a developing story.
Contact the author: howard@twz.com
STACEY Solomon has explained why all of her sons are sleeping in the same room at her new £2million mansion – after it was revealed that she is the sole owner of the property.
Yesterday The Sun told how Stacey, 36, bought the sprawling Essex home without the help of partner Joe Swash.
The Sort Your Life Out host – mum to Zachary, 18, Leighton, 14, Rex, seven, Rose, four, and three-year-old Belle – has been keeping fans up-to-date on her makeover plans for the house.
In a new clip shared on social media Stacey shared how renovations mean the boys are currently packed into the same bedroom.
She said: “All the boys are sleeping in one room because they don’t have bedrooms yet because we’re working on the upstairs.
“They’re all sleeping in one room downstairs, it’s like The Brady Bunch when they go to bed.”
Stacey and Joe stunned fans earlier this month when they packed up their dream home Pickle Cottage – which she bought alone in 2021 for £1.3million – and moved to the new property.
On Thursday The Sun revealed how the former Loose Women panelist purchased it without the help of Joe, 44.
A well-placed insider told us: “Stacey’s a canny businesswoman and was also the sole owner of Pickle Cottage, which sold for over £1million, so it made sense she’d buy the new home on her own.
“She even got some money knocked off the official asking price.
“Stacey paid over £2m for the new Essex mansion – but she’s worth over £10m so that’s not even a dent in her bank balance.”
Earlier this year The Sun told how Stacey – who it was previously revealed is not legally married to former EastEnders star Joe despite a lavish wedding at Pickle Cottage – had hit the £10million mark in her business empire.
When Matchroom hastily arranged an event to officially announce Brown’s signing in 2024, around 300 fans turned out to catch a glimpse of the highly touted amateur.
But persuading 2,000 people to sit in a chilly Planet Ice in Altrincham on a Friday night may be an even better example of Brown’s potential drawing power.
Saturday’s fight was originally scheduled to take place there too but support from his fanbase meant a larger venue was required.
“Altrincham will always have a place in my heart, especially with people moaning how cold it is in there,” Brown said.
“The only downfall are the changing rooms are quite small. I’m quite tall and the ceiling is a bit low, so it’ll be nice to be in a big, open changing room.
“I used to go to that ice rink when I was a kid. To think I’ve actually headlined there on my debut – I can look and smile.”
Brown, who has stopped all six of his opponents with four of his wins coming inside two rounds, has fast established himself as a prospect. He is also aware that, with Anthony Joshua and Tyson Fury in the twilight of their careers, British boxing is craving its next star.
“It’s nice, but I never look at it and crave it,” he said.
“People will either like me or they won’t. I’m never going to change, so if it comes and the country is getting behind me, that’s brilliant.”
‘Aid influencers’ are being accused of exploiting Nepal flood victims to boost social media followers, as organisations explore new ways to raise awareness and funds for relief efforts. Al Jazeera’s Nicolas Haque reports.
Published On 18 Sep 202618 Sep 2026
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This article details the history and observance of the Exaltation of the Holy Cross within the Armenian Apostolic Church. It describes how the sacred relic was recovered from Persian forcesin the 7th century and carried through Armenia during its return to Jerusalem. The text emphasizes Armenia’s status as the first nation to adopt Christianity and highlights the importance of Merelots, or Remembrance Days of the Dead. These memorial days occur following five major religious feasts, including the celebration of the Holy Cross. Beyond religious history, the source provides a snapshot of global news and current events from September 2026.
The family of a Scottish Sikh activist who has been locked up in India for almost nine years without conviction have said he has been granted bail.
Jagtar Singh Johal, from Dumbarton, was arrested in 2017 in connection with alleged terror offences.
He was arrested for his alleged role in a series of targeted killings of religious and political figures.
His family said they were still waiting for the details of what will happen next but are “relieved” by the Indian court’s decision.
The 39-year-old was acquitted last year in a case in which he was accused of financially supporting terror group the Khalistan Liberation Force (KLF), which has carried out attacks in the Punjab region.
But he still faces federal charges lodged by the Indian authorities.
Johal’s imprisonment was recognised by a UN panel as arbitrary detention in 2022 and he has claimed to have been tortured.
Indian authorities have previously denied the torture claim and have repeatedly maintained due process is being followed.
He was arrested in the Punjab region just weeks after his wedding in the country.
His supporters say he was targeted for blogging about alleged human rights abuses against the Sikh community in India and was coerced into signing a false confession to participation in the killings.
His brother Gurpreet Singh Johal has lobbied successive governments calling for his brother’s release.
ANNE Robinson has split from Queen Camilla’s ex-husband Andrew Parker Bowles after moving from the Cotswolds to London, it has been reported.
In a recent podcast appearance, Anne, 81, told how she’s been forced to sell her £4million mansion in the countryside “because my eyes aren’t good and I can’t drive”.
Now the Daily Mail have alleged the TV presenter has called time on her relationship with Andrew, 86 – who still lives in the Cotswolds – after around four years of dating.
The publication reports that, when asked if she’d been going out with the retired brigadier, Anne replied: “I might have done.
“It’s very difficult to talk about a relationship where part of it is owned by somebody else, so out of politeness I don’t talk about it.”
Anne and Andrew have never been photographed together and he’s never confirmed their relationship.
He and Camilla, 79, were married from 1973 until 1994 and are parents to Tom, 51, and Laura, 48.
During a recent appearance on the Experience is Everything podcast with Lorraine Kelly, Anne opened up about ageing and said: “I do Pilates twice a week, I run and I do exercises.
“I don’t mind the Pilates. The keep fit trainer is very nice but that’s quite boring.
“And I just try not to be ill. But you don’t know.
“I mean, I’m just selling my house in the country because my eyes aren’t good and I can’t drive, and I can’t be really isolated anymore.
“But you know, and I don’t hear that well. Otherwise I’m OK.”
Anne confessed that leaving the Cotswolds after 40-odd years was a “heartbreaking decision.”
