News Desk

It was a strange year on Broadway, but then it’s been strange everywhere. Our world at times seems downright unrecognizable, with politicians acting like mob bosses, AI transforming not just the internet but potentially the entire economy, the cost of living leaving only the super rich able to keep up, and I won’t even mention the climate crisis, but the forecast calls for more doom and gloom.

Good work, however, won’t be denied, even if Broadway producers have perhaps overlearned the lesson of last year’s sleeper, Cole Escola’s “Oh, Mary!” Parody with a heavy dose of camp has become all the rage in a theatrical season in which the best musical winner, “Schmigadoon!,” is an affectionate sendup of golden age classics by Rodgers and Hammerstein, Lerner and Loewe and their inspired descendants.

If Broadway is changing faster than the old guard can keep pace, the same is true for the culture in general. The economics of producing have scrambled the old playbooks. Unusual risk has occasionally brought unexpected rewards. “Schmigadoon!” fended off the competition to take the night’s top prize along with awards for both its book and score by Cinco Paul.

Michael Arden’s spectacular production of “The Lost Boys” — the staging won awards for Dane Laffrey’s scenic design and Jen Schriever and Arden’s lighting — enriched the 1980s cult film on which the show is based with human substance and high-flying showmanship. Shoshana Bean’s win for her featured performance as a persevering single mom, is a testament to the musical’s capacious heart. Ali Louis Bourzgui’s somewhat unexpected yet eminently worthy triumph for his featured performance as the vampire with front-man magnetism, catalyzed the production’s thrilling virtuosity. But few would describe this year’s ragtag selection of new musicals as robust.

The only overriding lesson may be that there are no overriding lessons. Two-time Oscar winner Adrien Brody made his Broadway debut in “The Fear of 13,” reprising his acclaimed Olivier-nominated London performance. But he didn’t even receive a nomination for his work — a snub that I found unaccountable.

Spoofs like best musical nominee “Titanique,” a zany burlesque of James Cameron’s “Titanic” and all things Celine Dion, found new respectability on Broadway. And “Two Strangers (Carry a Cake Across New York”), the two-person British musical by Jim Barne and Kit Buchan, endeared itself to audiences (if not so much to Tony voters) with its rom-com appeal. But what does it say about a season in which musical revivals upstaged new work?

“Ragtime,” the Lincoln Center Theatre production directed by Lear deBessonet that originated at New York City Center, was not only the most operatic offering of the season but was all the most emotionally stirring and dramatically ambitious. The show, which justly received the Tony for best musical revival contained perhaps the season’s most seismic tour de force. Joshua Henry’s Tony-winning lead performance as Coalhouse Walker Jr., the path-breaking pianist tragically ahead of his time, was astonishing in both its theatrical might and its generosity, which allowed everyone around him to shine, especially Caissie Levy, who picked up a Tony for her lead performance as a white matriarch whose political consciousness courageously awakens.

“Cats: The Jellicle Ball” pulled off the seemingly impossible by making Andrew Lloyd Webber’s megamusical look cool on Broadway. The production’s radical concept brings the queer audacity of Harlem Ballroom culture to these feline proceedings. For their imaginative daring, co-directors Zhailon Levingston and Bill Rauch were justly honored as were costume designer Qween Jean and choreographers Omari Wiles and Arturo Lyons, among the production’s notable awards.

“Chess,” which was strangely overlooked in the best musical revival category (“The Rocky Horror Show” strutted in instead), may not have managed to overcome the challenge of this over-elaborate geopolitical tale, even with a puckish new book. But the production made Nicholas Christopher a likely future Tony winner star.

What was old was new again on Broadway, but let’s hope that producers can still believe that the best is ahead of us.

As the World Cup nears, many Iranians say their normal enthusiasm for the event has been dampened by the co-host US’s war against their country as well as economic hardships.

Escalation comes after Israel attacked Lebanon’s capital, Beirut, killing at least two people and wounding 20.

LUKE Evans caused the Tony Awards audience to blush and sent social media spiraling after performing in a scandalously skimpy Frank-N-Furter costume live on CBS.

The Beauty and the Beast actor left little to the imagination, wearing just a tiny black jockstrap, a leather corset and sky-high heels for Sunday night’s Rocky Horror Show performance. 

During the 79th Tony Awards held at Radio City Music Hall in New York City, the ceremony paid tribute to the hit Broadway revival of The Rocky Horror Show. 

Luke, 47, emerged through a cloud of smoke to perform his starring role as the iconic Dr. Frank-N-Furter with glam-rock chaos in full force.

He completed the sexy look with fishnet stockings, elbow-length gloves, dramatic stage makeup and the crystal-covered corset before launching into a raunchy rendition of the track Sweet Transvestite alongside the cast.

At one point during the performance, the Welsh actor spun around to flash the crowd in the barely-there costume while grinding across the stage and dramatically whipping off a velvet cape to reveal the jockstrap underneath.

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The raunchy performance instantly sent social media into a meltdown as viewers praised Luke for fully committing to the campy cult-classic character.

“Luke Evans shaking his d**k and a** on stage at the Tony Awards while wearing his slutty Rocky Horror Frank-N-Furter costume…this is what Pride Month is all about!” one fan wrote on X.

Another viewer joked: “I did NOT expect Luke Evans in six-inch heels and a corset at the Tonys but now I never want him to take it off.”

A third person posted: “Broadway Luke Evans might be his most powerful form yet.”

Luke has been starring as Frank-N-Furter in the Broadway revival of The Rocky Horror Show since previews began earlier this spring, with the production officially having its opening back in April at the Hudson Theatre.

The actor previously admitted he spent months preparing physically for the demanding role, which includes elaborate choreography, live vocals and multiple quick-change costume moments throughout the show.

Frank-N-Furter, the provocative alien scientist at the center of Rocky Horror, was originally made famous by Tim Curry in the 1975 cult-classic film adaptation.

Now, Luke has made it his own, putting a darker and more seductive spin on the iconic role.

While Luke may be stirring up conversation on Broadway these days, the actor has spent years building an impressive resume across film, television and theater.

Many fans recognize the star as the villainous Gaston in Disney’s 2017 live-action Beauty and the Beast opposite Emma Watson, where his booming musical vocals and cocky swagger made him a standout.

He also starred as Bard the Bowman in The Hobbit trilogy and played the sinister Owen Shaw in Fast & Furious 6 before later reprising the role in the franchise’s spinoff projects.

On television, Luke has taken on darker dramatic roles in projects including The Alienist, Nine Perfect Strangers and Hulu’s true-crime miniseries Nine Bodies in a Mexican Morgue.

Broadway audiences, meanwhile, have long known Luke for his powerhouse stage vocals. 

Before his Hollywood breakthrough, he starred in major London West End productions including Rent, Miss Saigon, Avenue Q and Piaf.

His turn as Frank-N-Furter in The Rocky Horror Show marks Luke’s splashiest return to the stage in years – and judging by the positive Tony Awards reaction, audiences are fully embracing his comeback.

The actor’s Tony Awards appearance quickly became one of the night’s most viral moments alongside Megan Thee Stallion’s Moulin Rouge-inspired twerking performance and host Pink’s over-the-top opening number.

The 79th Annual Tony Awards aired live Sunday night from Radio City Music Hall in New York City.

On the 100th day of the US-Israeli war on Iran, Al Jazeera’s Mohamed Vall explains how Tehran’s patience has reached its limit with the continuous violations of the ‘ceasefire’. Iran fired missiles at Israel after Israel attacked Beirut on Sunday.

Johannesburg, South Africa – In the quiet mining town of Swartruggens, a small courthouse is preparing to decide whether five Mexicans accused of a major illegal drug operation will be granted bail or remain in custody.

Their arrests followed a raid on a remote farm in North West province, where police said they uncovered a large methamphetamine laboratory worth about one billion rand ($60m).

The case is one of several pointing to a pattern taking shape in South Africa’s rural interior.

The Swartruggens laboratory was not an isolated discovery.

It was one of four major meth sites linked to Mexican criminals uncovered in South Africa in just two years, a pattern that has unsettled investigators and organised crime experts.

In 2024, police dismantled a large meth facility worth about $105–110 million on a farm near Groblersdal in Limpopo. Later that year, another laboratory worth roughly $5–6 million was discovered near Tshwane, followed by arrests last year in Mpumalanga.

Then came Swartruggens.

When police moved in on the North West farm in May, they found 481 kilos of methamphetamine, containers of chemicals and firearms. Among those arrested were Mexican nationals Fabian Astorga, Jesus Alonso Medina Astorga, Luis Alberto Ramirez Rios, Jose Andres Medina and Jacquelin Lopez Madrid, alongside co-accused South Africans.

All the sites followed the same pattern: remote farmland, long distances from towns and enough isolation for criminal activity to go undetected.

For investigators, the pattern is becoming harder to ignore.

Mexicans are increasingly being found working alongside local collaborators in rural production sites, suggesting a shift from trafficking meth into Africa to producing it there.

Organised crime researcher Julian Rademeyer told Al Jazeera the model reflects a deliberate strategy.

“It’s quite a unique development where you have members of Mexican drug cartels franchising, moving chemists into remote rural areas and farms,” he said.

The approach has been building for more than a decade, he added.

The logic is straightforward: produce closer to consumers, cut transport costs and reduce exposure to border and maritime enforcement.

How it spread

Mexican-linked networks in Africa did not begin in South Africa.

Researchers trace early activity back to Nigeria, where local groups were producing meth with Mexican involvement by around 2016.

From there, the networks spread through East Africa, then south through Mozambique and Botswana, before reaching South Africa more recently.

For years, users on the streets spoke of “Mexican meth”, often assumed to be imported. That supply chain has now shifted inward.

“Now, basically, the cartel chemists are being sent here,” Rademeyer told Al Jazeera.

Analysts say multiple supply routes now feed the South African market, but the most significant change is the rise of local production.

Who looks the other way

Methamphetamine dominates parts of South Africa’s illicit drug market because cheaper drugs such as cocaine and heroin remain out of reach for many users, creating steady demand for a cheaper, highly addictive stimulant.

Crime expert Willem Els says demand is only part of the story.

“The main reason why manufacturing locally is lucrative to cartels is the local conditions that exist, where there is protection from corrupt police and politicians,” he told Al Jazeera.

“It is very lucrative. The cartels can make a lot of money because South African conditions result in undetected and protected operations.”

A separate commission of inquiry into law enforcement has heard testimony alleging deep corruption within policing structures, including missing drug consignments and suspected inside involvement in major cases.

One case under scrutiny involves 541 kilos of cocaine seized in 2021 and later stolen from a police facility, in what investigators believe was an inside job.

Former Interpol ambassador Andy Mashiale told Al Jazeera the problem is visible on the ground.

“There is no way in which police don’t know those labs,” he said. “So corruption plays a role.”

He said officers deployed to rural areas were often aware of suspicious activity but failed to act.

“What inspires the drug manufacturers or the drug cartels is the willingness of the police to enable the drug trade from happening,” he said.

South Africa’s elite Hawks unit says recent raids show progress in disrupting networks, while international partners, including the US Drug Enforcement Administration, have provided intelligence linking some suspects to the Sinaloa Cartel.

But investigators warn that the system behind the labs is resilient.

A frontier that keeps moving

US Africa Command officials have warned that Mexican cartels are now not only moving drugs through Africa, but also producing them on the continent.

For South Africa, the challenge is no longer just border control, it is institutional capacity, intelligence and corruption within the system meant to contain it.

Without deeper reform, analysts warn, the pattern is likely to continue: new farms, new labs, new chemists arriving quietly in rural provinces.

For the five men in Swartruggens, the question is immediate, whether they will be released.

For South Africa, the question is larger and more difficult: how to contain a trade that is no longer arriving at its borders, but taking root in the country.

Rademeyer says the structure is built to absorb disruption.

“It’s a game of whack-a-mole,” he told Al Jazeera. “You seize a meth lab here, you seize a meth lab there. They’ll spring up elsewhere.”

Ali Louis Bourzgui scored an upset win for performance by an actor in a featured role in a musical for originating the role of David in the musical adaptation of the cult vampire horror film, “The Lost Boys.”

As viewers scrambled to keep their score cards straight — André De Shields was favored to take the trophy for his work in “Cats: The Jellicle Ball” — the 26-year-old Bourzgui went on to deliver the night’s most impassioned, and pointedly political speech.

He began by noting that, “Vampires represent those who have shunned their own humanity in order to achieve a non-existent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity.”

Through the cheers of an invigorated audience, Bourzgui went on to talk about how “theater is one of the last places people can come to worship the power of true collective human presence.”

At its best, he said, theater helps us see ourselves in a stranger’s story.

“This is dedicated to the beautiful tapestry of immigrant families who make this country really special. May you one day not have to audition for the empathy that should be freely given by this country that benefits from your beauty, for the queer and trans communities who will exist, no matter what people in power try to take away from them.”

Bourzgui, whose father immigrated to America from Morocco, went on to pay tribute to Palestine and his own Arab heritage.

“For the people of Palestine, who deserve a free life, a full life without occupation, for Arabs and their makers and artists, may we continue to tell our stories and show our faces. Our humanity becomes undeniable, and our families can no longer be written off as merely collateral damage, may they know the beauty of our kisses upon his cheek and the romance of a language rooted in passion for love and life itself.”

He wrapped up this speech with a plea for love and empathy.

“If there’s one thing we can learn from vampires, it’s that life is short, but that’s it’s a gift. Find beauty in the ephemeral and gratitude in what is not promised, and always invest in the people that want to see you blossom into your truest self, and hold that space for them in return.”

North Korea has released photos of Kim Jong Un inspecting huge munitions at a weapons factory ahead of Chinese president Xi Jinping’s visit. Pyongyang has ordered missile production capacity to be doubled in the next five years.

Yariv Oppenheimer told Al Jazeera that Israeli PM Benjamin Netanyahu has incentives to escalate tensions with Iran and Hezbollah but is constrained by US President Donald Trump and US interests. He said Iran’s June 7 response was a warning, not a push for war, and doubts Trump would allow major Israeli retaliation.

Countryfile presenter Matt Baker and his wife Nicola have opened up about how they manage time apart due to his filming commitments

Matt Baker shared a rare insight into his marriage.

In a previous interview on ITV’s Lorraine, broadcast last year, Matt Baker and his wife offered candid insight into how they keep their relationship thriving despite lengthy stretches apart owing to Matt’s filming schedule.

As the conversation turned to Matt’s TV series and Nicola’s book, host Lorraine Kelly quizzed the couple on how they first met.

With a cheeky grin, she asked: “Now, you two met when you were babies, right? Teenagers. Nicola, were you into farming? Were you a farm girl?”

“No, I wasn’t a farm girl,” Nicola replied warmly. “I loved being outdoors. I loved just the outdoor life. But farming was something that came to me when we met.”

Lorraine then turned her attention to how the couple copes with prolonged time apart, particularly when Matt heads off to film Countryfile and other projects. She probed: “Obviously, you know, you go off and do your own thing writing the books, and you go off and do your own thing around Britain,” reports the Express.

She continued thoughtfully: “So there are times when you’re apart, but you don’t think sometimes that works. It just does. You know, you’ve always got something to talk about.”

“We are such do-ers, really,” Matt chipped in, adding: “We are so supportive of what each other wants to do.”

He concluded: “But yeah, we’ve just sort of found our way through because we sort of focus on what we’re passionate about.” Nicola offered her take on their situation: “And then we make the most of the time when we have together, you sort of prioritise that and make the most of that.”

When Matt isn’t busy filming, he often keeps his Instagram followers updated with his day-to-day life. In one of his most recent posts, the Countryfile presenter shared the heartbreaking news that his dog had died.

In an emotional social media post, Matt confirmed the loss of his cherished companion, writing: “R.I.P Bob”.

He wrote alongside the post: “It’s with a very heavy heart that I’m letting you know our wonderful Bob is no longer with us.

“He’s been gone a while, but I haven’t been able to talk about it as I’ve been finding it so incredibly sad. Bob was a brilliant dog. He was there for me with his gentle soul as the ultimate companion through some of the greatest chapters of my life, from raising our kids to all the changes we made on our family farm.”

He continued, “It’s broken my heart, but I feel hugely grateful to have had him in our lives, and I thank him from the bottom of my heart for everything he’s taught me and brought to our family.

“I’m sure all you dog lovers will agree the reason we love our dogs so much is because the only time they break our hearts is when they leave us. RIP Bob X.”

Lorraine airs weekdays at 9.30am on ITV and Countryfile airs on Sunday on BBC One.

Iran and Israel exchanged threats after Tehran launched missiles towards Israel in response to Israeli strikes on Beirut’s southern suburbs. Israel vowed to deepen attacks on Lebanon, while Iran warned of further action if the strikes continue.

Tsunami warnings have been issued across Asia following an 8.2 magnitude earthquake off the Philippines.

Authorities in Indonesia, Philippines and Japan early on Monday issued warnings of tsunami waves following the powerful quake.

The quake struck off the island of Mindanao shortly before 7:40 am local time, according to the United States Geological Survey.

The US government agency advised people in affected areas to get out of the water and move away from beaches and harbours.

More to follow…

BROADWAY’S biggest night turned into a full-blown fashion parade as Hollywood heavyweights, theater legends and music royalty stormed the 2026 Tony Awards red carpet in jaw-dropping style.

From Rose Byrne serving her signature sleek sophistication to Sarah Paulson embracing bolder glam, Sunday night’s carpet outside New York City’s iconic Radio City Music Hall was packed with headline-making looks.

The 79th Annual Tony Awards, hosted for the first time by pop superstar Pink, celebrated the best of Broadway while also doubling as one of the year’s flashiest celebrity fashion events.

Pink arrived ready to command the stage in a dramatic black gown featuring oversized petal-inspired ruffles and a blue floral hairpiece.

The host brought along husband Carey Hart and their children for her major Tony debut.

Meanwhile, Rose Byrne, who is nominated this year for her Broadway debut in Fallen Angels, stunned in a monochromatic coordinated look alongside longtime partner Bobby Cannavale.

The Bridesmaids star’s polished ensemble leaned classic Old Hollywood while still keeping things modern and sharp.

Sarah Paulson also turned heads with a colorful fashion-forward ensemble that instantly became one the favorites from fans. 

But one of the biggest buzz moments came courtesy of Aubrey Plaza, who officially debuted her pregnancy on the red carpet while attending with her partner, Christopher Abbott. 

The White Lotus alum showed off her baby bump in a black-and-white striped gown while Chris kept things classic in a velvet black suit.

Elsewhere on the carpet, stars including Julia Louis-Dreyfus, Queen Latifah, Leslie Odom Jr., Adrien Brody, Maya Rudolph and Bernadette Peters all brought Broadway-worthy glamour to the arrivals line.

Rachel Zegler also made a dramatic entrance ahead of her upcoming Broadway run in Evita, rocking a daring plunging brown gown that quickly lit up social media.

Julianne Hough floated onto the carpet in a draped white gown that hugged her frame before cascading into a Grecian-inspired silhouette.

The DWTS host completed the ethereal look with sleek black heels and a sharp bob.

Maya Rudolph embraced glamour in a flowing dark ensemble with dramatic tailoring following her record-breaking run as Mary Todd Lincoln in the critically acclaimed Oh, Mary! 

Drew Barrymore brought classic movie-star energy to Broadway’s biggest night, dazzling in a whimsical gown complete with soft waves and sparkling jewels. 

Cole Escola, who is never one to play it safe, once again stole the show in hot pink balloon-style jumpsuit that felt ripped straight from an avant-garde stage production.

Secret Lives of Mormon Wives star Whitney Leavitt, who was also part of the night’s Chicago anniversary tribute lineup, sparkled in a shimmering silver look with sheer detailing. 

Live with Kelly and Mark hosts, Kelly Ripa and Mark Consuelos, stepped out for a date night as they were both dressed to the nines to support this years’ Tony nominees.

Broadway darling Lea Michele looked stunning in a multi-colored dress with a white top and sequin-black skirt.

This year’s ceremony honored the best productions from the 2025-26 Broadway season, with musicals The Lost Boys and Schmigadoon! leading the pack with 12 nominations each. 

The revival of Ragtime also emerged as a major contender, while Death of a Salesman dominated the play categories with nine nominations.

Big acting nominees this year included Rose Byrne for Fallen Angels, Daniel Radcliffe for Every Brilliant Thing, Carrie Coon for Bug and Christopher Abbott for Death of a Salesman.

The awards ceremony aired live on CBS and streamed on Paramount+, with Pink opening the show in an elaborate musical performance featuring more than 170 Broadway performers.

June 7 (Asia Today) — President Lee Jae-myung sharply criticized the National Election Commission on Sunday over allegations that voting rights were violated during South Korea’s June 3 local elections.

Lee called on the National Assembly to conduct a parliamentary inquiry and ordered the administration to create a joint investigation team involving prosecutors and police.

“The National Election Commission caused serious disruption to the people’s exercise of voting rights during the June 3 local elections,” Lee wrote on Facebook. “The incident itself is difficult to understand, but its response afterward and explanation to the public were also insufficient.”

Lee said the right to vote is a constitutional right that must not be restricted or infringed upon for any reason.

“This is a grave matter that damaged the foundation of popular sovereignty,” he said. “As one citizen and as the president responsible for the government, I express deep regret.”

Lee asked lawmakers to quickly pursue a parliamentary inquiry to determine the facts and prepare measures to prevent a recurrence.

He also called for discussions on fundamental institutional reforms of the election commission.

“The government will also consider every possible measure at the administrative level, given the seriousness of the matter,” Lee said. “I have instructed the creation of a joint investigation team involving prosecutors and police to clarify responsibility and thoroughly determine the full circumstances of the case.”

Lee noted that the commission is an independent institution and said its independence comes with major responsibilities.

“The chairperson of the National Election Commission is regarded as one of the five highest constitutional officeholders because the commission is an independent institution with corresponding authority, duties and responsibility, just like the executive, legislative and judicial branches,” Lee said.

“The more independent an institution is, the more important public trust becomes,” he said. “An independent institution that has lost public trust has no reason to exist.”

Lee urged the commission to conduct a fundamental review of its organization and election management system. He said the commission should take the incident seriously and show a strong commitment to reform at a level the public can trust.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260607010002243

EXCLUSIVE: Scott Mills was axed from the BBC earlier this year after new evidence came to light about a historical alleged sexual offences – but this might not be the end of the former radio DJ

Axed star Scott Mills has seen a flurry of support this week as his husband Sam Vaughan returned to Instagram to mark their two-year anniversary.

In his first post since the DJ’s shock sacking, Sam posted a sweet picture of him and his husband from their wedding day, captioning the post with a white heart emoji and the words “2 years.”

Stars including Zoe Ball, Rylan Clark and Sara Cox reacted to the post, with former colleauge Zoe writing: “Love you,” in the comments, followed by four red heart emoji’s. Rylan and Sarah also posted hearts in the comments section.

It comes as the Mirror exclusively revealed that Scott is set to sue the BBC for unfair dismissal after his surprise sacking. The DJ has enlisted top lawyers to lodge a case against the BBC. It’s understood he will claim that he disclosed the full details of the cop probe – including the accuser’s age – to BBC Radio 1 bosses at the time.

The BBC has previously said that they knew about the investigation but that “new information” came to light which sources claim was the fact the accuser was under 16. But it’s understood Mills will argue that this was all raised at the time to Radio 1. A source said: “It’s going to get very messy indeed.”

Mills was interviewed by police in 2018 under caution after being accused of serious sexual offences against a boy under the age of 16. A full file was sent to the CPS, who said there was not enough evidence to charge him.

In April, Mills released a statement through his lawyers claiming he had been the subject of “rumour and speculation” since his sacking and that he had “co-operated fully” with the police investigation into the allegations.

As Scott gears up for a battle with the Beeb and his partner returns to social media, questions have been raised on when the DJ could make a career return. “I think Scott Mills’ route back into the spotlight will depend on whether the public see his departure as a temporary setback or as a sign that his broadcasting career has reached a crossroads,” Mayah Riaz, a PR to the stars, tells the Mirror.

“Historically, we have seen that established presenters who have a strong personal brands and years of goodwill behind them are often afforded a second act. This is especially true when they have built up a loyal audience and have industry support over many years,” she said.

The expert noted the significance of the public show of support towards Scott’s husband Sam as it highlights that the star still has a network of influential friends and colleagues who are willing to publicly stand by him. She said this can help “soften the narrative” and “remind people of the affection that exists for a personality.”

The DJ has lost a number of gigs since being axed by the BBC, including podcast roles on Race Across the World and Pop Top 10 with Rylan Clark. Mills was also dropped as a patron of children’s cancer charity Neuroblastoma UK and “stepped back” from his role as an ambassador for the MS Society UK.

His regular panto work, which reportedly made him £600,000 in the last three years, has also been cut. Imagine Theatre, which got Scott involved in Jack And The Beanstalk shows, said there are no plans to work with the presenter for the 2026/2027 season. It said the decision was taken before he was fired by the BBC.

If Scott was to make a comeback, Mayah suggests it won’t be through a “grand relaunch”. Instead, it could be through a project that reminds his audience why they connected with him in the first place.

She explained: “Talent and familiarity remain powerful currencies in broadcasting. It goes without saying that authenticity will be key. The public are increasingly sceptical of overly polished comeback campaigns and media-managed statements.”

Mayah says the public respond “far more positively to resilience, humility and genuine passion for the work” and the biggest mistake Scott Mills could make is to come across “desperate to reclaim the spotlight”. She added: “The strongest celebrity comebacks are those that give people something new to talk about.”

Mills previously issued a statement via lawyers thanking his well-wishers. He said: “I wish to thank from the bottom of my heart all those who have reached out to me with kindness, my former colleagues, and my beloved listeners, who I greatly miss.”

On the police probe, he said: “The recent announcement that I am no longer contracted to the BBC has led to the publication of rumour and speculation. In response to this the Metropolitan Police has made a statement, which I confirm relates to me.

“An allegation was made against me in 2016 of a historic sexual offence, which was the subject of a police investigation in which I fully co-operated and responded to in 2018.” He added: “Since the investigation related to an allegation that dates back nearly 30 years and the police investigation was closed seven years ago, I hope that the public and the media will understand and respect my wish not to make any further public comment on this matter.”

Iranian state TV broadcast scenes of celebration in Tehran as missiles flew overhead en route to Israel. Iran says the launch was retaliation for Israel’s earlier attack in Beirut, and other US-Israeli ceasefire breaches.

Ross Harrison, a senior fellow at the Middle East Institute, says that Iran’s renewed missile strikes on Israel aim to restore deterrence without reigniting full scale war.

At the recent glitzy PEN America Literary Gala at the Natural History Museum in New York City the evening’s MC, B.J. Novak, declared that the crowd was there to celebrate more than just freedom of speech — they were there for “literary glamour.”

“Writing is glamorous,” he declared. “Reading is glamorous.”

For Novak, bestselling novelist Ann Patchett — who has also worked tirelessly on behalf of independent booksellers and in support of her fellow writers, and was one of the event’s honored guests — epitomizes that allure. “I think it’s great that Ann Patchett is a smoke show. She doesn’t have to be,” he quipped. “It’s just cool that she is.”

With “Whistler,” Patchett’s 10th novel, she definitively proves that the “smoke show” moniker, if at all relevant, is icing on the cake. This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love. It’s also an ode to New York City itself.

“Whistler” is narrated by protagonist Daphne Fuller, a 54-year-old English teacher married to Jonathan, a restlessly retired doctor and hospital administrator who dotes on his wife and whom he regards as “extraordinary.” When we first encounter the couple, they’re roaming the Metropolitan Museum of Art — which, one gets the sense, they know by heart. As Daphne ponders the sculpture “Two Horses,” by Charles Ray, Jonathan spots an elderly stranger eyeing his wife, casting glances in her direction. The stranger follows them from room to room fixated on Daphne. Jonathan’s curiosity is piqued, and he slips away from his wife’s side to get to the bottom of why they’re being followed — which is revealed to be the novel’s inciting incident.

Turns out that stranger is no stranger at all. He is Eddie Triplett, a long-lost stepfather whose divorce from Daphne’s mother, Abigail, remains an unhealed wound. Running into Eddie now for the first time in more than four decades, Daphne is startled by the rush of emotion she feels: “I hadn’t known there was something in me to break,” she reflects, “but there it was and break it did. I stepped into an open crack in time and fell backwards.”

Eddie, as it happens, is but one of Daphne and her sister, Leda’s, three dads. By the time Abigail marries her third husband, mild-mannered Lucas, and the couple go on to have three sons, Daphne has grown a protective shell. These facts are narrated with detachment by the protagonist herself. As she and Eddie gently unspool their memories and together fill in the blanks, their bond deepens. The “falling backwards” Daphne experiences in Eddie’s company — traversing time — soothes, softens and delights her.

As the novel unfolds, what becomes ever clearer is that Daphne and her author are undeniably similar, though Patchett has observed: “I am normally careful to make sure there is a big wall between my life and my fiction.” In “Whistler,” she throws that caution to the wind. Easter eggs are scattered throughout. Like Daphne, Patchett is married to an older man — also a doctor — whom she adores. She too had three dads, as she chronicled in a 2020 New Yorker piece aptly titled “My Three Fathers.” Patchett and her heroine also appear to share this enviable trait: They navigate life with grace, generosity and utter competence. IRL, Patchett returns emails on the day she receives them, is an outspoken advocate for free expression, is generally renowned for her good deeds. She’s also widely known for her many devoted friendships, though she doesn’t suffer fools. You’d want to be her ride or die. As you would … Daphne’s.

In an interview 10 years ago, Patchett observed that it wasn’t until she read a piece by Jonathan Franzen, “in which he insisted that the novelist had to do what scares him most, and for him, that had been writing about his family,” that she considered following that path in her fiction. “I thought ‘oh nothing would scare me more. I would happily ride down the Amazon in a canoe and deal with snakes’ ” (as she did for “State of Wonder”) “ ‘than face my family.’ ” In 2016 she wrote “Commonwealth,” which drew on her personal experience of divorce and dysfunction, themes she revisits in “Whistler.” But in “Whistler,” it’s as if Patchett herself is in the reader’s ear. (And, by the way, should you pick up the audio version of the book, she narrates and is literally in your ear.)

Patchett has said she had an ulterior motive for writing “Whistler.” She’d been in the midst of writing a different book, a novel about a Wyoming rancher and her horse, Whistler, but it wasn’t clicking. As she pressed on over the better part of a year, a second idea came to her “like a fever dream.” She immediately filed away the messy work-in-progress and began writing a fictional ode to a cherished friend, former publishing executive Jim Fox, to whom “Whistler” is dedicated. Fox had died two years before, on his 85th birthday, and Patchett was still grieving. Her aim, with “Whistler,” she has said, is to put down on paper how much they loved each other. Fox is reborn as Eddie Triplett in the book, a charming and erudite book editor who radiates joie de vivre and is among the loves of his stepdaughter Daphne’s life.

Patchett’s literary style isn’t of the show-offy variety packed with dazzling sentences and edge-of-your-seat cliffhangers. The drama is quiet. Her words accrue and gain power through their spareness and clarity, and a level of character development that forges an easy intimacy with the reader. There’s also a sly wit and sagacity that have become Patchett signatures, honed to perfection in “Whistler,” whether wrestling with the legacy of family trauma, or the human struggle to accept the transitory nature of it all. Or, as Patchett’s mother once admonished after the failure of her daughter’s first marriage: “Stop trying to make everything permanent. It doesn’t work.”

While Patchett has clearly drawn on actual events and individuals to produce this luminous work, she exhibits the expert novelist’s knack for following a plot where the imagination takes it. I don’t recommend consuming “Whistler” in one enormous gulp. I dipped in and out, savoring scenes, reflecting on them, occasionally shedding a tear. In other words, I didn’t want it to end.

Haber is a writer, editor and publishing strategist and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

Iranian media has released video showing missiles being launched towards Israel, while videos captured incoming missiles making impact in northern Israel. Iran says it’s a response to Israel attacking Beirut in violation of a US-brokered ceasefire in Lebanon.

Nigerian troops say they have rescued 360 people abducted during a deadly terrorist attack on Ngoshe, a resettled community in Gwoza Local Government Area of Borno State, northeastern Nigeria, more than three months after terrorists overran the town, killing residents and forcing thousands to flee.

Solomon Ali Talake, a primary school teacher and survivor of the March 3 attack, said community members had received information about the rescue.

“I was told they have been rescued,” Solomon told HumAngle on Sunday. “Families have been informed, but they have not allowed us to see them yet. They said they are assessing them and will release them to their families afterwards.”

The March 3 attack on Ngoshe was one of the deadliest assaults on a resettled community in southern Borno in recent months. Residents said the attackers first struck a military formation in the town before moving into the community. Homes were set ablaze, civilians were killed, and hundreds of residents were reportedly abducted.

Solomon survived by hiding in a tree throughout the night while the attack unfolded beneath him. From his hiding place, he watched as gunmen moved through the community, burning houses and pursuing fleeing residents.

The attack displaced thousands of people, many of whom fled to Pulka, a neighbouring community about 12 kilometres away. Others sought refuge in Maiduguri, Cameroon, and other locations. The exact number of people killed or abducted remains disputed. While some media reports estimated that about 100 people were killed and more than 300 abducted, residents told HumAngle that the scale of the attack made precise figures difficult to establish. Victims were later buried in a mass grave, according to survivors.

Among those abducted were two of Solomon’s nephews, aged 14 and 11. On Sunday, he said he had not yet been able to confirm whether they were among those rescued.

Asabe Ali Talake, Solomon’s sister and the children’s mother, also said she had received reports of the rescue but remained uncertain about the fate of her children.

Asabe said she was still waiting for confirmation from authorities. Relatives of the freed victims say communication with them remains restricted while security agencies conduct assessments.

Military authorities typically screen and profile people freed from insurgent-controlled territories before reuniting them with their families. The process is intended to establish identities, assess physical and psychological conditions, and determine whether further investigation or rehabilitation may be required.

This comes amid a broader wave of insecurity affecting communities across Borno State. In recent months, terrorists have launched repeated attacks on military formations, reconstruction projects, and resettled communities, raising concerns about the sustainability of government resettlement efforts in conflict-affected areas.

Part of a broader rescue effort

A politician from Gwoza, who spoke to HumAngle on the condition of anonymity because he was not authorised to discuss the matter publicly and who was involved in advocacy efforts for the victims’ release, claimed a ransom was demanded for the release of the victims. HumAngle could not independently verify the claim, and the military has not publicly indicated that any negotiations took place. 

This development is the latest in a series of operations by troops of Operation Hadin Kai targeting terrorist enclaves in the Mandara Mountains and surrounding areas.

Three days earlier, troops rescued a woman and her infant child after killing several terrorists. On May 1, troops rescued six abductees during an operation around the Mandara Mountains. Six more victims were rescued on May 14. In April, 12 victims, including men, women, and children, escaped during a military operation targeting a terrorist camp.

The latest operation, however, represents the largest reported release linked to the March 3 attack on Ngoshe, offering renewed hope to families who have spent months waiting for news of their relatives.

While military authorities described the operation as a rescue, questions remain about how the victims regained their freedom.

Actor-comedian Elon Gold and pro-Israel influencer Lizzy Savetsky are facing backlash after making an “offensive” joke in an interview on the red carpet for “The Wedding Entertainer (The Tale of Moishe Badhan)” at the Tribeca Festival.

In the interview, Gold said the film was shot in Israel. “I was only raped by two Israeli dogs,” he said.

“I thought they only rape Palestinians,” Savetsky replied, to which he said: “No, I got also a dog.”

The clip spread widely on social media and drew outrage. In a statement posted on social media, the Tribeca Festival called the remarks “offensive and unacceptable.”

“Sexual violence and human suffering should never be mocked or minimized,” the statement said. “The comments do not reflect the Tribeca Festival’s values, and we regret the hurt and offense they have caused.”

The statement said the festival had not been able to reach the filmmakers. A Tribeca spokesperson said Savetsky was not in the film and was not credentialed by the festival, but was invited to the premiere by the film team.

Gold’s manager did not immediately respond to a request for comment. In a video statement posted to social media, Savetsky said the remarks were in reference to a “ridiculous claim” in the New York Times that Israeli officials trained dogs to rape Palestinians.

The paper “published this piece with zero evidence. And we’re all just supposed to sit here with a straight face and take it like it is some sort of truth.”

She added that the film festival is a “forum that is meant to spark dialogue” and that Jewish comedians throughout history have used humor as a way to cope with anti-Semitism.

“The Wedding Entertainer” tells the story of a disgraced Hasidic comedian who is looking to book one last gig to raise the $20,000 he needs to marry off his daughter. He convinces his childhood best friend to let him co-host his son’s wedding alongside a “younger and flashier” wedding MC — played by Gold —who had already been hired. Gold is also an executive producer.