News Desk

Foreign Minister Sergey Lavrov did not say why he believed the US would respect the limits set out in New START.

Russia has said it will abide by limits on its nuclear weapons as set out in a lapsed arms control treaty with the United States, as long as Washington continues to do the same.

The New START agreement expired earlier this month, leaving the world’s two biggest nuclear-armed powers with no binding constraints on their strategic arsenals for the first time in more than half a century and sparking fears of a new global arms race.

In an address to parliament on Wednesday, Russian Foreign Minister Sergey Lavrov said that Moscow was in no rush to start developing and deploying more weapons – backtracking on comments made by his ministry last week that said Russia considered itself no longer bound by the treaty’s terms.

“We proceed from the fact that this moratorium, which was announced by our president, remains in effect, but only while the United States does not exceed the outlined limits,” said Lavrov.

“We have reason to believe that the United States is in no hurry to abandon these limits and that they will be observed for the foreseeable future,” he said, without explaining the basis for that assumption.

US President Donald Trump rejected an offer from Russian President Vladimir Putin to voluntarily abide by the limits set out in New START for another year, saying he wanted a “new, improved and modernised” treaty rather than an extension of the old one.

Russia has also indicated it wants to strike a new arms control agreement.

Washington is pushing for China to be included in the talks, pointing to its growing nuclear arsenal.

According to the Stockholm International Peace Research Institute (SIPRI), China’s nuclear arsenal is growing faster than that of any other country by about 100 new warheads a year since 2023.

However, Beijing refuses to negotiate with the US and Russia because it says it has only a fraction of their warhead numbers – an estimated 600, compared with about 4,000 each for Russia and the US.

As the treaty expired, Chinese Foreign Ministry spokesperson Lin Jian said that China would not be joining the bilateral arms-reduction talks.

Moscow says if China is brought into a new deal, then so too should the US’s nuclear allies, the United Kingdom and France, which have 290 and 225 warheads, respectively.

New START, first signed in Prague in 2010 by the then-presidents of the US and Russia, Barack Obama and Dmitry Medvedev, limited each side’s nuclear arsenal to 1,550 deployed strategic warheads – a reduction of nearly 30 percent from the previous limit set in 2002.

Deployed weapons or warheads are those in active service and available for rapid use as opposed to those in storage or awaiting dismantlement.

It also allowed each side to conduct on-site inspections of the other’s nuclear arsenal, although these were suspended during the COVID-19 pandemic and have not resumed since.

Russia in 2023 rejected inspections of its nuclear sites under the treaty, as tensions rose with the US over its nearly four-year war in Ukraine.

But it said it had remained committed to the quantitative limits set down.

Who: India vs Namibia
What: ICC Men’s T20 World Cup 2026 – Group A
When: Thursday, February 12 at 7pm (13:30 GMT)
Where: Arun Jaitley Stadium, New Delhi, India
How to follow and stream: Al Jazeera’s live text and photo stream begins at 10:30 GMT

Namibia will look to make the most of an illness-and-injury-plagued Indian side when they meet the defending champions in their Group A match on Thursday.

India are likely to take the field without their swashbuckling opener Abhishek Sharma after he was hospitalised with an upset stomach on Tuesday.

While Sharma was discharged on the eve of the match, his presence in the playing XI is doubtful.

The world’s top-ranked T20I batter struggled in India’s opening match against the United States.

“He has been discharged today, and he is doing well,” Indian batter Tilak Varma told reporters.

“We have got one more day for the game. Hopefully, we decide by tomorrow on how he feels, and we go with it.”

In better news for the world champions, pace spearhead Jasprit Bumrah is expected to return after he missed the opener due to a fever.

Namibia expect ‘great spectacle’

Namibia, meanwhile, will be looking to move past their heavy loss against the Netherlands on Tuesday and register a shock win over the two-time world champions.

The African team’s coach, Craig Williams, admitted his side faces a stiff challenge against India, but they would like to pose a challenge against the pre-tournament favourites.

“Playing India in India – it’s going to be a great game for us and the spectacle is going to be fantastic for everyone back home as well,” Williams said before the match.

“As a professional team, we want to put on a good show, and hopefully, we’re going to stick to our game plan, and then we’ll see what happens at the end of the day.”

Williams said the key to Namibia’s chances will be a strong batting performance at the top of the order.

“We need someone in our top four to bat for a prolonged period of time, and then you need partnerships,” the former cricketer said.

“Playing against India won’t be easier, but if we can stick to our game plan, and take one ball at a time, hopefully, the result will then go our way.”

Form guide: India

India are on an eight-game unbeaten run in the T20 World Cup, carrying on from their title-winning campaign in 2024.

They lost one of their five T20Is against New Zealand last month.

Last five matches (most recent first): W W L W W

Form guide: Namibia

One of the biggest results in Namibian cricket history came in October, when they beat 2024 finalists South Africa by four wickets.

They have not been lucky enough to play international fixtures regularly, but can pose a challenge if one of their key players makes an impact.

Last five matches (most recent first): L W L W W

Team news: India

India’s squad has been hit by a range of illnesses and injuries, but Suryakumar Yadav’s team have plenty of power on the bench to grab another win.

Bumrah could return to the XI, replacing his stand-in Mohammed Siraj, and Sanju Samson could take Sharma’s place at the top of the order.

Predicted XI: Sanju Samson, Ishan Kishan (wicketkeeper), Tilak Varma, Suryakumar Yadav (captain), Hardik Pandya, Rinku Singh, Shivam Dube, Axar Patel, Jasprit Bumrah, Arshdeep Singh, Varun Chakravarthy

Team news: Namibia

Namibia could field the same XI that lost to the Netherlands, hoping that the result goes the other way this time.

Predicted XI: Louren Steenkamp, Jan Frylinck, Jan Nicol Loftie-Eaton, Gerhard Erasmus (captain), JJ Smit, Zane Green (wicketkeeper), Dylan Leicher, Willem Myburgh, Ruben Trumpelmann, Bernard Scholtz, Max Heingo

A SUPERSTAR was out grabbing some groceries in Los Angeles when a fellow customer started to wheel her trolley away.

The moment left them both laughing, and didn’t deter the undercover icon from continuing her browse the produce section.

Wearing a large pair of shades and an all black outfit, the huge hitmaker was seen chuckling to herself after the incident.

But have you worked out who is is yet?

It was none other than US pop megastar Rihanna.

She spotted bagging up some loose potatoes with her trolley parked next to her.

A security guard was stood near the singer, but it wasn’t obvious that he was part of her security until he approached the customer.

Both the guard and Rihanna dressed in all black, Rihanna in a maxi dress with cut out details and the guard in a sweater and trousers.

But suddenly a woman standing between them started to wheel Rihanna’s trolley forwards.

The security guard promptly stopped her by putting his hand on the side of the trolley to prevent it from moving.

He then informed the woman that it wasn’t her trolley, which left her in stitches.

The guard added “it’s all right”, beginning to laugh himself and rubbed her briefly on the back.

Rihanna laughed and echoed: “It’s alright girl”.

Videos of the interaction have been circulating online, with some fans believing the woman knew it was Rihanna and wanted an excuse to talk to her.

“She was planning that lmao,” said one user on X.

“She just wanted to interact with Rih,” noted a second.

A third added: “Accidentally?”

Though other social media users thought if the interaction was real, Rihanna would have loved being treated like a “normal” person who wasn’t instantly recognised as a star.

“Omg I’m cackling. Rihanna really out here doing her own grocery runs like a regular person, so you KNOW she was living for that random old lady accidentally snatching her cart,” pondered a forth.

Billionaire Rihanna is a famous singer, businesswoman and actress with an endless sea of awards under her belt.

From Grammys to accolades from Billboard, MTV and more, bumping into her at the grocery store is truly a once in a lifetime moment.

In 1994, Rwanda was devastated when Hutu leaders orchestrated a systematic genocide against the Tutsi population – violence rooted in decades of engineered ethnic division and political manipulation designed to fracture the country. In the span of 100 days, nearly a million lives were taken, leaving communities destroyed and neighbours turned into enemies.

Decades later, the nation continues the difficult task of rebuilding trust. This episode follows Karenzi, a former perpetrator who was allowed to return to his village through the Gacaca courts, Rwanda’s traditional community tribunals. Under this system, reintegration depended not on serving long prison terms, but on openly confessing crimes, acknowledging the truth and seeking forgiveness from survivors. Karenzi’s path forces him to confront the weight of his actions and to engage directly with those who carry the memory of what he did.

As Karenzi and Murakatete begin to speak to each other, the episode witnesses how truth-telling, accountability, and the willingness to listen create a space for mutual healing, in the spirit of Mvura Nkuvure: “I heal you, you heal me.” Through their shared effort, the film explores how Rwanda’s reconciliation process continues to evolve, shaped by the people who dare to face one another after unimaginable loss.

A film by Fatima Lianes

Beirut, Lebanon – The Lebanese and Syrian governments have reached a deal to repatriate about 300 Syrian inmates in Lebanese prisons back to their home country in a move that could pave the way for better relations between the two neighbours.

The issue of Syrian prisoners in Lebanon has been a priority for Damascus since the fall of Bashar al-Assad’s regime in December 2024. Relations between the two countries have long been marked by what many Lebanese describe as nearly 30 years of occupation and a tutelage rule by Syria over Lebanon, which ended when Syria withdrew its troops in 2005.

About 2,400 Syrian prisoners are currently in Lebanese prisons. Some are held on “terrorism” charges while others are held for links to attacks against the Lebanese army. But most have never been tried despite having spent years in jail, largely due to a myriad of issues, including political gridlock, judicial strikes and general political indifference.

And while the deal reached on Friday may signal the beginning of a new relationship between Syria and Lebanon – one built on mutual respect rather than Syria’s direct or indirect control of the smaller state on its western border – it did not come about without any public controversy.

In Syrian eyes, many of the prisoners are being held for political rather than judicial reasons. The government of President Ahmed al-Sharaa believes they are in prison mostly due to the influence of the former al-Assad regime and its Hezbollah allies in Lebanon.

But for many Lebanese, anyone accused of attacks against the Lebanese armed forces should not be released.

“Lebanon has long insisted that anyone Syrian or otherwise accused of committing serious crimes against the Lebanese army should not be extradited,” David Wood, the senior Lebanon analyst at the International Crisis Group, told Al Jazeera. “That has been one key obstacle to resolving this prisoner agreement up until now.”

Political prisoners?

Lebanese-Syrian relations have long been complex. Under Syrian President Hafez al-Assad and later his son Bashar, Syrian forces controlled Lebanon from 1976 to 2005.

Even after Syrian troops withdrew from Lebanon, Syria maintained influence over Lebanon via its allies there, including the political and military group Hezbollah.

When the 2011 Syrian uprising began and was subsequently repressed by Bashar al-Assad’s regime, Syria’s border with Lebanon soon became a hotspot for the transportation of people – both fighters and refugees – weapons and drugs.

In Lebanon, the Syrian war had a strong impact. It spilled over into clashes in the northern city of Tripoli; the Battle of Abra, which involved firebrand anti-Assad sheikh Ahmad al-Assir and Lebanese-Palestinian pop star Fadel Shaker; battles with Hezbollah and the Lebanese army on one side and ISIL (ISIS) and al-Qaeda-aligned groups on the other; and attacks on Beirut’s southern suburbs.

In the intervening years, hundreds of Syrians were arrested by Lebanese authorities and held in Lebanon’s overcrowded prisons.

When the al-Assad regime fell, the new Syrian government quickly looked to reframe the relationship with Lebanon, expressing an interest in building ties based on mutual respect and interests.

Among Damascus’s priorities were delineating their shared border and economic and security cooperation. But it also prioritised the repatriation of Syrians in Lebanese prisons.

“The allegation from Damascus is that in many cases the reason for [imprisonment] is political and specifically due to perceived ties between the inmates and groups that were opposed to the former regime of Bashar al-Assad,” Wood said. In its view, “it was actually Assad’s Lebanese allies who conspired to make sure that these people were imprisoned in Lebanon.”

By that logic, the fall of al-Assad and the weakening of Hezbollah after Israel’s 2024 war on Lebanon meant that these prisoners should be released.

Some Lebanese disagree and see the issue as more of a grey area. Even if the Syrian prisoners in question had fought Hezbollah, it had been at a time when the Shia group had been coordinating with the Lebanese army – and, for many Lebanese, fighting the army is a red line.

An important step

On Friday, the agreement was signed with a number of Lebanese ministers present, including Prime Minister Nawaf Salam, Deputy Prime Minister Tarek Mitri and the two countries’ justice ministers.

“This is a very important first step on the road of a comprehensive treatment regarding Syrian prisoners in Lebanese prisons,” Mitri said to reporters on Friday.

Syrian Justice Minister Mazhar al-Wais said: “This step will boost existing confidence, and we hope that relations will progress more.”

The agreement reportedly stipulates that over the next three months, about 300 prisoners will be repatriated to Syria and those serving time for serious crimes, such as rape or murder for example, must have served 10 or more years of their sentences in Lebanese prisons to be eligible for repatriation.

Lebanese prisoners, such as al-Assir, are not included in the deal.

But other issues remain. Among them are Lebanon’s backlogged judicial system and issues related to Lebanese inmates in Syrian prisons.

Only about 750 Syrian prisoners out of the 2,400 have been convicted. That means roughly 65 percent of prisoners are not eligible for repatriation yet.

Fadel Abdulghany of the Syrian Network for Human Rights described this as a “two-track” problem. On his personal website, Abdulghany noted that the transfer of prisoners convicted with final sentences can be carried out with a “swift step”.

However, for those who have yet to be convicted, the issue is not as straightforward. A mechanism for pretrial detention has not yet been agreed by the respective authorities.

“This is not merely a Syrian issue but one that touches the very structure of the Lebanese criminal justice system,” Abdulghany wrote. “Therefore, transferring convicts will not resolve the problem, because the root cause is the slow pace of procedures in Lebanon and the accumulation of detainees held without trial, along with the ensuing issues concerning the legality and continuation of their detention.”

He warned that such detainees could be used as political bargaining chips by Hezbollah. Some members or supporters of the group blame these prisoners for car bombings or other such attacks on their villages. While many of those attacks were on Shia Muslim areas where Hezbollah support is predominant, Christian villages, such as al-Qaa and Ras Baalbeck in the Bekaa Valley, were also subject to attacks.

‘There are no names’

Marcel Baloukji, a former brigadier general who oversaw the Lebanese army’s border committee with Syria, told Al Jazeera that the 300 or so prisoners who are to be transferred do not include many of the more hardened prisoners associated with ISIL or al-Qaeda whom Lebanese authorities have apprehended over the years.

But Baloukji also pointed out that the issue of Lebanese prisoners in Syrian jails is still important for the Lebanese side. Under the al-Assad regime, more than 100,000 people were forcibly disappeared, including hundreds or potentially thousands of Lebanese, going as far back as the Lebanese Civil War.

Mass graves have been found around Syria since the fall of the regime. However, much work needs to be done to identify all the bodies. Until now, the vast majority have still not been identified – neither Syrian nor Lebanese.

“There’s still a problem because there has to be an exchange between Lebanon and Syria,” Baloukji said. “There’s no one there. Most of them are not identified. There are no names.”

Feb. 11 (UPI) — The Federal Aviation Administration ended what was initially announced as a 10-day suspension of all flights over El Paso, Texas on Wednesday, hours after closing the airspace.

The FAA stopped all incoming and outgoing flights over El Paso late Tuesday night, citing “special security reasons.” It warned that deadly force may be used against aircraft entering the airspace if they pose an “imminent security threat.”

The closure was triggered by military operations from Biggs Army Airfield in Fort Bliss, about seven miles away from El Paso.

CBS reported that Mexican cartel drones breached U.S. airspace, causing the Department of Defense to disable the drones.

“There is no threat to commercial aviation,” the FAA posted on social media. “All flights will resume as normal.”

When the airspace was closed, the FAA said that it was being classified as “national defense airspace.” The closure also halted medevac helicopters from flying.

“Just pass it on to everybody else, at 6:30 for the next 10 days, we’re all at a ground stop,” an air traffic controller informed pilots in audio recorded on LiveATC.net.

Some travelers received notifications from airlines about changes to their flights and offerings of travel waivers before the closure was lifted.

El Paso is home to the El Paso International Airport, which saw about 3.5 million travelers through the first 11 months of last year. The city has a population of about 700,000.

Death In Paradise will not air in its usual Friday slot this week owing to a change in scheduling on the BBC as its replacement has now been revealed

Death In Paradise is off air this week after it was pulled from its usual slot. The BBC show is back for a new series, with DI Mervin Wilson – played by Don Gilet – at the helm.

It usually airs in the Friday 9pm slot each week on BBC One but it has been changed for this week. Death In Paradise follows the story of a British police officer in the Caribbean, working out of island paradise Saint Marie.

The BBC show will not air this Friday as planned as the BBC will instead be broadcasting the football. The FA Cup tie between Hull City and Chelsea will air that evening instead from 7.30pm, with kick off 15 minutes later.

Instead, Death In Paradise will air its latest episode on the following Monday, which follows the story of a pensioner who has been shot dead in his home. The commissioner is also busy trying to get everyone on side after his recent departure.

Meanwhile, Don Gilet previously opened up about his character’s development on the BBC detective drama series.

Speaking about his character, Don – who plays Mervin Wilson – said: “Just by his nature and the way he is when it comes to his work and the way that his mind works, there’s always going to be a bit of kickback with the people he deals with.

“Last year, there was this antagonism between Mervin and the team because they just worked in very different ways, and both had to earn the respect of each other in the way they work.”

He added: “And let’s not forget, he didn’t want to be on the island, so he was going to be particularly reluctant to work with these people because of the personal issues he was dealing with.

“But as time has moved on, he’s realised that he needs these people. They are now gelling, they’re working as a team – now it’s cracking the cases that frustrate him, and they become frustrated as a group. You’ll still see him sometimes working at odds with the team, but they know each other now and can allow for that a little more.”

Of course, in this series, there is also the twist about Mervin’s half-brother Solomon, whom he finally gets to meet this series. However, things don’t get off to a great start.

“It was a great emotional cliffhanger because at any moment in that series Mervin could have just said ‘that’s it, I’ve done my time’, and now he literally can’t go.

“The one thing he was in pursuit of at the start of this series was family, and then to throw that in at the end, that he’s not alone… He’s powerless to resist that and he has to stay now for the next chapter in his family quest, because he thought he had no family. So how can he turn his back on that?

“Well, I think phrases like ‘two peas in a pod’, do not apply… They couldn’t be more opposite. There’s Mervin and then there’s this guy who is on the opposite side of the tracks, potentially the opposite side of the law too…”

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Feb. 10 (Asia Today) — South Korea’s Ministry of Unification said Tuesday that the 2016 suspension of the Kaesong Industrial Complex was a “self-inflicted act” that damaged inter-Korean trust and expressed “deep regret” toward North Korea, while stopping short of citing Pyongyang’s provocations that led to the shutdown.

The statement was released to mark the 10th anniversary of the closure of the joint industrial park, once seen as a symbol of economic cooperation between the two Koreas.

The ministry said South and North Korea signed an agreement in August 2013 guaranteeing normal operations at Kaesong regardless of political or security conditions, adding that the deal had been reached at South Korea’s strong request. The remark was widely interpreted as criticism of the administration of former President Park Geun-hye, which ordered the complex’s full suspension in 2016.

The ministry also expressed regret that the complex was not restarted during the administration of former President Moon Jae-in.

It said North Korean leader Kim Jong Un stated in January 2019 that he was willing to reopen the Kaesong Industrial Complex “without any preconditions or compensation,” but South Korea failed to take follow-up measures, missing what it described as a critical opportunity.

The ministry said it hopes for an early normalization of the complex and announced plans to restore the Kaesong Industrial Complex Support Foundation, which was dissolved in 2024, as part of preparatory steps. It also pledged to work with relevant government agencies to support South Korean companies that have suffered financial and psychological hardship due to the prolonged shutdown.

Kaesong has faced repeated suspensions since its launch. Operations were halted in 2013 after North Korea conducted its third nuclear test and withdrew its workers, but later resumed after the two sides agreed on measures to prevent recurrence. In 2016, following North Korea’s fourth nuclear test and a long-range ballistic missile launch, the Park administration ordered a full shutdown, citing concerns that wages paid to North Korean workers were being diverted to Pyongyang’s nuclear weapons program.

A Unification Ministry official told reporters that the latest statement was not intended to deny North Korea’s provocations but to emphasize the government’s position on reopening the complex.

“North Korea carried out nuclear tests, but our decision to completely shut down the complex ended up harming South Korean companies and closing a key channel of inter-Korean communication,” the official said. “This message expresses regret to the North for undermining trust in inter-Korean relations.”

The ministry confirmed that North Korea is currently operating about 40 factories inside the Kaesong Industrial Complex without authorization but did not comment further on the issue.

— 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=20260210010003634

A spokesman for the Co-op told the BBC: “Our culture, as a co-operative, ensured decision-making throughout has listened to views from leaders and colleagues across our food and wider business, whilst simultaneously acknowledging when a wide range of views are expressed, not everybody will always agree with the final decisions and actions taken.”

Coronation Street legend shared how her on-screen storyline prompted her to get checked for cancer

Coronation Street’s Sally Dynevor has candidly discussed her harrowing battle with cancer, confessing it “changed my life completely”.

The soap icon, who recently marked four decades on the famous cobbles, was diagnosed with breast cancer in 2009. Following a lumpectomy and six months of chemotherapy, she thankfully made a full recovery.

At the time of her diagnosis, Sally’s on-screen persona, Sally Metcalfe, was also grappling with a breast cancer diagnosis, mirroring her real-life ordeal.

During Wednesday’s (February 11) episode of Loose Women, Sally joined panellists Christine Lampard, Janet Street Porter and Coleen Nolan. Conversation inevitably turned to her health struggle after Corrie co-star Beverley Callard recently disclosed her own breast cancer diagnosis.

Sally confessed that her diagnosis “completely changed her life.”, reports the Daily Star.

She reminisced: “My character had breast cancer and I had to tell Carla Connor (played by Alison King) that Sally had breast cancer. That was a very, very difficult scene because I knew I was leaving at that point.”

The actress revealed: “I wanted to carry on working. I didn’t want to stop, but the moment that I was told I needed chemo that’s the moment that I realised that actually this is serious.

“But hopefully for Bev, she’s caught this early so she will be hopefully back at work and carrying on doing what she’s doing.

“It’s very hard for women because if you’re a working mum and the breadwinner, then you want to carry on. You need to be working.”

In an emotional revelation, Sally confessed that her character’s storyline proved instrumental in prompting her to seek medical examination.

She said: “I’ve still not come to terms that it happened and maybe if I hadn’t had the storyline, maybe I wouldn’t have checked because I was only 46.”

She went on: “I thought it was, you know, much older women but it’s not. I mean thank goodness there’s much more information out there now than there was 15 years ago when I got it. But now we’re talking about it, which is very important.”

She recalled: “I remember my first day back on the street after having eight months off or six months off and walking down the cobbles and going.

“I am so grateful for this because once you have something taken away from you. You think that’s it, and then to get it back is just, wow, I mean, you don’t take it for granted.”

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX and Loose Women airs weekdays from 12:30pm on ITV1 and ITVX

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

Feb. 11 (UPI) — About 90,000 undocumented students reach the end of high school each year and researchers say their opportunities to pursue higher education are rapidly shrinking.

The President’s Alliance on Higher Education and Immigration and the Migration Policy Institute found that about 75,000 students without legal status graduate annually. It is a milestone that has been encouraged by state and federal policy for decades as migrants seek citizenship in the United States, but rollbacks on tuition equity and other policies are making it harder for many of them to continue their education.

The study is based on U.S. Census Bureau and National Center for Education Statistics data from 2023, prior to President Donald Trump‘s return to the White House.

However, his more aggressive immigration enforcement tactics and pressure to end birthright citizenship and temporary protected status have made the future of these students one with even more challenges, Corinne Kentor, senior manager of research and policy with the President’s Alliance on Higher Education and Immigration, told UPI.

“We’re seeing a lot of institutions who are trying very hard to retain services for students and also comply with a bunch of very confusing directives coming at the federal level,” Kentor said. “There’s a fear about keeping programs and services that are particularly geared toward the immigrant-origin students available because the institution wants to make sure that they’re in compliance with federal directives.”

Prior to 2024, 25 states and the District of Columbia had policies guaranteeing undocumented immigrant students access to in-state tuition. This granted a path for those students to receive financial aid services and made enrollment in local colleges and universities possible for many.

Kentor said these policies helped these students not just enroll in their degree programs but also finish them.

In the past year, that has begun to change.

Florida’s legislature repealed its in-state tuition policy that had been in place for 10 years. The Department of Justice followed with a lawsuit to repeal the Texas Dream Act after its state legislature shot down numerous similar attempts. A permanent injunction blocking in-state tuition access for an estimated 12,000 students each year was granted.

The Justice Department was also successful in a lawsuit against Oklahoma.

The Trump administration has filed similar lawsuits against California, Virginia, Illinois and Minnesota. Kentucky officials settled such a lawsuit by agreeing to end their tuition policy in September.

Texas, Florida, California and New York account for nearly half of all undocumented immigrants graduating each year. California has about 11,000 who graduate annually, Florida has about 8,000 and New York, about 4,000.

The lawsuits by U.S. Attorney General Pam Bondi claim that offering in-state tuition to non-citizen students is “illegally discriminating against American students.”

Kentor said this is a common misconception that leads people to oppose opportunities for immigrants in education as well as other places in society like the workplace.

“There’s this sense that if one person gets a spot, then another person doesn’t,” she said. “The reality is that welcoming immigrant students into higher education, into workplaces, into the communities that they’re already a part of, creates more opportunities for U.S. citizens. There’s this scarcity mindset that moves into a competition mindset when actually providing opportunities just opens up more spots.”

As legal battles and policy decisions play out in courtrooms, statehouses and government offices, the effects are being felt in classrooms, at bus stops and in homes.

The population of undocumented students reaching the end of high school has continued at similar levels each year but this year’s class is in a particularly precarious position. Immigration raids across the country have not just seniors but all immigrant students, regardless of legal status, facing fears of losing family members to detention and physical harm.

Jeanne Batalova, senior policy analyst and data manager for the Migration Policy Institute and its Data Hub, authored the organization’s report “Graduating into Uncertainty: Unauthorized Immigrant Students in U.S. High Schools.” She told UPI that current immigration crackdowns are also affecting the education students are receiving in K-12 schools.

Batalova said California reported a 22% increase in absences in January and February 2025 over 2024.

This was as Trump returned to office and issued a slate of executive orders directing ramped up immigration enforcement. Among his executive orders was a day one order to end the sensitive locations policy that barred immigration officials from doing enforcement activities at schools, hospitals, churches and community event sites.

“This fear that anyone knocking on the door could be an [Immigration and Customs Enforcement] team busting through the door, I can only imagine the impact it is having on the entire family,” Batalova said. “When immigration enforcement ramped up at work sites during the first Trump administration, the impact on mental health was very noticeable. There was difficulty focusing on studying for children whose parents or family members were affected. At that time, kids themselves were not in the line of fire, so to speak.”

Ending policies like the sensitive locations policy and reversing course on pathways to higher education mark a change in direction from more than two decades of bipartisan support for paths to citizenship.

“For this particular population, education, both secondary and post-secondary education, has always been closely tied to their opportunity to legalize their status,” Batalova said. “A status that they themselves had no control over when they were first brought here as young children, and second, by policymakers in the United States.”

Batalova said education has been a “major engine for social and economic mobility” because it opens doors to new career opportunities and self-improvement. At a time when the president is offering a “gold card” for wealthy migrants to buy their way into U.S. citizenship, closing doors to undocumented children is a stark contrast.

“At a time of anti-immigrant rhetoric and stepped-up enforcement on the part of this administration, the future for the students is uncertain,” Batalova said. “Not only in terms of if they can go on to pursue a college degree because of state tuition. It’s if they can go outside to the library, to the university, as well as the mental impact of studying.”

EMMERDALE actress Lisa Riley said Robin Windsor’s “glow had gone” after he was dropped from Strictly, an inquest heard.

The professional dancer, 44, was found dead in a hotel room in Shepherd’s Bush, West London, in February 2024.

An inquest heard Windsor left a suicide note saying the way he was treated by the BBC “destroyed me”.

The pro added: “It started me on the road I’m still on.

“All I wanted from life was to be happy.

“I loved my job more than anyone else.”

Riley was Windsor’s dance partner in the penultimate series he appeared on in 2012.

After being paired with Windsor, Riley said they were “joined at the hip”.

“To say we hit it off was an understatement,” the actress said in a written witness statement read to West London Coroner’s Court on Wednesday.

“I had only just lost my mum in the July. I, myself, was in a very difficult place.

“Robin was my rock.”

The Latin and ballroom dancer joined Strictly in 2010 and danced with actresses Patsy Kensit, Anita Dobson and Riley, and Dragon’s Den’s Deborah Meaden in four series until 2013.

He could not perform in the 2014 series because of a back injury and was dropped in 2015, but still appeared in the Christmas special that year, dancing alongside TV presenter Alison Hammond.

“It was from this moment, on to the time of his death, he kept slipping deeper and deeper into depression,” Riley said.

“His glow had gone.”

The actress recalled how she and Windsor had built up an “incredible trust” and remained friends.

“He literally told me everything,” she said.

“I trusted him and he trusted me.

“There were many, many happy times to begin with and together we did have so much fun.”

Riley said Windsor told her of times of “never feeling good enough” and “imposter syndrome”.

“Robin was and always has been very influenced by other men,” she added.

“It became a standing joke that he fell in love after three days.”

Riley said Windsor was insecure about his body and took steroids which, combined with alcohol, would put him in a bad place, jurors heard.

The court was also told how he was “drowning in debts” and “frantically” spent on designer items he could not afford.

Riley added: “Money problems also played a part of his darker days.”

She said her last contact with Windsor was around Christmas 2023, when they texted after Riley saw him share a “really dark” post on Facebook.

Riley continued: “I of course text him straight away and he replied saying he was ‘fine, just usual ups and downs of life’.”

The inquest also heard Robin was “obsessed” with watching Strictly prior to his death.

His panto co-star Terry Gleed said Robin spent his free time during rehearsals watching the show.

The star added: “I could feel that he really wanted to be there more than where we were. He missed it dearly.”

The court heard Robin had suffered a back injury in late 2013 which resulted in him needing surgery to remove a disc.

He missed the 2014 series while he recovered.

Next year telly bosses chose not to renew his contract.

Pal Kristina Rihanoff, 48, told the hearing yesterday she was “extremely upset” after learning Robin had not been asked back for the 13th series.

She added “the psychological impact was very severe” because he “couldn’t do what he loved” due to his back pain.

Kristina described it as “heartbreaking” to see him “deeply sad, subdued and burdened”.

The inquest continues.

If you are affected by any of the issues raised in this article, please call the Samaritans for free on 116123.

Feb. 10 (Asia Today) — South Korea’s financial watchdog has launched a formal inspection of cryptocurrency exchange Bithumb following a major accounting error known as the “ghost coin” incident, as authorities scrutinize potential violations of the country’s Virtual Asset User Protection Act.

The Financial Supervisory Service said Tuesday it began deploying inspection staff after notifying Bithumb in advance, upgrading an initial on-site review conducted Friday to a full inspection within three days.

FSS Governor Lee Chan-jin had previously warned that any indication of legal violations during the preliminary review would trigger an immediate inspection.

Inspections by the FSS typically last five to 10 business days, but officials and industry observers said the probe could be extended due to the complexity of the case.

The incident occurred Feb. 6, when Bithumb mistakenly credited 620,000 bitcoin to 249 event winners, an amount valued at about 62 trillion won ($46.6 billion). The error was caused by an employee entering “bitcoin” instead of “won” during the prize payment process.

During the on-site review that began the following day, regulators examined how Bithumb generated and distributed ledger entries amounting to more than 13 times its actual bitcoin holdings, estimated at about 46,000 bitcoin. Authorities are assessing whether this violated provisions of the Virtual Asset User Protection Act requiring virtual asset service providers to hold the same type and quantity of digital assets entrusted by users.

The FSS is expected to focus its inspection on Bithumb’s ledger transaction systems and its bitcoin withdrawal structure.

If violations are confirmed, the watchdog said it will impose strict measures in accordance with relevant laws. It also plans to review other cryptocurrency exchanges to prevent similar incidents, including checks on digital asset reserves and internal control systems, and to order prompt corrective action where deficiencies are found.

Separately, the FSS said it will pursue broader institutional reforms in connection with the second phase of virtual asset legislation. These include introducing strict liability for virtual asset service providers in cases of damage caused by system failures or other technical incidents.

— 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=20260210010003785

Tehran, Iran – Iran’s authorities have ratcheted up the messaging and reciprocal threats against the United States during state-organised rallies and celebrations commemorating the Islamic revolution across the country, one month after deadly nationwide protests.

Chants of “Death to America” and “Death to Israel” rang out on Wednesday in the state-run annual demonstrations, on a day of immense symbolic significance for the Islamic republic that consolidated its power during the 1979 revolution.

Near Enghelab (Islamic revolution) Square in downtown Tehran, authorities propped up five coffins for some of the top commanders in the US military.

The coffins had the US flag painted on them, and included the names and images of Central Command chief Brad Cooper, Chief of Staff Randy Alan George and others.

This year’s festivities are especially important to the theocratic establishment as they follow the 12-day war with Israel and the US in June, the nationwide protests starting in late December, and in defiance of a potentially looming war with the US.

Threatened with assassination by the US and Israel, Iran’s Supreme Leader Ayatollah Ali Khamenei did not make an appearance in the events. He also missed a highly symbolic annual meeting with army and air force commanders for the first time in his 36-year rule.

The 86-year-old supreme leader released a video message calling on Iranians to “disappoint the enemy” by participating in the revolution anniversary. All other senior political, military and judicial authorities also released similar messages urging supporters to mobilise.

An 81-year-old private businessman who was arrested and had his assets confiscated for observing a strike during the nationwide protests also wrote in a confession letter released by state media this week that he would participate in the rallies.

The Fars news agency, affiliated with the Islamic Revolutionary Guard Corps (IRGC), released a video of a “symbol of the devil” being burned during a state-organised event in the capital. The burned effigy appeared to depict a man with horns sitting on a pedestal marked with the US and Israeli flags.

People also burned and trampled on US and Israeli flags, while ballistic and cruise missiles capable of reaching Israel and the wreckage of Israeli drones shot down during last year’s war were displayed.

These are the types of missiles that Tehran has called its own red line, as Israeli Prime Minister Benjamin Netanyahu tries to corral US President Donald Trump into following the Israeli narrative that Iran’s missile programme, as well as its nuclear one, should be on the negotiating table.

State television flew helicopters over designated areas in Tehran and other cities where demonstrations were being held and described another “epic saga”, using a term favoured by Iranian authorities to talk about the annual demonstrations.

Those attending the rallies were hailed as “the dear people of Islamic Iran” who were marching to bolster the security of the country.

Iranian President Masoud Pezeshkian called for national unity in the face of external threats while insisting that his government is willing to negotiate over its nuclear programme.

Addressing the crowds in Tehran’s Azadi Square, Pezeshkian called for solidarity among Iranians in the face of “conspiracies from imperial powers”.

Competing chants

Huge fireworks exploding around the iconic Milad Tower on Tuesday night to celebrate the revolution anniversary were so loud that they alarmed some residents and hearkened back to the bombing runs of Israeli fighter jets during the 12-day war.

Translation: I was driving when suddenly there was the sound of an explosion and the sky lit up, I thought only that it was war and that I had to be beside my parents. I lifted my head again and saw that it was fireworks – as if they were shooting into people’s hearts to prove it wasn’t war. It was worse, because the elites were celebrating while we’re in mourning for those fallen [during the protests]. In Tehran and across the country, the authorities called on supporters of the establishment to shout “Allahu Akbar” in the streets and from their homes at 9pm local time on Tuesday night. Numerous videos circulating online show some people shouting those words, only to be met by competing shouts of “Death to the dictator” or cursing from their neighbours.

The authorities also discussed the nationwide protests during Wednesday’s events, and celebrated what they described as a triumph over “enemies”.

Ahmad Vahidi, the deputy head of the IRGC, told a state-organised event in Shiraz that Wednesday’s rallies marked a third “great defeat” for the US and Israel over recent months.

He said the 12-day war was the first one, and the second was the state-organised counterdemonstrations held on January 12, days after most of the protest killings were carried out on the nights of January 8 and 9.

Like Vahidi, police chief Ahmad-Reza Radan called the protests another “sedition” and said they were “a great project by the global arrogance” that was quashed.

The Iranian government claims that 3,117 people lost their lives during the unprecedented protest killings, all of them at the hands of “terrorists” and “rioters” armed and funded from abroad.

The US-based Human Rights Activists News Agency says it has confirmed about 7,000 deaths so far and is investigating nearly 12,000 other cases. United Nations Special Rapporteur on Iran Mai Sato said more than 20,000 civilians may have been killed but information remains limited amid heavy internet filtering by the state.

The UN and international human rights organisations have accused state security forces of being behind the killings. The UN Human Rights Council last month issued a resolution condemning the killings and calling on the Islamic republic to “prevent extrajudicial killing, other forms of arbitrary deprivation of life, enforced disappearance, sexual and gender-based violence” and other actions violating its human rights obligations.

Six months and 16 Oscar nominations ago, Delroy Lindo hopped on a Zoom call with the awards consultants running the campaign for Ryan Coogler’s genre-defying American horror story, “Sinners.” Actors don’t often participate in these meetings. But Lindo had received so much love for his turn as bluesman Delta Slim since “Sinners” premiered in April, he figured, “Why not sit in?” Mostly, he just wanted to ask one simple question: How can we make the most of this moment?

“I don’t know what their answer was, but it seems to have worked,” I tell him over lunch recently.

Lindo starts rapping on the wood table separating us and doesn’t stop until I ask if he’s a man given to superstition.

“Can I tell you where I think it comes from?” he asks. “I’m acutely aware absolutely nothing is promised. There’s no such thing as a sure thing. Anything can happen. So in knocking wood, one is trying to increase one’s chances that the outcome will be what one wants.”

So you’ve been knocking on wood for the last six months?

“Hell, yes!” Lindo answers, laughing. “Hell, yes!”

Now I’m the one who’s laughing, which Lindo appreciates. But he has more to say on the subject.

“You have to understand something,” he continues. “When an actor does a piece of work and it really touches people and has an impact like it did with Delta Slim and ‘Sinners,’ you can’t help but think how it might be broadened. I try to maintain an emotional distance because I have no control over much of it. Awards season.” He shakes his head. “So …” Lindo pounds on the table again. “Knock … on … wood.”

You want an illustration of the unpredictable nature of the acting profession? Lindo and I wouldn’t be at this table talking and rapping and toasting the first Oscar nomination of his long career if one particular cut of “Sinners,” the version Coogler showed him at the Imax headquarters in Playa Vista more than a year ago, had gone out into the world.

Lindo, left, on the set of “Sinners” with co-star Michael B. Jordan and writer-director Ryan Coogler.

(Eli Ade / Warner Bros. Pictures)

If you’ve seen the film, you’ll no doubt remember Delta Slim delivering a monologue in the car riding to the juke joint with Stack (Michael B. Jordan) and Preacher Boy (Miles Caton) where he recalls the lynching of a fellow musician. The scene ends with Lindo breaking into a guttural humming and drumming, expressing pain that transcends words.

When Lindo saw the movie that first time, the monologue had been truncated, and the scene preceding it, where their car passes a chain gang and Delta Slim stands and exhorts the prisoners to “hold your heads,” was gone too.

After the credits finished rolling and the lights came up, Coogler asked Lindo what he thought of the film. Lindo looked at him. “Can we talk, man?” They went outside, and Lindo laid out in his steady, resonant baritone why he thought Coogler needed to reinstate the chain-gang scene, which reveals Delta Slim’s origin story — and surely, since the chain-gang scene is intertwined with the monologue in the car, that should go back into the movie too.

“What Ryan did so brilliantly is he took the time to introduce all of the main characters in their native environments so the audience gets invested in them and what they mean to the community,” Lindo says. “For Delta Slim, those scenes were the fundamental building blocks.”

It should be noted that there were many different cuts of “Sinners”: one as short as 90 minutes, one that opened with the vampire Remmick being chased by the Choctaw, one without the celebrated surreal musical sequence that became the centerpiece of the film.

“The Delta Slim monologue had a lot of ‘Is it in, is it out?’ debate,” “Sinners” film editor Michael P. Shawver says. “But I knew in my heart and soul I was never going let the movie out without that being in it.”

Coogler, it turns out, saw it that way too.

Delroy Lindo.

(Bexx Francois / For The Times)

“I couldn’t imagine making a movie about the blues without giving some deeper context on what that music really signifies,” Coogler writes in an email. “It’s easy to get lost in the rhythm and the artistry of it all, but the blues was born from a lot of pain and adversity in a particular time and place. When I wrote the script, I felt like I needed a living, breathing embodiment of that, and Delroy nailed it.”

“We could have filmed that monologue a thousand different times and it would have taken on new life with each take,” Coogler continues. “The gut-punch way he ends it, going from telling the story of a lynching to drumming along and humming … it’s macabre, sorrowful and beautiful all at the same time. It shows you exactly why Delroy’s such a masterful actor. If you ever needed to give someone the world’s fastest lesson in what the blues is about, he gives it to you right there.”

“God bless him,” Lindo says.

“Working for the camera, we’re at the mercy of the editing process,” Lindo notes. He speaks slowly, deliberately, always choosing his words carefully because language is important to him. It’s his currency.

How does he feel about that loss of control?

“It’s scary,” Lindo says. “One had better make one’s peace with that very quickly. If you don’t, you will get your feelings hurt. It’ll be a problem.”

Asked to pinpoint when he came to terms with that, Lindo remembers “Clockers,” the 1995 Spike Lee crime drama in which he played the intimidating drug kingpin Rodney Little. It was his third collaboration with Lee, following “Malcolm X” and “Crooklyn,” and the two enjoyed a mutual respect and rapport. But Lee still cut three of Lindo’s scenes, which Lindo understood — “kind of, sort of.” Lee was looking at the larger story. Those scenes weren’t essential.

“Making one’s peace with it is not the same as accepting it and being happy with it,” Lindo says, raising an index finger, a gesture he often makes when telling you something he considers important. “It’s just the way it is. It’s a fact of life.”

When talking about his career, Lindo, 73, tells me more than once that “it’s not where you start, it’s where you finish.”

The first time he tells me this we are talking about one of his early lead acting turns, starring in the 1983 Yale Repertory Theatre production of “A Raisin in the Sun,” the story of a struggling Black family dealing with discrimination in 1950s South Chicago. Lindo played the frustrated patriarch, Walter Lee, and won some strong reviews. But he felt like he was the “weak link” in the production. In a GQ profile, it was written that Lindo, born in London, couldn’t convince himself that the African American experience was his to interpret.

“Nope,” Lindo says. “I did not say that.” Again, the index finger. “You’re giving me the opportunity to set the record straight.” He pauses and closes his eyes. “Doing that play, I had an inner monologue playing in my head that cast doubt on my ability to play the part successfully. And it continued and it grew. It became a tape and then an album and then a series of albums. It eroded my confidence.”

“You know what it was?” he continues. “It was a self-esteem issue. It was an issue of me saying to myself, ‘You’re not good enough. You want to do one of the great parts in the theater? No. You don’t have it.’ Now, what’s the root of all that?” Lindo laughs, clasps his hands together and raises them. “The roots of that are food for myself and a therapist.”

But there is a happy ending to the story. Lindo was cast once more as Walter Lee, for a production of “A Raisin in the Sun” mounted at the Kennedy Center in 1986. Lloyd Richards again was directing, indicating to Lindo that maybe he wasn’t as bad as he thought he had been. Richards did tell Lindo that he needed to jettison some of the neurotic choices he was making as an actor.

“Those are the words he used, ‘neurotic choices,’” Lindo says, shaking his head. He pauses. “Man, I’m giving you a lot here. But it’s OK. You know why it’s OK?”

Because you’re enjoying our conversation? I venture.

Delroy Lindo.

(Bexx Francois / For The Times)

“No,” Lindo says. “I’m not particularly enjoying telling you about my failures. But this was an absolute period of growth for me as an actor all because I learned the most important thing: preparation, preparation, preparation.”

For his reprise of “A Raisin in the Sun,” Lindo called musical multihyphenate Oscar Brown Jr. and asked if he could fly to Chicago and pick his brain about life on the city’s South Side in the 1950s. Lindo walked the streets where “Raisin” playwright Lorraine Hansberry lived, steeping himself in what it meant to exist in that place and time. After that, the tape was no longer playing in his head, even when co-star Esther Rolle’s face fell after she realized that Lindo had been cast as Walter Lee. She thought she’d be headlining with Glynn Turman, but Turman had dropped out.

“Eight days, maybe nine into rehearsals, Esther turned to me — and this is when I knew it was going to be all right — and she said, ‘You’re a nice actor,’” Lindo remembers, smiling.

Preparation, preparation, preparation. For Delta Slim, Lindo read books on the blues, listened to Son House, Muddy Waters and Howlin’ Wolf and immersed himself in the culture of the Mississippi Delta. When it came time to shoot that monologue in the car, he was ready. On the next-to-last take, Lindo improvised, letting music take the place of words. Jordan went with it, turning to Caton in character, saying, “You got that guitar in your hand, don’t you, boy?” Caton begins playing.

“Man, we were all in the work,” Lindo says.

Where did that improvisation come from? I ask.

“It’s the musical manifestation of the pain I’m feeling,” Lindo says. “It’s the only thing I know how to do in that moment.”

It’s the blues.

“It’s the blues, man,” Lindo says. “I’ve heard it said numerous times: That’s where the blues comes from. And as an actor who participated in that moment, communicating that is extraordinary and profoundly gratifying.”

(Bexx Francois / For The Times)

SEOUL, Feb. 11 (UPI) — North Korea on Wednesday denounced Japan’s new defense equipment agreement with Canada, accusing Prime Minister Sanae Takaichi’s government of accelerating what it called a drive toward militarization and overseas aggression.

An article in Rodong Sinmun, the ruling Workers’ Party newspaper, described Japan as a “war criminal nation” and warned that Tokyo’s expanding military partnerships amount to the formation of a “de facto military alliance” with NATO members and regional countries.

The criticism comes days after Takaichi’s ruling Liberal Democratic Party secured a landslide election victory, strengthening her hand as she pushes to revise Japan’s pacifist constitution and formally recognize the Self-Defense Forces as a military.

Signed in late January, the agreement allows Japan and Canada to jointly develop military systems and share technology, and permits Tokyo to export defense hardware to Ottawa.

Rodong Sinmun argued that such arrangements violate the spirit of Japan’s post-World War II constitution, which renounces war and states that “land, sea, and air forces, as well as other war potential, will never be maintained.”

“As a war criminal nation, Japan is prohibited from possessing a military,” the newspaper wrote. “Therefore, even the very formation of a military alliance is a red line that must not be crossed.”

By strengthening its military agreements with other countries, Japan “aims to create an environment favorable to the realization of its ambitions for overseas aggression,” the paper added.

Japan maintains well-equipped Self-Defense Forces despite Article 9 of its constitution, drafted under U.S. supervision after World War II. In recent years, Tokyo has gradually expanded its security role and eased restrictions on defense exports.

Takaichi, a conservative defense hawk, has pledged to further bolster Japan’s military capabilities. During a Feb. 2 stump speech, she called for amending the constitution to formally recognize the Self-Defense Forces and “position them as a combat-capable organization.”

Her agenda unfolds against a backdrop of heightened tensions with China, including concerns over Taiwan, and pressure from Washington for allies to shoulder a greater share of defense burdens.

North Korea has routinely portrayed Japan’s security initiatives and its trilateral defense cooperation with the United States and South Korea as steps toward remilitarization and a threat to regional stability.

Anti-government protesters in Albania hurled petrol bombs and fireworks at police, who responded with tear gas and water cannons during demonstrations in the capital Tirana.

Emerald Fennell’s adaptation of “Wuthering Heights” could only have been created by a true fan. The British filmmaker wanted to evoke her youthful experience reading Emily Brontë’s 1847 novel when she was 14, which she describes as “the most physical emotional connection I’ve ever had to anything.” Her bodice-ripping, visually sumptuous version, in theaters Friday, incorporates some essential literary elements, but also imagines what’s in between the lines of Brontë’s writing, including sultry moments between the protagonists.

“I’m fanatical about the book,” Fennell says. She’s speaking over Zoom alongside Margot Robbie, who stars as Catherine Earnshaw (and who also produced the film), and Jacob Elordi, who plays Heathcliff. “I’m as obsessive about Emily Brontë as everyone else. She gets inside you.”

The director, 40, recalls going to the Brontë Festival of Women’s Writing in West Yorkshire, England, in 2025 and feeling completely at home. “I was like, ‘These are my chicks,’” Fennell says. “We all want to sleep in a coffin.” Robbie laughs, despite likely having heard the story before.

“We are, all of us, breathless, up against a rock,” Fennell continues, referencing a particularly evocative scene she imagined for her film. “I care so deeply about this that I couldn’t hope to ever make a perfect adaptation because I know my own limits.”

Margot Robbie and Jacob Elordi in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

What she could do is make a film that recalled the visceral feeling of reading the novel as a teen. “That would mean it had a certain amount of wish fulfillment,” she admits. The novel is famously austere, with mere glimmers of physical intimacy. “The Gothic, to me, is emotional and it’s about the world reflecting everyone’s interior landscape. This is my personal fan tribute to this work.”

“Wuthering Heights” marks the third collaboration between Robbie’s production company, LuckyChap Entertainment, and Fennell. Robbie, 35, produced Fennell’s 2020 feature debut “Promising Young Woman,” which earned Fennell the Oscar for original screenplay, and 2023’s class-envy thriller “Saltburn.” Her style is confrontational and seemingly fearless, often provoking hugely divergent reactions from critics and fans. She’s a filmmaker who goes full-on.

Despite their history, however, Robbie had never acted in one of Fennell’s films.

“When I read this script, I did find I was putting myself in Cathy’s shoes and reading the lines and thinking, ‘How would I play it?’” Robbie says. “I do that often when reading scripts, but my heart sank when thinking about the casting. So I threw my hat in the ring.”

Margot Robbie in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

“It’s a bit like asking your friend to date you,” Fennell chimes in. “It’s taking something a step in a different direction. You don’t want to be the person who blows up the thing that you have that works so well. But I was desperate for Margot to play Cathy. I was so relieved that it was her who made the first move.”

Fennell did make the first move with Elordi, 28, recently Oscar-nominated for his monster in Guillermo del Toro’s “Frankenstein.”

“Emerald texted me and said, ‘Do you want to be Heathcliff?’” Elordi recalls. “That was it. I said, ‘Yeah.’ And then when she gave the screenplay, I read it and wept. That’s how you dream of making movies.”

Not only did Elordi look like the version of Heathcliff on the cover of Fennell’s edition of the novel, but she had witnessed his potential for the role while making “Saltburn.”

Jacob Elordi in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

“Felix is a character who does something awful in every scene,” Fennell explains of Elordi’s charismatic rich boy in “Saltburn.” “But it needed somebody who could make everyone in the audience forget that. And Jacob was the only person who came in and did that. Heathcliff is an extreme antihero. He’s cruel and he’s violent and he’s relentless and he’s vengeful and he’s spiteful. Jacob has a sensitivity and tenderness and groundedness that makes us forgive all that.”

Fennell knew the film hinged on the casting of Cathy and Heathcliff, two iconic literary characters who have been portrayed by a multitude of actors over the years, including Laurence Olivier, Juliette Binoche and Ralph Fiennes. It’s been broadly debated whether the novel actually is a love story between the snobbish Cathy and the glowering Heathcliff. For some, it’s a tale of toxic fixation, for others a revenge plot or a tragedy. But Fennell’s version is undeniably a big-screen romance.

“We were looking for outsized charisma and outsized talent, people like Burton and Taylor,” director Emerald Fennell says. “A combination of actors who are explosively brilliant. And it’s these two.”

(Shayan Asgharnia / For The Times)

“We were looking for outsized charisma and outsized talent, people like Burton and Taylor,” Fennell says of the classic onscreen pairing of Richard Burton and Elizabeth Taylor, famously tumultuous. “A combination of actors who are explosively brilliant. And it’s these two.”

“That’s the coolest thing to say,” Elordi says, covering his face with his hands. “This after years of hearing nothing,” he quips. (Fennell says she is sparing with praise.)

“Wuthering Heights” reunites several of Fennell’s repeat collaborators. Actor Alison Oliver, who appeared in “Saltburn,” plays Isabella Linton, Edgar’s ward who becomes a problematic fixation for Heathcliff, and the filmmaker reteamed with cinematographer Linus Sandgren, production designer Suzie Davies and editor Victoria Boydell. Fennell also brought in new faces, including Hong Chau as Nelly Dean, Cathy’s companion, and Shazad Latif as wealthy businessman Edgar Linton. She and Robbie aimed to create a creatively safe set.

“It’s very exposing, especially for the actors,” Fennell says of making an audacious film like this. “You need to be able to forget that and feel that you have the ability to make mistakes and try something different.”

Fennell’s direction was often unexpected.

“I remember she prepped us for the long table scene and said, ‘It needs to come to life,’” Elordi says. “Heathcliff was brooding but she said, ‘What if he wasn’t brooding?’ All of a sudden there was this electricity at the table. As an actor, that pushes me out of my comfort zone. And every time it works.”

“What I like about working with Emerald is: I like going too far,” Robbie agrees. “My instinct is to go really hard and then have someone tell me to pull it back. She rarely tells me to pull it back. She wants the maximalist version and I relish that. She would say, ‘Now you’re in a sensible period film.’ And then she’d say ‘Now do it like you’re Ursula the sea witch.’”

That was the take that made the final cut. “Part of it is there,” Fennell confirms. “Usually I use only a little moment of something but that’s the crucial one. Because we’re all so crazy in life, aren’t we?”

“And Cathy so is Ursula the sea witch,” Robbie says.

“She’s such a little sea witch,” Fennell agrees.

Fennell’s reimagining of “Wuthering Heights” amps up the existing emotions in the novel. She abridges its plot, removing the second-generation narrative that bookends Brontë’s writing. The torment of Cathy’s abusive brother shifts to the hands of her father, played by Martin Clunes.

Meanwhile, the longing between Cathy and Heathcliff, who can’t be together due to his lowly station and her spiteful decision to marry the wealthy Linton, accelerates dramatically into fervid sex scenes. The doomed couple erotically embrace on the Yorkshire Moors, in the back of a carriage and even inside her bedroom at Thrushcross Grange — all moments that are not part of the book.

Margot Robbie in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

“They’re part of the book of my head,” Fennell says, adamantly. “I think they’re part of the book of all of our heads. With all the love and respect and adoration I have for the book, I also wanted to make my own version that I needed to see.”

“It is totally that wish fulfillment,” Robbie says. “And if you can’t have the wish fulfillment in movies, where are you going to get it?”

Fennell imbued the film with tactile visuals that evoke the sexual tension between Cathy and Heathcliff. There are close-ups of hands kneading dough, a snail sliming its way up a window and Cathy prodding a jellied fish with her finger. The director tested numerous fish before selecting the one that is seen onscreen.

“Why I love working with these guys so much is we’re all detail perverts,” Fennell says. “I am obsessed with every single thing. That fish that Margot fingered — I fingered about 50 different fish before then. Tiny fish, big fish, fake fish, jelly that was wet, jelly that was soft, jelly that was firm.”

“You think she’s joking but she’s not,” Robbie says.

“My finger smelled so bad the whole time that we were making this movie,” Fennell adds.

Ultimately, though, it was the best possible fish. “We did the takes with a couple of fish, but we all knew the right one when it happened,” Robbie says of the scene, which mirrors the sexual disappointment in Cathy’s marriage. “We all felt it in the same moment. Everyone went, ‘That’s it.’”

Jacob Elordi and Margot Robbie in the movie “Wuthering Heights.”

(Warner Bros. Pictures)

The film’s aesthetic is bold and brash, featuring brilliantly hued red floors and walls designed to look like Cathy’s freckled skin. It lands somewhere between Disney fairy tale, ’80s romance paperback art and old Hollywood glamour. Atmospheric mist pours across every scene. The estate of Wuthering Heights is foreboding and dark, with rocks splintering through the walls, while Linton’s Thrushcross Grange bears a Victorian aesthetic, containing the outside world. “It’s nature coming in and nature being kept out,” Fennell says. “And it’s about what that means emotionally and metaphorically for the story and for these characters.”

There is purposefully no adherence to historical accuracy, particularly in the costumes. Designed by Jacqueline Durran, the wardrobe was elaborately wild to underscore emotional truths rather than period relevancy.

“You couldn’t not scream,” Robbie says about trying on each piece. “And then Emerald would come up with a platter of jewels and start decorating me like a Christmas tree.”

“There was so much screaming every day,” Fennell says. “I always want people to have permission to go too far, to do something that’s in bad taste, that’s not subtle. I’m really interested in pushing until that squeaking point where you’re like, ‘OK, that’s too far.’ It takes a lot of bravery to do that.”

Even Elordi joined in the excitement. “I was screaming at all the dresses,” he says. “Margot and Alison’s dressing rooms flanked me so I’d often get caught in the hallway.”

Although the world of the movie is heightened and beautifully garish, the romance is more grounded. You can feel how desperate Cathy and Heathcliff are for each other in their own twisted way, and despite their horrible machinations you want them to be together. The film ends differently from the novel, but it shares with it a sad inevitability.

Fennell inherently understood what makes these characters so desirable.

“I was led by my own feelings,” she says. “On set, we were all trying to find that thing that made us get goosebumps. One of the earliest scenes we shot was where Heathcliff breaks the chair to build Cathy a fire.”

To help a shivering Cathy, Heathcliff rises from his wooden seat, smashes it on the floor and tosses the pieces into the fireplace. It’s a moment of devotion from Heathcliff, but triggers a lustful response in Cathy.

“I looked around and all of these professionals, women and men, were agape. Everyone felt the same way as Cathy. That’s what I was looking for every day.”

“He actually broke the chair,” Robbie says. “Cathy’s reaction is my genuine reaction.”

Elordi understood the challenge of embodying such an iconic character, who has existed both on the page and on the screen for generations. He also didn’t want to let Fennell down.

“I knew how personal the story was to Emerald and I knew the screenplay that she had written was extremely good, but I was like ‘What makes you think I can do this?’” Elordi remembers. “I had a lot of nerves but I jumped into it. This is a director you’re really able to give everything to. The images that come from her head are so unique and singular. The first time I watched ‘Saltburn’ with her, I sat back and I realized I was in the presence of something truly great and original. To be able to investigate with her two times is a gift.”

Says Robbie, “My hope is always: There’s got to be one person that watches this movie and thinks ‘That’s my favorite of all time.’ I want to make a movie that is someone’s favorite movie of all time and I’ll know how much that means to them. That it might save them in whatever ways movies can save you.”

Fennell’s “Wuthering Heights” shudders with feeling. And however audiences perceive it, its maker has done exactly what she intended.

Feb. 11 (UPI) — Authorities in Arizona have detained a person in the investigation of missing Nancy Guthrie, mother of Today show host Savannah Guthrie.

The unidentified person was detained by deputies of the Pima County Sheriff’s Department on Tuesday, the department said.

“The subject is currently being questioned in connection to the Nancy Guthrie investigation,” the sheriff’s department said in a statement.

No other information was made immediately public, and the sheriff’s department later added that “no press conference would be scheduled at this time.”

DoorDash, the on-demand delivery platform, said it was “urgently investigating” to see if the detained individual was one of its drivers.

“We have reached out to law enforcement and are ready to support their critical investigation in any way we can,” the technology company said in a social media statement early Wednesday.

“Like tens of millions around the world, our hearts are with the Guthrie family during this heart-wrenching time.”

The development comes as the search for the 84-year-old woman enters its 11th day on Wednesday.

Authorities believe she was kidnapped from her Tucson, Ariz., home on the night of Jan. 31. She was last seen at about 9:45 p.m. MST that night and was reported missing the following day after she failed to arrive at a friend’s house to watch a church livestream. It was previously reported that she was to attend church in person.

Before the unidentified individual was detained on Tuesday, the FBI released images taken from doorbell footage at Guthrie’s front door the morning she disappeared that show a person tampering with the camera.

A $50,000 reward is being offered by the FBI for information leading to Guthrie’s recovery.

The federal law enforcement agency said there has been no contact between Guthrie’s family and the suspected kidnappers, despite a 5 p.m. Monday ransom deadline for them to pay $6 million in Bitcoin having elapsed.

The ransom was reportedly demanded in messages sent to several news outlets and has yet to be authenticated by law enforcement.