News Desk

Germany come from behind to beat Ivory Coast 2-1 in Group E, sealing FIFA World Cup 2026 knockout place.

Deniz Undav scored two goals off the bench as Germany pulled off a thrilling comeback to beat Ivory Coast 2-1 in their ⁠World Cup Group E match, securing their place in the knockout stage for the first time since they won the title in 2014.

After having two goals disallowed in the first half on Saturday, Germany did not lose ⁠focus and used intricate passing to find their way, while the West Africans produced their dynamic brand of attacking football in a wild Group E clash.

Undav levelled the score with a controlled, volleyed finish in the 68th minute and struck again when he received a pass on the turn, before swivelling and firing home a ball that Yahia ‌Fofana had no chance at stopping.

The versatile striker now has nine goals in his last eight matches.

Simon Adingra had a late chance for Ivory Coast, but he failed to get a shot off in the area before Germany charged back down the field and Fofana blocked a low shot from Nathaniel Brown.

Ivory Coast had opened the scoring in the first half when Franck Kessie slotted home a rebound off a shot by Amad Diallo on a play created when Yan Diomande charged down the left side and sent in ⁠a cross.

With more than 100,000 people of German ancestry living in Toronto, Julian Nagelsmann’s ⁠men enjoyed plenty of support but were a frustrated group at the interval with nothing to show for their eight attempts on goal.

Germany looked to have opened the scoring when midfielder Aleksandar Pavlovic rose to meet a short corner in the 25th minute but was ⁠deemed to have fouled Fofana in the process.

The ruling left Pavlovic with his hands atop his head in disbelief while Fofana received some attention after the collision, and ⁠the partisan German crowd made their disdain for the referee’s decision ⁠known.

Shortly after, it was Ivory Coast who finally broke through with Kessie’s goal. The West Africans have scored in their last seven matches at the tournament – the longest such sequence on the global stage in their history.

Germany once again put the ball in the back of the ‌net, but their celebrations were cut short as the referee determined that Jamal Musiala had fouled Odilon Kossounou in the buildup.

Germany top Group E with six points and are through to the last 32, while Ivory Coast remain ‌on three after two matches. Ecuador and Curacao meet in Kansas City later on Saturday.

Germany will close out the group stage against Ecuador on Thursday in New Jersey, while Ivory Coast face Curacao in Philadelphia.

A Gavin & Stacey icon is tipped to be joining the celebrity line-up for the 2026 season of Strictly Come Dancing – which will see Emma Willis, Johannes Radebe and Josh Widdicombe take over as judges

Gavin & Stacey star Melanie Walters is the latest celebrity to have reportedly signed up to the 2026 season of Strictly Come Dancing. A report has claimed the 64-year-old actress will be throwing on sequins and hitting the ballroom floor as one of the star contestants for the upcoming 24th season of the long-running BBC show.

Sitcom fans will know Melanie as Gwen West in Gavin & Stacey – which aired its last ever episode in 2024 – and is also known for playing Bonnie Bevan in Hollyoaks, and for guest roles in a string of shows including Doc Martin, Casualty, and Beyond Paradise. Now fans may be able to see her in a whole new light as a contestant on the BBC’s iconic dance show.

The 2026 cast has started to be unveiled – with an EastEnders favourite and an Australian music icon among the confirmed cast so far. A report has now suggested that Melanie will be the next celeb to be announced as part of the upcoming line-up.

A source told The Sun on Sunday: ““Melanie is loved across the country for her role as Gwen. The Gavin & Stacey Christmas special in 2024 saw millions of fans turning in for the final episode of the series. BBC bosses are very excited to have landed Melanie given her popularity.”

When asked for a statement, the BBC responded to the Mirror to say: “We don’t comment on speculation.” EastEnders star Lacey Turner, who has played Stacey Slater in the BBC soap since 2004, was the first 2026 contestant to be announced – with Australian singer and recent Eurovision contestant Delta Goodrem also unmasked as a participant.

Fans will recall that Love Island star Dani Dyer was forced to drop out of the 2025 contest after suffering an early injury during the competition – but she has now been granted the chance to fight for the glitterball trophy again as she will return as a 2026 contestant. While celebrity hairstylist Chris Appleton has also been unveiled as a season 24 participant.

After being announced as the first contestant for 2026, Lacey said in a statement: “I am so excited to being making my way to the dance floor this year to be a part of Strictly Come Dancing! I am a huge fan and can’t quite believe I will be taking part and not watching at home this year! I look forward to meeting everyone and learning a new skill!”

While Love Island’s Dani declared: “I am so excited to be back in the ballroom this September. I just cannot wait to get my dancing shoes back on and hopefully this time around I can actually make it to week one! I’m just over the moon and cannot wait to find out who else is doing it!”

Meanwhile, singer Delta – who was a favourite to win the 2026 Eurovision Song Contest, but missed out on the crown – expressed her excitement at taking part in Strictly. She gushed: “I’ve been incredibly honoured to perform on many different stages throughout my career – from tv, theatre, film sets, to touring my own shows around the world, there is however one stage I’ve never stepped onto and that is the ballroom floor! I’m absolutely thrilled to be joining Strictly and can’t wait to get started!”

Chris – who has styled the hair of celebrities including Kim Kardashian and Ariana Grande – said: “I’m thrilled to be joining Strictly Come Dancing and coming home to the UK for this incredible experience. I’ve always believed that the best things happen when you take a chance and try something new. I may know my way around a salon floor, but the dance floor is a whole different story – and I can’t wait to get started.”

A lot is riding on the 2026 season of Strictly – which will be the first to air since the shock resignations of hosts Tess Daly and Claudia Winkleman. Fans were blindsided last year when they abruptly announced they were to exit the show at the end of 2025 just weeks after the 23rd season started to air.

Model-turned-presenter Emma Willis will front the show alongside former Strictly professional Johannes Radebe and stand up comedian Josh Widdicombe. Shirley Ballas, Anton Du Beke, Motsi Mabuse and Craig Revel Horwood have all been confirmed as returning as the panel of judges.

As news of the new presenting line-up last month, Emma declared: “To be stepping into the Strictly ballroom is something I can’t quite comprehend.” While Josh added he was: “giddy with excitement, honoured and a little overawed to be given the chance to step into the biggest shoes in television”.

And Strictly pro Johannes – who danced professionally on the series from 2018 through 2025 – said returning to the series as a new presenter was “beyond anything I ever imagined”. The 2026 season of Strictly is expected to begin airing in September.

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United States President Donald Trump has pledged there will be no tolls for passage through the Strait of Hormuz, unless they are collected by his own country.

Trump’s statement, made in a Saturday afternoon post on Truth Social, is the latest sign that a recently signed memorandum of understanding (MOU) may be unravelling.

“There will be NO TOLLS in the Hormuz Strait for 60 days during the Cease Fire Period, and there will be NO TOLLS after the 60 day period has expired,” Trump wrote, “unless they are imposed by and for the United States of America.”

Since the US and Israel launched a war against Iran on February 28, Iran has successfully used the Strait of Hormuz as a pressure point, closing the strategic waterway to traffic.

But under the terms of Wednesday’s ceasefire memorandum, the strait is supposed to reopen for an interim period of 60 days. During that time, Iran is barred from charging vessels for passage.

On Saturday, however, Iran’s joint military command said it had closed the Strait of Hormuz, citing a “clear breach” of the memorandum’s commitments.

US Central Command (CENTCOM), the agency that oversees military operations in the region, denied that report and maintained that the traffic continues to flow through the waterway.

The Strait of Hormuz has long been a flashpoint in the conflict between the US and Iran. Nearly 20 percent of the world’s oil and natural gas is transported through the strait, as well as about 30 percent of the global fertiliser trade.

Closure of the strait has caused global fuel costs to soar and has tested agricultural sectors across the world.

Trump had responded to Iran’s chokehold over the strait by imposing a US naval blockade on Iran’s ports in the region.

But that naval blockade was lifted under the terms of Wednesday’s memorandum. The deal also paused fighting on all fronts in the regional conflict, including in Lebanon.

The memorandum, though, was not intended as a long-term deal. It serves as a launching point for negotiations on key issues, including the future of Iran’s nuclear programme.

Several points of divergence also went unaddressed in the memorandum. Nowhere does the memo say that future tolls cannot be collected from the strait after the 60-day period expires.

Before the war, there was no charge for passage through the strait. Trump himself said in an interview with The New York Times that the waterway should remain “permanently toll-free”.

But he appeared to reverse course in Saturday’s post, once again floating the possibility that the US could extract tolls in the strait, while barring Iran from doing so.

No fees should be levied, Trump wrote, “unless they are imposed by and for the United States of America, should the deal not be completed”.

He explained that such a charge would compensate the US “for services rendered as the Guardian Angel to the countries of the Middle East for purposes of both past, present, and future reimbursement of costs”.

Trump used similar language in his New York Times interview earlier this week, floating the US becoming “the guardian of the Middle East” in exchange for 20 percent of its revenue.

Saturday’s post is not the first time Trump has mused about the US imposing tolls in the strait, either.

In April, for instance, he discussed the idea with reporters, saying, “What about us charging tolls? I’d rather do that than let them have them. Why shouldn’t we? We’re the winner. We won.”

There has been no indication that Trump’s plans have been officially presented to countries in the region, many of whom have struck a careful balance in their dealings with both the US and Iran during the war.

Iranian officials, meanwhile, have repeatedly said they will not rule out imposing tolls in the strait, framing the issue as a matter of sovereignty and regional negotiation. The strait sits between Iran and Oman.

Further discussions are expected on the matter in the coming weeks.

But such negotiations have been thrown into jeopardy amid ongoing Israeli military operations in Lebanon, which threaten to violate Wednesday’s ceasefire memorandum.

Iran claimed that Saturday’s closure of the strait was a result of new Israeli attacks in southern Lebanon, which killed dozens of people after the ceasefire was announced.

Iranian officials have also said that any upcoming talks should focus on proper implementation of the initial memorandum, and that the 60-day negotiating period stipulated in Wednesday’s deal would begin after that was settled.

Pakistan, a top mediator between the US and Iran, has said that follow-up talks are set to begin in Switzerland on Sunday.

Switzerland’s Federal Department of Foreign Affairs has confirmed that an Iranian delegation, led by parliamentary Speaker Mohammad Bagher Ghalibaf and Foreign Minister Abbas Araghchi, has already arrived for the negotiations.

On the US side, Trump’s son-in-law Jared Kushner, special envoy Steve Witkoff and Vice President JD Vance are expected to attend.

Vance departed for Switzerland late Saturday.

Spanish painter Nieves González arrives in Los Angeles for her first U.S. solo exhibition having already experienced a taste of fame.

The 29-year-old caught the attention of the art and fashion worlds last year after being discovered on Instagram and commissioned to paint the cover of Lily Allen’s album “West End Girl.” Depicting the singer as a Baroque aristocrat clad in contemporary designer fashion, the portrait helped propel González onto an international stage.

Collectors have taken notice. The 13 paintings in “A Friendship Story,” opening Saturday at Richard Heller Gallery in Santa Monica, have already sold out, according to the gallery, with prices ranging from $4,000 to $20,000.

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Elle magazine dubbed González “Fashion’s Favorite New Artist,” while exhibitions in Rome, Paris, Belfast and Bilbao, Spain, expanded her reputation across Europe.

González developed her classic yet defiantly modern approach while studying at the University of Seville, where Spanish masters such as Diego Velázquez and Francisco de Zurbarán painted in the naturalist Baroque tradition. Drawing liberally from fashion, art history and everyday life, she often dresses the subjects of her portraits in puffer jackets — garments she wears herself during the cold winters of Granada, Spain, where she lives. The material, she said, recalls the sculptural rendering of fabric in paintings by Zurbarán and Velázquez: the folds, the volumes, the high shine.

Nieves González often dresses her subjects in puffer jackets.

(Genaro Molina / Los Angeles Times)

“It works beautifully from a visual standpoint,” she said, speaking Spanish during an interview at Santa Monica’s Bergamot Station a few days before the exhibition opened. Wearing blue jeans and a pink button-down blouse, she echoed the pastel blues and pinks that appear throughout many of the works surrounding her.

“Fashion inspires me,” she said. “Just as 17th century artists drew inspiration from the fashion of their day — often creating paintings that served as catalogs of current styles — I do the same,” she said. “The goal is to not merely convey a specific message or ideology but to create a testament to a generation and the era in which we live.”

This fall, González’s painting “La Sfida” (2025) will appear in the Städel Museum’s exhibition “Mary Magdalene. Sin. Pray. Love” in Frankfurt, Germany, alongside works by Lady Gaga, Marlene Dumas and Auguste Rodin. The painting depicts Mary Magdalene with long, flowing hair, draped in a regal red garment and clutching a skull — a contemporary interpretation of one of Christianity’s most enduring figures.

“Nieves González is the youngest of these artists and, at the same time, probably the one who most closely follows in the tradition of the Old Masters,” curators Bastian Eclercy and Stefan Roller wrote in an email.

The Santa Monica exhibition marks an evolution from the paintings that established González’s reputation. Earlier works often centered on solitary women posed with the self-possession of royal portraits or religious icons. “A Friendship Story” focuses on relationships between pairs of women, exploring friendship, intimacy, support and shared experience.

For González, friendship is one of the most profound aspects of women’s lives and a subject she felt deserved greater attention in painting.

Victoria Rios, a curator who works with González, said the artist’s paintings “rewrite the narratives of the past, rewrite the history of martyrdom and place women at the center.”

“Nothing in her painting is arbitrary,” Rios said in an email. “Every formal decision is also an ethical one.”

“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” Nieves González said. “It seemed like a way to elevate the concept of friendship.”

(Genaro Molina / Los Angeles Times)

González frequently turns art historical conventions on their head. In “Salir a robar caballos: Go out to steal horses,” she replaces the archetypal portrait of a gallant man on horseback with two young women dressed in puffer and vinyl jackets, posed like contemporary Amazons atop rearing horses.

“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” González said. “It seemed like a way to elevate the concept of friendship. It also has an element of play, adventure and fun, since having fun is part of the bond too.”

The artist also sees her work through a feminist lens.

“We live in a patriarchal society, and so, unfortunately, I belong to the oppressed segment of that society, and my work relates to that,” she said. “It stems from a struggle, an understanding and a process of redefining concepts that we have historically established as normal, natural and habitual.”

“I am interested in portraying us as brave and powerful, sometimes even with an air of haughtiness,” she said.

Another painting, “Something’s crossed over me and I can’t go back” (2026), captures González’s fusion of historical and contemporary references. Two women dressed in green and pink fur cradle each other’s heads, reimagining medieval depictions of cephalophores — Christian martyrs who carry their severed heads while continuing to preach or pray.

The title comes from a pivotal line in the 1991 film “Thelma & Louise,” marking the turning point for Geena Davis’ character Thelma, fully committing to her ultimately fatal adventure with Susan Sarandon’s Louise.

Nieves González, “Holding You,” 2026 (oil on canvas).

(Genaro Molina / Los Angeles Times)

González builds each painting from what she calls a “Frankenstein” — a digital composite assembled from archival photographs, found images and reference material. The painting process then takes over. A mid-project visit to the Prado Museum in Madrid, for instance, might send her back to the digital sketch to pull in a compositional element from Velázquez before returning to the canvas. “The final result often ends up being completely different from what I initially envisioned,” she said.

Heller began representing González, whom he calls an “original voice,” last year after being introduced to her work by another painter.

Staging her first U.S. solo exhibition in Los Angeles rather than New York reflects what he sees as a more relaxed environment for an emerging artist, without the glare and expectations of the New York art world.

“L.A. feels a little less constrained,” Heller said. “It feels a little more free.”

González’s portrait of Allen is currently on view at London’s National Portrait Gallery, hanging in the same room as a self-portrait by David Hockney. She said while it “has been very significant in terms of media exposure,” exhibitions and professional opportunities were already in motion before the album cover brought wider attention.

“I’ve always said that what I want to do in life is make a living from painting,” she said.

Mission accomplished.

Cody Gakpo and Brian Brobbey both scored twice as the rampant Netherlands thrashed Sweden 5-1 in a World Cup warning to the favourites.

The big win on Saturday in front of nearly 69,000 at Houston Stadium put the delighted Dutch on the cusp of the knockout rounds and gave them lift-off after being held by Japan.

Ronald Koeman’s side top Group F with four points from two games, ahead of Sweden on three, Japan (one) and Tunisia (zero).

Despite the sobering loss, the Swedes had plenty of chances but were denied by good goalkeeping and wasteful finishing.

Sunderland striker Brobbey got his first start of the tournament and repaid Koeman with predatory goals after five and 17 minutes.

Before that, the 24-year-old had scored only once for his country since making his debut three years ago.

In a game full of top Premier League talent, Liverpool’s Gakpo – who set Brobbey up for the opener – scored twice early in the second half.

Substitute Anthony Elanga from Newcastle United pulled one back for Sweden just before the hour with a classy finish.

West Ham’s Crysencio Summerville had the last word for the five-star Dutch.

Two crew members from the historic Artemis II lunar mission were among the VIP guests, a nod to Houston’s place as the home of space flight.

There was no problem here as the Dutch, twice pegged back in a lively 2-2 draw with Japan to start their title bid, made the brighter start in front of their orange-clad fans and King Willem-Alexander.

Brobbey, who came in for Summerville despite the winger scoring against Japan, started and finished the first goal.

It was made in the Premier League, with goalkeeper Bart Verbruggen, midfielder Tijjani Reijnders and Gakpo all involved.

Brobbey exchanged passes with Gakpo, before the Anfield attacker crossed in low from the left for his team-mate to stab in from close range.

Sweden, who thrashed Tunisia 5-1 in their first game, could not handle Brobbey’s muscular presence.

Up front, the much-vaunted attack of Liverpool’s Alexander Isak and Viktor Gyokeres of Arsenal were feeding on scraps for Sweden.

Gakpo’s half

Twelve minutes after his opener, Brobbey made it 2-0 when a deflected Denzel Dumfries cross from the right fell perfectly into his path and he toe-poked past Kristoffer Nordfeldt.

Sweden’s English coach, Graham Potter, was in deep discussions with his backroom staff as the game threatened to run away from them.

At the unpopular hydration break, Potter made a beeline for left-sided defender Gabriel Gudmundsson of Leeds United, who was being overrun by the flying Dumfries and Donyell Malen.

Sweden then had their best chance, Gyokeres crossing for an unmarked Yasin Ayari, who completely miscontrolled the ball with his chest.

Gyokeres was next to fluff a good chance, failing to make proper contact after being played in by the largely anonymous Isak.

Gyokeres and Ayari both had further sights of goal, only to be denied by the increasingly overworked Verbruggen.

The Netherlands were hanging on by the end of the half.

Koeman sent on Summerville for Malen at the break and two minutes later it was mission impossible for Sweden, Gakpo prodding in from close range after yet another dangerous low cross from Dumfries.

All three goals were strikingly similar.

Gakpo scored a lovely fourth on 54 minutes, turning inside his defender before firing low into the bottom corner.

Elanga pulled one back five minutes later when he raced clear of the Dutch defence and rattled the ball past Verbruggen.

Summerville made it five in the dying minutes with his second goal in North America.

Sweden are still in with a good chance of progressing into the last 32.

Japan and Tunisia play later Saturday in Monterrey, Mexico.

Sweden face Japan next, while the Netherlands play Tunisia.

Bolivia’s president announces a state of emergency after weeks of nationwide protests and road blockades crippled the country’s economy. Protesters are demanding fuel subsidies be reinstated and increased funding for education.

BROOKLYN Beckham reportedly raked in £753k for his savage World Cup ad that left his estranged family fuming.

The aspiring chef, 27, appeared in an advert for the fast food delivery service DoorDash and took a swipe at his dad David in it.

He said to the camera: “You’re probably wondering why I’m watching the FIFA World Cup 2026 from home…”

Smirking Brooklyn then laughed: “It’s a long story.”

He went on to throw down his tickets onto the coffee table.

The advert then said: “It’s complicated. More soon.”

READ MORE ON BROOKLYN BECKHAM

CLOUD DECLINE

Brooklyn Beckham detailed business struggles weeks before his World Cup ad

BECKLASH

Brooklyn Beckham’s ad ‘could backfire disastrously & tar him as nepobaby FOREVER’

It’s now been claimed that the nepo baby was paid a whopping $1 million dollars, which equates to £753k, according to Mail Online.

The Sun have contacted Brooklyn’s representatives for a comment.

The advert poked fun at Brooklyn’s estrangement from his famous parents David, 51, and Victoria, 52, as well as his brothers and sister and wider family for over a year.

Beloved England player Becks famously played in three FIFA World Cups in 1998, 2002 and 2006.

He’s been out in America promoting the World Cup – watching the opening match with Tom Cruise.

A source close to the Beckhams said: “To do an ad based on estrangement from family as if it’s a joke when his family is devastated and sister and grandparents are inconsolable…

“It just seems a tad hypocritical from someone claiming to want peace and privacy and the trying to cash in on it all.

“He says he wants nothing to do with his family, but is now trading off them by using one of his footballing father’s legacies – the World Cup – as an advertising selling point.

“Brooklyn is absolutely entitled to go and make his own money – his parents laud such ambition – but taking the mick out of a deep-rooted, heartbreaking family situation is not the one.”

DoorDash replied to the video, which quickly gained thousands of views online, saying: “We have a guess on why you’re watching from home…”

The ad came after Brooklyn failed to acknowledge his dad’s Hollywood Walk of Fame honour.

Instead, he took to Instagram to share a story of himself enjoying a run in the park while in New York.

Brooklyn and his wife Nicola, 31, incidentally actually only live down the road from the Los Angeles location that the event took place at.

But he was out of town for a few days as he was at the Tribeca Film Festival promoting his hot sauce range, called ‘Cloud 23’.

Brooklyn has been estranged from his family – including his siblings – for more than a year.

In January, the Beckhams’ eldest son made a dozen explosive accusations in a ruthless statement hitting out at his family.

He called out his famous parents for their “inauthenticity”, accused them of making bribes and scolded the family for their treatment of his wife on their wedding day.

He sent his parents a legal notice warning they can only contact him via lawyers.

In the extraordinary “desist” letter, he also instructed them not to “tag” him on social media.

June 20 (UPI) — Police arrested a man after stabbing five people in Edinburgh, Scotland, in suspected anti-Muslim attacks.

The man was allegedly roaming the streets of the city Friday night and stabbed five people and damaged a car and business. The attacks began near a mosque in the west of Edinburgh, where two men were injured. The Scottish Association of Mosques said two worshippers were attacked in a park after leaving the Broomhouse mosque.

Police said that five men in total, two of them 22 years old, and others ages 24, 27 and 39, suffered a range of injuries. Three of them were treated at a hospital, though none of the injuries was life-threatening.

A 36-year-old white man was arrested, and counter terrorism officers have joined local Police Scotland in an investigation.

Assistant Chief Constable Catriona Paton said in a statement that there is “no place for racism or faith-based hate in Scotland.”

Police got reports of attacks near shops in the west and north of the city, and said three other men were attacked in the Telford Road and Leith Walk areas. Police eventually confronted the man with a taser and arrested him, though they said the taser was never used.

“There is a profound sense of shock, alarm and anger within Muslim communities across Scotland today,” Omar Afzal, director of public affairs for the Scottish Association of Mosques, told The Scotsman. “These latest attacks are deeply disturbing. However, they do not exist in a vacuum. For years, Muslim communities have warned about the consequences of anti-Muslim hatred becoming normalized in public discourse. When prejudice is left unchallenged, it creates an environment in which some individuals feel emboldened to act on that hatred.”

Analyst Alexandru Hudisteanu warns that Iran’s overuse of Strait of Hormuz as leverage could transform the strategic chokepoint from a deterrence tool into an instrument of extortion, potentially turning the country into an international pariah.

Jennie Bond was BBC Royal Correspondent for 14 years and struck up a friendship with Lady Diana.

Jennie Bond’s illustrious journalism career stretches back over five decades, during which she has covered a vast array of remarkable stories.

In 1989, she took on the role of Royal Correspondent for the BBC, a position she held for 14 years before stepping down in 2003 to dedicate more time to her family and pursue freelance work.

During her time as a royal reporter, however, she forged a close friendship with Lady Diana, which she discussed with Raj Bisram during her appearance on Celebrity Antiques Road Trip. A repeat of that episode aired this evening (June 20) on BBC Two.

The BBC antiques expert quizzed her on just how close their relationship was, to which she responded: “I was a journalist that she got along with and shared confidences with.

“You know, ‘There were three of us in this marriage,’ all this sort of stuff.”

“Then, at the end, annoyingly, she’d say, ‘Of course, Jennie, this is just between you and me and these four walls.’ I’d think, ‘Ugh!’ So I kept it that way.”

Raj then asked which interview throughout Jennie’s career had left the greatest impression on her, reports Devon Live.

She answered: “I suppose, when I challenged her in Angola on the land mine mission, when she was trying to get an international ban on land mines.

“I said, ‘Ma’am, you’ve been accused of being a loose cannon,’ and she was very shocked and said, ‘I’m just trying to be a humanitarian. That’s it.'”.

“That was pretty momentous. It made an awful lot of news.”

At the time, Lady Diana was described as a ‘loose cannon’ by a junior government Cabinet minister who condemned her position on landmines.

The tense exchange, which took place in 1997, was captured in a documentary of the time, showing Lady Diana’s response to Jennie’s pointed question.

She said: “I’m only trying to highlight a problem that’s going on all around the world. That’s all.”

She was subsequently filmed climbing into a waiting car, visibly moved by Jennie’s remark, as she told the camera team: “I might really burst into tears now. Who said I’m a loose cannon?”

Celebrity Antiques Road Trip is available to watch on BBC iPlayer.

New Delhi, India – On a searing hot afternoon in a dense working class neighbourhood of the Indian capital, Shehnaz Bano sits on the dilapidated floor of her one-room home, deftly stitching pieces for a new leather jacket.

To make each piece – a sleeve, a front or back panel or a shoulder yoke – the 38-year-old mother of two teenage sons spends hours, but is paid a mere 100 rupees (about $1) for each piece.

“Imagine if I was a regular employee and I did the same work for the same hours, but on a factory floor. I would have been paid more, right?” Bano asked.

“Just because I work from home, I don’t get equal pay or rights.”

That is because Bano, like nearly 260 million others across the world, is a home-based worker (HBW) – people employed to produce goods or services in or near their homes. The HBWs are part of what is referred to as the global informal economy. Such a form of employment is characterised by low wages, denial of workers’ rights, lack of social security or established hours of work, or paid leave.

The HBWs are also a highly-feminised workforce, with nearly 57 percent being women, according to a 2024 estimate by Women in Informal Employment: Globalising and Organising (WIEGO), a United Kingdom-based global research organisation focused on improving conditions for the working poor, especially women, in the informal economy.

On this day 30 years ago, however, an effort was made to change the condition of the HBWs – with little success so far.

The International Labour Organisation (ILO), a United Nations’ body, during a conference at its headquarters in Geneva, Switzerland, adopted the landmark “Convention 177”, or the Home Work Convention on June 20, 1996, recognising HBWs at the same level as traditional wage earners.

It was the first comprehensive call to set an international standard for the HBWs. The convention called upon ILO members to adopt and implement policies that promote equality of treatment between HBWs and other wage earners.

Convention 177 officially came into force on April 22, 2000.

However, only 13 countries have ratified it so far and none from South Asia. That is despite Asia and the Asia-Pacific regions accounting for the largest concentration of HBWs, as well as being the hub of global fashion and manufacturing supply chains.

Renana Jhabvala was in the room in Geneva – along with hundreds of government and non-government delegates – when the home-based worker Convention was adopted.

As a member of the Self Employed Women’s Association (SEWA), a prominent Indian trade union of women workers, the 73-year-old activist was at the ILO’s International Labour Conference (ILC), and still remembers the exhilaration and optimism in the room.

“Discussions had gone on for nearly 21 days, but none of us knew whether the Convention would get adopted or not. We were all in a really big hall at the ILC… There was a majority in the final vote and the Convention got passed,” she told Al Jazeera.

But labour rights activists, experts and labour economists say a lack of recognition of the HBWs despite three decades of adopting the ILO convention has deepened structural inequalities among the workers, especially in a developing country like India.

According to them, the HBWs, especially women, remain largely “invisible” to the policymakers, while they are forced to work for inadequate wages under unsafe and exploitative working conditions.

“Convention 177 has been instrumental in recognising home work as ‘real work’ and home workers as workers entitled to labour rights,” Deepa Bharathi, a senior specialist of gender and non-discrimination at ILO’s Bangkok-based Decent Work Team, emailed Al Jazeera.

“In South Asia, home-based work is often embedded in complex subcontracting arrangements, making employment relationships difficult to identify and regulate. Challenges in labour inspection, gaps in data and the invisibility of home workers in policy frameworks have also slowed progress,” Bharathi said in response to a question on the low ratification of the Convention, particularly in South Asia.

With most home-based workers in the region being women, their work is often seen as an extension of household responsibility, Bharathi said. “This undervaluation, combined with broader gender inequalities, has been a significant barrier to ratification and implementation,” she added.

When asked about the ILO’s priorities for strengthening the Convention’s implementation, Bharathi said: “For women home-based workers in particular, the focus must remain on visibility, fair pay, social protection, safe working conditions, access to training and childcare and a stronger collective voice.”

‘I cannot go out and work’

Bano lives in New Delhi’s Kapashera area, a settlement of mainly migrant workers on the city’s southwestern edge whose name literally translates to a “cotton settlement” in English. The area is known for its cotton and leather garment manufacturing units.

In its congested alleys lie buildings that rent out single room units to informal worker families. In one such room lives Bano with her sons and her husband who works as a lift operator in an upscale mall in Gurugram, a business district housing several Fortune 500 companies on the outskirts of New Delhi.

Bano epitomises the arc of a typical HBW in India. She began working as a beedi (a tiny, hand-rolled cigarette) roller in her village in neighbouring Uttar Pradesh state’s Azamgarh district. After marriage, she joined her husband in New Delhi and took to stitching leather jacket pieces from home.

The move from her rural employment as a beedi roller to a piece-rate worker in the city did not change her continuing precarious situation: long hours, irregular work, low wages and work that leaves her eyes strained and fingers aching.

She is paid barely one dollar for her work on each piece of a leather jacket that is sold in a foreign market for $200 or more – more than double Bano’s average monthly income. Moreover, to cut costs and maximise profit, the contractors often split such work among several workers.

“Only those who are in distress do this kind of work. We have rent, bills, grocery and school fees to pay. How much will my husband do alone?” Bano told Al Jazeera.

The HBWs fall into two categories: own account workers with direct access to markets and piece rate workers who are usually employed through intermediaries. Bano belongs to the latter, which is considered more vulnerable due to low and arbitrary piece rate payments.

In another corner of Kapashera, Sangeeta Devi, 30, puts the final touches – buttoning, repairing, finishing – before the garments she makes return to the factories.

She is doing all this inside an 8×8 foot (2.4m) room, where her family of six, including four schoolchildren sleep, eat, work and study. She cooks, cleans and even bathes in the same room.

“I cannot go out and work because then who will take care of my children?”

“On any given day, there are 100 pieces of clothing in this tiny room. Each time, I have to keep them aside while doing household chores,” the migrant worker from Bihar, one of India’s poorest states, told Al Jazeera.

Sangeeta Devi gets a dollar for every 100 garment pieces she completes.

“I really want to do a job where I can work easily from home, take care of my children and get paid well. I don’t know if that’s even possible,” she told Al Jazeera.

Her neighbour, Putul Devi, does similar work and earns about $20 a month.

“I have been cooking on firewood because of high fuel costs. And when it rains, I don’t know what to save from spoiling – the firewood or the cloth pieces that I bring home,” she told Al Jazeera.

Shalini Sinha, home-based work sector specialist at WIEGO, said female HBWs in India face “continued invisibility” even after three decades of recognition of their work.

“Home continues to be seen as a place of habitat and not as a place of work,” Sinha told Al Jazeera.

“There is also the broader issue of women’s economic work not being adequately recognised in labour discourse when it is done from home. It is often seen as an extension of her care work,” she added.

From an Indian perspective, said Sinha, there is an “urgent need for better statistics and a dedicated policy or law for home-based workers, which still does not exist”.

Elizabeth Khumallambam, who works for Community for Social Change and Development (CSCD), an NGO that works with women HBWs in Kapashera, said a social security code introduced in India in 2020 mentions HBWs, but “no one knows” how it will be implemented on the ground.

Introduced as part of India’s labour reform laws, the code consolidated nine social security-related laws into a single framework to ensure social security protection for all workers, including those in the unorganised sector.

“Frankly, for us the challenge begins at making workers understand the value of their own work. Many don’t consider this as work and so they do not think it needs due rights and protection,” Khumallambam told Al Jazeera.

Alakh N Sharma, a labour economist and director at New Delhi-based non-profit, the Institute for Human Development, said there is a “bias in the system”, due to which women’s work is being left behind in statistics and official counting.

According to him, technology-aided counting, probing questions and sensitivity among investigators, could help in addressing the statistical blind spot.

“Safety concerns, mobility constraints and social norms – all these factors stop women from joining formal workplace-based employment. But the single biggest reason is often care work responsibility, particularly childcare,” Sharma told Al Jazeera.

In 2022, Sandosh Kumar P, a Communist Party of India (CPI) parliamentarian moved a legislation aimed at the welfare of the BHWs, but the parliament did not take it up for discussion.

In December 2024, India’s ministry of labour and employment was again asked in parliament whether it has an official assessment of the HBWs, and if it was proposing to enact a law on them. It replied that the Code on Social Security 2020 provides social security to the unorganised workers, including the HBWs. It also said the government has created a national database of such workers.

Looking back at the 30 years since the historic recognition of HBWs, Jhabvala said she did not view such Conventions or laws from the lens of success or failure.

“It is like a weapon, a tool of change. If we want to fight, this option is available,” she said.

A landslide win, only two years ago – yet now British Prime Minister Keir Starmer is resisting calls to step down.

The return to parliament of Andy Burnham makes a leadership challenge more likely.

What’s gone wrong, so fast, for Starmer? And why is there so much turmoil at the top of British politics?

Presenter: Per Nyberg

Guests:

Peter Oborne – UK political commentator and associate editor of Middle East Eye – a digital news organisation

Jonathan Tonge – Professor of politics at the University of Liverpool and author of numerous books on British and Northern Irish politics

Peter Geoghegan – Editor of Democracy for Sale, an investigative news site in London

Unlike the movies, where directors get the glory, TV directors sit lower in the hierarchy, below creators, producers and actors. In most series, which might employ several over a season, they are interchangeable — which isn’t to say they aren’t valuable, transforming words on a page into a four-dimensional living thing. But a director hired to helm a pilot, as James Burrows, who died Friday at 85, was again and again — almost as a lucky charm — helps set the tone for the series. Jake Kasdan’s input was crucial to the feel (and philosophy) of “Freaks and Geeks,” as Hiro Murai’s was to “Atlanta” (and most recently “Widow’s Bay”). In some cases a director is a co-creator in all but title and union affiliation. A show might subsequently pass to later hands, but they’ll be honoring its established look and feel.

But Burrows was more than a little well known. If you sat through the opening credits of “Taxi,” whose pilot he directed along with 74 other episodes — and why wouldn’t you, with its pleasing Bob James theme and Checker Cab crossing the Queensboro Bridge — you would have seen his name for weeks on end. You might have noticed it on “Cheers,” which he co-created and for which he directed 236 episodes, or on “Will & Grace” (246 episodes), or “Frasier,” “The Big Bang Theory,” “3rd Rock From the Sun,” “Caroline in the City,” “Two and a Half Men,” “2 Broke Girls,” “The Neighborhood” or, just last year, “Mid-Century Modern” — all series whose pilots he directed. You might have caught it on episodes of “The Mary Tyler Moore Show,” “Phyllis,” “Rhoda” or “Laverne & Shirley,” until you began to think that maybe there was nobody else directing network multi-camera situation comedies, the most human of television formats and a specialty from which he rarely strayed.

And you might have seen him as himself this year in the third season of Lisa Kudrow’s “The Comeback,” as the man she enlists to save a television pilot from hacky AI jokes. “Surprising only comes from a group of writers huddled in a corner, beating themselves up to beat out a better joke,” he says.

“As director, I am there to help create the ensemble, to do everything I can to foster a community among the company, and to train a new set of actors to behave as a group and respect one another,” he wrote in his 2022 memoir, “Directed by James Burrows.” He famously took the cast of “Friends” to Las Vegas before the show premiered in order to foster bonds in a soon-to-be-impossible state of anonymity. “I guess I have a gift for creating families,” he told the New York Times in 2023.

But if “Friends” refers to the characters and the people who play them, it includes the audience too. Burrows’ talent was to midwife a real relationship between the viewer and the viewed, “You want to go where everybody knows your name,” runs the “Cheers” theme, and where you know everyone’s name. The families he excelled at creating were yours as well, and one watched knowing that these things happened in real time in real space, and that you could be in the room, if you made the effort. Tickets were available.

The son of Abe Burrows, who wrote or co-wrote the books for “Guys and Dolls,” “Can-Can” and “How to Succeed in Business Without Really Trying,” and co-created the radio comedy “Duffy’s Tavern” — set, like “Cheers,” in a bar, though the younger Burrows denied any influence — he’d been directing dinner theater when he had the idea to write to Mary Tyler Moore, whom he’d met on the set of a never-opened “Breakfast at Tiffany’s” musical. His stage experience (and his Yale School of Drama degree, presumably) proved eminently transferable to the proscenium reality of multi-camera situation comedy.

What Burrows shows share — the ones we remember, at least, out of many we don’t — is that they’re fundamentally joyful. They lack cynicism. They’re expressive of their times without being showily edgy. They walk a line between freshness and familiarity, which makes one want to return week after week. They may push an envelope — “Friends” was something new, after all — but subtly. We can assume, given his reputation and the fact that he could have retired on “Cheers” alone, that he liked what he did and did what he liked, and regard his choice of projects as a form of personal expression in itself, the basis of a body of work that has and will live on.

June 20 (UPI) — A train driver is dead and nine people are still in critical condition after two passenger trains collided in England.

About 80 people were injured in the crash Friday evening. As of Saturday morning, 28 were still hospitalized after a moving train crashed into a stopped train on the tracks in Bedford, England, north of London.

The National Union of Rail, Maritime and Transport Workers said it was “devastated to learn that a train driver and former RMT rep has tragically died,” The Times of London reported.

Eddie Dempsey, RMT general secretary, wrote on X: “The thoughts of RMT are with their family, friends, colleagues and the ASLEF trade union at this awful time.”

The trains collided in Bedford, one from Corby and the other from Nottingham en route to London St. Pancras.

One passenger told The Times that the scene was “carnage.”

“We had to walk through farmers’ fields to get to an A-road,” he said. “There is a huge emergency service presence and loads of air ambulances.”

Another unidentified passenger told the times that it looked like an explosion.

“The front carriage collided into the front of another one, and when I got up I saw all of the chairs everywhere and it felt like I’d been in a bomb explosion. When I got up I saw people with bloodied faces and people’s legs looked broken, and there was smoke everywhere,” the passenger said.

Passenger Pete Knapp added that he saw smoke in the cabin.

“There was a moment of being flung into the chair in front, and then I saw smoke. People were crying, screaming, people were so scared and confused,” Knapp said.

A helicopter arrived within about 5 or 10 minutes, he added. Emergency services had to cut through a hedge with shears to reach the area, and he said passengers were triaged into different groups based on their injuries.

“I was triaged by some paramedics and they said that I had a muscular damage to my back and the gouges on my shins, they hadn’t broken my legs so hopefully they will heal over time. I’m extremely grateful for that because so many people in that carriage I was in had their legs broken, and there was blood everywhere and people crying and screaming.”

Pakistan says talks between the United States and Iran which were postponed on Friday will begin in Switzerland on Sunday, as Tehran announced it was again closing the Strait of Hormuz because of continued Israeli attacks in Lebanon.

Iran’s foreign ministry spokesman, Esmail Baghaei, confirmed on Saturday that an Iranian delegation, including Parliament Speaker, Mohammad Bagher Ghalibaf, Foreign Minister, Abbas Araghchi and other senior officials, was heading to Switzerland.

In Washington, Vice President JD Vance confirmed that the top US negotiators Jared Kushner and Steve Witkoff were already in Switzerland working through technical details of anticipated negotiations on Iran’s nuclear programme.

Vance told Fox News that he expects to leave for Switzerland “sometime in the next couple of days” but acknowledged that “it’s always a delicate coordination dance.”

The planned meeting on Sunday will start technical-level negotiations towards a final US-Iran deal. That is after both sides signed a memorandum of understanding (MoU) earlier in the week declaring a permanent end to “military operations on all fronts”, including in Lebanon.

The MoU stipulates that a final deal should be reached within 60 days, “extendable with mutual consent”.

But even getting to the negotiating table following the MoU proved difficult. A round of talks originally planned for Friday was pushed back after Iran failed to send its delegation, as deadly Israeli strikes persisted in Lebanon.

Although Israel agreed to a renewed ceasefire with Hezbollah on Friday, its attacks in Lebanon continued into Saturday, killing at least 32 people, according to Lebanon’s civil defence and state media reports.

On Friday, Israeli attacks killed 83 people and wounded 141, Lebanon’s health ministry said.

Iran’s Islamic Revolutionary Guard Corps (IRGC) on Saturday announced it was re-imposing restrictions on the Strait of Hormuz over Israeli “crimes” in Lebanon and what it called a US violation of commitments to establish a ceasefire.

It warned ship crews not to approach the strategic waterway, saying their security would be at risk ⁠if they do.

Mohammad Mokhber, an adviser to Iran’s supreme leader, warned that the flow of energy in the Middle East would halt so long as the US-Iran agreement “remains only on paper”.

The US military said its forces were still operating in the “general area” of the Strait of Hormuz and “remain present and vigilant” to make sure “all aspects of the agreement with Iran are adhered to”. It said 55 commercial vessels had transited the strait on Saturday and that safe passage was still “intact”.

‘Things are moving backwards’

According to Pakistan’s foreign ministry, Pakistani and Qatari mediators will join the US-Iran talks on Sunday in the Swiss mountain resort of Burgenstock.

Reporting from there, Al Jazeera’s Osama bin Javaid said there has been a flurry of behind-the-scenes diplomatic activity ahead of the formal negotiations, with Qatar’s Prime Minister, Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani, already holding meetings. Pakistan’s Foreign Minister, Ishaq Dar, has been holding talks in Egypt and Pakistan’s Interior Minister, Mohsin Naqvi, travelled to Iran.

Iranian foreign ministry spokesman Baghaei has signalled that progress may be scarce until Iran feels the US is living up to its end of the interim deal.

In comments broadcast by Iran’s IRIB, Baghaei said Iran “must naturally be very firm and serious in demanding fulfilment of obligations” considering the US’s past “failure to honour commitments”.

Al Jazeera’s James Bays, reporting from Burgenstock, said there are indications “things are moving backwards from when the MoU was signed”, citing Israel’s continued bombardment of southern Lebanon.

“The Iranians see this as a serious breach of the MoU,” he said. “Their first sanction was by not coming here. They have now utilised their best weapon by closing the Strait of Hormuz.

“Iran believes this tactic will help get things back on track with regard to southern Lebanon,” added Bays.

PARIS — There’s a present-day answer to the question that was posed in verse by the French medieval poet and street brawler François Villon: “Where are the snows of yesteryear?”

They’re right here, in high summer, on Paris’ oldest bridge, the Pont Neuf, where an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range, has arisen over the river Seine.

Using about 200,000 square feet of printed fabric, Paris-born street artist JR has created “La Caverne du Pont Neuf.” It’s his version of and homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.

They’re the fabled duo who first wrapped the arches of this same bridge in straw-colored fabric in 1985. Over the years, they also surrounded 11 islands in Florida’s Biscayne Bay with flamingo-pink cloth, hung saffron-colored fabric “gates” in New York’s Central Park, installed a “running fence” of billowing white material across nearly 25 miles of Sonoma and Marin counties and, in 1991, planted 3,100 yellow umbrellas, blooming like 20-foot-tall poppies, through the Tejon Pass north of L.A.

I interviewed Christo in 2011, and he was eloquent about how his and his wife’s work alters perceptions of nature, and about the deliberately transient character of the art itself. JR, an acolyte of their work, told me in an email that “an ephemeral artwork forces you to come now, and usually to come with other people. The visit becomes a shared moment … and this moment becomes a memory.”

In a city celebrated for artworks that have survived for centuries, this installation was very nearly too transient. A kooky hailstorm in late May, a heat wave in June, followed by ruthlessly ripping winds, delayed the opening by days. At last, beginning one midnight, the air pumps began and the work arose like a limestone-colored soufflé. It will be open around the clock until June 28.

Plus ça change, plus c’est la même chose. Back in 1985, Christo’s engineer on the Pont Neuf project, Ted Dougherty, pointed out that above 25 mph, “wind is not our friend.”

The piece works from two vantage points: from afar — visible from a lot of central Paris — and also from inside it, in the “cave” part. Pedestrians crossing the bridge pass through a fabricated interior, a cavern-like space printed in 3D realism and enhanced with a specially designed scent to evoke the dank, earthy aroma of humankind’s early habitations.

JR and Thomas Bangalter in “La Caverne du Pont Neuf” in Paris.

(Tara-Jay Bangalter)

JR intended it to be both. “From the start I designed two works in one. There is the silhouette — what you catch from the quais, from the bridges, from a boat on the Seine or simply walking past on your way somewhere else. That image belongs to everyone, including the people who never chose to look at art that day.”

And then, he said, “there is the inside, which is slower and more intimate, almost in the dark, hard to photograph.” That aspect is “a journey to cross the bridge, to go from darkness to light.”

When Christo and Jeanne-Claude wrapped the arches of the Pont Neuf more than 40 years ago, it took years of planning and permits to make it happen. “La Caverne du Pont Neuf” was a breeze by comparison.

JR, whose other vast outdoor works have delivered double-takes of humans’ scale and their architecture, told me that cities have come to understand “that public art brings people together and that the image travels around the world. Once Christo showed it could be done safely and beautifully, the conversation changed. It was much easier for me to have my project accepted, thanks to them. They also proved the economic positive impact to the cities they worked in. I believe there should be more large-scale, ambitious public art projects.”

It’s one thing to conceive of such a project and another altogether to make it happen — so much technology, compared to, say, mixing paints and choosing a paintbrush. But the science that “La Caverne” required “is the art, not an obstacle to it,” JR said.

“Trompe l’oeil turns adults back into children,” JR said.

(Elea Jeanne Schmitter)

All the canvas, the engineering, the meticulous assembly, the permits — “none of that is preparation for the work, it is the work. Christo taught me this. The process is visible, and even more after the storm we experienced a couple of days before opening to the public. Nature always reminds you who is in charge. When the wind tore the canvas before we opened, we took it down, re-sewed it, reinforced it,” all in full public view.

“Where I stay careful is in not letting the technology become the subject. The augmented reality by Snap’s AR Studio adds to the project, doesn’t take you away from it.”

That air should be JR’s vital collaborator — no complex and costly scaffolding for these magic mountains — is nothing new in Paris.

The first free flight of humans above the earth, on Nov. 21, 1783, sent aloft two men in a hot-air balloon crafted by the Montgolfier brothers from silk fancifully painted in blue and gold with figures of the zodiac. It wafted across Paris for about 25 minutes at about 3,000 feet. Ephemeral, yes — and unforgettable.

Artists and couturiers are fond of the whimsy of trompe l’oeil, the trick of the eye, the illusion of reality. I am a sucker for it, for fashion like that of clothing designer Elsa Schiaparelli. JR has used it often, as a massive-scale magical deception to make the Louvre Pyramid “disappear” into the old Louvre, and opening up an imaginary subterranean world below the Eiffel Tower.

“Trompe l’oeil turns adults back into children,” he told me. “You know it isn’t real, you know that ‘La Caverne du Pont-Neuf’ is not made of rock, that this is printed canvas. And yet your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”

June 20 (UPI) — An Italian woman was killed, nine injured and more than 1,700 evacuated from a massive fire at a beachfront resort in the Dominican Republic Friday.

Francesca Valentino, 46, of Italy, died in the fire that broke out around 11 a.m. AST at the Viva Wyndham Dominicus Beach, a four-star resort in Bayahibe in the La Altagracia province, officials said. Three people were taken to medical facilities and six others were treated on site, Juan Manuel Mendez, head of the Dominican Republic’s Emergency Operations Center, said in a press conference.

No cause of the fire has been reported, but the Emergency Operations Center said a preliminary investigation found that portions of the resort’s buildings were made of cane roofs, which are combustible, and windy conditions contributed to the fire’s spread.

The Italian ambassador to the Dominican Republic met the dead woman’s husband at the hospital, the Italian news agency Ansa reported. There were about 285 Italian tourists staying at the resort or nearby, and the embassy in Santo Domingo was working to help them get new passports and arrange flights home.

Wyndham Hotels and Resorts franchises some 8,400 hotels worldwide.

“At this time, we are actively gathering the facts regarding the incident and coordinating with the appropriate authorities and on-site teams,” a spokesperson for Viva Resorts by Wyndham told CBS News. “As this process is ongoing, we will not be providing comment at this time.”

The Emergency Operations Center said in a statement that the about 1,690 guests at the resort were evacuated to other hotels and nearby housing facilities, CBS News reported. It also said that Viva Wyndham’s Dominicus Palace, which is nearby, was not damaged and was operating as normal.

In early June, hundreds of fans dressed to the nines were in attendance at a rock star’s sold-out show at New York’s Beacon Theatre. There was lace everywhere and leather too. Chains dangled from belt loops and wrists. Some attendees arrived with dyed crimson hair, others with orange or pink.

Sheer black outfits that looked pulled from the pages of a gothic romance novel were draped on bodies. If “The Rocky Horror Picture Show” had collided with a modern concert, it might have looked something like this.

Then a man took the stage. Was it Lestat de Lioncourt, the immortal vampire-cum-rock star, or was it actor Sam Reid?

Moments earlier, attendees had watched the first episode of AMC’s “The Vampire Lestat,” the rebranded third season of “Interview With the Vampire” that premiered earlier this month. This season adapts Anne Rice’s novel of the same name, which is told from the perspective of Lestat, played by Reid, and transforms him into a touring musician.

Now Reid, dressed in black with his chest partially exposed beneath an open jacket revealing a scar, stepped on stage and into the role of Lestat in front of the audience. As he moved across the stage, phones shot into the air. Fans screamed. People sang along to a slew of songs, and for a moment, the line between actor and character seemed to disappear.

At first glance, the assignment to turn Lestat into a rock star seemed straightforward. The vampire at the center of Rice’s beloved novels has flirted with music before. In 2002’s “Queen of the Damned,” he emerged as a leather-clad nu-metal frontman capable of commanding massive crowds. But bringing Lestat into the present introduced a different challenge. Rock music no longer occupies the same place in popular culture. Fame is fragmented. Audiences are skeptical of celebrity. Social media can build a star overnight and tear them down just as quickly.

Yet “The Vampire Lestat” asks viewers to believe something as audacious as a centuries-old vampire still being able to captivate people, launch a music career and inspire a movement. Reid thinks part of what drives the character is something surprisingly modern.

“Nobody cares that I exist, nobody cares that I’m not relevant,” Reid said of Lestat’s mindset entering the season. “It’s really fun to see him struggle with that and see him try to find his place in the world and not immediately get world domination.”

Making that fantasy feel believable required far more than putting Lestat in leather and handing him a microphone. To pull it off, the show’s creative team had to build a rock star from the ground up, crafting a visual identity, creating music that could stand on its own outside the series, and transforming Reid into a performer capable of owning a crowd rather than simply acting in front of one.

Sam Reid’s Lestat de Lioncourt crowd-surfs in “The Vampire Lestat.”

(Sophie Giraud / AMC)

“Dropping Lestat down into 2025 and making the decision for him to play rock ‘n’ roll was a really great dramatic switch because while there are many great rock bands that are alive and kicking right now, their hold of the cultural landscape is quite small,” showrunner Rolin Jones said. “You couldn’t think of a worse way to get your message out than going to be a rock star right now.”

That challenge became the foundation of the season.

Step 1: Making the music

A polished aesthetic, marketing and, in Lestat’s case, book buzz can only take a musician so far. It’s the music that had to make diehard fans believe he’s an artistic genius, or at least a star in the making.

That challenge landed with composer Daniel Hart long before a single script was finished. In an unusual twist, many of the songs that would eventually appear throughout the season were written before the writers’ room fully mapped out the story.

“There were so many unknowns when we started,” Hart said. To find a way in, Hart and Jones started with their familiar reference point: David Bowie.

“We settled, I think sort of obviously, on David Bowie as the launch pad for our Lestat,” Hart said. “The way that Bowie was so mercurial, and he was a chameleon. He reinvented himself throughout his career.”

Hart also looked to artists as varied as Kurt Cobain and Chappell Roan, while drawing inspiration from classical music, blues and the old-world sound Lestat would have absorbed over his long life. One early writers’ room exercise even involved breaking down the influences embedded within “Long Face,” the Bowie-coded first single released from Lestat’s fictional album.

“‘Long Face’ feels like a Bowie rip-off to Daniel Molloy [played by Eric Bogosian], and so then Lestat breaks the song down for him and goes into all the other influences that are in there,” Hart said. “ ‘Long Face,’ you could say, was in some way influenced by Bach, and then [he] talked about Willie Dixon, and how the blues had influenced Lestat when he was around the … 1920s and ‘30s.”

“He’s been alive for 250 years,” Hart continued. “He’s seen and heard a lot of music.”

The creative team never set out to replicate the hard-rock sound that defined “Queen of the Damned.” If anything, Jones felt trying to outdo that soundtrack would have been a losing battle.

In “The Vampire Lestat,” Sam Reid sings every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”

(Sophie Giraud / AMC)

“I mean, that soundtrack is deservedly very famous,” Jones said. “And I think if we decided to out-Korn Korn, we were going to be in trouble.”

Instead, their Lestat was a musician still searching for his voice. Jones says the season begins in a more performative glam-rock space before gradually evolving into something more personal.

“We thought ‘70s Bowie is where we would start, and that we would musically make a journey with him as we went deeper and deeper,” he said. “He would put his band on one tour, what a normal band would do, over four albums. The music just keeps changing. And as he gets more and more vulnerable, the songs begin to change. They get more raw. They get more exposure, and the music style evolves.”

Reid sang every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”

“The more bombastic, the more over-the-top songs — he doesn’t seem to like them by the end of this season,” Hart said. “The more introspective songs that come later on are more in his new wheelhouse.”

That journey also shaped how Reid approached the material. While audiences will ultimately see the songs unfold within the context of the show, Reid encountered many of them before he fully understood where Lestat’s story was heading.

“I think in the beginning, he’s coming from an artificial kind of construct,” Reid says. “As the show goes on, the music becomes more personal, and he becomes less interested in actually finding love through his audience and more about finding who he is as an individual and as an artist.”

When Jones first began adapting “The Vampire Lestat,” he briefly considered making the character the sort of arena-filling superstar audiences might expect, like a Beyoncé or Taylor Swift. But the more the writers discussed it, the less interesting that version felt.

“If we were gonna start chipping away at all the armor that Lestat had, one of the great repetitive ways of a tour is you just can’t seem to break a ceiling,” Jones said. “He’s a niche star. And I think that is part of the gas that fuels this little journey.”

Hart also had the impression that Lestat would be a massive star.

“But it became more apparent that [he might] not exactly have the kind of success that he wanted and desperately felt like he needed — that was a more interesting story to tell,” he said.

Step 2: Getting the rock star look

While the audience has to believe Lestat is a rock star, they also have to believe he’s someone with the look — and worth staring at.

Lex Wood, the show’s costume designer, said that the challenge began long before cameras rolled on Season 3. Jones first floated the idea of rock star Lestat while the team filmed Season 2 in Prague in 2023, giving Wood time to begin imagining what a nearly 300-year-old vampire might wear while reinventing himself as a singer. During a production trip to Paris, she started sourcing pieces and collecting references that would eventually make their way into this season years later.

“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” says show costumer designer Lex Wood. “To emphasize that Lestat is untouchable.”

(Sophie Giraud / AMC)

Being fashionable wasn’t the only goal.

“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” Wood said. “To emphasize that Lestat is untouchable. Hence, building specific costume build shapes and patterns that we adapted throughout the season.”

That idea guided nearly every aspect of the wardrobe. While the first two seasons often presented Lestat through structured tailoring and muted palettes, Season 3 arrives in a much louder world.

“A big thing really was that we wanted to push more color into the season in general,” Wood said.

Wood said the choice reflected where Lestat finds himself emotionally. No longer confined to drawing rooms and period silhouettes, he’s navigating celebrity, performance and self-reinvention. Leather remains. Black remains. But so do bursts of color, softer fabrics and strange patterns.

“We wanted to break Lestat free of the suiting,” Wood said. “Though we wanted to remain true to his roots in the 18th century, we also wanted Lestat’s pieces to feel slightly otherworldly at times.”

That meant weaving in elements of garments from the 18th century and making them feel contemporary. This could look like a very specific cut of a sleeve of a shirt that nods to that time.

Wood also studied the backstage photography of Mick Rock, pulling references of Bowie, Iggy Pop and Freddie Mercury. She blended that with punk-inspired designs from Vivienne Westwood and Jean Paul Gaultier. Goth icon Siouxsie Sioux also became an influence, particularly in the use of layering, texture and attitude.

Wood said the scattered references reflect a character actively trying to figure out who he wants to be.

“He’s investigating social media himself,” she said. “As he’s discovering his presence as a rock star. He’s investigating what it means to be a rock star.”

“He’s finding his persona,” she continued. “And trying on different personas.”

That idea extends all the way down to accessories, with Lestat’s jewelry blending old and new — a custom necklace created by a U.K. silversmith recalls one worn by Mercury during Queen’s early years, while rings featuring sculpted teeth serve as subtle reminders of his vampiric nature.

“We purposefully wanted some of his wardrobe to not be recognizable to any particular brand — at other times, we wanted to celebrate high-end fashion, to explore his playfulness and unpredictable character through his clothing,” Wood said.

Even the shoes became part of the transformation. One of Wood’s earliest conversations with Reid centered on abandoning the heeled footwear that helped define earlier versions of the character. This Lestat needed something heavier for a performer who could pace a stage.

“He wanted something that felt more grounded,” Wood said. “Something he could bounce around more in.”

Wood said the redesigned footwear altered Reid’s posture and movement, helping create a version of Lestat that she noted feels more volatile and more comfortable captivating a crowd than charming one.

Step 3: Becoming the rock star

For all the work that went into the costumes, music and scripts, none of it mattered unless the watchers believed the actor tying it all together.

Reid had already spent two seasons playing Lestat through other characters’ memories and perspectives. This time around required him to carry the character’s story through his own reflections. More importantly, he had to answer a deceptively difficult question: Why would anyone follow Lestat in the first place?

“It’s not fame that he’s after,” says Reid of his character in “The Vampire Lestat.” “Fame is totally temporary for a creature that lives forever.”

(Sophie Giraud / AMC)

The surface answer might be fame. The character launches a music career, records songs and steps into the spotlight. But Reid doesn’t think that’s what drives him.

“It’s not fame that he’s after,” Reid said. “Fame is totally temporary for a creature that lives forever.”

Reid sees Lestat as someone searching for validation.

“Not for the vampire that he is, but for the human being that he was,” he said. “He’s been pretty heavily rejected. From Louis through the book, and then his mother knows exactly how to string him along, when to give him love and when to take it away. So he’s really looking for validation and going into an audience space is where he first experienced that.”

While developing the season, Reid says he became increasingly interested in the gap between the public version of Lestat and the person underneath it.

“His whole life has been performance,” Reid said. “His whole life has been a lot of adversity, and the way that he kind of climbs out of that is to build a construct that he can perform and operate in. It makes a lot of sense for him to do this rock star persona. Through this season you start to see him realize that the music and the art can allow him to access himself as opposed to it just being a performance.”

“He’s trying to discover his sound as a musician,” Reid continued. “But he’s also trying to discover who he is.”

Throughout the season, viewers see a musician struggling to connect.

“Why can’t I sell out 5,000 seats?” Jones says, describing the character’s mindset. “I used to be able to walk into a room and everyone would love me.”

For Jones, that’s ultimately what makes Lestat feel like a contemporary artist. Sure, he may be an immortal vampire, but he’s navigating the same questions that confront plenty of artists: How much of yourself to reveal? How much should one perform? Can admiration ever substitute for genuine connection?

By the time the season reaches its conclusion, Lestat is still larger than life. But he’s also a more complicated performer forced to reckon with the distance between being seen and understood. Jones said none of this would be possible without Reid in the role.

“I think his performance in Season 3 is one of the 10 greatest American TV performances of all time,” Jones says. “I’d put him right next to Carroll O’Connor, Walter White [played by Bryan Cranston] and James Gandolfini.”

“And I’d look at all of them and say, ‘You guys didn’t sing.’ ”

June 20 (UPI) — After a day of jabs on social media, President Donald Trump and Italian Prime Minister Giorgia Meloni are continuing to duke it out online.

On Friday, Italy’s foreign minister canceled a trip to the United States after Trump said that Meloni had “begged” for a photo with him at the G7 Summit in France last week. Meloni shot back with, “Neither I nor Italy ever beg.”

On Saturday morning, Trump posted on Truth Social: Italian Prime Minister Giorgia Meloni asked, over and over, for a picture with me during the G-7 meeting in France. She is doing poorly in Italy with her level of popularity, possibly because she turned down the United States of America, a Country that truly loves and protects Italy, when it came to denying Iran from obtaining or developing a Nuclear Weapon (But so did NATO, for that matter!). She wouldn’t even let us use Italy’s landing strips or runways, a great logistical inconvenience, and this despite the fact the U.S. contributes hundreds of Billions of Dollars a year to protect Italy, and other “so-called” NATO Allies. Now, after the United States defeated Iran militarily, she wants to be friends again in order to get her ‘numbers up.’ No thanks!!!”

Meloni responded on Instagram in English.

“President Trump, these constant, unprovoked attacks are senseless. As for my popularity, being your friend certainly has not helped it, nor does it depend on my relationship with you. My popularity depends on my ability to defend Italy’s national interest, and that is exactly what I have always done,” the prime minister wrote.

“That is also what I did regarding the American military bases in Italy. Their use is governed by agreements that we have always respected, and that cannot be violated as long as I’m prime minister. Italy remains a sovereign nation.

“In any case, my popularity is none of your concern. I suggest you focus on yours,” Meloni said.

Under the post, she wrote in Italian, “My response to Donald Trump’s latest post concerning me. But I will not revisit the subject, because I still believe in Western unity and do not believe this is a spectacle worthy of our task.”

Meloni, a conservative politician, has befriended Trump since he took office for his second term. She was the only European leader to attend Trump’s inauguration last year.

Begona Gomez is accused of using her position as the prime minister’s wife ⁠to secure work contracts.

The wife of Spain’s Prime Minister Pedro Sanchez has been barred from travelling abroad as she prepares to face trial on corruption charges.

Investigating judge Juan Carlos Peinado issued the ruling on Saturday, ordering Sanchez’s wife, Begona Gomez, to hand in her passport and appear in front of court twice per month until a verdict is issued. She is charged with embezzlement, influence peddling, corruption in business dealings and misappropriation of funds.

Gomez has consistently denied any wrongdoing in the case, which stems from a complaint filed by an anticorruption group with far-right ties. It focuses on the creation and management of a chair at Madrid’s Complutense University that was co-directed by Gomez, as well as the alleged use of public resources and personal connections to advance private interests.

Sanchez has dismissed the allegations against his wife as an attempt by the right wing to undermine his government. Sanchez’s Socialist Party has said Gomez is innocent and subject to a years-long campaign of political persecution

No date has yet been set for the politically explosive trial.

The case is one of several corruption investigations involving Sanchez’s allies that are approaching trial or already before the courts, increasing pressure on the prime minister.

Several close allies, including the Socialist Party’s number three ⁠and Sanchez’s former transport minister, are under investigation in cases involving alleged ⁠kickbacks linked to public works, oil ⁠and gas contracts, and the procurement of masks during the pandemic. They deny wrongdoing.

Separately, Spain’s High Court said it was investigating former ‌Prime Minister Jose Luis Rodriguez Zapatero over allegations he led a network that profited from lobbying public authorities ‌on ‌behalf of third parties, including airline Plus Ultra. He denies the claims.

Sanchez, who has not been named in any of the cases, has rejected opposition calls to step down and call early elections.