News Desk

Jibril Rajoub is in Mexico awaiting a US visa to attend the World Cup 2026.

The head of the Palestinian Football Association says he is waiting in Mexico City for permission to enter the United States to attend the FIFA World Cup with other federation heads.

Jibril Rajoub attended the opening match between Mexico and South Africa on Thursday, but he has now joined several people accredited to attend the World Cup who have been denied visas or have yet to receive them from the US.

“I don’t believe that it’s fair to use or to abuse and deny the right of all footballers all over the world to attend,” the veteran Palestinian political figure told The Associated Press news agency.

The Palestinian team did not qualify for the World Cup, but FIFA typically invites the heads of football associations from around the world to the event every four years, which it frames as a celebration of global unity.

“Everyone will be welcome in Canada, Mexico and the United States for the FIFA World Cup next year. We are working exactly for that,” FIFA President Gianni Infantino said last year.

The US, however, has refused entry to delegates from several countries, including a referee from Somalia and a photographer travelling with Iraq’s team.

Infantino said this week that FIFA had been trying to resolve visa issues but could not overrule the US government.

“We need to respect that we are not the kings of the world who can rule over governments and police forces,” he told reporters on Wednesday.

The US Department of State had no immediate comment on Rajoub’s visa, but last year implemented new restrictions on Palestinian passport holders, including on anyone who had been employed by the Palestinian Authority.

It revoked a visa to allow Palestinian President Mahmoud Abbas to travel to the United Nations General Assembly last September.

Rajoub and other Palestinian football officials have long argued that Israel violates statutes by allowing teams from settlements in the occupied West Bank to play in Israel’s national league.

They have pushed FIFA to sanction Israel, highlighting restrictions on the movement of Palestinian players and how Israel’s genocidal war on Gaza has damaged or destroyed 80 percent of sports facilities and killed at least 565 players there, according to the association.

Last month, Rajoub refused to shake hands with the head of Israel’s football federation at Infantino’s behest because he said the gesture would not heal wounds but instead whitewash Israel’s actions.

Rajoub pointed out that when Russia hosted the 2018 World Cup, it did not implement comparable visa restrictions for people who were invited to the tournament.

Cyle Larin’s equaliser gives Canada first World Cup points after Jovo Lukic put Bosnia in the lead in the first half.

Canada striker Cyle Larin came off the bench to salvage a 1-1 draw for his side against Bosnia and Herzegovina in a frenetic Group ⁠⁠B opener that had long looked like it would end in defeat for the World Cup cohosts.

Bosnia went ahead in the 21st minute of the game on Friday when Jovo Lukic steered home a flick-on from a corner ⁠⁠for his first international goal in his country’s return to the World Cup after 12 years.

Canada thundered forward and should have equalised through Richie Laryea in the 53rd, only for Bosnia’s Sead Kolasinac to miraculously steer his shot off the crossbar and away to safety.

The Canadians continued to attack relentlessly, but despite creating plenty of chances, they lacked precision in their finishing as the ‌‌Bosnians dealt with a succession of crosses and looked to be heading for a narrow win.

Larin had other ideas, however, when introduced in the 76th minute and made an immediate impact, swivelling in the box and firing home a deflected strike less than three minutes later to equalise and send the home crowd into raptures.

The result gave Canada their first-ever World Cup point but left them short of the winning start they had craved.

Jonathan David had a glorious chance to put Canada in ⁠⁠front early on, but the country’s all-time leading scorer sent his well-struck shot ⁠⁠from the centre of the area right at goalkeeper Nikola Vasilj.

After Lukic put the battle-tested Dragons on the board, it was Canada, roared on by a boisterous red-clad crowd, who took over.

Canada pressed for the rest of the half but were unable ⁠⁠to establish much of a presence deep in the Bosnia half, with almost every ball they sent into the area quickly cleared from danger.

The hosts nearly ⁠⁠drew level at the start of the second period when Laryea ⁠⁠went through on goal and his shot looked certain to head over the line until Kolasinac stepped in at the last moment to clear via the bar.

With the game starting to open up, Bosnia nearly doubled their lead moments later when Ermedin Demirovic went ‌‌through on goal, but Maxime Crepeau, making his World Cup debut after missing the 2022 edition with a broken leg, made a crucial save.

That set the stage for Southampton striker Larin, who earned the honour of ‌‌scoring ‌‌Canada’s first World Cup goal on home soil when he blasted home a right-footed shot from the centre of the box in the 78th minute, moments after entering the game.

In “Rheology,” Shayok Misha Chowdhury, an experimental theater artist, and his mother, Bulbul Chakraborty, a theoretical physicist, bridge the language of their different disciplines to explore a subject dear to both of them: loss.

Chowdhury, author of the play “Public Obscenities,” a 2024 finalist for the Pulitzer Prize, and the director of the sensational off-Broadway production of Jordan Tannahill’s “Prince Faggot,” is as tenderly devoted to his mother as the young Marcel was to his own in Proust’s “In Search of Lost Time.” The idea of his mother dying is insupportable to Chowdhury, but given that she’s in her 70s and he’s in his 40s, certain terrifying realities must be faced.

“Rheology,” which is receiving its West Coast premiere at REDCAT (in a brief run ending Saturday), is the piece they’ve created to prepare Chowdhury for that fateful day. This strikingly staged Bushwick Starr, HERE Arts Center and Ma-Yi Theater Company production is an interdisciplinary experiment that is as playful in its methodology as it is serious in its research aims.

Chakraborty, a professor at Brandeis University, starts off with a physics lesson. Her subject is sand, and she poses a simple question: Is the sand pouring through the hourglass sitting on the counter before her a liquid or a solid?

A charismatic teacher, she knows how to Socratically engage a room. Her welcoming manner draws out from the audience the different ways sand behaves both like a solid and like a liquid.

Shayok Misha Chowdhury, in rear, and Bulbul Chakraborty in “Rheology” at REDCAT.

(Roy and Edna Disney CalArts Theater [REDCAT])

Rheology, or the science of how a substance responds to external stress, is her chief interest. Her research, focused on soft condensed matter, has been seeking a comprehensive theory to explain the curious elasticity of such material. A photo of a sand dune, in which she’s seated alongside Chowdhury as a toddler, helps illustrate her point that sand can flow like a liquid yet retain its shape like a solid.

An onstage sandbox is more than just another visual accompaniment to her talk. It’s a source of both elemental mystery and childlike wonder. But elucidation is her motive. She enters the box with her bare feet, noting the way the sand flows around her toes yet supports her weight in observation of the rule that “every grain has to be in force balance.”

She writes equations on the board to explain these findings, equations that begin to glow as the production moves from the realm of pure science to the more slippery domain of art. The transition, like all aspects of this piece, is frolicsomely conducted.

While pouring sand from one container to another, Chakraborty appears to be overcome with dust. For a moment, it’s not clear if this is part of the show or a medical incident until Chowdhury, discreetly occupying a seat in the audience, asserts himself as the director. He asks his mother to run through the death scene with a different sequence of movements and introduces the accompaniment of George Crotty on cello to liberate her performance.

They are rehearsing not so much Chakraborty’s end but Chowdhury’s reaction. He assumes he will fall apart and vows to die himself out of heartbreak. Chakraborty wants him to carry on his work, just as she carried on her research as a mother with a young son who would wail uncontrollably when she would drop him off at daycare.

She recounts that his emotional outbursts were so extreme that it was painful leaving him behind. But she was assured that he was handling the separation. For proof, she was taken into a private teacher’s room, where through a one-way mirror she saw him compose himself shortly after her departure and start to play with the other children.

Mother and son enact a similar situation where, after a more permanent leave-taking, she can catch a glimpse of her son recovering himself sufficiently to survive her loss. Chowdhury, a queer artist who enjoys sampling performance modes, adopts the figure of the grieving Bollywood widow. The effect isn’t to lampoon but to confront his raw emotion and to test his capacity for resilience.

The experiment might sound sentimental, but Chakraborty, the production’s secret weapon, maintains a scientific restraint, albeit one suffused with maternal anguish. The way she listens to her son, takes in his feelings, gently suggests other possibilities of response and treats his experimental theater piece with the same dignity as her own research is incredibly moving to witness. Her performance won an Obie Award, and though she insists that she’s not an actor she demonstrates a sincerity and collaborative grace that many veteran performers would envy.

As it unfolds, “Rheology” can seem piecemeal, even haphazard. There’s an informality built into the production, but it’s somewhat deceptive because the mercurial staging is extremely precise. Chowdhury’s direction has visual panache. Kameron Neal’s video design transforms Krit Robinson’s part lab, part lecture hall set into something kaleidoscopic.

When mother and son sing songs from the famous cycle by Bengali writer-composer and Nobel laureate Rabindranath Tagore or hold a deathbed conversation in Bangla, the piece spins further across time and space. Empiricism gives way to surrealism. But the world, as any scientist probing into the atomic level can attest, contains more secrets than meets the eye.

Fragile matter is Chakraborty’s specialty, and her expertise is put to novel use in shoring up her son’s tender heart.

The US president has sought to reshape the capital city’s image and institutions through series of plans and projects.

President Donald Trump’s name is set to be removed from the facade of the Kennedy Center, an entertainment and cultural institution in Washington, DC, after a judge rejected a last-minute request to keep it in place.

US District Judge Christopher Cooper dismissed an effort by the centre’s board, whose members were handpicked by Trump, to reverse a previous order taking his name off the building by Friday.

The saga is yet another example of Trump’s effort to make changes to major sites and institutions across the nation’s capital, on which he has sought to impose himself through a series of planned projects that include an enormous triumphal arch and a White House ballroom.

Many of those efforts have faced legal challenges.

Trump dismissed the centre’s previous leadership and appointed a board that named him chairman.

Cooper had ruled last month that the addition of Trump’s name to the exterior of the John F Kennedy Center for the Performing Arts was illegal and ordered its removal.

“Unfortunately, Judge Cooper and the Radical Left would rather see it DIE than have President Trump transform it into something that everyone could be proud of,” Trump wrote in a 580-word social media post at the time, slamming the decision, referring to himself in third-person.

A June 4 memo from the centre’s Office of General Counsel had instructed staff to use the name “The John F Kennedy Center for the Performing Arts” or “Kennedy Center” in email signatures, letterhead and other documents. The centre’s website also dropped Trump’s name.

But the board attempted to salvage the change in an appeal on Thursday, appealing a previous ruling that denied their request for a stay. Cooper rejected that request on Friday.

Chinese media and think tanks view the United States’ hosting of the FIFA World Cup from a purely geopolitical, economic, and commercial perspective, critically assessing the infrastructure and political climate. Chinese circles see the tournament not merely as a sporting event but as a central tool for the United States to polish its image, bolster its global leadership amidst current international polarization, and advance its political agenda. This perspective is highlighted through several key points, the most important being the geopolitical dimension. Here, Chinese think tanks argue that the tournament reflects the level of competition between major powers, with Washington attempting to use hosting as a soft power tool to project its influence. However, Chinese media, in turn, emphasized the state of sharp international polarization and division, criticizing the political challenges and the wrangling that accompanied the broadcasting negotiations. Furthermore, a number of (commercial considerations) have been raised, with the tournament facing criticism from Chinese media due to its exorbitant cost and the significant time difference between North America and China, leading to a decline in Chinese public interest. This hesitation was reflected in the negotiations, as FIFA incurred financial losses after China Media Group (CMG) signed the broadcasting agreement late and at a price significantly lower than FIFA’s requested.

Regarding the (organizational and policy challenges), Chinese research and media institutions expressed reservations about the tournament’s logistical challenges, particularly the longer travel distances between host cities compared to previous editions, as well as concerns related to US immigration laws and security restrictions. Despite the absence of the Chinese national team from the tournament, China’s commercial involvement was substantial. Beijing demonstrated its active presence through Chinese commercial sponsors, such as Hisense, and sporting goods factories in eastern China, which reaped significant economic benefits from manufacturing tournament flags and souvenirs. Chinese media coverage, particularly through its official channels, was extensive. CGTN, the Chinese state broadcaster, developed comprehensive plans to broadcast and cover the matches, ensuring the event reached millions of Chinese fans across its various platforms.

Furthermore, Chinese state media and intelligence and military think tanks utilized Washington’s hosting of the FIFA World Cup to offer a number of strategic, media, and intellectual analyses regarding China’s calculations in response to American actions. Major events are often used as a primary arena for geopolitical competition between the two superpowers. Beijing’s vision can be summarized by its use of major sporting, cultural, and other events as a political tool. Beijing views Washington’s hosting of major international tournaments or events as more than just sporting or cultural occasions; it sees them as an extension of American information and decision-making strategies aimed at projecting American influence and hegemony globally. While China seeks to highlight international contradictions, Beijing has directed its media apparatus to demonstrate that Washington’s attempts to unilaterally assume leadership or project messages of unity are, in reality, met with sharp division and polarization within the international system. Here, China has attempted to counter American soft power. This media coverage of the FIFA World Cup in the United States reflects a continuous Chinese effort to neutralize Western and American soft power by focusing on structural issues in international relations, such as the absence of multipolarity, and by promoting the Chinese model as an alternative striving for a more balanced world.

In this context, Chinese media and think tanks view the United States’ hosting of the World Cup through the lens of soft power, geopolitical strategies, and trade, while sharply criticizing the infrastructure and political circumstances surrounding the tournament, particularly in the aftermath of the Iran War and a number of global geopolitical upheavals stemming from US policies. Chinese analyses focus on purely commercial interests, criticizing the exorbitant costs of broadcasting rights. Conversely, they highlight the role of leading Chinese companies in profiting from the event by providing innovative and advanced broadcasting technologies and exporting merchandise and fan supplies. However, they also offer several critical observations regarding the infrastructure and political climate. Chinese research centers express critical skepticism about the readiness of US cities, suggesting that complexities related to visa requirements and a strict security and political environment could hinder fans and undermine the freedom of movement necessary for such events.

Based on the preceding understanding and analysis, we can discern the perspective of Chinese media and research centers that the United States exploits hosting international sporting and political events as a prominent tool for employing sports to enhance American soft power, attempting to project influence to manage conflict, and solidifying its leadership of the global order. Therefore, Chinese think tanks and intelligence agencies have developed a comprehensive media and research plan to expose American polarization worldwide. Conversely, Chinese media and think tanks emphasize Washington’s failure to garner international consensus, highlighting the sharp division and widening gap between Western powers and the rising powers of the Global South. This underscores the mechanism of conflict transformation, where competition is no longer limited to the economic and military spheres but has expanded significantly to encompass soft power tools and media discourse. This reflects a picture of expanded strategic competition and its impact on international stability.

Elizabeth Olsen has been a regular on our screens for the past 15 years with plenty more to come.

Elizabeth Olsen fans may be surprised to see an unexpected hit ranked as number one.

Actress Elizabeth is no stranger to some of the biggest shows and films around, including none other than the iconic Avengers franchise.

She initially found fame as the older sister of twin actresses Mary-Kate and Ashley Olsen, known for appearing in Two of a Kind, before creating her own path in the entertainment industry.

As it’s now been revealed that Olsen is pregnant with her first child with husband and musician Robbie Arnett, here’s a breakdown of how Elizabeth Olsen’s work is ranked.

Elizabeth Olsen shows and films ranked

10. In Secret

Coming in last place for Elizabeth Olsen’s work is 2013 film In Secret, also referred to as Therese with just 41% on Rotten Tomatoes.

Also starring Oscar Isaac, Jessica Lange and Tom Felton, the official synopsis reads: “Therese is stuck in a loveless marriage to her sickly cousin, Camille.

“Her life changes when she meets Camille’s childhood friend, Laurent.

“They have an affair, but things end rather tragically.”

9. Love & Death

Scoring a more respectable 63%, Love & Death is a 2023 biographical crime drama that aired on HBO Max in the US and ITV in the UK.

The description reads: “Two couples lead peaceful and happy lives in a small Texas Town.

“However, an extramarital affair tragically alters the course of their lives.”

Olsen stars alongside Jesse Plemons, Lily Rabe, Tom Pelphrey and Krysten Ritter.

8. Eternity

Supernatural romantic-comedy Eternity came out last year and earned an impressive 76%.

Starring opposite Olsen in the Apple TV film is Whiplash actor Miles Teller and Masters of the Air actor Callum Turner.

The synopsis reads: “In an afterlife where souls have one week to decide where to spend eternity, Joan is faced with the impossible choice between the man she spent her life with and her first love, who died young and has waited decades for her to arrive.”

7. Doctor Strange

One of the numerous films in the MCU (Marvel Cinematic Universe) to score big for Olsen is Doctor Strange with 73%.

The description reads: “In an accident, Stephen Strange, a famous neurosurgeon, loses the ability to use his hands.

“He goes to visit the mysterious Ancient One to heal himself and becomes a great sorcerer under her tutelage.”

Olsen is joined by the likes of Benedict Cumberbatch, Rachel McAdams and Chiwetel Ejiofor.

6. Kill Your Darlings

Released 12 years ago, the 37-year-old stars in thriller romance Kill Your Darlings with Harry Potter icon Daniel Radcliffe and The Amazing Spider-Man 2 star Dane DeHaan.

The synopsis for Kill Your Darlings, which earned 78% on Rotten Tomatoes, reads: “A literary revolution ensues when Ginsberg meets Carr at college.

“However, an unresolved murder invites trouble for Carr and sets Ginsberg on a path to reveal the truth through controversial poetry.”

5. Avengers: Infinity War

2018’s Avengers: Infinity War is the third Avengers film and the 19th film overall in the MCU (Marvel Cinematic Universe).

Starring as Wanda Maximoff, also known as the Scarlet Witch, Olsen features in all of the Avengers movies with this one ranking 85%.

In this chapter of the Avengers story, the team joins forces with their allies to stop Thanos from finding the infinity stones.

4. WandaVision

Olsen has her own time centre stage in the MCU sitcom WandaVision where “Vision and Wanda live a normal life in Westview and conceal their superpowers. “However, as decades pass by, they start doubting that everything is not what it seems.”

Joining her in the hit series are recognisable stars like Kat Jennings, Kathryn Hahn and Paul Bettany.

WandaVision scores a near-perfect 92% with fans on Rotten Tomatoes.

3. Avengers: Endgame

Of course, it’s no surprise that Avengers: Endgame is among Elizabeth’s most popular films with a whopping 94%.

Once again joined by the MCU’s usual suspects including Chris Evans, Robert Downey Jr and Chris Hemsworth, Endgame became the highest-grossing film of all time, making more than $2.79 billion.

The synopsis reads: “After Thanos, an intergalactic warlord, disintegrates half of the universe, the Avengers must reunite and assemble again to reinvigorate their trounced allies and restore balance.”

However, Avengers: End Game not only isn’t Olsen fans’ favourite but also comes in second place with two other projects scoring higher.

1. Sorry For Your Loss

One of those taking the top spot with a staggering 97% is the two-seasoned drama Sorry For Your Loss.

Originally debuting in 2018, the description for the drama states: “The sudden death of her husband upends and transforms every relationship in Leigh Shaw’s life, also forcing her to realize there was a lot about her husband that she didn’t know.”

Archive 81 and Uncorked actor Mamoudou Athie, Star Wars ’ Kelly Marie Tran and Ozark’s Janet McTeer join Olsen in this Prime Video series.

1. His Three Daughters

Also declared as Elizabeth Olsen’s top project is the 2023 comedy-drama film His Three Daughters with 97% from Rotten Tomatoes.

The description reads: “Three distant sisters reunite in NYC to care for their sick father.

“Tensions rise as they confront past issues, aiming to heal family bonds amid laughter and tears.”

Gilded Age star Carrie Coon and Poker Face’s Natasha Lyonne Rachel both lead the cast with Olsen.

The United Arab Emirates has agreed to unlock billions of dollars for Iran, pursuing a tactical shift after weeks of Iranian attacks on the wealthy Gulf Arab state amid its ongoing war with the United States and Israel, four sources told the Reuters news agency.

The report on the move coincided with the final stages of broader negotiations between Tehran and Washington to end the war. Diplomats say those talks involve the release of tens of billions of dollars in Iranian oil revenues frozen in foreign banks under US sanctions.

Two regional sources told Reuters that the UAE had agreed to release a total of $10bn, more than $3bn of which had already been delivered.

Two other sources with knowledge of the ⁠arrangement put the total funds involved at $20bn, adding that the move had been agreed in return for a halt to Iranian attacks on the UAE.

One of the sources with knowledge of the arrangement also said a first tranche of $3bn had already been made available.

Reuters could not establish whether the funds earmarked for the transfers belong to the UAE or originate in long-blocked Iranian accounts in the UAE banking system, or elsewhere.

But a UAE official, asked to comment on the transfer, said the country was trying to ease tension and foster peace.

“The UAE’s foreign policy is guided by promoting de-escalation and reducing tensions across ‌the region, while advancing lasting peace and stability,” the official said.

“The UAE supports efforts, including those undertaken by the United States, to protect the peoples of the region from the repercussions of conflict.”

The White House did not immediately respond to Reuters’s request for comment on the move.

‘Red line’ workaround

Earlier on Friday, Vice President JD Vance said that frozen funds would not immediately be released to Iran upon signing a deal with the US.

He said the potential deal is structured to ensure that economic benefits would flow to Tehran if it meets its obligations.

There was no immediate response from Iranian authorities to a Reuters request for comment on the move.

None of the sources cited by Reuters would agree to be identified due to the sensitivity of the matter.

The arrangement signals a striking pivot from the open animosity of UAE-Iran relations through much of the war, when Iranian attacks emptied Dubai’s hotels, ⁠drove some expatriates to flee and shook the reputation for safety that is central to the country’s position as a premier business hub.

One of the ⁠sources with knowledge of the arrangement said the move offered a way to help solve the conflict between the US and Iran without either side crossing its red line. Iran can claim it extracted compensation for war damages. Washington can insist it paid nothing.

Abu Dhabi, meanwhile, obtains its own security and protects Dubai’s hub status, while framing the move as an investment in rebuilding regional trust.

The other source with knowledge of the arrangement said that in return for the disbursement, Iran ⁠would halt missile and drone attacks on the UAE, and there would be a rebuilding of bilateral ties, including intelligence sharing and economic cooperation.

The source added that Iran had approached at least two other Gulf Arab countries to make a similar arrangement.

The last known direct attack by Iran on ⁠the UAE was more than a month ago – a May 4 strike on the Gulf state’s Fujairah port on the Gulf ⁠of Oman.

The first source with knowledge of the arrangement said talks had started several weeks ago but quickened pace when officials of Iran’s powerful Revolutionary Guard visited Abu Dhabi last week to meet Sheikh Tahnoun bin Zayed al Nahyan, the UAE’s national security adviser and deputy ruler of Abu Dhabi, and stayed at his guest house.

That trip was followed by a visit by UAE officials to Tehran to negotiate the details of the mechanism.

Frozen funds

Dubai’s banks have long held substantial Iranian-linked deposits, much of them now immobilised under US sanctions that police the global dollar-clearing system and expose any foreign bank dealing with blacklisted Iranian entities to being cut off from the US financial network.

On April 11, a senior Iranian source told Reuters that the ‌US had agreed to release Iranian frozen assets held in Qatar and other foreign banks, although a US official swiftly denied the assertion.

The source, who declined to be named due to the sensitivity of the matter, said that unfreezing the assets was “directly linked to ensuring safe passage through the Strait of Hormuz”, a key issue in talks aimed at ending the conflict.

Migration has been a central theme throughout Pope Leo’s weeklong tour of Spain.

Pope Leo has warned human traffickers that they will face God’s wrath if they continue to exploit desperate African people trying to reach Europe via Spain’s Canary Islands.

On Friday, his second day in the Canary Islands, the pontiff said that he wanted to directly address those who “take advantage of people’s desperation [or] organise death routes”.

Throughout his weeklong tour of Spain, the American pope has insisted on the inherent dignity and rights of migrants, urging global leaders to welcome and integrate them into society.

“Stop. Repent,” said Pope Leo. “For every life lost, every family deceived … you will have to appear before divine justice.”

“Repent while there is still time,” he said, invoking the Catholic belief that someone who committed evil acts in life can confess their sins and make amends or be sent to hell upon their death.

Leo was visiting the Canary Islands, a Spanish archipelago off the western coast of Africa, as the culmination of a three-stop tour of Spain.

The islands are one of the main gateways into Europe for migrants, who risk a deadly journey across the waters of the Atlantic Ocean, often in improvised and overcrowded small craft.

Earlier, the first man from the United States to lead the Roman Catholic Church, warned world leaders that history would condemn those who allowed people fleeing war or poverty to suffer.

Located more than 1,000km (620 miles) from mainland Spain, the Canaries saw migration peak in 2024, when the islands received 46,843 migrants, compared with fewer than 1,000 in 2015, according to official data.

More than 3,000 people died last year trying to reach the islands, according to the NGO Caminando Fronteras.

The pope also visited an interim housing centre in Tenerife, the largest of the Canary Islands, to hear testimonies from migrants. The facility has received some 70,000 people since it opened in 2021.

One woman, Bousso Diouf, told Pope Leo that migrants did not want special privileges but “respect, humanity and the opportunity to live with dignity.”

More than any other artist in the 20th century, David Hockney defined Los Angeles in the public imagination. When he first arrived in January 1964, age 26, his mental image of the city had been forged not by art but by Hollywood movies, which he had watched as a young boy in Yorkshire, England. In later life, he often recollected the sharp-edged shadows cast by the Californian sunlight in movies such as Laurel and Hardy’s “Big Business.

Before he ever went to L.A., Hockney — who died Thursday at 88 — knew that he would love it. Writing about his first descent into the city, he recalled how “as I flew over San Bernardino and looked down — and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I’ve ever been arriving at any other city, including New York.” By this time, the glamour of Hollywood had been compounded by other influences, including the homoerotic magazines that an American friend had given him at the Royal College of Art in London. Titles such as Physique Pictorial, published in L.A. by the pioneering “beefcake” photographer Bob Mizer, held out a promise of California as a paradise of rippling men and permanent sunshine. A darker, no less thrilling image of the city had arisen from Hockney’s reading of “City of Night,” the 1963 novel by John Rechy that tells the story of a hustler in the gay underworld of downtown L.A.

Los Angeles itself felt young to Hockney. He loved the light, the architecture, the sense of space and the sense of possibility — not least the possibility of greater sexual freedom. West Hollywood boasted a large gay bar, the Red Raven on Melrose Avenue, that was unlike anything he had found in London or New York. There was also the lure of the beach, with its pageant of sculpted physiques. Venice Beach struck him as a more body-beautiful version of London’s Portobello Road.

Before long, his work shifted from generic fantasies of the city (a young man showering in Beverly Hills, for instance) to vivid portrayals of its real-life pools, palm trees, architecture and people. American artists such as Edward Ruscha and Edward Kienholz were producing their own canonical images of L.A. in these years, but for Hockney, there were no artistic precedents — “no ghosts,” as he later put it — to live up to. “People then didn’t even know what it looked like,” he once said. “And when I was there, they were still finishing up some of the big freeways.… I suddenly thought: ‘My God, this place needs its Piranesi, Los Angeles could have a Piranesi, so here I am!’ ”

He was true to his word, even if his luminous, serene images of the city were a far cry from Giovanni Battista Piranesi’s feverish visions of Baroque Rome. “Beverly Hills Housewife” (1966), a portrait of a pink-dressed collector in her modernist home, marked the onset of a realist style that would define Hockney’s work for the next decade. This era gave rise to paintings that became icons of their time and place. Among them were “A Bigger Splash” (1967), which was based on a magazine cover that he came across on a newsstand, and “Christopher Isherwood and Don Bachardy” (1968, sold last year at Christie’s New York for $44.3 million). Inspired by Hans Holbein, this portrait of the English novelist and his artist partner was one of the first celebratory portrayals of a gay couple. Hockney would later recount how Isherwood proclaimed: “Oh David, we’ve so much in common; we love California, we love American boys, and we’re both from the north of England.” Hockney’s beloved American boy at this time was Peter Schlesinger, a young artist he had met while teaching at UCLA in the summer 1966 — and a recurring presence in the early L.A. pictures.

According to Norman Rosenthal, who curated a major survey of Hockney’s art at the Fondation Louis Vuitton in Paris last year: “It is astonishing that a boy from a poor family in Bradford became the person — partly because of his gayness, but also his talent — who defined what everybody now thinks of as California. L.A. had no real image in the world before then, unlike New York.”

Despite his enchantment with Los Angeles, Hockney didn’t settle there until 1978, after a decade of bouncing between America and Europe. In the summer of 1979 he moved into a house in the Hollywood Hills, and soon adorned its pool with swishing strokes of blue paint. In the early 1980s, he converted the paddle tennis court into a studio. The meandering routes and Mediterranean scenery of the Hills were a fresh source of amazement, giving rise to monumental depictions of Mulholland Drive and Nichols Canyon in a newly abstract style.

By this time, the city was deeply familiar — a second home — and he had a close circle of friends around him who included the patron Betty Freeman (subject of “Beverly Hills Housewife”), the designer Gregory Evans, the gallery owner Nicholas Wilder and the film producer Joe Simon. “L.A. had represented a whole new world for him,” says Simon, who remained in regular contact with the artist until his final days. “He just loved the light. He was like a kid in a candy store when he first came. But David was all about the work. Everything came back to that.”

In recent decades, Hockney’s name had become synonymous with the landscapes of his native Yorkshire, which he began painting prolifically in the early 2000s. But Los Angeles never lost its newness and promise. His house in the Hills remained a sanctuary until his final years, when he was too frail to travel. L.A. was where he had come of age, and it remained an indelible part of his life and psyche — not least in terms of its egalitarian spirit and its tendency toward the horizontal. “The great thing about Hockney was that he spoke to everybody,” says Rosenthal. “Few artists of his world and his generation could do that.”

James Cahill, a novelist and an art critic, is the author of, among other books, “David Hockney” and the forthcoming “The Beverly Hills Housewife: Hockney’s Californian Muse and the World Beyond the Pool.”

June 12 (UPI) — Facebook and Instagram were back to normal Friday afternoon after a morning outage.

The online outage tracking website Downdetector.com showed that Facebook had 291 reports of outages, and Instagram showed 207 as of 3:35 p.m. EDT.

Instagram’s peak of users reporting outages at 9:30 a.m. was at 10,553, while Facebook peaked at 127,222 at 9:48 a.m.

Meta’s systems dashboard showed all green checks at 2:15 p.m. EDT, noting “no known issues” or “resolved.”

One person on X reported Friday morning:

“FACEBOOK IS DOWN

“INSTAGRAM IS DOWN

“META ADS MANAGER IS DOWN

“QUICK EVERYONE GO OUTSIDE AND TOUCH GRASS”

Earlier Friday, Downdetector showed more than 100,000 people were having problems logging in to Facebook as of 10 a.m. EDT. It also showed more than 9,000 users reporting problems with Instagram and nearly 20,000 with Facebook Messenger.

Some users confirmed in the comments on Downdetector that they were experiencing issues with these platforms, noting that they were “automatically logged out,” “Can’t log in,” or were receiving an “Unknown error.”

As Washington and Tehran move towards a long-term ceasefire agreement, Gulf states will likely look for new long-term security solutions when a war in their region – which they did not start – finally ends.

It comes as United States President Donald Trump cancelled new strikes on Iran saying that a deal with Tehran was imminent, and that a “time” and “place” for signing would soon be announced.

In Tehran, officials appeared more cautious with one senior Iranian official telling Al Jazeera that the government was still reviewing a proposed Memorandum of Understanding with Washington.

Subsequent comments by Pakistan Prime Minister Shehbaz Sharif point to a deal being made, and what follows in the coming days could have important implications for collective regional security.

Attacks on the Gulf

The United States operates military facilities in at least 19 locations across the MENA region, including permanent bases in Bahrain, Egypt, Iraq, Jordan, Kuwait, Qatar, Saudi Arabia and the United Arab Emirates, according to the Council on Foreign Relations. Between 40,000 and 50,000 US troops were stationed across the region before the war on Iran started.

This US-Gulf nexus appeared to insulate states from conflicts engulfing other parts of the region, but over the past four months, Gulf states hosting US military facilities have been targeted by Iran.

“If there is a way to describe the prevailing security model in the region since the 1980s, the concept of security partnerships best encapsulates it,” said Mahjoub Al-Zuwairi, an academic and expert on Middle East politics.

“The countries of the region have chosen to align their security with broad international alliances. For decades, this model has provided a reasonable deterrent and logistical and intelligence depth that is difficult to replace.”

A security umbrella with holes

The war on Iran has exposed a paradox – while Iranian officials have repeatedly referred to their Gulf neighbours as “brothers”, they have also repeatedly targeted them during the war.

Despite the protestations of Gulf states that no attacks on Iran were launched from their soil, they have been repeatedly targeted.

At least 28 people have been killed across the six Gulf Cooperation Council (GCC) states in suspected Iranian drone and rocket attacks, since the US and Israel launched their offensive on Iran on 28 February. This has led to questions about the US-Gulf security arrangement.

“Just the war itself has pierced that sense of security, the US security umbrella is moribund at worst, or ineffective at best,” Simon Mabon, professor of international relations at Lancaster University, told Al Jazeera.

“They’ve long relied on it for their own security. Yet the presence of US forces on their territory directly meant they became targets. They can’t escape their geography [and] despite the tensions, despite the hostilities, despite the attacks, Iran isn’t going away. They have to find a way of dealing with this reality.”

The economic cost of war

The closure of the Strait of Hormuz has proven be a setback for some Gulf states working to diversify their energy-reliant economies towards tourism, services and finance, but not all have been affected equally.

Saudi Arabia was able to redirect some oil exports through its East-West pipeline to the Red Sea, while Oman – whose main ports are outside the Strait of Hormuz – has also benefited from rising energy prices.

The UAE, Bahrain, Kuwait and Qatar have been more heavily affected due to their dependence on the waterway for their energy exports, but the war has encouraged new thinking on long-standing security and economic arrangements.

“There are new pipelines being set up, but the capacity of these alternatives is infinitely smaller than the Strait itself,” said Mabon. “It will take enormous investment and years of development before they can come close to replacing it.”

Moving closer to Iran?

One possible lesson from the conflict is that Gulf states may seek engagement with Iran rather than confrontation, something that Gulf states had already made some groundwork on before the US-Israel war began.

The UAE restored diplomatic ties with Tehran in 2022, and a year later, Saudi Arabia and Iran agreed to normalise relations in a deal brokered by China.

Al-Zuwairi says that the conflict could revive plans for MENA-led regional security arrangements, as envisioned in the 2019 Hormuz Peace Initiative, which proposed a Gulf security framework involving Iran, Iraq and the six GCC states.

But the distrust fostered since then – notably Tehran’s strikes on its Gulf neighbours – would make such a formation unlikely in the near future. 

“The recent war has opened the door wide to reconsidering the Gulf security system with its neighbours,” Al-Zuwairi said.

“How can Tehran propose a non-aggression pact while raining missiles on neighbouring cities? The initiative appears theoretically sound but practically bankrupt unless Iranian behaviour changes.”

Looking beyond Washington?

The solution for the Gulf could be a hybrid arrangement where ties with Washington are maintained, but other regional and domestic options are explored, including greater investment in local defence industries.

A possible blueprint for this could be the mutual defence agreement between Saudi Arabia and Pakistan last September, stating that an attack on one country would be considered an attack on both.

Yet previous instances when Gulf states felt abandoned by the US have led to divergent responses, with the UAE and Bahrain deepening ties with Israel, but a new paradigm means that a more collective action to the issue of security might be considered.

“The war has demonstrated that every guarantor, no matter how many banners it flies, primarily protects its own interests,” said Al-Zuwairi.

“The region ends up paying the price for a war it did not choose … The security of the Gulf will not be created in Washington … It will be created when Gulf countries recognise that they must build it themselves, because when fires start, it is always those closest to the flames who pay the price.”

Some people are still processing “Euphoria’s” evolution away from its roots as a gritty drama that explored highly mature and dark teenage experiences to, in its final season, a fever dream-esque look at adulthood that played like a full-blown neo-noir crime thriller. But another show’s creative transformation has taken the stage now.

The third season of AMC’s adaptation of Anne Rice’s “Interview With the Vampire” brings a reset to the captivating world of bloodsuckers. While the first two seasons adapt the original 1976 novel, relying heavily on the recollection of Louis de Pointe du Lac (Jacob Anderson) as he recounts his centuries-long life and romance with Lestat de Lioncourt (Sam Reid) to a journalist, the new season shifts narrative focus and perspective over to Lestat, who transforms into a charismatic frontman of a glam-rock band to publicly set the record straight. As such, the series has been retitled “The Vampire Lestat,” which is the name of Rice’s second novel. For this week’s Guest Spot, I spoke with showrunner Rolin Jones about the show’s rebranding and Reid’s commitment to the musical challenge.

Also in this week’s Screen Gab, TV critic Robert Lloyd steers us away from the usual streaming options to recommend a man’s video journal that documents his quest to travel the world by foot, while culture critic Mary McNamara suggests a new British comedy about codependent BFFs navigating the sort of tricky development that would end most friendships.

Speaking of endings to relationships, it was announced this week that “Doctor Who” showrunner Russell T Davies is exiting the series (again) seven months after Disney+ decided not to continue its partnership with the BBC to distribute the long-running sci-fi series. BBC also announced it will not air the show’s previously announced Christmas special this year. Lloyd, a longtime Whoverse follower, is a voice of calm through it all. He shares his thoughts on why the new questions swirling around the franchise don’t necessarily have to be cause for alarm — evolution is part of the show’s essence, he reminds us. Elsewhere in current events, if you’ve been curious (… sure, that’s the right word!) about the UFC Freedom 250 live event that will unfold in an oversize cage on the White House South Lawn in celebration of Trump’s 80th birthday and the country’s 250th anniversary — and will be streamed live on Paramount+ — check out our explainer about the controversy — and lawsuit — it has sparked.

Now if you’ll excuse me, I have another Matthew Rhys story to read so I can maintain my executive membership in the fan club. See you next week!

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

@AlexanderCampbellOfficial (YouTube)

In February 2023, Alexander Campbell, then 27, set out from Sydney to walk west around the world. Currently he is somewhere around Albania, having traversed, among other places, Bangladesh, Nepal, Pakistan, Kazakhstan, Turkey and Bulgaria. He’s been documenting his progress on camera all along the way, but it wasn’t until Day 938, in Georgia, that he began posting the longer, “uneventful” videos that make his channel such a singular, meditative, even hypnotic, form of vicarious travel. Walking alone to the sound of his own footsteps, through sun, rain, sleet, snow and dark of night, over mountains and deserts, through forests and fields, he becomes a character in a peripatetic, nearly one-man show. The occasionally encountered friendly local will warn him about wolves or bears or the hunters who might mistake him for one, though he meets more dogs than people. (He calls them all “Buddy,” warily.) Titles include “I Slept in a Barn Full of Stray Dogs,” “I Got Caught in a Snowstorm With Nowhere to Sleep” and “Something Was Out There in the Forest.”) — Robert Lloyd

Jemaine Clement, left, and Nicola Walker in “Alice and Steve.”

(Lara Cornell / Hulu)

“Alice and Steve” (Hulu, Disney+)

What would you do if your ex-turned-longtime bestie slept with your 26-year-old daughter? Well, Alice (“The Split’s” Nicola Walker) 100% loses her mind. Sure, during a drunken convo at a bar, she did tell Steve (“Flight of the Conchords’” Jemaine Clement) that he could have any woman he wanted, but she most certainly wasn’t talking about Izzy (Yali Topol Margalith). Having just returned home after breaking up with her boyfriend, Izzy decides that Steve, now bunking down on the sofa, is “strangely hot” enough for a little rebound sex and then a romantic relationship. And Steve, though initially regretful and more than a little shell-shocked, decides this is what he wants too. “I really like her,” he says by way of sheepish explanation. It leaves Alice no choice but to hilariously alternate between screaming and scheming as she tries to put a stop to the proceedings even at the expense of her marriage, her career, her friendship with Steve and her self-respect.

Clement’s sad-sack charm successfully boosts the leap of faith required to keep Steve from becoming an oblivious creep, but the show belongs to Walker. Her Alice becomes a blazing embodiment of the emotional maelstrom inside every woman who is expected to somehow put on a supportive, understanding face no matter how outrageous or impossible the situation. The laughs she elicits are exhalations of shock, recognition and relief. We can’t all ditch the high road for pure, luxurious fury, but it’s mighty fun to watch someone who does. — Mary McNamara

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Sam Reid as Lestat De Lioncourt in “The Vampire Lestat.”

(Sophie Giraud / AMC)

If you thought posting cryptic digs about an ex on your social media accounts as a way to cope with unresolved emotions was petty, this TV vampire may have you beat. The wild new, music-infused season of “The Vampire Lestat” (formerly “Interview With the Vampire”) revolves around Lestat de Lioncourt (Reid) on an elaborate mission to tell his side of the story after his ex-lover, Louis de Pointe du Lac (Anderson) published a scandalous memoir — with the help of journalist — that detailed their turbulent romance. In his bid to control the narrative, Lestat becomes an immortal glam rocker who launches a music tour and enlists the same journalist — newly turned into a vampire — to direct and film a music documentary about his life. The result is a flamboyant seven-episode season that blends rock-opera style performances (the season will feature 20 original songs) with personal reflections from its flashy frontman. As it enters its second week of release on AMC and AMC+, creator and showrunner Rolin Jones spoke over video call recently to discuss the show’s creative pivot and more. — Y.V.

To kick off the new season, there was an immersive premiere concert event at the historic Beacon Theatre in New York City earlier this month. Was that a surreal experience? Did you feel like a music manager?

I have a hard time talking about the work — the selling of the work, all that kind of stuff. I want to finish my edit, and then I want to like disappear at the Arctic. I knew we were doing this and I knew that there were like fans from all over the world flying in for it — some who didn’t have tickets. I knew there were people who had worked on the show from Seasons 1, 2, and 3 who got on a plane, asked for a ticket, and made a pilgrimage there. I was really moved by it. It was about as good as these things can ever be. It felt really beautiful. It felt like Vampire Church. It was pretty cool. And Sam — “surprising” is not the word because I’ve worked with him for a long time — was way better than he should have been. It’s incredible.

In this TV landscape, taking a show and giving it a new title as it enters its third season is a daring move. The series moves focus to the second book in Rice’s oeuvre. And while it continues the story of these characters, at the same time, it feels like a new show. What made you nervous about carrying out that kind of creative transformation? And what was thrilling about it?

We could start with a thrilling part because the idea to be able to go to the people who worked really hard and say, “Hey, let’s rebuild it” — that’s exciting. That part’s cool. The executing part about it is where the terror begins because most worthwhile art — you can call TV art — invariably has to have risk and danger involved in it, otherwise you’re probably performing a magic trick. No offense to magicians. But you want something that when you turn off the TV, you’re not immediately forgetting. The more risk you do, in terms of form, in terms of all that, you want to be able to feel like you can pull it off because, otherwise, they [the audience] have nothing to grasp onto. [And they say,] “You just destroyed this thing we love, how dare you!” But generally speaking, everybody — from the top of the network down to the actors who are doing it — was down for it. Mostly because, if you listen to our fandom, I think they demand it. They’re out there on a limb telling everybody “it’s the greatest TV show, and blah blah blah” and you have to deliver that for them so that they can continually confidently bombard all their friends and neighbors and say, “Watch the show.” There’s nobody who didn’t give everything [to this season]. It was a real collective leap together.

Sam undergoes quite the transformation to make this rock star vampire persona believable. What struck you about how he approached embodying Lestat this season?

I gained 20 pounds in Toronto, and that’s because I kept stuffing my face with bread, and about every three or four times I would have this big sloth of butter on bread, I’d go, “Poor Sam” because I know Sam had not touched a piece of bread. Let’s start there — 0% body fat, the dimensions on the waist. The level of dedication. He was living and breathing every second about the role and about the demands of it — sing songs, and not only sing songs, but go learn to be a musician, and go train with people who have been doing it their whole life so you can fake it. I feel very confident saying this: Anybody who watches this season and Sam’s performance will feel like, at the end, they saw one of the 10 greatest performances in the history of our medium. I think he absolutely disappeared. James Gandolfini did not sing songs, Swearengen [the “Deadwood” character played by Ian McShane] did not sing songs. Mr. White [the “Breaking Bad character played by Bryan Cranston] did not sing songs. I’ll put him [Sam] up against all of them. He’s incredible.

What if he wants to go off and be a rock star now?

He could do it.

Jacob Anderson as Louis De Pointe Du Lac in Season 3 of “The Vampire Lestat.”

(Sophie Giraud / AMC)

You have a rock band posing as vampires fronted by an actual vampire who is the focus of a documentary being directed by a vampire passing as a human. And for all this to work, the band has to be good. What was the challenge of making this fictional band’s stardom believable — the charisma, the presence on stage, the discography? It’s a tall order, in addition to making a compelling TV show.

Anytime you have seen these things, following a band, there’s so many ways it can fall flat. You can do three or four of the things you need to do, and if one of them falls apart, you’re still stuck there, going, “Eh.” We all, who are working on it, love music. We’ve all been in clubs. The first thing we did was remove the stardom for budget reasons, but also for singular storytelling — he decided to do rock ’n’ roll in the year 2025. Some basic building blocks, we need songs. So with [composer and songwriter] Daniel Hart, we bring him into the [writers’] room because it’s not only writing songs, but writing the context about when and where he’s [Reid] singing them. He has to be aware of what we’re doing in the room. We also have to be able to pivot when he has pure inspiration; he can come in with something we’ve never talked about, and go “Boom!” And it’s OK, now what do we do with this song? And quite often this year we restructured episodes because the song was beating our episode. [We had to] hire actors who can play or musicians that can act — and that’s not everybody, so that shrinks that down. Make sure when you’re in the club, or whether you’re singing the song in rehearsal, let us uglify it, embrace the mistake, make it a little dirty. We have a song this year that has some of the most beautiful orchestrations, but because of where it landed in the season and what it talked about, we ended up going with the most stripped down, bare version of it. Don’t worry, you’ll get to hear these beautiful orchestrations [at some point]. [It’s also thinking about] how do you carve out the time you need to shoot it and the playback elements of it, and what sacrifices you have to make on other set pieces that you would normally put in is a lot. But everything from the beginning was with one thing in mind: Do not suck. How can we suck less? Let’s not suck. And we just kept going over and over again with that.

At the end of the first episode we see Lestat reunited with his undead mom, Gabriella, who he has, I think it’s fair to say, an oddly intimate relationship with —

Multifaceted.

And obviously the Louis-Lestat romance is far from being over. What are you interested in exploring within those two dynamics, in particular, moving forward since they’re so central to Lestat?

It becomes immediately about him going, “Let me try to explain this … I might have just repelled 80% of you.” I’m really interested in the viewers who are really off-put by it. I want to see where they’re at by the end of Episode 7, if they trust us. And see what they’re feeling. I guess [some people feel], “Oh, you’re not allowed to do this in the TV world unless you got f— dragons and s—, but all the things that you would have thought [that the network might say], “Don’t do this,” we didn’t really have a lot of those obstacles. There was a lot of trust. The thing with the Lestat character is like it’s probably harder to cuddle up to him like you could Louis. Louis is a Faustian tale; here it’s like a Faustian tale but Elton John’s at the center of it. There’s a series of questions like “Why do you keep doing this to yourself? Why do you keep get trapped into these things?” It’s like going on odyssey, or as Jacob called it, an idiocy, with a character that is exotic and eccentric and contradictory. For us going forward, as we wrote it, every time we fell into the something that felt well-made or cool on a twist or turn level, we found we were very suspicious of it, and we were trying to make alien TV as best we could. So, what do I want? It’s less about exploring those two dynamics, although they’re richly part of this fabric. It was, how can you take them on a magic carpet ride, a very difficult one? The idea is to actually have, by the end, every single person recognize that part of themselves in him. And how can you normalize him over seven episodes? How can you deliver that to an audience?

I know you’ve been super–busy, but what’s the last thing you watched that you found yourself recommending to everyone or something that you were obsessed with right now?

A TV show I’m watching, one that I’m enjoying right now, is “Widow’s Bay” [Apple TV]— that has been very enjoyable. It’s so much fun.

Matthew Rhys’ facial expressions are so good.

Oh, he’s great, and that show just really knows what it is, and is joyfully silly, and has a great atmosphere. It’s one of the most beautifully shot things I’ve seen in a while. I’m not finished yet.

OK, before I let you go, I hope we get a concert out in L.A. at some point.

Wouldn’t that be nice? Where would you put it up? Echoplex?

Maybe the Troubadour.

What about the Greek? That would be nice.

ICYMI

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June 12 (UPI) — SpaceX began trading Friday at $150 and has gone as high as $176 as SPCX in its initial public offering, the largest one in history.

Elon Musk and SpaceX President and COO Gwynne Shotwell rang the opening bell Friday. Musk was in Texas and Shotwell was at the Nasdaq in New York City.

After trading opened, the stock topped $160, sending the company to more than a $2 trillion market cap. By early afternoon, the stock was at $176.52.

“I love the incredible people of SpaceX beyond words,” Musk wrote Friday afternoon on X.

The company had traded more than 360 million shares as of 2 p.m. EDT Friday. It has more than 172 million shares on the Nasdaq alone, CNBC reported. Polymarket bettors believe, at 70%, that SpaceX will close at more than $2 trillion Friday. Five other U.S. companies have reached the $2 trillion market cap: Nvidia, Apple, Alphabet, Microsoft and Amazon.

Already a trillionaire, Musk is about to be CEO of two of the Top 10 most valuable publicly traded companies at the same time.

Musk said before the IPO that SpaceX had been cash-flow positive since around 2015, CNBC reported. He said he chose to take the company public now to raise capital for “a significant growth phase.” Some plans for that growth include putting more than 100,000 satellites in orbit for communications and building artificial intelligence data centers in space.

“Having a private company was important to us early on because we weren’t really focused on quarterly financials, we were so focused on the long-term outlook for the company,” Shotwell told CNBC in an interview.

Shotwell said interest from investors also helped drive the decision.

“We’ve been feeling, over the last few years, a lot of pressure from everyday Americans and our friends that wanted to buy stock, and there was just no way for these folks to get in,” Shotwell said.

According to its prospectus, SpaceX has had a total loss of $41.3 billion since it was founded in 2002. Originally founded as a maker of reusable rockets, the only profitable part of the business has been the Starlink satellite Internet service.

In February, SpaceX acquired Musk’s startup xAI, which has been embattled this year for its ability to undress people in AI-generated images. Several countries and people have sued the company to force it to not allow the bot to do so against the victims’ will.

Citadel Securities, which helps execute trade orders, processed more retail activity for SpaceX than any other IPO auction on record, CNN reported the company said. Retail investors are regular people trading stocks instead of professionals.

Thousands of Muslim Bangladeshis have been detained or deported under West Bengal’s new BJP government.

Al Jazeera’s Ava Warriner explains why critics fear the campaign could deepen religious tensions and test due process protections.

DAVID Beckham has snapped “That’s a private matter’ as he shut down any questions on his son Brooklyn amid their ongoing family rift.

The soccer legend was being interviewed ahead of receiving a star on the Hollywood Walk of Fame.

The Beckhams have been embroiled in an ugly fallout with Brooklyn, 27, and his wife Nicola Peltz, 31, for months, with things coming to a head in when Brooklyn posted an explosive statement about the row. 

However, David wasn’t happy when asked what toll the media coverage on the fallout had on him.

He replied: “To be honest, I’m sorry to stop you there, but that’s a private matter. That’s the one thing that I don’t want to talk about.”

However, he did open up about the key to his 26-year marriage with Victoria and creating their “four incredible kids.”

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David told Variety: ‘We’ve got four incredible kids. We’ve got businesses that we work hard on.

“But we always make time for each other, and we always have. I want Victoria to be the best version of herself, and vice versa. 

“And as busy as we are, our family always comes first.

“That’s our priority, and that’s what makes it work when you’ve been together for so long. Our priority will always be our family.”

David grafted for his star under the category of Sport Entertainment after becoming the UK’s first billionaire sportsman.

Singer-turned-fashion-designer Victoria Beckham will of course be on hand during the ceremony as she’s poised to share her support for David.

Former Spice Girl Victoria is said to be showing up for her man by speaking at the event alongside their pal Hollywood actor Tom Cruise.

But it is thought Brooklyn is unlikely to attend, despite living just a short distance away in Los Angeles.

The star will be located less than five miles from the Beverly Hills mansion Brooklyn shares with Nicola.

A source previously told The Sun: “Brooklyn snubbing David’s special day will be a very public humiliation as he lives in Hollywood.

“Of course, David is hopeful the family will have mended their relations by then, especially after he has offered an olive branch to Brooklyn.

“The rift has been a great cause of heartache.”

June 12 (UPI) — A federal judge blocked a lawsuit by Texas Attorney General Ken Paxton against Democratic fundraising platform ActBlue.

In a 15-page ruling, U.S. District Judge Richard Stearns granted ActBlue a preliminary injunction banning Paxton from continuing the litigation, finding that ActBlue was likely to win in its claims that the suit infringed on its First Amendment’s free-speech protections.

The judge said the suit was filed in retaliation of ActBlue raising funds for James Talarico, who is running for Senate against Paxton.

“The lawsuit in Texas is undoubtedly an adverse action,” Stearns wrote in the order. “And having previously found bad faith, the court agrees with ActBlue that the evidence in the record compels the conclusion that, far from protecting Texas consumers, the action was filed in retaliation for ActBlue’s fundraising on behalf of Talarico, Paxton’s current political rival for the Senate seat.”

Paxton began an investigation in 2023 against the organization for allegedly enabling international donors to make gifts through gift cards and prepaid debit cards. President Donald Trump requested the investigation before he was re-elected. Paxton filed suit in April.

“The truth is plain and captured in Paxton’s own declarations: The lawsuit was filed in retaliation for (and in an attempt to suppress) ActBlue’s efforts to fund [James] Talarico’s campaign,” Stearns ruled.

ActBlue sued in Boston to stop Paxton, claiming Paxton’s suit was “rife with false and inflammatory allegations” and was filed soon after a $2 million funding day for Talarico. ActBlue is based in Massachusetts.

“Paxton’s public statements in the wake of filing the case against ActBlue reveal his true motivation,” Stearns wrote. “While a prosecutor is entitled to a large degree of prosecutorial discretion and has a right to make a considered public accounting of his actions, Paxton did not hesitate in drawing a connection between the lawsuit and his candidacy for Senate.”

Paxton had alleged that ActBlue had misrepresented itself to donors.

“The platform does nothing more than facilitate political donations from private donors, who seek out its convenience, anonymity and aggregation of the benefit bestowed on chosen political candidates,” Stearns ruled.

Justice Department had walked back controversial plan after meeting backlash from lawmakers and lawsuits.

A federal judge in the United States has indefinitely blocked the Trump administration from moving forward with plans for a $1.8bn “anti-weaponisation” fund, meant to offer payments to those who experienced alleged “lawfare” and “weaponisation” of the government.

The ruling on Friday represents another setback for the scheme, which has faced heavy resistance from lawmakers and has been walked back by the Department of Justice previously.

Judge Leonie Brinkema of the US District Court for the Eastern District of Virginia had issued a temporary halt to the fund last week and issued a preliminary injunction as it was set to expire on Friday.

The fund was the product of a settlement between Trump and the Justice Department of a $10bn lawsuit the president had brought against the Internal Revenue Service (IRS).

The Justice Department set up a $1.776bn fund that would have been helmed by a five-member commission to distribute funds to those they deemed victims of “weaponisation”, a term that Trump has used to describe investigations and criminal cases into himself and his allies.

Attorney General Todd Blanche walked back the plans earlier this month amid growing criticism, and government attorneys have argued that lawsuits challenging the scheme are now irrelevant.

Even before the administration announced it was dropping the fund, the Justice Department did not form the five-member commission to decide on payout criteria, so no money was paid out or claims accepted.

Many of the Republican president’s allies are opposed to compensating rioters who stormed the US Capitol on January 6, 2021. In May, however, Blanche would not rule out the possibility that Capitol rioters who engaged in violence could be eligible to apply for payments from the fund.

Trump issued mass pardons to Capitol rioters on his first day back in the White House last year. More than 1,500 people were charged in the January 6 attack before Trump erased every case with his sweeping act of clemency.

Plaintiffs who sued to block the plan argued that the scheme diverted taxpayer funds into what was essentially a slush fund and have expressed doubt about Blanche’s assurances that the fund will not move forward.

While the administration has moved away from the scheme, Trump himself has not endorsed its cancellation and has continued to discuss it positively in comments to the press.

Harry Redknapp has revealed his plans to quit Soccer Aid after almost 20 years, noting that he would rather “bow out” when things are going well rather than waiting for his team to lose

Harry Redknapp has revealed his plans to quit Soccer Aid after almost 20 years. The sports star, 79, has been involved with the annual charity event, which has raised millions for UNICEF UK, since 2008 and after recently leading England to victory against Soccer Aid World XI, has admitted he will take a step back from it all sooner rather than later.

The former I’m A Celebrity…Get Me Out Of Here! star has acted as Manager and Coach for various teams made up of former players and celebrities over the years but would rather quit amid a rather successful period instead of waiting until things start to go wrong for his team.

He told The Sun: “I think I’ll probably retire myself off. I think I’d better get rid of me now, yeah. We won this year so you know, that might be it for me. I’ll bow out. Best to go out at the top rather than being booted out for getting beat again or something.”

This year, Harry, who has managed Tottenham, West Ham, QPR and Birmingham during his mammoth career as a football manager, teamed up with The Chase star Bradley Walsh to choose the England squad, which was eventually made up of actors Chris O’Dowd and Damson Idris along with former England striker Jermain Defoe amongst a host of others.

Speaking about working with Bradley, who has become one of the UK’s most famous television presenters after appearing in Coronation Street in the early 2000s, Harry was full of praise but joked he would have rather been on the inside when it came to the World Cup.

He said: “Me and Bradley were like a dream team. We picked the winning team between us. Bradley was fantastic and just having a few days with Bradley was worth all the money. It would be lovely to be in on the action for the World Cup, but I had Soccer Aid instead!”

This year, the annual charity football match raised a staggering £16.5million for the children’s aid organisation. The match, which was created by Robbie Williams and Jonathan Wilkes in 2006 , aims to raise millions for UNICEF every year but has never raised as much as it did this year. By raising over £16m, the celebs taking part have increased the total ever raised from the event to £137million.

The grand total was revealed in the last few moments before Soccer Aid went off air, in an announcement made by Robbie, who also performed his song Feel for the halftime performance.

Over £1million of the total amount was raised by Olly Murs. The singer had taken on a mammoth challenge that involved cycling, rowing and running the 400km distance from Old Trafford to the London Stadium. Prior to the match beginning, Tom Hiddleston revealed on air that Olly had raised £1,342,214 for the total pot.

The rest of the funds were raised throughout the event, including the build up to kick off. Tom Hanks and Tim Allen came out to the pitch to deliver the football and revealed that before play had even begun, the event had raised over £4.6million. Tim delighted fans as he said his Toy Story character Buzz Lightyear’s catchphrase: “To infinity and beyond!”

Roughly 15 minutes before the teams headed out, GK Barry caught up with Tom Hanks and Tim Allen with the latter catching many off guard courtesy of his comments.

While stood in the tunnel, upon GK Barry asking for their attention, the latter stated: “I’m just just b****ing about penalty shots.” The comment went unacknowledged by ITV, despite airing pre-watershed.

As Americans, the pair aren’t used to European football. Tim continued to say he was going to “try to work out how you win or lose a game on a penalty shot”. Tom, who said he did have some knowledge of the UK game, jokingly hit back: “You cannot use your hands.”

Soccer Aid celebrated its 20th anniversary with a massive showdown at the London Stadium. The fixture occurs every year and its mission is to raise vital funds for UNICEF while bringing together a unique mix of world-class football legends and beloved celebrities.

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June 12 (UPI) — Cuba’s government on Friday announced a broad package of economic reforms aimed at restructuring key aspects of the country’s economic model, just hours after the United States imposed a full financial blockade on state oil company Unión Cuba-Petróleo, or CUPET.

Speaking on state television, Cuban President Miguel Díaz-Canel defended the shift toward decentralization, saying that “these are times when change is necessary.”

The measures are part of the government’s 2026 Economic and Social Program, a roadmap inspired by the economic models of China and Vietnam. Havana says the plan is intended to address the island’s deep economic crisis, high inflation and widespread shortages of goods and services.

The reforms came only hours after U.S. Secretary of State Marco Rubio announced on X sanctions against CUPET, freezing all of the company’s assets under U.S. jurisdiction and prohibiting commercial transactions with it.

Rubio said that “Cuba’s communist elites have turned energy into a tool of social control and profit,” accusing the government of hoarding fuel supplies for its own benefit and using them to repress the Cuban people.

“President Donald Trump wants a new future for the Cuban people with greater freedom and opportunity,” Rubio wrote.

The secretary of state said the sanctions were justified because CUPET operates assets that were allegedly confiscated from U.S. owners decades ago. Washington also warned that foreign companies continuing to do business with the state oil company could face secondary sanctions.

Cuba announced the measures two days after the Miami Herald reported on a proposed commercial agreement between Florida-based Vanguard Energy and Cuban agencies to deliver 250,000 barrels of gasoline and diesel fuel intended exclusively for Cuba’s private sector, small and medium-sized enterprises and humanitarian organizations.

The arrangement included a five-year lease of state-owned storage tanks operated by CUPET. Under the proposal, Vanguard would retain ownership of the fuel to prevent it from being diverted to the Cuban government and would operate outside the island’s banking system.

However, within hours of the agreement becoming public, the U.S. State Department halted the shipment, saying the company did not possess a specific license authorizing the transaction and reaffirming that the Trump administration’s sanctions against Cuba remain fully in force.

Despite the tightening U.S. restrictions, Díaz-Canel rejected suggestions that the reforms were a response to pressure from Washington, describing them as a necessary internal restructuring effort.

The economic plan centers on decentralization and greater openness to investment. Municipal governments and state-owned companies will receive expanded authority over imports, exports and foreign currency management in an effort to reduce bureaucratic obstacles.

The government also plans to ease restrictions on private small and medium-sized businesses, open financial investment opportunities for Cubans living abroad and allow foreign companies to lease agricultural land to boost food production.

To support the reforms, Havana plans a significant reduction of the central bureaucracy, cutting the number of government ministries to 20 from 27 through mergers and eliminations.

Díaz-Canel said Cuba must move toward “new models and new actors” capable of making use of existing infrastructure, acknowledging that sectors such as tourism have been hurt by U.S. sanctions.

“We cannot focus only on the large international hotel chains when many of them, because of pressure from the United States government, have left the country,” he said. “We are developing real estate and tourism projects with new models and other actors that have not traditionally participated in these sectors.”

On energy policy, Díaz-Canel said Cuba would continue shifting toward solar power and renewable energy sources.

“We are going to eliminate, as much as possible, the restrictions that exist on vehicle imports,” he said. “We will continue prioritizing, through tariffs and pricing policies, the importation of electric vehicles powered by solar energy.”

Recent U.S. measures against Cuba have significantly tightened the decades-old embargo through Executive Order 14404 and additional restrictions targeting the energy sector, including CUPET. The sanctions also affect senior government officials, their relatives and military-linked entities.

Washington says the measures are intended to cut off revenue to the Cuban government, encourage political change and punish human rights abuses.

Cuban authorities argue that the restrictions have worsened an already severe economic crisis marked by chronic shortages and power outages that have lasted more than 48 hours in some parts of the island.

International organizations, including the United Nations, have warned about the humanitarian impact on the civilian population.

THE Ibiza Final Boss piqued the interest of the masses after he was spotted boozing it up on the party isle last August.

While most Ibiza goers like to indulge in the lifestyle Jack Kay found viral fame for his trancelike dance moves and good old-fashioned bowl haircut.

He was spotted vibing in multiple clubs on the island last summer and fans became obsessed with how well summed up the clientele.

Jack, 26, who was seen donning a vest, shades, and a blingy chain, was famed for perfectly round trim, which became the subject of thousands of comments.

The former builder has now opened up on the hefty amount he’s insured his hair for – and it’s seven figures.

He claimed: “Obviously it’s my USP so I have been looking to get it insured and I’ve insured it for a million pound.”

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Celebs often get parts of their bodies insured if it’s a huge money maker for them.

While the Ibiza Final Boss’ life turned on its head over night, he told The Sun he’s not worried about “staying relevant.”

For influencers and viral internet stars overnight fame doesn’t usually last long with some desperate to stay in the spotlight.

But Jack, from Newcastle, would be “happy,” if it all ended tomorrow.

Jack said: “I’m not worried about staying relevant.

“I’ve signed a multi-fight deal, my agents got big things happening for us like end of this year starting next year as well. So I’m not worried about that.

“Even if it all ends tomorrow, which it won’t but if it was I’m happy with that I’ve made a killing do you know what I mean I’ve smashed it.”

He acknowledged that his time in the public eye won’t last forever but he’ll certainly be making the most of it two stepping across Ibiza this summer.

Jack added: “Listen nothing lasts forever does it so you’ve just gotta strike while the iron’s hot and make the most of it.”

Ahead of his first Misfits boxing match on Saturday he told us he’s spent two months clean and sober in preparation.

He said: “It’s been what, seven, eight weeks now. I’m itching for one [a drink]!”

Jack will return to the Spanish island – where it all began – later this year and he’s insisted he will be “well looked after,” by club owners.

“Places will offer free drinks, free tables, they offer me free hotels and stuff, yeah. That’s a bit of a privilege, being me now,” he admitted.

His stardom is not over yet as it was revealed earlier this year that he’ll be part of the cast for the upcoming season of Celebrity SAS.

SpaceX lands on public markets as the sixth largest US company by market value.

SpaceX has debuted on US markets with a market valuation of more than $2 trillion, minting CEO Elon Musk as the world’s first trillionaire.

Shares are set to open on Friday at $150 per share, marking a 6.6 percent increase from the initial public offering (IPO) price, valuing the company at $1.96 trillion putting the aerospace company on track to become the sixth-largest company in the United States.

The company sold $75bn in shares, immediately valuing it at $1.77 trillion. The IPO was oversubscribed four times higher than was otherwise expected, according to the Reuters news agency.

Of the institutional investors allocated, according to Bloomberg News, as much as 70 percent went to what are called long-only investments — a strategy in which holders buy assets based on the expectation that their value will grow over time — and sovereign wealth funds, including those from Saudi Arabia and Kuwait as well.

SpaceX President Gwynne Shotwell and Chief Financial Officer Bret Johnsen rang the Nasdaq MarketSite in New York City opening bell at 9:30am local time as US markets opened.

On Thursday, protesters gathered outside the MarketSite to protest the IPO amid continued allegations that Grok, part of xAI, a subsidiary of SpaceX, allowed users to create non-consensual deepfake sexualised images before the IPO debut.

Shares of SpaceX did not trade until the middle of the trading day as the exchange collected buy and sell orders and underwriters delayed trading until supply and demand were balanced.

“We would expect SpaceX to see an immediate pop in trading due to the hype around the deal, north of 20 percent perhaps,” said Samuel Kerr, global head of equity capital markets at Mergermarket. “Anything lower would actually make me nervous.”

Exchanges and trading firms are eager to avoid the technical mishaps that marred Meta’s 2012 debut. With SpaceX widely viewed as a dress rehearsal for a new generation of mega-listings, market participants will also be watching for signals on investor appetite in advance of forthcoming IPOs for AI heavyweights Anthropic and OpenAI.

The landmark listing cemented Musk’s status as the first trillionaire ever and propelled SpaceX into the ranks of the world’s most valuable companies — even though the firm posted a loss of nearly $5bn last year and generated only a fraction of the revenue brought in by similarly valued tech giants.

The surge comes amid growth driven by its Starlink subsidiary, which drives as much as 80 percent of its revenue.

On Friday, SpaceX launched its Falcon 9 rocket with 29 satellites into space from Cape Canaveral in Florida.