News Desk

Taiwan has accused China of carrying out a “provocative act” after Chinese Coast Guard vessels conducted patrols in waters east of the island. The operation followed announcements by Japan and the Philippines that they would begin formal talks on maritime boundary delimitation, a move Beijing views as involving waters linked to Taiwan.

Chinese state media described the deployment as a special maritime law-enforcement operation. Taiwan responded by dispatching Coast Guard vessels, which reportedly warned the Chinese ships away from restricted waters. Defence Minister Wellington Koo characterized the patrols as both a challenge to Taiwan’s sovereignty and an example of “cognitive warfare” aimed at reshaping perceptions of territorial control.

The incident comes amid sustained Chinese military activity around Taiwan, including frequent air and naval operations. Taiwan is also monitoring the movements of the Chinese aircraft carrier Liaoning, which is operating in the Western Pacific near waters east of the Philippines.

Why It Matters

The patrols represent more than a routine maritime operation. They signal China’s growing willingness to extend its presence beyond the Taiwan Strait and into areas east of Taiwan that have traditionally been viewed as strategically important for the island’s defence.

The move also demonstrates Beijing’s opposition to emerging regional cooperation among U.S. partners and allies. The maritime boundary discussions between Japan and the Philippines reflect increasing efforts among regional states to clarify maritime rights and strengthen coordination in contested waters.

For Taiwan, Chinese Coast Guard activities present a complex challenge. Unlike military operations, law-enforcement patrols operate within a legal grey zone that allows Beijing to advance territorial claims without triggering a conventional military confrontation. Such actions can gradually normalize China’s presence in disputed areas while increasing pressure on Taiwan’s security apparatus.

The incident further highlights the growing integration of maritime, legal, and information-based strategies in China’s approach to territorial disputes across the Indo-Pacific.

Stakeholders

Taiwan

• Protecting maritime sovereignty and territorial claims.
• Maintaining freedom of navigation and security in eastern waters.

China

• Expanding operational presence around Taiwan.
• Reinforcing sovereignty claims through maritime law-enforcement activities.

Japan

• Engaged in maritime boundary discussions with the Philippines.
• Monitoring Chinese activities that could affect regional security.

Philippines

• Seeking greater legal clarity over maritime boundaries.
• Increasing security cooperation with regional partners.

United States

• Maintaining stability in the Taiwan Strait and broader Indo-Pacific region.
• Supporting freedom of navigation and regional deterrence efforts.

Regional Security Partners

• Including Australia and other Indo-Pacific states concerned about changing maritime dynamics.

Strategic Implications

The patrols illustrate China’s increasing reliance on so-called “grey-zone” tactics, which fall below the threshold of open military conflict while steadily advancing strategic objectives. By deploying Coast Guard vessels rather than naval forces, Beijing can challenge Taiwan’s authority while reducing the risk of immediate military escalation.

The incident also reflects the expanding geographical scope of cross-strait competition. Traditionally concentrated in the Taiwan Strait, tensions are increasingly extending into the Western Pacific, where control of maritime approaches carries significant strategic value for both China and Taiwan.

Furthermore, the timing of the operation suggests that Beijing is seeking to influence regional maritime diplomacy. By responding directly to Japan-Philippines boundary discussions, China is signaling its opposition to initiatives that could strengthen legal and political frameworks contrary to its territorial claims.

The episode reinforces concerns among regional governments that maritime disputes are becoming increasingly interconnected, linking Taiwan, the East China Sea, and the South China Sea into a broader strategic contest.

What’s Next?

Several developments warrant close attention in the coming weeks:

• Taiwan is likely to increase coordination between its military and Coast Guard to strengthen maritime surveillance and response capabilities.
• China may continue deploying Coast Guard vessels east of Taiwan as part of a sustained effort to normalize its operational presence in the area.
• Japan and the Philippines are expected to proceed with maritime boundary discussions despite Beijing’s objections, potentially drawing further diplomatic responses from China.
• Increased activity by the Liaoning carrier group could provide additional indications of China’s broader military objectives in the Western Pacific.
• The United States and regional partners may intensify maritime monitoring and security cooperation to deter unilateral attempts to alter the status quo.

Future outcomes

The incident reflects a broader shift in regional security dynamics, where maritime law-enforcement operations are increasingly being used as instruments of strategic competition. Rather than relying solely on military pressure, China is employing a combination of legal, political, and operational tools to reinforce its territorial claims and shape the regional security environment.

For Taiwan, the challenge extends beyond the immediate presence of Chinese vessels. The longer-term concern lies in preventing the gradual normalization of Chinese activities in areas that Taipei considers vital to its sovereignty and security. As regional actors deepen cooperation on maritime governance and security, incidents of this nature are likely to become an increasingly important indicator of the evolving balance of power in the Indo-Pacific.

With information from Reuters.

MEGAN Thee Stallion nearly blew the roof off Radio City Music Hall after gracing the 2026 Tony Awards stage in barely-there lingerie during the ceremony’s wild opening number.

The rapper bent over in a Moulin Rouge-inspired look and showed off her signature twerking skills before dropping an F-bomb during the live awards show that was televised on CBS and Paramount+ on Sunday night. 

Megan, 31, made a surprise appearance during host Pink’s massive Broadway-themed opener on Sunday night, instantly becoming one of the most talked-about moments of the 79th Annual Tony Awards.

The music superstar strutted onto the stage in a sparkling black corset bodysuit complete with fishnet tights, dramatic garters, sequined detailing and towering heels.

She channeled full Parisian cabaret energy inspired by her recent run in Moulin Rouge! The Musical on Broadway.

The Grammy winner joined Pink during a remixed performance of Lady Marmalade, the signature Moulin Rouge anthem, as dancers swarmed the stage in feathered costumes and red velvet-inspired looks.

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At several points during the performance, Megan dropped into twerk breaks – which resulted in roaring applause from the crowd.

At another point, the camera cut to stunned audience members cheering and laughing as the Houston-born rapper was bleeped after dropping an F-bomb.

The over-the-top opening number featured more than 170 Broadway performers and included tributes to Moulin Rouge!, Chicago, Rent, A Chorus Line and several of the night’s biggest nominated productions.

Pink, who is hosting the Tonys for the first time ever, kicked things off flying over the audience in a Peter Pan costume and harness before launching into a theatrical mashup packed with celebrity cameos.

Mormon Wives breakout Whitney Leavitt also popped up during the opening dressed in her Roxie Hart costume from Chicago, while Lea Michele belted out surprise vocals during the sprawling musical performance.

Fans immediately flooded social media praising the campy energy of the opener – and Megan quickly emerged as the breakout star of the night.

“One thing Megan Thee Stallion is gonna do is commit to the performance,” one fan wrote on X alongside fire emoji’s.

Another viewer posted: “Megan twerking at the Tony Awards was NOT on my bingo card but she ate.”

A third fan joked: “Broadway just became the Hot Girl Theater.”

Others praised Pink for embracing the over-the-top antics of the Tonys opener, with one viewer calling it “the most fun opening number in years.”

Megan’s appearance comes just weeks after wrapping her history-making stint in Moulin Rouge! The Musical, where she became the first female-identifying performer ever to play the role of Zidler in any production of the show worldwide.

The 2026 Tony Awards aired live on CBS and Paramount+ from New York City’s Radio City Music Hall.

June 7 (UPI) — The Israel Defense Forces confirmed it struck military targets in western and central Iran on Monday in retaliation for a wave of airstrikes launched against the Jewish state by Tehran hours earlier.

“A short while ago, the Israeli Air Force struck military targets belonging to the Iranian terror regime in western and central Iran. Details to follow,” the IDF said in a post on Telegram as a fragile cease-fire in the Iran War continued to unravel.

Iran’s Islamic Revolutionary Guard Corps, meanwhile, confirmed the attack, according to the semi-official Mehr News Agency.

“The Zionist enemy has attacked targets on our country’s soil using air-launched ballistic missiles,” the IRGC said.

Official Iranian media also said residents in neighboring Iraq heard explosions in parts in the capital Baghdad while unidentified objects were seen over the Iraqi city and in Beirut.

The strikes against Iran came just hours after the Islamic regime lobbed missiles into northern Israel for the first time since the beginning of the cease-fire, which came into effect on April 8.

Tehran said those strikes were in response to Israeli bombings targeting Hezbollah in Lebanon.

The Iranian missiles, which the IDF said had been intercepted, were the first direct attack on Israel since the cease-fire.

The attacks follow an announcement on Sunday that Israel had launched strikes at alleged Hezbollah targets in Beirut — attacks which it has continued throughout the cease-fire — and some of which have been in suburban neighborhoods.

U.S. President Donald Trump, who reportedly has been briefed on Iran’s actions, told Iran “that’s enough, get back to the table” for peace negotiations, Fox News reported.

“The Israeli army must stop its attacks on southern Lebanon and the suburbs, and if it expands its attacks to that region or responds to Iran’s action, it will face more devastating and regrettable blows,” General Ali Abdollahi, head of Iran’s Khatam al-Anbiya command, said in a statement.

Trump has reportedly also told Israeli Prime Minister Benjamin Netanyahu to hold back after the Iranian strikes, which Netanyahu agreed to on the condition that Hezbollah — which is funded by the Iranian regime — not launch strikes into northern Israel from Lebanon.

The United States and Iran have been negotiating an end the war for more than a month, as a cease-fire has mostly held but the Strait of Hormuz remains blocked, preventing the shipment of oil and other products from the Middle East.

Iran has launched a new barrage of missiles at Israel, according to the Israeli Defense Forces. Iranian officials say the attack, the first such strike since the April 8 ceasefire, was in response to Israel bombing Beirut a few hours ago. With Israel under direct attack from Iran, how much longer the ceasefire will hold is an open question.

“A short while ago, the IDF identified missiles launched from Iran toward the territory of the State of Israel,” the IDF stated on Telegram.  “Defensive systems are operating to intercept the threat.”

Iran acknowledged launching missiles at Israel.

Videos emerged on social media showing Israeli air defenses working to intercept the missiles.

The show that has had everyone clamoring for tickets this spring, Joe Mantello’s cobweb-clearing production of Arthur Miller’s “Death of a Salesman,” won, as expected, for best revival.

Mantello, who received a Tony for his direction (his third such award), swept away the cliches that have accumulated around this American classic to reveal a “Salesman” like none we’ve experienced before. The Loman family home isn’t depicted in a literal fashion but instead fluidly suggested in a warehouse space that allows the actors to move unfetteredly between past and present. (The physical production was honored with awards for Mikaal Sulaiman’s sound design, Jack Knowles’ lighting and Chloe Lamford’s scenic design.)

Laurie Metcalf, confirming her standing as the First Lady of the American Theater, won for her portrayal of Linda Loman, a more formidable than usual interpretation of Willy’s stalwart wife. Metcalf, who endowed her characterization with a sharp-edged autonomy and transfixing gravitas, added another Tony to her two previous acting wins (“Three Tall Women,” “A Doll’s House, Part II”).

Joe Mantello wins the Tony for his direction of “Death of a Salesman.”

(Evelyn Freja / For The Times)

Nathan Lane was in a tight race with John Lithgow, who won for his ruthlessly uncompromising portrayal of a wrathful and dyspeptic Roald Dahl in Mark Rosenblatt’s “Giant.” Lane’s Willy leaves a lasting memory in “Salesman,” but it would be hard to imagine “Giant” having the same impact without Lithgow, who provides a terrifying human foundation to this explosive play about a writer’s political commitments tipping over into toxic antisemitism. (The performance slips into a sinkhole of animus in the uncanny way of one of Dahl’s recognizably terrifying, psychologically plausible stories.) In his almost but not quite valedictory acceptance speech, the 80-year-old Lithgow acknowledged that this Tony win, his third, comes 53 years after his first — and feels every bit as satisfying.

Aya Cash and John Lithgow in “Giant.”

(Joan Marcus)

Rather than a slight to Lane, Lithgow’s win is a sign of the dramatic depth that characterized this otherwise squirrely season. Indeed, Lithgow’s performance was as thrilling to experience as that of British powerhouse Lesley Manville, who won for her portrayal of Jocasta in Robert Icke’s modern reworking of “Oedipus.” The play was categorized by the Tony committee as a revival, but it’s really an original drama — one that gave rise to one of the most enthralling productions of the year.

In a season lifted up by Bess Wohl’s magnificent “Liberation” and capacious enough to include a first-rate “Salesman,” a searing “Oedipus” and a smartly contentious “Giant,” it should be no surprise that there were more great performances than statuettes to dole out.

June 7 (UPI) — Emergency officials said damage assessments were underway early Monday in the Philippines after a magnitude 7.8 earthquake jolted Sarangani province in the southern island of Minanao.

The powerful quake came at 7:37 a.m. local time and was centered about 20 miles west of of the town of Maasim at a depth of 20 miles.

The Office of Civil Defense received early reports of major damage to infrastructure in the area although no official verification of casualties had yet been received.

“There are reports of major damage in various infrastructure,” agency officials told reporters. “Electricity and communications are affected as well. Evacuation is also ongoing in affected coastal areas.”

Most of the affected areas are in Zamboanga Peninsula, Davao Region, Soccsksargen, and the Bangsamoro Autonomous Region in Muslim Mindanao.

The Pacific Tsunami Warning Center issued warnings that waves of up to 10 feet were possible in some areas of the Philippines while waves up to 3 feet could strike parts of Malaysia and Indonesia.

No danger of tsunamis was imminent for the coasts of the United States or Canada, the center said.

Philippines President Bongbong Marcos said he has instructed all relevant government agencies to “act immediately,” including setting up evacuation centers and assessing damage to roads, bridges and critical infrastructure.

Marcos also ordered the suspension of classes in all levels across affected areas in Mindanao until further notice, adding, “The safety of our children comes first.

“Please heed the tsunami warning,” he urged. “Move to higher ground now. Do not wait. Your life is more important than anything left behind.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Swartruggens laboratory was not an isolated discovery.

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

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

Then came Swartruggens.

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

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

For investigators, the pattern is becoming harder to ignore.

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

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

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

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

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

How it spread

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

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

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

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

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

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

Who looks the other way

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

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

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

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

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

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

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

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

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

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

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

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

A frontier that keeps moving

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

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

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

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

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

Rademeyer says the structure is built to absorb disruption.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Matt Baker shared a rare insight into his marriage.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More to follow…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

— Reported by Asia Today; translated by UPI

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