News Desk

Only state-approved parties loyal to President Tokayev permitted to take part amid a sweeping constitutional overhaul.

Voters are heading to the polls in Kazakhstan’s snap parliamentary election, which critics say will strengthen the power of the president.

Polling stations opened at 7am local time (02:00 GMT) and are scheduled to close at 8pm (15:00 GMT). More than 12 million of Kazakhstan’s 20 million people are eligible to vote.

The election will usher in a new 145-member unicameral legislature that is expected to be dominated by supporters of President Kassym-Jomart Tokayev, who has led the Central Asian country since 2019.

Constitutional overhauls earlier this year abolished Kazakhstan’s upper house in favour of a one-body parliament. Officials claim the change will give parliament more weight in political decision-making, having previously been confined to a mostly auxiliary role.

However, only seven state-approved parties, all loyal to Tokayev, have been allowed to put forth candidates.

The constitutional changes also reset term limits to allow Tokayev to run again in 2029.

The 73-year-old was the chosen successor of longtime leader Nursultan Nazarbayev, who ruled for almost 30 years from the 1990s. But he broke with his predecessor amid cost-of-living protests in 2022 that led to the deaths of 238 people, and has since touted a reform agenda called “Just Kazakhstan”.

A former Soviet state, Kazakhstan balances relations with China, Europe and Russia, with Tokayev navigating recent tensions over Moscow’s war with Ukraine.

Kazakhstan is oil-rich and makes up about 2 percent of daily world supply, mostly exporting to European countries through the Caspian Pipeline Consortium to Russia’s port of Novorossiysk.

FIFA boss turns up at event after CONCACAF chief Montagliani asked him to reconsider amid the global football body’s governance crisis.

Gianni Infantino has defied a request by one of his FIFA vice presidents to stay away from an Under-14 football event in the Caribbean and instead made a rare public appearance during the global furore over his failed plan to sell future World Cup profits to private investors.

The FIFA president posted photos on his Instagram account on Saturday, showing his meeting with political and football officials from the Dominican Republic on the sidelines of a Caribbean Football Union (CFU) youth tournament in the Punta Cana resort.

On Friday, Infantino had been asked not to go by Victor Montagliani, the Canadian president of the Miami-based Confederation of North, Central America and Caribbean Association Football (CONCACAF), to avoid being a distraction from the football games.

“I believe that considering the governance crisis surrounding FIFA as a result of your controversial FIFA Forward Enterprise proposal, the media will focus on this situation,” Montagliani wrote in an emailed letter seen by The Associated Press news agency, “which will unfortunately significantly take away from the technical nature of the CFU youth competition.”

“As such, I respectfully ask you in the name of football to reconsider your attendance as it will unfortunately undermine the technical nature of this important youth development activity,” Montagliani wrote.

FIFA declined to comment on Montagliani’s request, though it noted that it directly funds regional bodies like the CFU with up to $5m from each four-year World Cup cycle.

Montagliani has aligned with fellow FIFA vice presidents Aleksander Ceferin from European body UEFA and Asian Football Confederation president Sheikh Salman bin Ebrahim Al Khalifa in seeking to end Infantino’s increasingly executive presidency, now in its 11th year.

They accused Infantino two weeks ago of “deception” in secretly planning over the past year to spin off FIFA’s multibillion-dollar commercial activities to a subsidiary 20 percent owned by investors led by Joshua Kushner, the younger brother of United States President Donald Trump’s son-in-law Jared Kushner.

Infantino withdrew the project on August 1 amid a global backlash by football leaders and fans, and hours after his own chief operating officer published stinging criticism of the proposal and his leadership style in a statement to the AP. The Zurich-based COO, Kevin Lamour, was fired last week.

Caribbean member federations are seen as potential supporters for Infantino to peel away from their CONCACAF leadership. South American body CONMEBOL has backed Infantino as its best path to hosting more games at the 2030 World Cup it wants expanded from 48 teams to 64.

The FIFA leader has not taken questions publicly since the $20bn FFE project was revealed on July 28 by British daily The Times, and on Friday in Punta Cana he evaded a reporter from British broadcaster Sky News.

Asked by Sky reporter James Matthews whether he had betrayed the sport and should resign, Infantino said, “Thank you so much”, and made quips about both men being bald.

Infantino is aiming to be re-elected for a fourth and final term in office through 2031 at the FIFA election congress next March in Rabat, Morocco. FIFA has set a November 18 deadline for would-be candidates to enter the race.

The 23-time Grand Slam champion will not be playing singles, but could team up with her older sister Venus for doubles.

Serena Williams will team up with Carlos Alcaraz to create a powerhouse mixed doubles pair on her return to the US Open.

The US Tennis Association announced on Saturday that Williams and Alcaraz had been given a wild card into the tournament. The mixed doubles main draw begins on Tuesday, with the winning team sharing $1 million.

It will be Williams’s first time playing at the US Open since 2022. The 23-time Grand Slam singles champion returned to tennis this summer.

“Let’s gooooo!” Alcaraz posted on X, with a fire emoji and tagging Williams.

Williams is not planning to play singles in New York. The USTA had been holding one women’s wild card, presumably in case Williams wanted it. However, the tournament announced on Saturday that it had been given to American Sofia Kenin, the 2020 Australian Open champion.

Williams played singles at Wimbledon but sustained a knee injury in her first-round loss. She played doubles with older sister Venus at the Cincinnati Open, and they could still opt to play together at the US Open.

Alcaraz announced this week he would return to defend his US Open singles title after being sidelined since April with a right wrist injury.

Serena Williams won a mixed doubles title at the US Open even before winning any of her six singles titles there. She teamed for the 1998 championship with Max Mirnyi, who now works with top-ranked woman Aryna Sabalenka.

The mixed doubles tournament is far different now, as the USTA revamped it last year to make it a two-day, 16-team event it hoped would draw top singles players.

Few are bigger than Williams and Alcaraz, the two-time US Open men’s champion who is ranked number two.

The USTA also announced a number of updates to the field after some players withdrew from the competition.

Americans Jessica Pegula and Taylor Fritz will team up, after their previous partners, Jack Draper and Elena Rybakina, pulled out with injuries. The teams of Emma Navarro and Tommy Paul, along with Karolina Muchova and Jakub Mensik, were given the remaining two wild cards into the main draw.

Diana Shnaider remains in the field and will be given a chance to find a new partner after Daniil Medvedev withdrew.

US Open mixed doubles teams: Sabalenka and Novak Djokovic, Pegula and Fritz, Iga Swiatek and Casper Ruud, Belinda Bencic and Flavio Cobolli, Amanda Anisimova and Learner Tien, two-time defending champions Sara Errani and Andrea Vavassori, Alex Eala and Felix Auger-Aliassime, Leylah Fernandez and Frances Tiafoe, Taylor Townsend and Alexander Zverev, Elina Svitolina and Gael Monfils, Williams and Alcaraz, Muchova and Mensik, and Navarro and Paul.

The remaining two spots will be determined through an eight-team qualifying tournament on Monday.

The USTA gave wild cards to the teams of Mirra Andreeva and Andrey Rublev, and Peyton Stearns and Christian Harrison, to be part of that field.

It is otherwise largely made up of the traditional doubles specialists who lost out on the chance to play in the US Open last year, with direct entry based on the players’ combined singles ranking.

EXCLUSIVE: Vanessa Feltz has a career spanning over four decades but the talk show legend has confirmed she will not be heading into the I’m A Celebrity… Get Me Out of Here! camp whatever the fee

ITV bosses have reportedly been asking one talk show legend to sign up for I’m A Celebrity for years.

Despite the gruelling ITV reality show being one of the biggest shows of television, Vanessa Feltz has revealed that she won’t be heading Down Under anytime soon.

With a career spanning over four decades, it’s no wonder producers are keen to sign up the 64-year-old presenter but she won’t be swapping her life of luxury like Caitlyn Jenner, Coleen Rooney and Noel Edmonds – no matter how much they offer her.

When asked if ITV have been knocking on her door this year, Vanessa confirmed: “Not yet, but they usually are in touch but I have not changed my mind. I would be so appalling at it.”

“Every single thing they would ask me to do, I would be terrible. I think I’d be so terrible, it wouldn’t even be funny. I don’t think people would like it.

“I’d be bored, I’d be fed up, I wouldn’t like being hungry, I wouldn’t like being eaten by mosquitoes, I wouldn’t like the rats, the snakes and I wouldn’t like some horrible rat scuttling over my face.”

Vanessa continued on behalf of BetWright Casino: “I don’t care about seeing Australia or the jungle, I couldn’t care less and I like being where my family are in North West London or in East Cork. So, no, I’m not going to say yes but the funny thing is, every time I say no, they think I’m doing it for the money.

“Every time I say no, they offer me more money but I really mean no. I’m not bargaining. I do not want to go and that’s it. I think it would be absolutely terrible. I think I’d just look like an absolute cretinous idiot.”

Vanessa may not be tempted to take on the dreadful Bushtucker Trials but she is keen to face the roundtables on Celebrity Traitors but she says there’s one problem.

“I wouldn’t mind having a bash at The Traitors but I’m not sure I’d be any good at that because I think I’m so fluent and so many words come tumbling out of my mouth at all times, she explained.

“I never seem to stop for breath and I’m never fishing around for the next word. The vocabulary just runs and runs and I think people never believe a word I say.

“Years ago I did a show called Call My Bluff, where they had to guess are you lying or are you telling the truth?. They kept thinking I was lying when I wasn’t at all.

“So I think if I was on Traitors, people would just think I was a Traitor straight away and I’d be the first person, like Paloma Faith, on the bus going home within ten and a half seconds.

I’m A Celebrity… Get Me Out of Here! is due to return to ITV1 and ITVX later this year

The women’s all-American final will be followedby a men’s title clash between Frances Tiafoe and Arthur Fils of France.

Jessica Pegula rallied in the third set to topple defending champion Iga Swiatek and book a title showdown with Coco Gauff at the Cincinnati Masters tennis tournament.

World number three Pegula won a “crazy” match against Swiatek 7-5, 4-6, 6-4 on Saturday in the US city.

Gauff powered past giant-killer Sara Bejlek 6-4, 6-1, ending the unseeded Czech’s dream run that included a fourth-round victory over world number one Aryna Sabalenka.

Their all-American Sunday night final will be followed by a men’s title clash between American Frances Tiafoe and Arthur Fils of France.

Fils charged into his first Masters 1000 final with a 6-3, 6-4 victory over French Open runner-up Flavio Cobolli in a match delayed for 45 minutes by rain and lightning.

Swiatek and Pegula then waited out another rain delay before their match, which was also briefly interrupted two games in.

“Crazy match today,” Pegula said after needing nearly three hours to subdue Swiatek, who was coming off her first title of 2026 in Toronto last week.

“A lot of back and forth, a lot of breaks,” she said. “Really windy, kind of odd conditions. I felt like we were playing well and then not playing well.

“It was really tough to kind of get a gauge on the match.”

The pair rode a rollercoaster of breaks and re-breaks before Pegula took a 5-4 lead in the final set, Swiatek saving three break points before double-faulting on a fourth.

Pegula quickly closed it out, firing a service winner on match point.

“I was just really happy with the way I was able to kind of handle just a lot that was going on today,” the 31-year-old American said. “I did a good job no matter what was happening.”

The first five games of what evolved into an epic went against the server as Pegula and Swiatek struggled to adjust to the conditions.

Swiatek blinked first as Pegula held at love for a 4-2 lead, but Swiatek won the next three games before Pegula broke again, finally taking the set when Swiatek smacked a volley into the net on set point.

They had exchanged two breaks in the second when Swiatek broke in the final game to square the match.

Tiafoe feeling ‘damn good’ on return to final

Tiafoe, runner-up to Jannik Sinner in Cincinnati in 2024, returned to the final with a 7-5, 6-3 victory over fellow American Brandon Nakashima.

Tiafoe saved three set points in the opening set, breaking Nakashima five times in all to earn the win in less than two hours.

“It feels d*** good,” Tiafoe said.

The American predicted a “h*** of a show” against Fils, whose 68-minute win over seventh-seeded Cobolli made him the youngest French Masters finalist since a 20-year-old Richard Gasquet in Toronto two decades ago.

Fils admitted he had been unsettled by the weather delay.

“You come on court more nervous because it’s a semi-final. The rain arrives, you wait and when you come back conditions are completely different,” he said.

“It was tough, but I’m happy with how I dealt with it.”

Caracas, August 22, 2026 (venezuelanalysis.com) – The Venezuelan National Assembly unanimously approved on Friday the Law on the Promotion and Protection of Housing Construction, a reform establishing updated rules for the construction and commercialization of residential properties.

The legislation, which replaces the Law Against Real Estate Fraud from April 2012, consists of four chapters and 40 articles establishing rules for purchase and sale contracts, construction company responsibilities, and oversight mechanisms under the Ministry of Housing and Habitat.

“This is a law that protects real estate developers and companies dedicated to housing construction while also protecting homebuyers so they can gain access to housing quickly and preventing any situation that undermines their right to acquire a home,” National Assembly President Jorge Rodríguez said on social media.

The initiative was backed by opposition parties alongside the ruling United Socialist Party (PSUV). COPEI deputy Miguel Salazar stated that the legislation creates “great expectations” and “strengthens the legislative ecosystem that protects the real estate sector.”

The law has been sent to Acting President Delcy Rodríguez for final approval before being published in the National Gazette.

The newly endorsed legislation establishes a series of conditions for real estate developers to meet before beginning to pre-sell housing units, including proof of land ownership, municipal approval of the preliminary project, and mechanisms to protect funds contributed by buyers.

The law also establishes a unified registry for real estate projects and provides a financial protection mechanism. Funds deposited through an escrow arrangement may only be released once the development has obtained the corresponding permits. Companies must also detail the characteristics of the homes and the construction schedule in each contract.

The law also establishes fines for delays in submitting documents, permit failures, non-compliance with regulations, and violations of preventive measures, among other offenses.

At the same time, the legislative project establishes incentives for private sector constructors such as greater flexibility to set prices, an end to a prior existing 24-month deadline for completing certain projects, and modified conditions benefiting sellers should buyers fail to make payments.

The bill also eliminated the lending banks’ liability in case the real estate project is not completed. For buyers, the change removes one of the parties they could potentially hold accountable in case the purchased home is not delivered.

Venezuelan authorities have moved to improve conditions for private real estate companies and landlords in the wake of the 7.2 and 7.5 earthquakes that struck Venezuela on June 24, leaving some 17,900 people homeless, particularly in La Guaira state. On July 14, National Assembly President Jorge Rodríguez estimated that 25,000 homes would be needed to accommodate those who lost their houses.

The government has assigned 335 apartments to displaced families since the earthquake. Acting President Rodríguez has pledged to deliver 4,000 homes before December and reach 10,000 by the end of 2027. Venezuelan authorities have likewise created a credit program for housing purchases and provided loans to condominium boards for repair works.

The legislative initiative favoring real estate developers came on the heels of the Residential Property Lease Law approved on July 31. Authorities presented the project’s goal as improving conditions for landlords to put their properties on the market.

The law allows landlords and tenants to freely and independently establish contractual terms and rental rates and sidelines the state’s housing superintendency SUNAVI. The bill allows rents to be paid in national or foreign currency and establishes a three-month rent limit for deposits.

In addition, landlords and tenants have access to multiple mediation mechanisms, including conciliation centers, arbitration, the intervention of local peace justices, or municipal court proceedings. Tenant organizations had recently denounced recurrent landlord practices of bringing trespassing criminal charges as a way to force evictions.

At the same time, the new law acceded to a long-time demand from real estate lobbies in fast-tracking evictions. Landlords can rescind the rental agreement if tenants are two months behind on rent, have illegally sublet the property, or have given it a different use than the one agreed to, among other conditions.

The 2011 law regulating housing leases, which was approved by former President Hugo Chávez and is highly protective of tenant rights, remains valid for existing contracts, while all rentals signed in the future will be governed by the new law. However, local media have reported on a spate of evictions after the new law was enacted.

Edited by Ricardo Vaz in Caracas.

The Emmys’ writing and directing categories sometimes offer a window into the eventual winners, as when “The Studio” swept through the ceremony last year. Other times, voters decide to go their own way. “Slow Horses” has never won the drama series Emmy, but it has won awards for writing and directing the past two years. Noodles for everyone!

The episode submissions this year are a little baffling, often not reflecting the series’ best work. But what do I know? Maybe those “Pitt” submissions primed the waterworks. Perhaps it’s politics.

What I do know are my own personal preferences. So here are my rankings of the writing and directing nominees for drama, comedy and limited series, ordered from least to best.

Comedy series directing

6. “The Ms. Pat Show,” “Give It Arrest”
Directed by Mary Lou Belli

If you haven’t watched Patricia “Ms. Pat” Williams’ unfiltered show, it’s been on BET+ for five seasons and this is Belli’s third nomination for directing. The fan base is nothing if not loyal.

5. “The Chair Company,” “Life Goes By Too F— Fast, It Really Does”
Directed by Andrew DeYoung

Cathartic cringe comedy for people who thought “Severance” was too lighthearted.

4. “Abbott Elementary,” “Ballgame”
Directed by Randall Einhorn

No small feat to shoot during a live baseball game, and the episode is so good (Kyle Schwarber blasts four home runs!) that, even as a Dodgers fan, I can’t say boo about the Philly-ness of it.

3. “Widow’s Bay,” “Welcome to Widow’s Bay!”
Directed by Hiro Murai

As the episode title suggests, it’s the table-setter. There were better episodes, but the last three aired past the eligibility deadline, so this will do.

2. “The Bear,” “Bears”
Directed by Christopher Storer

Tiff and Frank’s wedding, proof that Season 4 of “The Bear” had more than its share of high points. Another showcase for Ebon Moss-Bachrach’s acting and contains a powerful scene between Carmy (Jeremy Allen White) and Uncle Lee (Bob Odenkirk) that sets the stage for the show’s final season.

1. “Hacks,” “Hacks (Finale)”
Directed by Lucia Aniello

Who doesn’t like a fairy-tale ending?

Drama series directing

6. “The Gilded Age,” “My Mind Is Made Up”
Directed by Salli Richardson–Whitfield

Soapy, opulently costumed piffle with a beating heart.

5. “Paradise,” “Exodus”
Directed by Hanelle M. Culpepper

In which the show either jumps the shark or executes an intriguing reset.

4. “The Pitt,” “12 P.M.”
Directed by Noah Wyle

RIP Louie.

3. “Task,” “Out Beyond Ideas of Wrongdoing and Rightdoing, There Is a River”
Directed by Salli Richardson–Whitfield

Shootouts don’t come more chaotic — or devastating — than the 20-minute melee that opens this hour.

2. “Slow Horses,” “Scars”
Directed by Saul Metzstein

Could repeat the Emmy in this category just for that last shot of Lamb’s feet.

1. “Pluribus,” “We Is Us”
Directed by Vince Gilligan

The strange, unsettling series premiere was the best hour of television this year.

Limited series directing

4. “Black Rabbit,” “The Black Rabbits”
Directed by Jason Bateman

Do you even remember what happened in this series?

3. “Beef,” “It Will Stay This Way and You Will Obey”
Directed by Jake Schreier

Is it OK to become our parents if it’s the only way to pay the mortgage?

2. “Beef,” “Oh, the Comfort, the Inexpressible Comfort”
Directed by Lee Sung Jin

Basically “The Pitt,” but with an ethical dilemma involving Gatorade.

1. “DTF St. Louis”
Directed by Steven Conrad

Immaculately composed wide shots and an imaginative use of shallow depth of field are used to highlight the suburban weirdness hiding in plain sight.

Comedy series writing

6. “Jury Duty Presents Company Retreat,” “Mergers and Acquisitions”
Written by Anthony King

In which Anthony (Norman, not King, the episode’s writer) becomes the hero of the television season.

5. “The Chair Company,” “Life Goes By Too F— Fast, It Really Does”
Written by Tim Robinson and Zach Kanin

Season premiere goes straight into goblin mode.

4. “Abbott Elementary,” “Team Building”
Written by Quinta Brunson

The only instance where the words “team building” don’t make me shudder.

3. “Hacks,” “Hacks (Finale)”
Written by Lucia Aniello, Paul W. Downs and Jen Statsky

Too melodramatic with the whole Deborah death scare? Have you been watching “Hacks” for the last five seasons?

2. “Widow’s Bay,” “Welcome to Widow’s Bay!”
Written by Katie Dippold

A fine introduction to the cursed New England island as well as the show’s juxtaposition of comedy and horror.

1. “The Comeback,” “Valerie Does It All”
Written by Michael Patrick King and Lisa Kudrow

Can we laugh about AI being the death of us? For one brilliant episode, yes!

Drama series writing

6. “The Diplomat,” “Amagansett”
Written by Peter Ackerman and Debora Cahn

Come for the “West Wing” vibes, stay for the blindside reveal.

5. “The Pitt,” 12 P.M.”
Written by Valerie Chu

You can’t fault a show that hauls in 25 nominations, including two for writing. These are solid episodes, but they pale in comparison with the last four of the season, which offered an intense, emotionally charged run that culminated hours of careful, patient storytelling.

4. “Task,” “A Still Small Voice”
Written by Brad Ingelsby

Forgiveness brings relief.

3. “The Pitt,” “1 P.M.”
Written by Kirsten Pierre-Geyfman and R. Scott Gemmill

See earlier comment about “12 P.M.”

2. “Slow Horses,” “Scars”
Written by Will Smith

The best moment didn’t come from the book.

1. “Pluribus,” “We Is Us”
Written by Vince Gilligan

“Hello, Carol.”

Limited series writing

5. “All Her Fault,” “Episode 8”
Written by Megan Gallagher

If you like deaths in a series finale, this is the show for you!

4. “The Beast in Me,” “Sick Puppy”
Story by Gabe Rotter; teleplay by Gabe Rotter and Daniel Pearle

I was worried for the schnoodle more than any of the characters in the series.

3. “Beef,” “All the Things We’re Never Going to Have”
Written by Lee Sung Jin

Like healthcare, a home, peace of mind, bees that live when you try to save them …

2. “Death by Lightning,”
Written by Mike Makowsky

We could really use a James Garfield right about now.

1. “DTF St. Louis,”
Written by Steven Conrad

“No one’s normal. It just looks that way from across the street.”

Bitkine, Chad – For Ache Kodo, seeing a doctor once meant saving money for the journey.

Living in Bitkine, in central Chad, she said a medical visit could mean paying for transport, the consultation and other costs of travelling to a larger town.

Now, she can consult a doctor remotely through a Telemedan kiosk closer to home.

“Telemedan changed how my family accessed healthcare services,” Ache told Al Jazeera. “It was difficult before, as it involved me saving money to travel just to see a doctor. Now I’m able to do it on time with fewer costs from where I am. It has also enhanced my economic status.”

For people in rural Chad, distance can be as much of a barrier to healthcare as the shortage of doctors themselves. Medical facilities and specialists are concentrated in larger towns and cities, leaving many communities far from basic services.

Abakar Mahamat grew up with that reality.

“The problem wasn’t only the lack of doctors,” he said. “It was also the distance between those doctors and the communities that needed them.”

In 2021, he launched Telemedan, a telemedicine initiative designed to bring consultations closer to communities where electricity, internet access and medical infrastructure are limited.

“Instead of asking people to travel hundreds of kilometres to find a doctor, I wanted to use technology to bring the doctor closer to them,” Abakar told Al Jazeera.

A clinic powered by the sun

The kiosks run on solar panels and batteries, allowing them to operate without reliable grid electricity.

A local operator registers the patient and takes basic measurements using equipment including blood-pressure monitors, glucometers, thermometers, pulse oximeters and electrocardiogram (ECG) machines.

The doctor joins remotely, appearing on a screen as the operator assists with the examination.

Telemedan says its kiosks can also be equipped with diagnostic tools including stethoscopes, temperature sensors and, in some cases, ultrasound equipment. A trained local operator helps patients use them.

The system is designed for places where internet access may be unreliable. Patient information can be stored locally and synchronised when connectivity returns. An Unstructured Supplementary Service Data (USSD) service allows people without internet access to book appointments and access health information.

Depending on the location, the kiosks can connect through mobile networks or satellite links.

“We want to see that the absence of reliable electricity or the internet should not mean the absence of healthcare,” Abakar said.

The cost of getting to a doctor

Abakar said some journeys for medical care can cost $200 or more once transport, accommodation, logistics and medical consultations are included.

Telemedan consultations cost between $2 and $15, depending on the service.

For Abakar, the issue is also about what families can afford to give up to obtain care.

“A patient should not have to choose between seeking medical care and being able to feed their family,” he said.

From pilot to wider network

Telemedan began as a pilot and has expanded with support from grants and institutional partnerships, including Chad’s Ministry of Public Health and Prevention.

Abakar said the initiative now has 37 kiosks across 11 provinces and has reached an estimated 143,000 people.

Telemedan has also begun using artificial intelligence to help screen for diabetic retinopathy, a complication of diabetes that can damage vision. The initiative says the technology is intended to assist healthcare professionals rather than replace them.

But a remote consultation has limits.

A kiosk cannot provide emergency treatment or perform every examination. Patients who need specialist care, laboratory tests, medicines or hospital treatment still have to reach the next level of the health system.

Can the kiosks last?

Telemedan’s expansion comes as Chad develops its wider digital health system.

Youssouf Silay, an assistant to the coordinator of Chad’s National Digital Health Programme, told Al Jazeera that the country’s National Health Development Plan for 2022–2030 identifies digital health as a way to expand access to care.

Chad established the National Telemedicine Programme in 2021 and launched its National Digital Health Programme in 2023, Youssouf said. The Ministry of Health is also developing a legal and regulatory framework for digital health services.

“The objective is to promote innovative solutions that can improve access to healthcare, particularly in areas with limited medical and energy infrastructure,” Youssouf told Al Jazeera. “Solutions such as solar-powered telemedicine kiosks can contribute to this effort by bringing healthcare services closer to underserved populations.”

But putting a kiosk in a village is only the beginning.

The equipment has to keep working. Connectivity has to be available. Local operators need training. Doctors need to be there when patients call. And people who need care beyond the kiosk need a way to reach it.

Each kiosk costs about $10,000, according to Abakar. Telemedan sells the units to governments, public health programmes and partner organisations, which then operate them. The model means patients are not paying for the infrastructure itself.

Telemedan says it wants to reach one million people in rural communities across sub-Saharan Africa.

A solar-powered kiosk cannot replace a hospital. It cannot replace a doctor in every circumstance.

But it can shorten the distance between a patient and the health system.

“We want Telemedan to become a sustainable layer of healthcare infrastructure, not simply a collection of technology projects,” Abakar told Al Jazeera.

I’d like to pen an ode to the once-L.A.-based artist Mel Kadel on the occasion of the release of her first coloring book for women and girls, published by Secret Headquarters in Atwater Village. Titled “Dream Drops,” the detailed hand drawings allow blossoming artists to participate in Kadel’s elaborate, imaginative world of fragile, brave, timid, hopeful, brash, adventurous women — characters she’s drawn for decades now.

I first met Kadel more than 25 years ago when I moved to L.A. from Boston with my then-up-and-coming indie rock band called the Movies. The band moved into a two-bedroom triplex in Silver Lake that cost $845 per month and immediately fell in with a ragtag group of iconoclastic and wildly talented artists including Kadel, photographer Alex Prager, painter America Martin, artist Mercedes Helnwein and bands and musicians such as the Silversun Pickups, Jimmy Tamborello, the Jealous Sound, Earlimart, Radar Bros. and Irving.

Kadel and her then-partner Travis Millard — another prolific and accomplished artist — lived in a cabin near the wild mountainy edges of Echo Park, and friends would gather there to draw, drink and make music. Kadel always had her head bent over her work, page after page of detailed line drawings that later appeared on friends’ bedroom and living room walls and sometimes on fliers for shows at Spaceland or the Silverlake Lounge.

It was Kadel who encouraged many of us to try our hand at creating art, and she once staged a group show at an Echo Park record shop called Sea Level that was owned by a friend of ours. I painted a self-portrait on a piece of wood for the show that still hangs on my wall today.

Kadel created the album cover for the Silversun Pickups’ debut EP, “Pikul,” which was released on Dangerbird Records in 2005, and later, after the band and the label soared to new heights, she covered Dangerbird headquarters near Sunset Junction in Silver Lake with a building-sized mural featuring her otherworldly woman clad in blue stripes with forever flowing flowered hair.

In many ways it is Kadel whom I credit with opening a young me up to the magical world of art and the ideas that flow from it — Kadel and those early L.A. friends, many of whom I no longer see regularly, but whose accomplishments I relish in when they come to my attention. Which is just what I did when I saw that Kadel had released her coloring book — a project that she has worked on (no doubt in the same intentional, intense way that she always has) for the past year.

I’m arts editor Jessica Gelt, glad for what was and looking forward to what will be. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Eleanora Owen in “Being Piaf.”

(Doug Engalla )

Being Piaf
Written and performed by Eleanora Owen, this solo theatrical piece explores the life and songs of French singer and lyricist Edith Piaf. Directed by Tim Byron Owen.
8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 30. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Green Corridors
The West Coast premiere of Natalka Vorozhbyt’s darkly humorous drama about the plight of four Ukrainian women — refugees from the full-scale Russian invasion in 2022. Translated by John Freedman with Natalia Bratus. Directed by Frédérique Michel and produced by Charles A. Duncombe.
8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Sept. 27. City Garage Theater, Bergamot Station Arts Center, 2525 Michigan Ave T1, Santa Monica. citygarage.org

Tercera Raíz
The contributions of the African diaspora to Mexican culture are celebrated with dance and mariachi music. Produced in partnership with Grandeza Mexicana Folk Ballet Company.
8 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

SATURDAY

New–Music Game Night!
Brightwork Ensemble and People Inside Electronics present an evening of game-inspired works by Cristina Lord, Isaac Schankler, Siobhán Dougall and Richard An, and audience participation.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SUNDAY

Eileen Cowin: Between Panic and Paradise
The Los Angeles–based photographer and artist’s 50-year career has produced visual narratives that incorporate cinema, literature, poetry and painting, erasing the boundaries between fiction and nonfiction.
Through Jan 3, 2027. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org

Jamar Gilbert and Amber Liekhus in “Ma Rainey’s Black Bottom” at a Noise Within.

(Daniel Reichert)

Ma Rainey’s Black Bottom
A Noise Within opens its season with the seventh of the 10 plays in August Wilson’s Century Cycle to be produced by the company. Amber Liekhus stars as an iconic blues singer during a tempestuous recording session in 1927 Chicago. Directed by Gregg T. Daniel.
Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday-Aug. 28; Aug. 29-Sept. 20. A Noise Within, 3352 E. Foothill Blvd., Pasadena. https://www.anoisewithin.org/play/ma-raineys-black-bottom/

TUESDAY

Beethoven’s Fifth with Anna Handler

Da-da-da-DUM. The Los Angeles Philharmonic’s incoming conductor-in-residence leads the orchestra in one of classical music’s most iconic pieces, along with the composer’s rarely heard Triple Concerto and the U.S. premiere of Grace-Evangeline Mason’s “Ablaze the Moon.”
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Jeff Goldblum and the Mildred Snitzer Orchestra will play Blue Note LA on Tuesday and Wednesday.

(Blue Note LA)

Jeff Goldblum & the Mildred Snitzer Orchestra
As they’ve been doing for three decades, the actor-musician and his band perform contemporary arrangements of classic jazz and American Songbook standards.
7 and 9:30 p.m. Tuesday and Wednesday. Blue Note Los Angeles, 6372 Sunset Blvd. bluenotejazz.com

Looking West: How the Myth of the Western Frontier Got Its Start
Muse/ique takes a deep dive into the legends and reality of the American West through classic Hollywood film scores, folk songs and contemporary compositions that reclaim the era’s diversity. Led by artistic and music director Rachael Worby with Damon Daunno, Raye Zaragoza, Glynn Turman and Muse/ique Orchestra.
7:30 p.m. Tuesday and Wednesday. The Huntington, 1151 Oxford Road, San Marino; 3 pm. (premium RSVPs only) and 7:30 p.m. Aug. 30. Skirball Cultural Center, 2701 N. Sepulveda Blvd. muse-ique.com

WEDNESDAY

California African American Museum
The museum augments two of its ongoing shows with special events. On Wednesday, Justen LeRoy of Art + Practice offers a curatorial walkthrough of “The Sound of Gordon Parks,” an immersive exhibition highlighting the sonic dimension of the photographer, composer, author, poet and filmmaker’s work. Thursday night, poets Pam Ward, Luis Rodriguez and Lynne Thompson share original work inspired by “A New Song: Langston Hughes in the West.”
Gordon Parks, 2 p.m. Wednesday; Langston Hughes, 7 p.m. Thursday. CAAM, 600 State Drive, Exposition Park. caamuseum.org

“Conscience” by playwright Joe DiPietro will have its L.A. premiere at International City Theatre in Long Beach.

(Justin Patterson)

Conscience
The Los Angeles premiere of Tony Award-winning playwright Joe DiPietro’s drama about pioneering politician Margaret Chase Smith, who famously challenged Joseph McCarthy’s tactics and was the first woman to serve in both houses of the U.S. Congress. Directed by Caryn Desai.
Previews, 7:30 p.m. Wednesday and Thursday; 7:30 p.m. Thursdays-Saturdays; 2 p.m. Sundays; through Sept. 13. International City Theatre the Beverly O’Neill Theater, 330 E. Seaside Way, Long Beach. ictlongbeach.org

THURSDAY

Rachmaninoff & Adams
Gemma New conducts John Adams’ “Short Ride in a Fast Machine,” ahead of Sergei Rachmaninoff’s Second Piano Concerto (with Jeneba Kanneh-Mason in her L.A. Phil debut) and Symphonic Dances.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

— Kevin Crust

Retrospective

L.A. Times arts coverage from the past …

Eisa Davis, playwright and actor, who appeared in Melissa Jane Gibson’s play “This” at the Kirk Douglas Theater in Culver City in 2011.

(Mel Melcon / Los Angeles Times)

A double life as actor, playwright

Aug. 14, 2011

“I’m in a play called ‘This.’ ”

“OK, what is it called?”

“No, no, it’s called ‘This.’ ”

“Yes? What? It’s called what?”

With a lighthearted laugh, Eisa Davis says she often encounters this response when revealing that she is in a new production of “This,” which recently opened at the Kirk Douglas Theatre. The perplexity may be fitting for the universe playwright Melissa James Gibson has created: a world of confusion in which close friends enter a vulnerable time of unforeseen circumstances testing their expectations — a time also known as middle age.

Davis’ work as an actor and a playwright has contributed to a textured career. She was a finalist for the Pulitzer Prize in drama in 2007 for her play “Bulrusher,” about a biracial orphan infant found in a basket and raised by a quiet schoolteacher. She went on to write and star in the autobiographical “Angela’s Mixtape,” which was among the New Yorker’s best plays of 2009. Other plays she has written include “Ramp,” as well as “The History of Light,” which is returning to the stage this fall in New Jersey. READ MORE

– Jasmine Elist

Culture news and the SoCal scene

Conservators examine “Portrait of Mai” by Joshua Reynolds at the Getty museum.

(Genaro Molina / Los Angeles Times)

A 250-year-old portrait by painter Joshua Reynolds recently arrived at the Getty and is being examined by conservators before going on view in its West Coast debut later next month. “The Portrait of Mai” was acquired by the Getty for $61 million in a rare joint purchase with the National Portrait Gallery in London and depicts a young, regal-looking Tahitian man who arrived in London with Capt. James Cook in 1774.

If you’ve seen the recent national tour of Disney’s “Beauty and the Beast” at the Hollywood Pantages Theatre, you may have wondered how on earth the actor playing the living chandelier Lumiere sings and dances for more than two hours while wearing lighted candles on both of his hands. The answer has arrived via this fun story written by Times contributor Jenelle Riley, who headed backstage during a recent performance to trail Danny Gardner as he donned the 7-pound props and went about the business of performing in the rigorous show.

The group show “To Share a Stomach” recently opened at the Brick in East Hollywood. Times contributor Sharon Mizota wrote a review that included her take on the unique and difficult-to-execute concept. The show was made manifest when 25 Iranian artists, working under challenging wartime conditions, sent instructions to artists counterparts in L.A. for how to create artworks using various levels of collaboration. Mizota found the results understandably uneven, but deeply touching and impactful.

The Kennedy Center’s National Symphony Orchestra performs at the Hollywood Bowl under musical director Gianandrea Noseda on Aug. 18.

(Carlin Stiehl / For The Times)

The newly homeless National Symphony Orchestra, whose fate has become uncertain as a court battle wages over whether or not the Kennedy Center will close down for two years, performed at the Hollywood Bowl earlier this week. Times classical music critic Mark Swed was there to watch, along with many effusive supporters of music director Gianandrea Noseda’s now wandering orchestra. Swed found the program lacking in imagination, but noted, “with its smooth strings, creamy brass, pungent winds and friendly percussion, Noseda’s NSO came across as a gracious orchestra meant to please, and, consequently, a seemingly marvelous anomaly in an otherwise divisive present-day D.C.”

Speaking of the Kennedy Center, last week proved a pivotal one for its fate. The Kennedy Center Board of Trustees voted late in the week to move forward with President Trump’s plan to close the building for renovations for two years. According to multiple news reports, the board also voted to inscribe Trump’s name on the building using the language “Restored and Renovated by President Donald J. Trump.”

Brett Littman has been named the new director and chief executive of the the Museum of Contemporary Art San Diego.

(Don Stahl)

The Museum of Contemporary Art San Diego announced earlier this week that it has appointed Brett Littman as its new director and chief executive. Littman is replacing Kathryn Kanjo, who left to become the new director of the UC Irvine Langson Orange County Museum of Art. Littman has previously served in a variety of leadership roles in the arts in New York City, including as director of the Isamu Noguchi Foundation and Garden Museum; executive director of the Drawing Center; and deputy director of MoMA PS1. He was also co-director of Dieu Donné Papermill and associate director of UrbanGlass. He will start at MCASD in early October as the fifth director and chief executive in the museum’s history.

The Perenchio Foundation has awarded a $2,040,000 grant to the Los Angeles Children’s Chorus, representing the largest grant in the Grammy-winning organization’s history. The 2026 General Operating Support grant, which aids many aspects of the organization’s programming and community offerings, will be distributed over three years, and arrives at LACC celebrates its 40th anniversary.

— Jessica Gelt

And last but not least

Here are 16 burger and drink deals for when you need an “adult happy meal,” from The Times food section. Who doesn’t?

Mayors across England will be given new powers to overrule local councils on some planning decisions.

The change would apply to proposals with more than 150 homes, more than 15,000 square metres of commercial space or buildings over 30 metres.

Mayors in 13 areas including Manchester, Liverpool, the West of England and the West Midlands will gain similar powers to Sir Sadiq Khan in London, who is already able to “call in” planning decisions.

Housing minister Matthew Pennycook said the powers were an “essential part of the toolkit that mayors need to effectively deliver new homes and regeneration”.

The Conservatives questioned whether it was right for councils to lose the “ability to make planning decisions in their own communities”.

The powers will also be available to mayors in the Combined Authorities in North East England, South Yorkshire, West Yorkshire, York and North Yorkshire, Hull and East Yorkshire, Greater Lincolnshire, Cambridgeshire and Peterborough, East Midlands, and Tees Valley.

Housebuilding has fallen in London in recent years, but Pennycook insisted the “call in” powers had helped the mayor “unblock strategic growth sites” in the capital.

In the 2024 general election, the Labour government promised to build 1.5 million homes in England by the end of the decade but housebuilders have warned the target could be missed.

Pennycook said the government was “absolutely determined to stick with that ambition”.

He acknowledged the target was “really stretching” but said nearly 180,000 children were in temporary accommodation and “any smaller target wouldn’t be commensurate with the scale of the challenge”.

In addition to gaining the new “call-in” powers, mayors are set to be able to grant “up-front permission”, which the government says will allow building to begin “without a developer having to apply”.

A consultation on how the powers will work is due to be published next week.

The government has sought to stress that local councils will continue to decide the majority of applications and that all decisions must still follow planning rules.

It has also said mayors will get a “bigger say” over how housing funding is spent in their area, with the government directing national agency Homes England to focus on local mayors’ priorities.

New Prime Minister Andy Burnham, who served as mayor for Greater Manchester for nearly a decade, has repeatedly expressed his desire to transfer more powers to local mayors.

“Challenge does need to be made to local decision-making and actually it cuts both ways,” he told the Sunday Times.

“Sometimes it’s the other way round. It’s the local authority putting forward something that’s unacceptable in terms of the impact on the community. It’s a two-way street.”

Last month, Burnham promised to give all mayors a share of income tax revenue, saying he wanted to “bring power home” to “every postcode”.

Earlier this week, he announced a secondment programme to send high-performing civil servants to work in mayoral offices.

The approach has faced criticism from some in his own party and the Liberal Democrats, who fear it could create a “two-tier system” that discriminates against those areas that do not have an elected mayor.

It would be great if “The Hangover” screenwriters-turned-directors Jon Lucas and Scott Moore would leave moms well enough alone. After the one-two punch of 2016’s “Bad Moms” and 2017’s “A Bad Moms Christmas” (both bad comedies), they’ve returned with “Spa Weekend,” which isn’t about bad moms but good moms who could stand to be a little bad.

If you’re not sure how much misbehavior a few friends can get up to at a luxury resort spa, you haven’t met Isla Fisher’s Mel. Yes, “Spa Weekend” is a plate of reheated “Wedding Crashers” nachos, because no one stirs up cheerful chaos like the spirited Fisher. Her Mel brings a delightfully vulgar joie de vivre into the over-scheduled lives of her lifelong friends: workaholic lawyer Jane (Leslie Mann), bitter divorceé Coco (Michelle Buteau) and people-pleasing pushover Sophie (Anna Faris).

“Spa Weekend” is built around the same fearsome foursome ethos as shows like “Sex and the City” and “Girls,” with several different character types and lots of available friction between them. More recently, golden-years comedies like “Book Club,” “80 for Brady” and way too many movies starring the late Diane Keaton have sent friend groups on journeys that have them reevaluating relationships and life goals. Romantic, criminal and naughty hijinks ensue and bonds are tested — and ultimately reinforced. Roll the blooper reel.

Mel might be a disaster with her loud mouth and impolite antics, but her over-the-top meddling does her buddies some good. She helps uptight Jane hook up with a hunky yoga instructor (Adam Demos), gets Sophie fired from her toxic job and lures Coco’s ex-husband Roger (Dominic Ona-Ariki) to the resort for a little reconciliation. Her friends are furious, but while they might not get what they want (relaxation), they get what they need (liberation). All it took was some coke and strippers (Lucas and Moore have a bizarre fixation on moms and male strippers).

You know what? Fine. It’s true that working moms often put themselves last and “Spa Weekend” is an argument for them to come first. It’s a film about embracing the craziest friends because they bring excitement to an otherwise boring and overscheduled life. All of these things are true. They’re just executed here with all the subtlety of a sledgehammer. In case we didn’t get it, these themes and lessons are spoken out loud by Jane in big declarative speeches.

One of the most distracting things about “Spa Weekend” is its uncanny geography. It’s set in Los Angeles but the cafés and shops are obviously not local and the worst, most dated stock L.A. traffic footage can’t cover that up.

They drive what seems to be about 45 minutes to the resort, through wooded forests on windy roads, and arrive in a tropical location overlooking miles of white sandy beach. At one point, Jane claims they’re 100 miles away from home. Ain’t no way this is Encinitas. Nothing about it makes sense until the credits roll and you learn the film was shot entirely in Queensland, Australia. But if one’s thinking about the geography that much, it means the story isn’t all that compelling.

Call it nitpicking but it’s indicative of how much care and craft — or how little — goes into a movie like this, aimed at female audiences. Much like the “Bad Moms” movies, “Spa Weekend” isn’t insightful, isn’t interesting and isn’t funny. It’s condescending and hacky and the humor always aims for the lowest common denominator. Please don’t expect me to laugh at the goats from goat yoga rampaging through a hotel lobby or a high-speed golf cart chase. Guess what? Mel has brought a suitcase full of dildos.

Worse than tired gags, we don’t get a sense of who these women really are in relationship to themselves or other women. We only know them through the prism of men: Jane lusts after Yoga Dude, Coco rages at Roger, Sophie is bullied by her boss. We know nothing about them outside of their superficial signifiers.

That’s why Fisher’s Mel feels so radical. She might be a grifter and a liar (a vastly underexplored subplot) but she has fully decentered men — so hard that no rule of polite society can hold her. If that’s a disaster, sign me up. But please don’t let Lucas and Moore make more comedies for women. They can stick to the frat houses and bachelor parties they’re used to.

Aug. 22 (UPI) — A Chinese humanoid robot on Saturday ran a 100-meter sprint in 9.32 seconds, surpassing the world record set by Jamaican legend Usain Bolt.

The robot, named Lightning and produced by robotics company Honor, reached a peak speed of 14.5 meters per second during a test run.

Lightning is one of 2,000 robots participating in the second World Humanoid Robot Games in Beijing.

The robot’s sprint on Saturday was .26 seconds faster than Bolt’s world record of 9.58 seconds, set 17 years ago at Berlin’s World Athletics Championships.

Another robot cleared 2.88 meters at the standing high jump, higher than the 2.45-meter world record set by Cuban athlete Javier Sotomayor in 1993.

The Beijing games also include competitions in tablet tennis, long jump and weightlifting.

China remains the world’s largest producer of humanoid robots.

The Trump administration in July banned imports of humanoid robots into the United States, citing “unacceptable risks” to national security.

“China firmly opposes the U.S. overstretching the concept of national security and going after Chinese companies,” Foreign Ministry spokeswoman Mao Ning told reporters.

“Protectionism does not make the U.S. more competitive and will only hurt the interests of U.S. companies and consumers,”

Most documentaries urge you to not turn away from the horrors they chronicle, but few make that request as explicitly as “American Doctor.”

Near the start of her despondent film, director Poh Si Teng spends time with Mark Perlmutter, a North Carolina surgeon who, like Teng’s other subjects, volunteers in Gaza, treating the many who have been severely injured in the ongoing Israeli-Palestinian conflict. Furious at the attacks on innocent Palestinian children, Perlmutter shows Teng photos of dead bodies. She says she may need to blur them for the movie. Perlmutter becomes indignant: “You’re not doing them a service by not showing them,” he says. “You have the responsibility, as I do, to tell the truth.”

Teng does reveal those stark faces and much more — not just the terrible human toll of Israel’s shelling of the Palestinian territories but also the strain on the doctors fighting to save lives while spreading the word about the atrocities they’ve witnessed.

Perlmutter, who is Jewish, is one of three American physicians at the center of Teng’s documentary. The other two are Thaer Ahmad, a Palestinian, and Feroze Sidhwa, who is Zoroastrian. Each of them resides in the U.S. but is drawn to lending a hand at Gazan hospitals — that is, when they’re actually allowed entry into the region. (Because of Ahmad’s Palestinian heritage, he’s been barred by the Israeli government.) As part of their humanitarian efforts, Perlmutter and his colleagues go on Western media, such as CNN, to decry the conditions of the Palestinian people. They are often met with resistance, if not outright hostility. The casualties keep piling up, and nobody outside the walls of the hospital seems to care.

Teng, who produced the 2019 Oscar-nominated documentary short “St. Louis Superman,” a portrait of a local Black activist, once again ponders how much any one person can do to bring about change. She gracefully balances between a three-pronged character study and a larger examination of the unending war. We come to admire Ahmad, Perlmutter and Sidhwa, but Teng provides just enough shading so that subtle cultural tensions between the men start to emerge.

That strain is particularly evident during the bighearted but strident Perlmutter’s impolitic media appearances, in which he brandishes impassioned criticism of Zionism that angers the Palestinian Ahmad. “We’ll be guilty by association and we’ll just get crushed for it,” he worries. It’s a documentary with a paucity of inspirational moments. Teng and her subjects are embedded in a world of tough choices and grim conditions.

With Ahmad largely sidelined in the U.S., though still advocating for the Palestinian people, Sidhwa ultimately becomes “American Doctor’s” most striking figure. Armed with an eloquent, righteous fury, he speaks to journalists with a stirring moral authority. Teng mostly avoids on-camera interviews with her subjects, preferring to watch them interacting with patients or in the operating room. In the process, we come to know Sidhwa, who projects a calm confidence, even when he’s nearly killed by a missile.

But his self-assurance is intriguingly undercut during an unguarded exchange in which he acknowledges that no prospective romantic partner has been comfortable with his desire to keep returning to Gaza. “I think I’m just probably a hard person to get along with,” he admits, laughing. “I wish I could blame the fact that no woman can put up with me on the Israel-Palestine conflict, but I don’t think that’s the issue.”

There are myriad ways to document the violence in Gaza, and it’s telling that Teng includes only a very brief news clip of President Trump and Israeli Prime Minister Benjamin Netanyahu, the phantom figures hovering far above the film’s unfolding tragedy, even though they are among its chief architects. Instead, “American Doctor” focuses on the micro, giving voice to the doctors and caregivers who traditionally have been spared during armed conflicts, as laid out by the Geneva Conventions. In defiance of such norms, though, Israel’s government seems to be targeting hospitals, creating psychic wounds alongside mass casualties.

A closing text card indicates that more than 1,700 healthcare workers have died in Gaza, laying culpability at the feet of Israel and the United States. But it’s a testament to the physicians featured in “American Doctor” that none of them would suggest that this is the greatest crime occurring in the region. We observe them lamenting how powerless they feel: Their medical skills can do some good, but not nearly enough. And when they reluctantly return to America, they agonize over their guilt at not being able to do more — and what of Gaza will remain when they eventually get back.

Canada’s Prime Minister Mark Carney has announced retaliatory tariffs on the United States after Washington imposed a 50 percent levy on $20bn worth of Canadian goods.

Carney, speaking in Ottawa on Saturday, said the new Canadian tariffs would target US steel, dairy and electronics industries among others and take effect on September 8.

“Canada will match Washington’s new tariffs dollar for dollar in order to protect Canadian workers, farmers, families, and businesses,” Carney told reporters.

The announcement came after days of intense negotiations broke down late on Friday, worsening a delicate relationship between the longtime trade partners and allies.

US President Donald Trump’s new tariffs hit sectors including wine, furniture, dairy products, cement, clothing, fishing rods and hockey equipment, and cover some $20bn worth of goods, or 5.5 percent of Canadian exports to the US.

Carney said Trump set conditions that were ultimately unacceptable even though earlier talks had been positive.

“In recent days, the United States proposed new terms that were uneconomic, unfair and undermined the net benefits for Canada, and called into question the reliability of any deal,” Carney said, adding these demands included curtailing Canada’s ability to forge new trade deals.

“We cannot accept what they’ve offered, and we will not give what they’ve asked.”

He added that US negotiators also made unacceptable “threats” to the French language and “Quebec culture”, referring to the French-speaking province in eastern Canada.

No new talks planned

Carney is one of the few global leaders to retaliate against US tariffs and has pledged to forge new trade and military alliances, despite Canada’s dependence on the ‌US for nearly 70 percent of its exports.

Canada will impose tariffs on US steel, dairy, appliances, agricultural equipment, pulp and paper, and electronics, along with some products the US previously targeted in Canada, Carney said from Ottawa’s Parliament building. The government will release details on its response in the coming days, he said.

Carney said Canada would announce support measures next week for industries hit ⁠by the new US duties, adding these measures could last years.

There was no immediate comment from the White House.

US Trade Representative Jamieson Greer told Fox News on Saturday that no new ⁠talks are planned with Canada.

“We’re moving forward with measures that respond to Canadian retaliation,” Greer said. “They’ve always had the best deal, and they still would have an even better deal, but they didn’t want that.”

The new US tariffs are expected to have a major impact on Canada’s economy.

“Costs are going to go up, prices are going to go up, unemployment is going to go up as well,” said Al Jazeera’s David Mercer, reporting from the Canadian city of Calgary. “And it’s been warned that business owners – small [and] medium-sized businesses – some of those will have to declare bankruptcy,” he said.

At the same time, Mercer said, Carney is selling the trade war as an opportunity for Canada to strengthen its trade relations with other countries.

“He’s been around the world, he’s been talking to countries in Asia, in Europe, shoring up new trade relationships, wanting to diversify Canada’s economy and Canada’s trade relationships with other countries around the world just to get away from that dependency that Canada has traditionally had on the United States,” he said.

Public opinion surveys in Canada show most Canadians back a “tougher approach” to the US in the trade talks. A poll by Leger last week said 56 percent of Canadians favoured a hard line and making no more concessions.

‘Bad deal’

Ontario Premier Doug Ford, one of the most vocal ⁠opponents of US tariffs, supported Carney’s decision to retaliate.

“I’m glad he didn’t sign that deal because it was a bad deal. It was a bad deal for Ontario. It was a bad deal for the auto sector, the steel sector, and manufacturing sector,” Ford told reporters on Saturday.

In Port Colborne, Ontario, resident Stuart Edwards said the trade war was going to “hurt everybody” and “it’s just sad”.

“We have a bully in Washington, and he’s just hitting us all with the big stick all the time,” he said. “And we’re not going to put up with it; Canada isn’t. We’ll fight back.”

But Pamela Coulis, from Fort Erie in Canada, was worried about rising prices.

“I think probably the gas will go up even more, and all products, from food to, I don’t know, wood, everything else,” she said.

Diamond Isinger, who served as a special adviser to former Canadian Prime Minister Justin Trudeau, said both countries will suffer from the trade war.

“It’s going to cause pain and challenge for Canadians and Americans alike, in terms of the actions that, unfortunately, the US has taken as well as Canada’s retaliation. But ultimately this was the way forward; this was the only realistic next step,” she said.

“Because the US administration responds best, of all the responses that they could have, to all the actions that a government like Canada could take, to strength,” Isinger added.

“So, we could not simply accept 50 percent tariffs going forward. We had to move forward with our own retaliatory package.”

In the US, the escalating trade war was met with anger by Democratic lawmakers and governors from border states including Minnesota, New York and Washington, who blamed Trump for triggering chaos that would raise costs for US businesses and families.

“Needlessly picking fights with our allies and raising prices here at home. That’s Trump’s economic policy in a nutshell,” New York Governor Kathy Hochul posted on X.

The Business Roundtable, a group of 200 chief executives of leading US corporations, also warned the new tariffs “risk raising costs for American businesses and families”, and urged both governments to resume negotiations.

General Atomics (GA) has unveiled plans for what it calls the Wildfire Unmanned Aerial System, a next generation medium-altitude, long-endurance (MALE) drone. The move comes as the Pentagon is seeking an updated, modular, cheaper successor for the MQ-9 Reaper – one that is easier to produce and can be more freely sent into higher-risk environments where losses are likely to occur. 

The Reaper, a workhorse for U.S. uncrewed strike and ISR missions for decades, suffered heavy losses during the war with Iran and against the Houthis in Yemen. This has added a new level to already existing concerns about how they would perform against a peer threat like China. It also has decreased the MQ-9 fleet so dramatically that there are real concerns above operational impacts and the force size going forward overall. The MQ-9 is now out of production and cannot be directly replaced.

Aviation Week was the first to report about the Wildfire.

GA spokesman C. Mark Brinkley offered limited details about the Wildfire system, which he claimed is a leap beyond what the Pentagon is currently seeking in a new MALE combat drone. The company, he added, is not yet providing any images.

“General Atomics is looking at it and asking ourselves, ‘What can we really do? No kidding, no BS, actually do,’” Brinkley told us. “Let’s be honest with ourselves first. How do we come out of the box, day one, with a 10,000-nautical-mile ferry range? Can we carry four LRASMs [AGM-158C Long Range Anti-Ship Missiles]? Can we swarm 100 aircraft under semi-autonomous control? Can we fuse all of that data into a highly effective common operating picture? Can we do that at scalable, affordable mass?”

“So that was the assignment, and our engineers sharpened their pencils and got to work,” he added. “What came out the other side was our new Wildfire UAS. That thing is a beast, and no one who actually does this for a living and is honestly concerned about America’s warfighting edge can look at it and not want 100 of them as fast as we can make them.”

Last month, the Pentagon’s Defense Innovation Unit (DIU) announced its plans for what it has dubbed the Massed Modular Aircraft (MMA) program to replace the Reaper. The objective is to bring several companies together to help determine the way forward.

“The math of modern warfare is changing, and our force design must change with it,” DIU stated. “For decades, the Joint Force has relied on low-density, high-value, ‘exquisite’ (>$30M) manned and unmanned aircraft. In a high-end fight, this model is simply unsustainable. To win, we must design for, and accept, inevitable attrition while retaining the advantage.”

“The Joint Force seeks a cost-effective, theater-range, massed, and modular Unmanned Aerial System (UAS) to provide a flexible, operationally-responsive, risk-tolerant option in the air domain,” the DIU explained. “The ability to employ many aircraft at once ensures a persistent overwhelming credible threat despite inevitable attrition.”

Massed Modular Aircraft “are envisioned as in-theater reconfigurable platforms capable of long-range payload delivery,” DIU added. “Crucially, MMA must retain the ability to be outfitted with a variety of payloads, including Full Motion Video (FMV) sensors, to execute missions that the MQ-9A performs today.”

Primarily, DIU wants an aircraft with a munition and sensor payload capacity of at least 2,800 pounds, an unrefueled combat radius of at least 2,300 nautical miles with payload, and able to self-deploy one-way at least 8,000 nautical miles. It must also have a Modular Open Systems Approach (MOSA) to rapidly swap in different payloads and system upgrades.

As for secondary attributes, DIU wants autonomy for control, allowing one pilot to operate several aircraft. In addition, it is seeking “resilient and integrated communications – hybrid SATCOM/mesh network connection” and to be able to conduct “local airfield operations under highly degraded or denied primary C2/SATCOM conditions.”

In addition, the aircraft would have “at least 200 knots true airspeed” and operate from runways with a maximum length of 6,000 feet.

The MQ-9A Reaper has a 3,850-pound payload capacity and can fly for more than 20 hours unarmed, or more than 12 hours with weapons. In the case of the latest MQ-9B version, with an extended wingspan, flight endurance can be increased to more than 40 hours.”

The deadline for submissions on this program ended July 23, but it is unclear when contracts will be awarded. However, proposed solutions “must be capable of full-scale prototype flight testing within 21 months of award, with a targeted Initial Operating Capability in FY2031 (20 mission-ready aircraft delivered to an operational unit, able to be deployed),” DIU noted.

To put the DIU goal into perspective, official budget documents say the Air Force had 165 Reapers in inventory as of the start of Fiscal Year 2026, which began on October 1 of last year. This had already marked a significant year-over-year decrease, down from 231 MQ-9As at the beginning of Fiscal Year 2025. These figures don’t include the Marine Corps and Central Intelligence Agency, which also fly Reapers.

General Atomics is turning the MQ-9 Reaper family of drones into cruise missile ‘trucks’

As noted earlier in this story, the DIU announcement of the MMA program came as Reaper losses in the war against Iran were mounting.

By May, the Air Force’s total MQ-9A fleet had shrunk to 135 aircraft, Air Force Lt. Gen. David Tabor, Deputy Chief of Staff for Plans and Programs, told members of Congress at a hearing.

There was enough concern that the service has scrambled to replace some of those airframes.

“So there’s a bit of a short-term effort to buy back things immediately, in this fiscal year,” Tabor testified.

The picture has only grown bleaker since then.

“The U.S. military has lost at least 45 MQ-9 Reaper drones during the war with Iran, or roughly 25 percent of its fleet,” The Washington Post reported last week, citing three U.S. officials familiar with the matter. The newspaper, citing the Air Force, stated that Reapers can cost between $30 million and $50 million each, depending on the type of sensors and weapons they carry.

“The potential taxpayer cost of recent losses is over $1.3 billion for that weapon system alone,” the publication added.

TWZ cannot independently verify those figures.

The MQ-9 Reaper Keeps Getting Shot Down – And Still Gets Used

The MMA program is not the first effort to replace the MQ-9. The Air Force has tried multiple times to develop a Reaper replacement without success. While GA had long held essentially had a monopoly on the MALE combat drone market in the U.S., the DIU competition has a host of other companies competing. 

As we highlighted in a past report on this subject:

“…the U.S. drone landscape has changed considerably in terms of manufacturers. A few years ago, Northrop Grumman, Lockheed Martin, and General Atomics would have been seen as the front-runners for the MQ-9 replacement. Now, there are more contenders, often with a founding focus on rapidly scaling up production at low cost. Still, these firms have much to prove, especially considering the risk in replacing an aircraft as important as the MQ-9. At the same time, in the more advanced drone space, the legacy defense “prime” contractors are also making major progress in leveraging new technologies to reduce production costs and migrating away from exquisite, very expensive drones as their default offerings.”

As for General Atomics, Brinkley pushed back against the notion that the MMA program is actually a Reaper replacement.

“I think it’s really unfortunate that MMA has been branded as a ‘Reaper replacement’ because it misrepresents what America needs now and what we need later,” he suggested. “We need an immediate backfill solution to a critical shortage of unmanned MALE ISR/Strike. We need to get going on that now. MMA isn’t a backfill solution, or even a bridge to a backfill solution. This isn’t that.”

“Some say we need cheaper, disposable aircraft, so that we can use them and throw them away, or lose them and not feel bad about it. No one is talking about actual capability, ready today,” Brinkley told us previously. “No one is talking about all of the hard lessons, already learned, about icing and weather and weapons integration. No one is talking about the multiple survivability upgrades available for the existing platforms and the lack of investment in those.”

“These make-believe weapons that don’t exist have the luxury of being anything you imagine them to be,” Brinkely added. “Unscratched lottery tickets, promising all of the win and none of the lose [sic].

Still, the company did submit a proposal for MMA, Brinkley told us on Wednesday, “but the aircraft [Wildfire] is not dependent on that program.”

“We can deliver Wildfires years earlier than the current schedule, and absolutely no one on Earth wants to see them coming over their horizon,” he stated.

Contact the author: howard@twz.com

Strictly Come Dancing is set to go through another huge shake up before it even begins, as 15 new celebs head to the dancefloor to compete for the Glitterball trophy

Strictly Come Dancing is about to undergo a huge shake-up as it returns to previously ditched format. The show, which has already faced several changes this year, is set to scrap the introductory video tapes it that it had been using to reveal the whom had been coupled with whom.

In recent years, the launch show had seen the Strictly celebs head to locations across the country to meet the pro dancer they would be partnered with for the rest of the competition. But the show has now decided to return to its pre-Covid format in which the partnerships would be announced live in the studio, with the dancers and celebs finding out at the same time as the audience.

The news was revealed on Radio Northampton when Graeme Hall, one of this year’s contestants, said: “This year, they’re doing it slightly differently. We don’t find out until the launch show. You have no say in it, the pros have no say in it.”

The launch show is set to air on 19 September. It is pre-recorded, so those watching at home will be finding out slightly later than the contestants, and it will air the week before the live shows begin.

This year’s contestants were announced over several weeks, starting in June. Over the summer, the names were slowly released to the public. The crop of celebs taking part this year are: Lacey Turner, Dani Dyer, Delta Goodrem, Chris Appleton, Cach Mercer, Jaime Winstone, Will Best, Sean Wright-Phillips, Bethany Antonia, Graeme Hall, Lawrence Robb, John Nellis, Tabby Stoecker, Dame Sarah Storey and Melanie Walters.

Fans have previously expressed disappointment in the line-up, with some saying they were unimpressed with the calibre of celebrity taking part. Most critics took complaint with Kim Kardashian’s hairdresser Chris Appleton taking part, and dog trainer Graeme Hall, as they felt they were not famous enough.

Following Graeme’s announcement on 5 August, many asked who he was and one said the BBC were “scraping the bottom of the barrel”.

Another slammed the line-up as “boring”, saying: “Genuinely who even are half the people doing strictly this year, apart from like three people this is the most boring lineup ever”

A third said: “This has got to be one of weakest line ups”. Similar was said at the time of Chris Appleton’s announcement a fan joked: “Looking forward to Katie Price ’s cleaner joining the line up”.

Many pros from previous years are returning, but the show has also welcomed several new pro dancers, as Strictly said goodbye to Gorka Marquez, Karen Hauer, Michelle Tsiakkas, Luba Mushtuk and Nadiya Bychkova earlier this year. Former pro Johannes Radebe also won’t compete this year, as he is one of the new hosts.

In the middle of last year’s season, long time hosts Claudia Winkleman and Tess Daly announced they were quitting the show. As such, new hosts had to be found for this year, and the BBC decided to appoint three people to the role – Johannes, comedian Josh Widdicombe and presenter Emma Willis.

The change didn’t stop there, as former pro dancer turned It Takes Two host Janette Manrara and her co-presenter Fleur East have left the spin off show. They were replaced by Ellie Taylor, who has taken part in Strictly as a contestant.

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Iran security chief Rezaei says any state joining US would be considered an enemy and Tehran would target their interests in retaliation.

A lawsuit filed in federal court on Friday accuses writer and director Taylor Sheridan of stealing the idea for his powerhouse success “Yellowstone” from Lauren J. Salkin, a Virginia-based journalist and screenwriter.

Requests for comment from representatives for Sheridan, Paramount and NBCUniversal, all among those named as defendants in the lawsuit, were not immediately returned on Saturday.

The lawsuit says that Salkin spent more than 10 years developing a series to be called “Sovereign Nation,” which is described as “a dramatic television series centered on tribal governance, casino-driven economic power, and a modern war over land and development” with the overall project copyrighted beginning in 2010 and a specific pilot script copyrighted in 2016.

Having submitted the project to Sheridan’s management company, Elevate Entertainment, in February 2017, according to the filing, Salkin later received an email message that included the statement, “Taylor thanks you very much for your interest. Unfortunately, he’s unavailable for TV projects.”

Soon after, Paramount greenlit Sheridan’s “Yellowstone” project, with the first episode airing on June 20, 2018.

The lawsuit goes on to catalog a list of similarities between “Sovereign Nation” and “Yellowstone,” stating, “What then appeared in ‘Yellowstone’ was not merely another Western about land or family. It included specific expressive choices already embodied in Salkin’s materials.”

Kevin Costner in “Yellowstone.”

(Paramount)

Actors Gil Birmingham and Danny Huston were mentioned in Salkin’s original pitch deck as potential casting ideas for her show. Both would later appear on “Yellowstone.” The lawsuit goes on to say that the subsequent “Yellowstone” spinoffs “1883,” “1923,” “Marshalls” and “Dutton Ranch” are therefore also based on Salkin’s work.

The lawsuit states, “Copyright law does not protect the abstract idea of a Western, a land dispute, an Indian casino, or a powerful family — and that is not Plaintiff’s claim. The infringement alleged here lies in the copying of Salkin’s particular expressive choices and their coordinated selection and arrangement.”

The lawsuit asks for a jury trial, an injunction against ongoing and future copyright infringement and unspecified damages.

“Yellowstone” ran for five seasons from 2018-2024. Sheridan, who is also behind shows such as “Tulsa King,” “Landman” and “Mayor of Kingston,” is set to move his production company from Paramount to NBCUniversal in 2029. Sheridan was also nominated for an Academy Award in 2017 for best original screenplay for the neo-western “Hell or High Water.”