News Desk

A BRITISH girlband have sparked controversy after they admitted they’re “difficult to work with” and have “been rude” but “own it.”

The trio formed in 2019 and they eventually shot to fame in spring 2022 when their debut single, Cardboard Box, went viral on TikTok.

R&B group FLO, made up of Stella Quaresma, Jorja Douglas and Renée Downer, have already found chart-topping success, bagging themselves a MOBO Award and a Grammy nomination.

Since then, rumours have swirled in the music industry that the girls are “difficult” to work with.

They have now made an appearance on a podcast and addressed the backlash head on.

Speaking on the Zach Sang Show, Stella Quaresma said: “A lot of people have stuff to say about us that we’re hard to work with or we’ve got attitude or we’re difficult.

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“And at some point you have to just be like okay, sure, maybe you’re right… like you have to own it.”

“Because if you own it, they can’t say anything more. It’s like I know you are but what am I,” she continued.

“It’s like if I agree then what can you say, it’s owning it.”

When asked how they would define why they are “difficult” to work with the girls replied in unison “opinionated.”

Jorja Douglas said: “I think it’s very much that people aren’t used to it and especially where we were so young… there’s a lot of power dynamics in the industry.

“It’s hard being like 18 and even up until now when we’re 24 or 23 and people who are deep into their 30s and have been doing it, since they were our age.. to take onboard that we disagree or have a different idea.

“It’s difficult for people and I think that’s where it stems because we’re not rude obviously we’ve been rude before, like who hasn’t, it’s a very high stress job and being rude can sometimes be a bit fun.”

She added: “But obviously pick your moments.”

Stella also confessed that she believes people in the industry are “sensitive” with the industry being “based off of emotions.”

FLO’s fans certainly had their backs in the comments as they rushed to the girls’ defence.

One fan said: “Our queens know what they want, and what they deserve. They shouldn’t expect any less.”

Another fan wrote: “People just hate confident women who know what they want.”

A third fan penned: “These women are fabulous. I’ve met them before and they were so open, sweet and genuine.”

Meanwhile, a fourth person felt differently: “Own it all you want but once you get a reputation like that, you will miss out on future opportunities.”

Brazil has not yet decided whether it will proceed with retaliatory measures, but has committed to defending its position.

Brazil has opened consultations into potential retaliatory measures against the United States following the imposition of 25 percent tariffs on a range of Brazilian exports.

The new US tariffs are “unjustified and arbitrary”, and Brazil will “continue to defend its position in all appropriate forums”, the Brazilian government said in a statement on Thursday.

The step is the beginning of the reciprocity process that could eventually see Brazil introduce retaliatory measures, including tariffs, on imports from the US.

This early stage involves further diplomatic consultations with US trade authorities.

In July, the US imposed a surcharge of 25 percent on some Brazilian imports, including sugar, clothing, paper and steel, alleging unfair trade practices. The US also hit Brazil – and a host of other countries – with an additional 12.5 percent tariff linked to allegations of lax enforcement of forced labour bans.

While no decision has yet been made, Brazil’s retaliatory options include imposing taxes or fees, eliminating exemptions or reducing import tariffs, or even restricting imports of American goods or services.

A source told the Reuters news agency that further measures could go beyond tariffs, for example by suspending pharmaceutical and agricultural patents.

The US runs a trade surplus with Brazil, meaning it sells the country goods and services worth more than it imports from it. In 2026 so far, the US has exported $26.5bn worth to Brazil and imported $17bn, according to the US Census Bureau.

Multiple rounds of tariffs

Under President Donald Trump, the US has repeatedly sought to impose sweeping tariffs on imports into the US, lamenting the US’s trade deficit with countries around the world.

In April 2025, the White House announced the introduction of a minimum 10 percent tariff on nearly every country, in what Trump and his team dubbed the “Liberation Day” tariffs.

Those were struck down by US courts this year, but the latest round of tariffs is widely seen as a replacement for the failed Liberation Day tariffs, designed to survive challenges in the US court system.

The White House said in a report on Thursday that more than 40 countries have helped China sidestep US tariffs by routing exports through nations that face lower American import duties.

The countries named include Canada, India, Mexico, Japan and South Korea, which the White House said had helped China evade tens of billions of dollars in tariffs.

White House trade adviser Peter Navarro said it had cost “American jobs and billions in revenue”.

A spokesperson for the Chinese embassy in Washington said in response to BBC queries that “trade wars have no winners” and that it opposes the US’ tariff measures and the use of state power to target China’s companies.

The spokesperson added that “any unilateral actions or agreements concerning transshipped goods must not target or harm the interests of third parties.”

The BBC has contacted the US embassies of Canada, India, Mexico, Japan, South Korea and other trading partners listed in the report for comment.

The report follows a wave of sanctions between the US and China and comes weeks before President Donald Trump will meet Chinese leader Xi Jinping in Washington.

According to government and private sector estimates quoted by the White House, between $30bn (£22.2bn) and roughly $300bn in goods have been moved from countries with higher tariff through those with lower rates.

The process is known as transshipping, which refers to the practice of transferring cargo through another country while en route to a final destination.

The US accused China of “taking advantage” of the practice by moving goods through nations that have lower duties.

China has used third countries as a stopover and has repackaged goods to hide their real origin to obtain lower tariffs, said the White House in its report, describing the process as “fraud cloaked in paperwork”.

“What has changed in today’s Great Transshipment Scam is not merely the speed and scale of this modern form of smuggling, but the breadth, depth, and sophistication of the global Shadow Transshipment Network through which China’s tariff evasion now moves,” the White House wrote.

The US has deployed artificial intelligence (AI) tools to catch transshipment efforts, it added.

The report is expected to add to key sticking points between the sides as Trump and Xi prepare to meet in the US in September.

Despite a pause in most tariffs following talks in May 2025, Washington and Beijing have continued to exchange sanctions, including restrictions on humanoid robots shipped to the US and tighter Chinese curbs on drone exports.

In April 2025, Trump unveiled sweeping levies on dozens of US trading partners based on a long-held belief that tariffs will help boost American jobs and the economy.

Those sanctions have since been struck down by the US Supreme Court, but Trump has repeatedly introduced new tariffs using alternative legal levers to continue his signature policy.

California regulators have approved the sale of Cox Communications to cable giant Charter Communications — the final hurdle in a marathon review to clear the $34.5-billion cable consolidation.

With Thursday’s sign-off by the California Public Utilities Commission, the mammoth merger is expected to close next week.

The deal will make Charter’s Spectrum the dominant broadband internet and cable television service in Southern California, with millions of customers scattered throughout Santa Barbara, Bakersfield, Los Angeles, Palos Verdes Estates, Newport Beach, Irvine, Riverside and San Diego.

Charter’s acquisition of Cox, unveiled 15 months ago, will solidify Charter’s status as the nation’s largest cable company, eclipsing Philadelphia-based Comcast Corp., which serves San Francisco and other Northern California communities.

“This transformative deal will benefit millions of consumers who will soon have access to greater value and opportunities to save, including our fully converged mobile-broadband bundle savings guarantee, combined with our industry-leading Customer Commitment and the 100% U.S.-based sales and service employees Spectrum is known for,” Charter said in a statement.

After weeks of behind-the-scenes wrangling, the CPUC voted unanimously to approve two settlement agreements with Charter that allow the merger to move forward. The agency attached conditions that it hopes will protect consumers and expand broadband access.

“This decision secures significant commitments that will benefit Californians through expanded affordable broadband options, major infrastructure investments, improved customer protections, and meaningful support for digital inclusion,” Commissioner Matthew Baker, who helped negotiate the agreements, said in a statement.

Federal regulators approved the deal months ago, as had other state regulators.

“This proceeding was a heavy lift for everyone,” Commissioner Darcie L. Houck acknowledged during Thursday’s hearing, which was held in San Francisco.

Through the settlements, Houck said she hoped Charter would address a disparity in which low-income residents are often stuck with higher phone and internet bills than residents in more affluent areas. Higher-income neighborhoods often benefit from increased competition as multiple providers jockey for business.

“There are many areas of the state that do have low-income communities that are paying higher costs for telecommunication services,” Houck said. “I’m hopeful that the provisions in this settlement agreement will help ensure more equity in pricing.”

Atlanta-based Cox has long been viewed as a lucrative prize. In addition to serving coastal communities in Southern California, it also has customers in growing population hubs such as Las Vegas, Phoenix and Tucson.

To win CPUC approval, the Stamford, Conn.-based cable giant agreed to offer more affordable packages for low-income residents, including several tiers of the California LifeLine service, for up to five years.

Advocates had pushed for a longer commitment.

Charter promised to invest $30 million in education and awareness initiatives in California, including community outreach and digital literacy training. In addition, Charter agreed to spend at least $275 million on upgrades to its equipment in its existing Spectrum service area — including completing a 1-gigabit service buildout — within three years.

The company also must provide free broadband and Wi-Fi service for dozens of eligible community centers, including schools and libraries.

Spectrum will be required to provide automatic bill credits for customers for qualifying service outages that last at least two hours. And the company must honor eligible “price for life” service agreements held by some residential subscribers.

Charter Chief Executive Chris Winfrey has told investors that his firm was aiming to close the merger this month. Several commissioners noted the looming deadline as they opted for the settlement that Baker helped negotiate.

Regulators said the two companies generate more than $10 billion in revenue from their California customers. In addition to serving more than 5 million homes, they also provide telephone service to 1.5 million subscribers in the state.

California regulators have approved Charter’s $34.5-billion purchase of Cox Communications.

(Kevin Dietsch / Getty Images)

After the deal closes, Cox customers will be switched to Spectrum service, most likely by mid-September. They should also get SportsNet LA — the Dodgers’ television channel — as part oftheir lineups.

For more than a decade, Cox has refused to carry the channel, owned by the Dodgers organization, due to its high license fee — leading to one of the television industry’s longest blackouts.

The United Nations human rights agency and the Palestinian Ministry of Foreign Affairs and Expatriates have condemned a days-long Israeli settler siege of Palestinian homes in the occupied West Bank village of Qusra.

The two statements were issued on Thursday, as dozens of Israeli settlers continue to besiege three Palestinian families in the Ras al-Ain area in western Qusra for a fifth night.

“These criminal actions by the settlers, supported or acquiesced to by Israel, the Occupying Power, are making life unbearable for these Palestinian families and are clearly aimed at forcing them to leave their homes and their land,” the UN Office of the High Commissioner for Human Rights said.

The three families – comprising 15 people, including two children – have been confined to their homes with their water and power cut off since Sunday, the agency said.

“Time is running out for these three families before they are forcibly displaced,” it warned.

Meanwhile, the Palestinian Foreign Ministry issued a statement condemning the settlers for carrying out “systematic assaults that can only be described as terroristic”.

It also accused Israel of using the settlers as an “unchecked tool to implement its criminal policies” of forced displacement and annexation of the occupied West Bank.

Earlier on Thursday, US ambassador to Israel Mike Huckabee also referred to the settlers’ actions as acts of “terror”.

‘This is all a charade’

Al Jazeera’s Nida Ibrahim, reporting from the scene of the siege on Thursday, said Israeli soldiers initially tried to move the trapped families out of their homes while settlers remained camped outside.

The families refused, not trusting that the Israeli soldiers would allow them back into their homes, and were eventually grouped together in one home. Residents have watched settlers push families out and then take over their properties in the past, she reported.

Qusra has faced settler attacks for decades, Ibrahim explained, and residents tie the rise in violence to the spread of illegal settlements and the lack of accountability for attackers.

On Thursday, the Israeli military said its troops dismantled “two illegal outposts” in Qusra and a nearby village, and detained one Israeli. It said more soldiers were sent to “carry out defensive missions and patrols”.

However, Ibrahim said most Palestinians believe the Israeli army is staging its response to the settler siege for the cameras, and they expect the settlers will eventually return.

Abdel Azim Wadi, the mayor of Qusra, told Al Jazeera that the Israeli army has been protecting and helping the settlers. “We saw them praying together, barbecuing together and dancing together,” he said. “They are not very interested in helping the besieged families.”

Qusra resident Abdul Kareem Hassan told Al Jazeera that he had been sleeping in his car for seven months in order to protect his home.

“This is all a charade,” he said. “If they [the Israeli army] were serious, the whole operation would not take them one hour. We’re talking about 20 settlers. If they would treat them the same way they treat Palestinians, they could finish in less than an hour.”

Another day without respite

Elsewhere in the occupied West Bank on Thursday, Israeli settlers and soldiers continued their elevated campaign of violence against Palestinians, the Palestinian news agency Wafa reported.

Israeli forces issued demolition notices for homes in Kafr Sur, the Jalazone camp and farmers’ shelters in al-Jiftlik.

In Qalqilya, soldiers detained seven relatives of a Palestinian fighter killed in a 2024 strike. Soldiers also detained three Palestinians amid a settler incursion in Burqa, east of Ramallah.

Settler attacks took place across several towns and villages, including an incident in which three Palestinians, including a child, were pepper-sprayed in their car.

Settlers also re-established a settlement near Jenin and erected a new outpost on land belonging to a town near Tulkarem.

END OF OAK STREET

(12A) 99mins

★★★☆☆

SINCE the explosive success of Stranger Things, the style of Spielberg’s Eighties sci-fi films is trendy – and this film leans into that nostalgia.

You know — the American small town where kids play out on the street and strange goings-on happen while the parents are too busy to notice.

That is certainly the feel of this action-horror movie, which combines ET with Jurassic Park.

It follows the Platt family, who are living in American suburbia in the Eighties — a more innocent time when neighbours had street barbecues and teens spent hours on their Walkmans.

Dad Greg (Ewan McGregor) and mum Denise (Anne Hathaway) appear to be a perfect union, but behind closed doors they are discussing divorce.

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Their kids, Audrey (Maisy Stella) and Brian (Christian Convery) are concerned, but the foursome paper over the cracks by eating pizza and chatting about their naughty dog, Starbuck.

Soon though, their home life is thrown into disarray when a mysterious cosmic event rips through the neighbourhood and surrounds it with time before the Big Bang.

This brings tropical temperatures, terrifying water levels and lashings of really hungry dinosaurs that couldn’t care less if you own a gun.

The family have to stick together to work out how they can transport themselves out of this seemingly broken time machine — while avoiding being chomped on by a T-Rex.

There are a few jumpy moments early on and, like many “mysterious goings-on” films, it’s scarier when you don’t see the enemy.

But the build-up is intriguing and there are some nice, nostalgic Eighties moments thrown in for the millennials to enjoy.

Sadly, it’s a lacklustre performance from McGregor in a bad wig, who looks like he would rather become dino-feed than be in this film, as he has zero chemistry with the rest of the family.

While Hathaway is more watchable, she appears so distractingly young, she could swap roles with the actress playing her daughter.

Director David Robert Mitchell does a decent job showing his commitment to the genre and gives a few nods to Spielberg’s camera techniques for film geeks.

But, while perfectly entertaining, the story gets a ­little overcomplicated and the characters are not engaging enough for it to join the ranks of a truly great monster movie.

LADY

(15) 95mins

★★★★☆

KOOKY characters in film can quickly become tiresome, but not so in this bizarre and brilliant mockumentary about a flamboyant lady of the manor.

Lady Isabella (Fleabag’s Sian Clifford) rattles around with her housekeeper in the vast Ravenhyde Hall, until she becomes the subject of a documentary, allegedly for Netflix, calling herself “aristocracy’s answer to the Kardashians”.

Going at high octane all the time, she is in truth achingly lonely – one companion is a raven called Ricky.

This changes with the arrival of a camera crew led by director Sam (Laurie Kynaston), a trendy filmmaker.

But he is soon put in his place by the hilarious Isabella, who ignores his directions, calls “cut” regularly and even tries to seduce him with some milk when he is lactose intolerant.

The madcap satire soon turns into a study filled with em­pathy and intriguing, unconventional relationships.

Clifford gives a cracking performance, never pushing into caricature, and Kynaston is the perfect juxtaposition as the seemingly sane but hugely insecure director.

Surreal, sweet and seriously funny.

TONY

(15) 106mins

★★☆☆☆

IT’S not easy to make movies about real-life figures who have a cult following, which puts pressure on this story of how celebrity chef Anthony Bourdain became a culinary icon.

So instead of getting into the film about Bourdain becoming the great man the world knew, it’s more of a coming-of-age story that could be about anyone.

Tony (Dominic Sessa) has flunked school and travels to Provincetown, Massachusetts, to chase Nancy (Emilia Jones), a crush he barely knows.

Skint and with nowhere to live, he soon finds himself washing dishes in the ­restaurant of a local chef (Antonio Banderas) and sleeping in his hammock.

Working alongside him is drug-loving ladies’ man Sal (Leo Woodall), who regularly vomits in a bin on shift. Tony apparently becomes inspired.

Tony spends a really long time staring at things in a daze and not saying much.

When he does speak, it’s pretty infuriating.

With no real direction, this becomes more of a buddy movie than an insight into how the now sadly deceased great man became such a hit around the world.

A striking photo of homes ablaze under the headline “Houses burn and train derails on hottest day” dominates the front of the Times. Perhaps unusually, it is a headline that encompasses three separate stories from Thursday – the fires that raged across the West Midlands, the rail accident near Lewes that left two people seriously injured, and the ongoing heatwave that saw the UK record its hottest day of 2026.

A new true crime documentary revisits the story of an amputee surgeon’s web of lies

A police investigation into human butchery and a monster known as the ‘Eunuch Maker’ is the centre of a new true crime documentary, and it makes for a disturbing watch.

An Amputation Obsession: The Monster and the Surgeon explores the real life story of NHS surgeon Neil Hopper who, in 2019, lost his own legs to amputation following what he said was a result of a mystery illness.

Upon returning back to work, Neil performed amputations as part of his role at the Royal Cornwall Hospital, and often took to social media and news outlets to share his own journey.

He even claimed over £466,000 in insurance payouts after he claimed his injuries were a result of sepsis, becoming somewhat of a national hero and symbol of hope. However, he hid a dark secret that nobody could have guessed.

His leg amputations were a result of self-inflicted injuries, meaning he fraudulently claimed insurance payouts. Not only that, but he was investigated for paying to access a website which sold videos of amputations.

The new documentary explores the disturbing case and Neil’s connection to the ‘Eunuch Maker’.

Who is ‘Eunuch Maker’ Marius Gustavson and where is he now?

The Metropolitan Police were looking into the ‘Eunuch Maker’ website which was run by Marius Gustavson. It offered pay to view access to chilling videos of extreme body modifications and mutilations on customers.

These extreme videos included the cutting the genitals off of men to make them ‘eunuchs’, which is a male who has been castrated. Marius was the ringleader, with the procedures often being carried out in his own home which would sometimes go wrong, meaning ambulances were called.

The programme hears from one journalist who says the nature of the evidence was “so extreme” and hard to hear, with Marius earning around £300,000 in profits from the site over a period of around four years.

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After a brave victim came forward, the website was eventually brought down and it was through this investigation that police learned about Neil Hopper’s own involvement and the dark reality about what really happened to his legs.

In May 2024, Marius appeared before the courts and issued a guilty plea to 13 offences including multiple counts of causing grievous bodily harm with intent. He was handed a life sentence with a minimum term of 22 years, meaning he will still be in prison now.

At the time, nine others also received sentences ranging from suspended sentences to 12 years imprisonment for their roles in the investigation.

An Amputation Obsession: The Monster and the Surgeon can be streamed on Prime Video

Aug. 13 (UPI) — A section of the World War II Memorial in Washington, D.C. was vandalized Thursday, with red graffiti and mountains of soapy bubbles.

The bubbles were in and around the fountain at the memorial, which is on the National Mall. The graffiti spelled out “Clean hands diary $,” and red and green paint was thrown on some granite stonework.

“The vandalism that occurred is an utter disgrace and will not be tolerated,” the Department of the Interior said in a statement. “Our U.S. Park Police are on the scene and the investigation is ongoing. The public should know we will find the person responsible for this disgusting act.”

The nonprofit Friends of the National World War II Memorial, which is dedicated to preserving the memorial, said it was “deeply disturbed” by the incident.

“Whatever the intent, defacing a place dedicated to the service and sacrifice of the World War II generation is unacceptable,” the organization said in a statement. “A national memorial honoring those who served and those who never returned home should never be used as a canvas for vandalism.”

The memorial draws around 5 million visitors each year.

The site underwent a nearly $4 million renovation, which was completed in May. It was closed for several months while aging infrastructure was updated and other repairs were made. The upgrades included new lighting in the fountain and the replacement of in-ground pillar lighting.

When she’s not showing off her brainiac skills, The Chase star Jenny Ryan is loved-up with her actor partner

Jenny Ryan is a firm favourite on The Chase – but who is her real-life boyfriend?

The brainiac shot to fame when she joined the ITV quiz show – hosted by Bradley Walsh – back in 2025. Since then, Jenny has become a regular on TV screens.

From stints on Celebrity X Factor to the new spin-off programme, The Chase Around The World, Jenny, also known as the Vixen, has remained booked and busy.

But away from the TV sets, Jenny is loved-up with her long-term boyfriend, Thom Tuck who also happens to work in the showbiz and entertainment industry.

Over the years, Thom has appeared in the likes of a number of hit shows, including The Crown, Fresh Meat and Babylon. He’s also shown off his talents on stage, performing in theatre productions of Death of A Salesman and Three Sisters.

Thom was also nominated for Best Newcomer at the Edinburgh Fringe for Thom Tuck Goes Straight-to-DVD. The show managed to get adapted to BBC Radio too.

But that’s not all, as Thom is one-third of the acclaimed sketch troupe The Penny Dreadfuls who have made series for Radio 4 and several audio dramas.

What’s more, Jenny and Thom even worked together when they co-starred in the pantomime production of Sleeping Beauty at the Wyvern Theatre in 2025, in which Jenny played the Wicked Fairy Carabosse and Thom played King Keir.

The pair also appeared on Celebrity Escape To The Country in 2023, and shared their plans to move from the city “back home” to the countryside near her hometown of Bolton.

Looking to relocate with a budget of £850,000 Jenny and Thom were shown an array of residences, turning down the first one but falling totally in love with the second one.

After the show aired, Jenny issued an update to fans a year later on her and Thom’s living situation, revealing on Instagram that she sadly did not buy the house.

She explained that before she could even get another viewing, another person put an offer on the property. Jenny then said she was not surprised another house hunter had bought the property but quipped “the search continues”.

The Chase Around The World airs every Thursday at 9pm on ITV1

Aug. 13 (UPI) — The Trump administration on Thursday announced tariffs on imports of drones and related components, saying that the U.S. was ‘too reliant’ on drones produced overseas.

According to a White House fact sheet, a 100% tariff will be levied on “certain capabilities that are particularly sensitive for national security purposes, docking stations of these drones, and certain critical components of these drones.”

The category includes drones that have a top takeoff weight of more than 25 kilograms and those with thermal imaging features, the proclamations says.

The U.S. “is too reliant on foreign sources of [unmanned aircraft systems] and UAS components,” a proclamation signed by U.S. President Donald Trump says.

Meanwhile, smaller drones that do not have certain features that do not affect national security will face a 25% tariff. Drones and components produced in the European Union, Japan, Liechtenstein, South Korea, Switzerland and Taiwan will see a 15% levy. UK-produced drones will be assessed 10%.

The percentage of the tariffs will depend if “substantially all hardware, software, and technology originates from within these countries and the United States,” the fact sheet says.

The White House said the tariffs take effect in 21 days, but tariffs on drone components “that are not particularly sensitive,” will take effect in 180 days

For products and components that the Department of Defense has approved an exemption from the Federal Communications Commission’s Covered List within 20 days after being signed by Trump, the tariffs will take effect 180 days after signing.

The Royal Australian Air Force’s (RAAF) recently delivered and extremely capable MC-55A Peregrine airborne intelligence, surveillance, reconnaissance, and electronic warfare (AISREW) aircraft has begun its first overseas deployment. Publicly available flight tracking data shows that the aircraft has been operating out of Clark Air Base in the Philippines, from where it has ventured out into the highly strategic and tense South China Sea on several occasions.

Flight tracking data from Flightradar24 indicates that MC-55 serial A51-004 flew from its home base at RAAF Base Edinburgh in South Australia to Clark, close to the Philippine capital Manila, on July 28. Data compiled by Australian Defense Magazine reveals seven missions flown out of Clark between July 30 and August 7.

With missions typically lasting between four and nine hours, the MC-55 primarily flew in or close to Philippine airspace near Mindoro and Palawan islands. However, on four occasions, according to available data, it flew further west into the South China Sea. For those parts of the mission, its transponder was switched off for periods of between three and four hours.

The Australian Defense Forces (ADF) told Australian Defense Magazine that the deployment is part of its longstanding engagements in the Indo-Pacific region but provided no further operational details.

Based on the length of time that the MC-55 ‘went dark’ on flight tracking aggregators, its areas of interest could have included various disputed reefs and other features in the South China Sea, including the Spratly Islands and Scarborough Shoal.

China, Malaysia, the Philippines, Taiwan, and Vietnam all claim the Spratly Islands, which are largely uninhabited but may have significant reserves of natural resources around them. The Spratly Islands are home to a significant Chinese military presence, most notably in the form of artificial islands featuring long runways and aircraft hangars, among other infrastructure. They are also heavily defended with missiles, radar stations, and more.

Both China and the Philippines also lay claim to the Scarborough Shoal (known as Huangyan Island in China), which is little more than 100 miles from the Philippines and 500 miles from China.

Overall, China’s sovereignty claims over the South China Sea, including islands, other features and adjacent waters, are the most sweeping and have led to high tensions with competing claimants.

China routinely backs up its expansive claims with naval patrols, in the air and at sea.

Meanwhile, the United States says it does not take sides in these disputes but sends warships and military aircraft close to the disputed islands as part of its ‘freedom of navigation’ operations.

The same kinds of operations are also conducted by the ADF, with the RAAF responsible for missions into the South China Sea. These have previously been flown from Clark Air Base, as well as from Butterworth in Malaysia and out of Singapore. The RAAF uses the P-8A Poseidon maritime patrol aircraft for these missions, and previously also the AP-3C (EW) Orion.

The specially equipped AP-3C (EW), the secretive electronic warfare version of the RAAF Orion, was formerly flown by No. 10 Squadron, which is now responsible for the MC-55 fleet at RAAF Edinburgh.

Since we reported on the arrival of the first MC-55 at Edinburgh in January of this year, a second and third aircraft have been delivered to Australia, arriving at the same base in March and in June. The fourth aircraft is still to be delivered.

As we have described in depth previously, the MC-55 — based on a highly modified version of the Gulfstream G550 business jet — is equipped with a variety of sensors to combine electronic warfare (EW), signals intelligence (SIGINT), and intelligence, surveillance, and reconnaissance (ISR) missions in a single airframe. These capabilities would be in extreme need during any kind of crisis in the Indo-Pacific region.

The aircraft can also serve as a networking relay and data-fusion platform, linking together other aircraft as well as surface combatants and ground forces. TWZ has previously confirmed that the MC-55 incorporates technology ported directly over from the RC-135 Rivet Joint, as you can read about here. In the past, we have also speculated that the jet is likely outfitted with active electronically scanned arrays (AESA), which would be used for standoff electronic attacks, as well as intelligence-gathering. 

In the context of missions in the South China Sea, the MC-55 is a highly capable passive intelligence-collection platform, bringing a major boost to the ADF as it seeks to keep tabs on the growing Chinese military threat in the Indo-Pacific region.

The aircraft’s ISR capabilities mean it will be well-suited to surveilling Chinese military expansion and monitoring Beijing’s activities, which have already seen a number of incidents involving the ADF and Chinese military assets. As well as operating from the Philippines, and potentially from Malaysia and Singapore, the RAAF plans to deploy the MC-55 to the Cocos Islands, deep in the Indian Ocean, approximately midway between Australia and Sri Lanka.

With the first appearance of the MC-55 at Clark Air Base, Australia appears to be moving from relying primarily on the P-8A for South China Sea maritime surveillance toward having a dedicated, highly specialised airborne SIGINT/EW capability operating alongside it. This will give the ADF and its partners a much better picture of Chinese radar, communications, air defense and naval activity.

The first overseas deployment of the MC-55 — among the most advanced surveillance and electronic attack platforms in the world — marks a significant expansion of Australia’s ability to monitor and understand Chinese military activity in the South China Sea, strengthening the ADF’s intelligence and electronic warfare reach across the Indo-Pacific.

Contact the author: thomas@thewarzone.com

Duvetyne, or in this case the alternative spelling Duvateen, is a twill fabric with a matt finish that makes it ideal for blocking out light.

In its black fire-retardant form, it has widespread use in the film industry to ensure the right controlling effect.

In the first season of the ­original Star Trek for instance, exterior shots of space, “the final frontier”, were created by gluing glitter to it.

As you’ll discover, it was also used by The Afghan Whigs’ frontman Greg Dulli — and now it’s the name of a pivotal song on the band’s tenth studio album, Soft Control.

It is 40 years since he formed the Whigs in Cincinnati, Ohio, later moving to Seattle to become Sub Pop label mates with grunge pioneers Nirvana, Mudhoney and Soundgarden.

But Soft Control, their first LP in four years, has to be one of their most urgent, textured and captivating efforts yet.

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When he calls from America’s West Coast, it’s the first time I’ve spoken to Dulli since 2008.

He was in London then during an extended Whigs’ hiatus, promoting The Gutter Twins’ album Saturnalia, made with the late Mark Lanegan, one of the grunge movement’s defining singers both with the Screaming Trees and as a solo artist.

Lanegan died aged 57 in 2022, a year after battling a severe case of Covid at his adopted home of Killarney, Ireland. “Mark is someone I miss . . . every day,” Dulli tells me.

He returns to the subject in hand and provides a fulsome explanation of his song Duvateen.

“There was a time in my life when I put it on all my windows,” he admits. “I kept my house in permanent night, living the vampire life.

“I had a friend in the movie business so I went with her to get some. I saw what it could do for me.”

So, what DID it do for you? I venture with a degree of trepidation.

“It was decades ago and I just didn’t have any use for sunlight or for being outside,” replies Dulli, before adding with a knowing sigh, “It was clearly not a healthy time for me.”

By calling the piano-led song Duvateen, Dulli, who delivers the lyrics with white-knuckle intensity, is using it as a metaphor for the infinite void — or, if you like, ­mortality.

He admits: “The symbolic nature of it is not lost on me.”

With lyrics that span his childhood, “teacher gonna chase us down the hall”, to the grave, “dig somebody’s hole”, it encapsulates the circle of life and serves as the album’s heartbeat.

Its sound is in stark contrast to the more rock-heavy numbers, drawing this response from Dulli: “When I get a piano song like that, it’s an exciting moment in my life.

“It’s the sort of thing I could play to my mom.” As for the idea that Duvateen is the album’s centrepiece, he says: “You write songs and, as some emerge, they state their alpha-ness.

“Duvateen got my attention very quickly. It started out differently — a bit like Honky Tonk Women for a minute — but I completely changed it.

“It was one of those songs when you feel as if your hand is being guided from beyond.”

I suggest to Dulli that listening to Soft Control’s ten tracks “feels like an emotional rollercoaster”.

“Well, life in general is an emotional rollercoaster for me,” he replies. “It would stand to reason that any art I put forth would be a similar thing.”

Next the single-minded singer describes his path to the album: “We did a Covid record that came out in ’22, then we toured it for a year.

“Then I took some time off and travelled. I didn’t start working on a new record until ’25.

“But once I began writing songs again, they were happening fast and furious. I did 20, 22. Cut them down to ten. And here’s the ten.”

The result is a concise, dynamic punch of an album. “I like 40 minutes or less and I like ten as a round number,” says Dulli. “I’ve been landing on it for the past four or five records.

“They’re like a little family and sometimes they waiting for a little brother or sister to show up. I wrote the final song, Loose Talk, earlier this year.”

The album comes bursting out of the blocks with taut Jungle Roux and riff-heavy House Of I.

Elsewhere, My Lover leans into the band’s R&B credentials while stately The Deepest Part Of The Darkest Shadow serves as a companion piece to Duvateen.

There’s a song called Memphis, Texas, not as strange as you think because there is such place, along with the famous Memphis in ­Tennessee where Elvis made his name.

The album ends with A Simulation, 70 seconds of ambient beauty segueing into one of Dulli’s most tender vocals and a gorgeous string arrangement.

He calls it one of his “most existential songs”. “I get overwhelmed by injustice, sadness, and people and animals being hurt. I know I’m not the only one wondering, ‘What the f*** are we doing here?’”

But now, before we go any further, it’s time to tell Dulli’s story beginning with his teenage dream of fronting a band, inspired by a legendary psychedelic soul band.

He recalls: “I went to see The 5th Dimension. When (singer) Billy Davis Jr. took off at the end of Let the Sunshine In, it was the most electrifying thing I’d ever seen. I knew I wanted to be a lead singer.”

Having dropped out of studying film at the University Of Cincinnati and flirted with the idea of becoming an actor, Dulli formed his first band, The Black Republicans, in the mid-Eighties.

Did they find it hard to get noticed at first? I ask. “When you’re 20 years old, nothing’s hard, man,” he answers. “You’re literally immortal.

“We all had regular jobs. I drove a taxi. I cooked in a restaurant. I painted houses, put roofs on houses. I was a roadie-type guy at the big theatre in town.”

Crucial to Dulli’s trajectory was the recruitment to The Black Republicans of bassist John Curley, the only Whigs founder member still by his side today.

He says: “We would see this bearded dude at our shows. We all thought he was about 40.

“Then one night after the show, he walked up and introduced himself to me, saying, ‘I’m better than your bass player.’ John came by our rehearsal place and played his way into the band.”

Dulli describes what happened next: “I moved to Arizona for six months and wrote a bunch of songs.

“Then I came back to Cincinnati and started the Whigs with John, Rick McCollum (guitar) and Steve Earle (drums).”

He remembers the Midwestern city on the Ohio River being a “great jumping-off point” because so many towns “weren’t that far away from us”.

Dulli rattles off the places in the manner of Johnny Cash singing I’ve Been Everywhere — “Louisville, Lexington, Kentucky, Columbus, Athens, Cleveland, Toledo, Detroit Chicago, Indianapolis, St. Louis, Pittsburgh.”

But most inspirational to Dulli was a venue in Newport, Kentucky, just across the river from Cincinnati, The Jockey Club.

“Back in the day, the jazz dudes Frank Sinatra, Dean Martin, Sammy Davis Jr. played there,” he says.

“Then it fell into disrepair before opening again as a punk rock club. When I got to college, my roommates were deep in that scene and that’s how I got into The Jockey Club.

“I saw The Damned, Ramones, Johnny Thunders, Violent Femmes, Hüsker Dü, The Replacements, Killing Joke, so many great people.

“And everybody in the area cut their teeth there. If you were in a band, you played The Jockey Club and you played it multiple times a month.”

In 1989, the Whigs self-released debut album Big Top Halloween caught the attention of Seattle-based Sub Pop’s boss, Jonathan Poneman, who offered them a contract.

Suddenly, they were label mates with grunge pioneers Nirvana and Mudhoney — but they were a very different beast.

Dulli says: “We were outsiders in more ways than one. We were from Cincinnati and we weren’t from the Northwest.

“Our covers were R&B covers instead of Stooges’. I love The Stooges but we had bonded over The Temptations. At our first rehearsal, we played Psychedelic Shack.

“We formed in October, 1986, and played our first gig in January the following year — and I guarantee you we played Psychedelic Shack at that show.”

Dulli was also infatuated with a Midwestern powerhouse in the shape of genre-defying Minneapolis-based Prince.

“We weren’t trying to sound like Prince,” he says. “But you could grab elements of him and stick them in your quiver.”

So what was it like heading to Seattle and mixing with Kurt Cobain and Co?

“It was like seeing people our age doing cool things,” says Dulli. “When Nirvana knocked Michael Jackson off No.1 on Billboard, I thought, ‘Wow! One of our own is at the top’.

“It was an exciting time, certainly in Seattle, where we had a front-row seat to it all.

“We loved all those guys and we loved those bands, played with everybody, and got to know everybody.”

When it came to meeting his biggest buddy from the scene, Mark Lanegan, it was via a different route.

“I met Mark in Boston when the Screaming Trees, Primus and the Whigs were on the same bill but we didn’t start hanging out until around 2000.”

The Whigs enjoyed a stellar Nineties, navigating their way through the music industry “machine” on various labels but coming up with at least three first-rate albums, Congregation (1992), Gentlemen (1993) and 1965 (1998).

In 2001, frazzled Dulli decided to take a step back and the Whigs disbanded. Aside from a brief recording reunion in 2006, the ­hiatus lasted ten years.

He says: “I had absolutely no intention of being in the Whigs ever again. In my creative life, I’m so proud of the things I did during that time — The Twilight Singers and The Gutter Twins.

“But when the door opened to the Whigs again, I was a different person and ready to step through it.”

Dulli remembers the times he would pass through his home town of Cincinnati where bassist Curley and his wife were raising their two daughters. “We were all pretty cooked from the Whigs experience but John would come to the shows and would get up on stage and play with either one of my bands — and everybody loved it.”

In 2010, when Dulli was on a solo tour, Curley did his usual thing but was then persuaded to do the next night in Chicago, a five-hour drive away.

He says: “It was the first time in 11 years that anyone had seen John Curley and I on stage together outside of Cincinnati.

“When I introduced him, the ovation was so unexpectedly loud and long. That, effectively, was the catalyst for the Whigs reforming.”

Since getting back together, they have made four studio albums, Do To The Beast (2014), In Spades (2017), How Do You Burn? and the imminent Soft Control.

The current line-up is Dulli, Curley, multi-instrumentalist Rick G. Nelson, Christopher Thorn (guitars) and Bryan Lee Brown (drummer who recently replaced Patrick Keeler who tours with Jack White).

Forty years on since the Whigs formed, Dulli says: “I’m still smiling at my good fortune. Still putting out music, playing live, the whole works. I’m a lucky fella.”

He accepts that he used to be “an angry young man” but, at 61, he has found a degree of peace.

“I had an imaginary chip on my shoulder that I needed to get rid of,” he says.

“You can tame yourself but you can always go back to the wild side — just in case you need to explore.”

It’s fair to say that The Afghan Whigs’ latest album is one of his walks on the wild side.

THE AFGHAN WHIGS

Soft Control

★★★★☆

Aug. 13 (UPI) — The Kennedy Center board on Thursday voted to put U.S. President Donald Trump‘s name on the building and to close the complex’s main building for renovations.

According to media reports, the building’s name will be changed to “The John F. Kennedy Center for the Performing Arts Restored and Renovated by President Donald J. Trump.” Its physical location will be changed to “President Donald J. Trump Plaza.”

The plan, which was approved in a 20-3 vote, was greenlit two months after Trump’s name was removed from the facade after a federal judge ruled that the performing arts center name could not be changed because it was approved by Congress.

The three individuals who voted against the changes were the ex-officio members of congress, Rep. Joyce Beatty, D-Ohio, Rep. Rick Larsen, D-Wash., and Sen. Sheldon Whitehouse, D-RI.

Beatty was a plaintiff in a lawsuit that challenged the renaming of the center.

“This morning’s decision to close the Center and the surprise agenda item to put Donald Trump’s name back on the building was more of the same,” Beatty said in a statement. “This latest development is a transparent effort to circumvent the Court’s ruling, and flies in the face of the statutes that Congress passed. I will continue to fight for this treasured national monument.”

In a statement, White House spokesperson Liz Huston said, “Under President Trump’s bold leadership, the Kennedy Center is on its way to becoming the finest cultural institution anywhere in the world

Another federal judge last month temporarily blocked efforts to close the facility and requested that the board provide a financial plan to justify the closure.

The ability to counter individual drones and complex swarms is becoming increasingly critical on the battlefield of today and will be even more so on those of the future. In response to such threats, Lockheed Martin recently unveiled the MORFIUS X-Rotor. TWZ’s Jamie Hunter spoke with Jason Reynolds, Lockheed Martin’s Vice President of Integrated Air & Missile Defense, at the Space and Missile Defense Symposium in Huntsville, Alabama, about MORFIUS in detail.

This counter-UAS system features a High Power Microwave (HPM) payload that can reportedly neutralize more than 50 adversary drones during a single sortie. The cross-wing configuration allows MORFIUS to take off and land vertically, and it is designed specifically for field recovery and rapid reuse. After launch, the drone uses proprietary algorithms to hunt and kill enemy drones using an active radio-frequency seeker onboard. The big advantage is that MORFIUS X-Rotor can kill a lot of drones and be reused to kill more over and over. Many interceptor drones in use today are self sacrificing in order to do their job.

Lockheed Martin says it has completed live-fire testing and is accelerating production to meet demand.

“Counter-UAS is a hot topic around the world. We took MORFIUS to the Farnborough Airshow; every single person was interested in understanding the technology, the availability, the production rates. This system is going to be proliferated because we need to basically protect against drones that are single or swarming and protect our critical assets, critical sites, and defend what matters most,” Reynolds told us.

Watch the video below and subscribe to our channel on YouTube here.

Meet MORFIUS: The Drone Designed To Zap Other Drones

Get ready to wipe the steam off the TV screen. Season 2 of the Peabody Award-winning series about two hockey rivals entangled in a heated romance is still months away from premiering. But details are slowly emerging that paint a picture of what fans can expect from the sophomore season of “Heated Rivalry.”

The first season’s release schedule was accelerated in the U.S. after it was acquired by HBO Max from Bell Media’s streaming platform Crave, Justin Stockman, the VP of content for Bell Media, told Variety late last year.

Things will be different for the upcoming season, which was announced in December 2025, creator Jacob Tierney told Variety. Tierney wrote and directed every episode of the first season.

“It can’t be the same time next year, because this time last year I’d written five of [six episodes], and this time this year I’ve written zero of them. So it’s going to be a little bit later, but it’s still going to be soon.”

“Soon” has now turned into spring 2027, when it is slated to hit HBO Max.

Here’s everything to know about Season 2 of “Heated Rivalry”:

What book will Season 2 cover?

The first season was based on the second book in the “Game Changers” series by Rachel Reid. It followed the off-the-ice romance between two professional hockey stars that play for the rival teams the Montreal Metros and the Boston Raiders in a fictional Major League Hockey league.

The new season will continue their romance and will be based on the sixth book, “The Long Game,” which reads as a direct sequel to “Heated Rivalry.” The novel follows Shane Hollander, played by Hudson Williams, and Ilya Rozanov, portrayed by Connor Storrie, as they struggle with going public with their secret relationship.

The follow-up season will also introduce a new couple — from the fifth book in the series, “Role Model” — a player who’s traded to a struggling team finds support from the franchise’s social media manager.

Who will play the new couple?

Justice Smith (“I Saw the TV Glow”) and Charlie Gillespie (“Splitsville”) will be joining Season 2 of the hit romantic drama as Harris Drover and Troy Barrett, respectively.

Character descriptions were not released, but in Reid’s book Troy is a hockey player who gets traded to the Ottawa team after cutting ties with a Toronto teammate who is accused of sexual assault. Harris is Ottawa’s social media manager.

Who else is joining the cast?

Season 2 will also welcome new faces to the cast, including Emily Hampshire from “Schitt’s Creek,” Edvin Ryding from “28 Years Later,” Robert Naylor from “Mile End Kicks,” Sabrina Jalees from “I Used to Be Funny” and Priyanka from “Meet Me Next Christmas.”

Hampshire will play Vanessa, Ryding will portray Luca Haas, Naylor is cast as Wyatt Hayes, Jalees will take on Farah Jalali and Priyanka is Tarek.

How many episodes are in the new season?

Did Dylan Walsh, who plays Shane’s dad, reveal too much? The actor recently paused his account on the celebrity video app Cameo after he slipped up and released information about the new season.

“Getting ready to go back up to Canada and shoot some more episodes … I think we’re doing 12 this time,” Walsh said in a clip recorded for a fan.

The number is significantly more than the first season‘s six episode-run. However, Tierney told The Times early this year that he doesn’t want to make more than six episodes per season so there’s a possibility that they’re filming two seasons back to back.

Walsh’s Cameo account has been set as unavailable until August 2027 with a message under his profile that reads, “Stepping away because a video went viral that got me in trouble.”

What Five Years of Directives Add Up To

On August 10, 2026, Reporters Without Borders marked five years of Taliban rule with an assessment that Afghanistan has become, in the organization’s words, a prison for information. The report catalogs more than twenty national directives and a long list of provincial decrees, most delivered verbally rather than published, that have progressively stripped Afghan journalism of independence. The starkest new detail is legal rather than administrative. A Code of Criminal Procedure quietly enacted in January 2026 now punishes insulting the country’s supreme leader with thirty nine lashes and a year in prison, and insulting the wider leadership with twenty lashes and six months. Afghanistan sits at one hundred seventy fifth of one hundred eighty countries in RSF’s 2026 World Press Freedom Index, alongside North Korea, Eritrea and China, as global press freedom overall falls to its lowest point in twenty five years.

From Verbal Orders to Written Law

The Taliban’s approach to media control has moved through recognizable phases since retaking Kabul in August 2021. Eleven rules issued that September gave authorities broad power over what could be published. Restrictions escalated from there: a November 2021 ban on interviewing regime critics, a March 2022 prohibition on rebroadcasting Voice of America and Radio Free Europe, and a July 2022 declaration by supreme leader Haibatullah Akhundzada that criticizing officials contradicts Islamic law, which recast basic accountability as religious transgression. Afghanistan’s 2015 Press Law, the last formal legal protection for journalists, was repealed in April 2024. What followed was an acceleration rather than a pause. September 2024 rules banned live political programming and limited on air guests to Taliban approved voices. A July 2024 law prohibiting broadcast images of living beings has since spread to more than twenty provinces. Women have been pushed out of the profession in stages, from mandatory face covering for television presenters in 2021 to a March 2025 Kandahar order banning women’s voices from radio entirely.

The Shift From Deniable Pressure to Permanent Law

What separates the January 2026 Code of Criminal Procedure from everything that preceded it is durability. Verbal orders and provincial decrees can be denied, reversed or applied unevenly, and much of what RSF documents over the past five years was communicated exactly that way, through unpublished instructions passed down from de facto ministries rather than through any formal legislative process. A criminal code cannot be waved away the same way. The document only became public because it was leaked; the Taliban never announced it. RSF notes the code does not mention journalists specifically, but it offers them no exemption either, meaning ordinary reporting on Taliban governance now falls under the same provisions that criminalize insulting the leadership. A separate article requires citizens to report any contact with government opponents, extending the incentive to inform beyond state security services into the population at large. Legal researchers reviewing the code have also flagged provisions dividing defendants into social categories, with punishment calibrated to status rather than offense, a structure that undercuts equal treatment under law well beyond the press freedom question alone.

The scale of the resulting collapse is difficult to overstate. RSF’s country data shows forty three percent of Afghan outlets disappeared within three months of the takeover, more than two thirds of the roughly twelve thousand journalists working in the country in 2021 have left the profession, and eight in ten women journalists have stopped working entirely. Behind each of those figures sits a newsroom that no longer exists or a byline that no longer appears, the practical result of a five year campaign that RSF’s South Asia desk head has described as turning criticism itself into a legal offense.

None of this makes Afghanistan an isolated case, which is what gives the story weight beyond South Asia. RSF’s own 2026 index places Afghanistan’s collapse inside a broader global pattern: more than half the world’s countries now rate as difficult or very serious environments for journalism, the worst showing the index has recorded in a quarter century. The organization has also pointed to a specific mechanism spreading well beyond authoritarian states, in which national security and counterterrorism justifications, first normalized after the September 11 attacks, are increasingly invoked to restrict reporting on matters of public interest, a pattern RSF says now appears in established democracies as well as in regimes like Afghanistan’s. Afghanistan represents the extreme endpoint of that continuum rather than an exception to it, which is precisely why treating it as a uniquely Afghan problem understates the lesson.

The crackdown has also produced a measurable outflow with consequences well beyond Afghanistan’s borders. RSF data shows the number of countries journalists have been forced to flee from worldwide has doubled over five years, from nineteen to forty, with Afghanistan topping the list. Those journalists do not disappear once they cross a border. Pakistan and Iran, the two most common host states, have each carried out mass deportations of Afghan refugees through 2026, and independent reporting from RSF and Human Rights Watch has documented Afghan journalists, including some holding valid visas, among those detained and forcibly returned toward the same authorities they fled. Resettlement pipelines to Europe and North America have slowed at the same time, leaving exiled journalists in prolonged legal limbo in third countries with limited protection. For policymakers well outside the region, that combination turns a domestic censorship story into a live test of asylum and non return commitments.

Three Paths From Here

The most likely trajectory is continued institutionalization rather than reversal. The Taliban leadership has shown no interest in press freedom as a bargaining chip for international recognition, and the shift from verbal directive to codified criminal law suggests an intent to make current restrictions permanent rather than negotiable. This path is highly likely through the remainder of 2026 and into 2027, with enforcement of the new code expanding province by province and further directives layered on top of an already dense regulatory web.

A second, less likely path involves narrow, tactical loosening tied to international engagement. If the Taliban pursues formal recognition or unlocked aid financing, cosmetic concessions on foreign broadcasters or select outlets are possible, mirroring past patterns of selective accommodation when the leadership has wanted to project moderation to specific foreign audiences. This outcome is possible but not likely to alter the underlying legal architecture, since Akhundzada’s own framing of criticism as a religious offense forecloses any structural reform led from within the leadership itself.

A third path, already underway, is a deepening exile crisis that draws in host and resettlement states more directly than the domestic censorship story alone ever could. Continued deportations from Pakistan and Iran, combined with stalled resettlement processing in Europe and North America, raise the probability of a high profile forced return case drawing sustained international attention, potentially forcing governments to clarify protection commitments to Afghan media workers in ways they have so far avoided through case by case handling. This path is likely to intensify over the next twelve months regardless of what happens inside Afghanistan itself, since it depends as much on Pakistani and Iranian deportation policy as on any Taliban decision.

Why a Domestic Censorship Story Is Not a Domestic Story

Afghanistan’s press freedom collapse will keep being read as an isolated horror story unless it is placed against the trend line RSF itself is now drawing, in which national security framing, once confined to the world’s most repressive states, is migrating into ordinary governance practice elsewhere. The clearest near term indicator to track is enforcement, not legislation. The Code of Criminal Procedure has existed on paper since January 2026 without a confirmed public prosecution under its press relevant articles. The first documented case brought under Article 19 or Article 23 against a journalist or commentator will mark the moment Taliban media law moves from threat to precedent, and from precedent to template.

The new start of this year’s I’m A Celebrity has reportedly been pushed back after ITV won the rights to the UEFA Nations League, meaning there would be a schedule clash

Bosses at ITV have been forced to delay the latest series of I’m A Celebrity, according to reports. It’s claimed a major scheduling clash has led to the series Down Under being pushed back.

That’s because the channel has landed the rights to the UEFA Nations League. It’ll see England back in competitive action following this summer’s World Cup disappointment.

The international tournament will kick off on September 24. The games will continue for a number of months and England are set to take on current World Cup champions Spain on November 15.

The game, being held at the Riyadh Air Metropolitano in Madrid, will kick off at 8.45pm. This is just 15 minutes before the start of I’m A Celeb 2026 was pencilled to begin.

But it’s claimed the football has taken priority, with the reality series said to now be commencing a day later on November 16.

A source told The Sun: “I’m A Celeb has always benefited from the Sunday night prime-time slot, but this year it’s all change. Now ITV has the rights to the UEFA Nations League bosses have had to go back to the drawing board.”

And a second source added: “Bosses have pulled out all the stops to ensure this year’s IAC launch show is must-see TV. Following the huge success of this year’s World Cup, bosses are overjoyed to have such a stellar lineup of entertainment and sport this autumn on ITV.”

While the campmates for the upcoming series are yet to be announced, speculation is already growing. And there are also reports that there will soon be another spin-off of the series.

Rio and Kate Ferdinand have reportedly signed up for an I’m A Celebrity: Wild Frontier, a new spin-off of Ant and Dec’s classic reality show which will be filmed in Canada.

If they have signed up, it means they have become the first married couple to join the show, which is focusing on celebrity pairs. Together, they will have to face their own daredevil challenges and Bushtucker Trials and it will mark England star Rio’s first venture into reality TV.

A source said: “Bosses are overjoyed to have landed the Ferdinands. It’s a real coup for the show. They have brilliant chemistry and are great fun. It will be the first time viewers have really seen Rio away from football chat, too.

Speaking to The Sun, the source added: “ITV are still in talks with some other brilliant names and this show promises to be absolutely spectacular — and a real social media talker.”

Unlike the Australian series, the spin-off show sees famous faces compete in pairs. It could be with friends, relatives or couples as they take on Bushtucker-style trials together before facing elimination as a duo.

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