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Jalen Brunson drilled the go-ahead free throw as the New York Knicks held off a furious San Antonio rally to beat the Spurs 105-104 and take a commanding 2-0 lead in the NBA Finals.

San Antonio player Victor Wembanyama had a crucial late turnover and missed a potential game-winner with two seconds remaining on Friday, leaving the Spurs in need of an unprecedented comeback when the best-of-seven series shifts to New York for games three and four.

No team has lifted the trophy after dropping the first two games of the Finals at home.

Michael Jordan’s 1993 Chicago Bulls and the 1995 Houston Rockets are the only other teams to win the first two games of the championship series on the road, and both went on to win titles.

The Knicks won their 13th straight game of the playoffs – the second-longest streak in postseason history – and will have a chance to close out their first title since 1973 in front of home fans at Madison Square Garden. United States President Donald Trump is scheduled to attend on Monday.

They had to withstand a scintillating fourth-quarter surge from the Spurs, who erased a 14-point deficit with a 14-0 scoring run.

Wembanyama shook off a slow start to score 22 of his 29 points in the second half, his three-point play with 57.3 seconds remaining giving the Spurs their first lead since the second quarter at 104-102.

It was tied at 104-104 with 9.5 seconds left when Wembanyama grabbed the rebound of a Brunson miss but turned it over with a bad pass into the back of teammate Stephon Castle.

Brunson scooped up the ball and was fouled, then made the first of two free throws to put the Knicks back in front.

San Antonio had one last chance, coming out of a time-out with 7.5 seconds left. They got the ball to their superstar, but his jump shot clanged off the rim.

“I threw that one away,” 22-year-old Wembanyama said. “I messed up. We didn’t play great as a team. We needed to win that game.”

Karl-Anthony Towns, who led the Knicks with 21 points and 13 rebounds, admitted he was praying when Wembanyama put the Spurs’ final attempt.

“A great player got a great shot, and it just didn’t go in,” Towns said.

‘What a ballgame’

For the second straight game, Towns delivered a stellar defensive performance that pushed Wembanyama out of his comfort zone.

“He’s a once-in-a-generation player,” Towns said. “You got to make it difficult on him. So, just utilising my experience, utilising my size, my skill, and just trying to make it difficult for him.”

Brunson and Mikal Bridges scored 20 points each, OG Anunoby added 17, and Landry Shamet scored 13 off the bench for the Knicks.

Wembanyama added nine rebounds, four blocked shots and two steals, and De’Aaron Fox scored 20 points for the Spurs.

Desperate not to head back to New York in a 2-0 hole, the Spurs attacked the paint early.

Wembanyama thrilled Spurs fans at the Frost Bank Center – where Knicks supporters were a vocal presence – with his first basket of the night, a left-handed dunk that gave the Spurs a 15-10 lead.

Fox’s alley-oop layup off a feed from Devin Vassell pushed the lead to 10 with less than two minutes to go in the first.

The Spurs pushed their lead to 12 before the Knicks responded in a tense second quarter, taking the lead for the first time, 49-48, on Landry Shamet’s layup with 3:39 left in the first half.

San Antonio regained the lead, but Towns’s three-pointer over Wembanyama gave the Knicks a 56-52 halftime advantage that they pushed to as many as 12 before taking an 84-75 lead into the fourth quarter.

“What a ballgame,” Knicks coach Mike Brown said. “It’s a fantastic ballgame. They made a run. We made a run. They made a run. We made a run.

“We could have folded a few times, but our guys just kept fighting … No matter what run they went on, no matter what time of the game, our guys just kept uplifting one another.”

Anyone who has been a new parent knows it’s not easy to do on your own — it really does take a village. And in the latest season of “The Four Seasons,” which returned to Netflix last week, Ginny, played by Erika Henningsen, finds her village as she navigates single parenthood after the sudden death of Nick, played by Steve Carell. While that may sound gloomy — no, terrifying — the comedy series created by Tina Fey, Lang Fisher and Tracey Wigfield keeps the laughs coming, whether they involve the central friend group spreading Nick’s ashes — morbid, I know, but I promise you’ll laugh — a malfunctioning breast pump or making friends with someone who loves to dig really big holes in the sand at the beach. Henningsen dropped by Guest Spot to talk about her character and what she hopes comes next if the show gets a third season.

And if you breeze through the second season’s eight episodes, there’s plenty else to watch this weekend. For more laughs, Mindy Kaling’s latest comedy series, “Not Suitable for Work,” premiered this week with three episodes. The TV creator spoke to Times TV writer Yvonne Villarreal about how the series touches on the heightened feelings Kaling experienced living in New York in her 20s, trying to break into comedy writing. But if you are looking for the complete opposite, the first two episodes of the newest iteration of “Cape Fear” are out today on Apple TV (you may remember the 1991 film version directed by Martin Scorsese and starring Robert De Niro, or even the 1962 version starring Robert Mitchum). The series, which inserts some modern elements and twists, stars Javier Bardem as the villainous Max Cady and Amy Adams as lawyer Anna Bowden, who our television critic says “is low-key forceful as his primary opponent.”

Also in this week’s Screen Gab, our critics recommend a web short that will give you some background on “Backrooms,” as well as a horror film with a similar vibe, and a new nature documentary series. — Maira Garcia

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Recommendations from the film and TV experts at The Times

Chiwetel Ejiofor in “Backrooms,” which was inspired by Kane Parson’s surrealist web videos.

(A24)

“Backrooms – Presentation” (YouTube), “Buffet Infinity” (VOD)

Last weekend, 20-year-old Kane Parsons became the youngest filmmaker to hit No. 1 at the box office with “Backrooms,” a surrealistic experiment about a furniture salesman (Chiwetel Ejiofor) drawn into a maze of humdrum office space. Peek into the movie’s lore on Parsons’ YouTube channel where his eight and a half minute short, “Presentation,” hints at why Mark Duplass was running around in a lab coat. Or let the feature stand as its own work and watch Simon Glassman’s “Buffet Infinity” instead. Told through snippets of local TV commercials, this morbidly hilarious horror tale is like plopping down on one of the backroom’s couches to channel surf. The bland muzak and cinematography are spot-on, as are the familiar breeds of low-budget pitchmen: the car salesman, the personal injury lawyer, the housewife. But once two neighboring restaurateurs duel over the rights to a special sauce — and one gets defamed and disappeared — these escalating, tense ads reveal a town under siege. Things have gotta be bad when the pawn broker starts rapping about his vast selection of knives. — Amy Nicholson

A pilosaurs in NBC’s “Surviving Earth.”

(NBC)

“Surviving Earth” (NBC, Peacock)

If computer animation is good for anything, it is its ability to bring prehistoric creatures to convincing conjectural life. From Willis O’Brien‘s stop-motion dinosaurs in “The Lost World,” to “Jurassic Park,” to the BBC’s “Walking With Dinosaurs,” we are ever glad to take that trip backward, in increasingly sharp detail. “Surviving Earth,” an eight-part nature documentary cum disaster movie cum action film, adds a thematic twist: extinction. With titles like “When the Earth Burned,” “When the Seas Died” and “When the Forests Collapsed,” it is, on the one hand, a dark tour through a long history of climate crises and population collapse; on the other, per its title, its relatively cheering theme is that life, generally speaking, can handle whatever the planet (or stray asteroid) throws at it. (Humans are not left off the hook; the two episodes out for review each conclude with a visit to our destructive modern world.) As in many nature films, the animals are framed in cute or suspenseful stories that largely involve family and community; territory and travel; and looking for food and not being food. (The more adorable the animal, the more likely it is to escape uneaten, and some of those baby dinos are precious.) It premieres Thursday at 8 p.m. on NBC, and new episodes air weekly, followed by a rebroadcast of “The Americas,” the network’s earlier present-day nature series, and stream on Peacock the next day. — Robert Lloyd

Guest spot

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

Kerri Kenney-Silver as Anne and Erika Henningsen as Ginny in Season 2 of “The Four Seasons.”

(Emily V. Aragones/Netflix)

What if you found out you were pregnant? And then your partner died suddenly. Oh, and he hadn’t divorced his wife yet, so there’s no money to support yourself and a new baby. For some people, it would be enough to cause a meltdown and an existential crisis. But in Season 2 of “The Four Seasons,” Ginny takes it all in stride. The character, played by actor Erika Henningsen, forges ahead, has the baby — fathered by the now-deceased Nick — and ends up getting help from the most unexpected person: Anne, her partner’s ex.

The comedy series once again follows the close-knit friend group consisting of Jack (Will Forte) and Kate (Tina Fey), Danny (Colman Domingo) and Claude (Marco Calvani), and the new odd couple, Anne (Kerri Kenney-Silver) and Ginny. This season, they take trips to the Catskills, the Jersey Shore and Italy as they try to navigate grief following Nick’s death, supporting Ginny despite the awkwardness of her situation with Anne, and an international move by Danny and Claude after they decide not to have a child.

Henningsen discussed Ginny’s arc this season and how she connects with Anne, who finds purpose in caring for baby Gino (or Eugene, depending on whom you ask), and what it was like juggling multiple projects along with filming “The Four Seasons.” — M.G.

At the end of the first season of “The Four Seasons,” viewers were hit with a big surprise: Ginny is pregnant. And in Season 2, we see her further along and eventually with a baby. What was it like to play Ginny at this stage in her life, navigating single motherhood? Did you look to anyone for inspiration?

I feel like Ginny’s character arc in this season was a tightrope walk that our writers executed flawlessly. Because, let’s be honest, the situation between Anne and Ginny is a bit bizarre. To quote our show, “there is no Beyoncé song” for what to do when your recently deceased ex-husband’s pregnant girlfriend shows up on the group hiking trip! What myself and the writers really tried to highlight, especially in those early spring episodes, is how scared Ginny feels to be entering motherhood without a partner by her side and how that fear and grief become the dominating force behind her actions. She’s just scrambling for some semblance of confidence and security, to feel like she’s going to be “ready” when the baby arrives. But, as any real mom can attest, there is no ‘“ready” when it comes to a baby. You just take it one day at a time and figure it out as you go. I love that Ginny has that realization toward the middle of the season. She may not be the perfect mom to Gino, but she’s his mom, and getting to play the beach scene where Ginny takes one tiny bold step, alone, into motherhood was super special. In terms of inspiration, I was constantly texting two friends of mine who had just had babies for ways to walk, ways to lay down, ways to stretch, etc. Also, our incredible hair department head, JT Franchuk (shoutout, JT!), was on set with me every day, and I was lucky to have her as a confidant and sounding board as she was seven months pregnant when we began shooting Season 2.

You share many great scenes with Kerri Kenney-Silver, who becomes a surrogate mother to Ginny and grandmother to her baby, despite the history between them. How did you two navigate this dynamic, and what was it like working together?

Kerri Kenney-Silver is truly the greatest scene partner an actor could have for a litany of reasons. Kerri comes from an improv background but is also a technical wordsmith. She’s constantly throwing out new line readings and physical comedy to bounce off of, but is also deeply respectful of the words Tina Fey and company have crafted, so she’s equal parts anchor to a scene as well as a playmate. Kerri and I never tried to nail down one exact “right” way to play a scene. We were constantly adjusting the levers with each take, digging into one another versus backing off, casually throwing away a sentimental line versus staring into one another’s eyes. What we did agree on was to never judge these two characters. Some people might look at our character’s choices as debilitating or selfish, but we both found that Anne and Ginny deeply needed and wanted to be there for one another. In their own little “odd couple” way, they were choosing one another to get through the next tenuous, unknown chapter of life. Oh, and working with Kerri? As I’ve said, “if you’re gonna lose a Steve Carrell, just wait til you gain a Kerri-Kenney Silver.” She is obviously so talented, but also one of the warmest and most welcoming humans I have worked with. And she makes me snort-laugh on a regular basis.

You came up in theater and originated the role of Cady Heron in the Broadway production of “Mean Girls,” based on the film by Fey. You were on Broadway in “Just in Time” last year, too. What has it been like to balance your stage work with your TV work lately?

Honestly? It’s been a lot! I say that with 98% gratitude and 2% “so tired when is vacation?” exhaustion. Last year, I was doing press for “The Four Seasons” while opening a brand-new original Broadway show, while also recording Season 3 of the hit animated series I currently star in, “Hazbin Hotel” [Prime Video]. My days were spent doing interviews in the morning, rushing to Circle in the Square theater for “Just in Time” preview rehearsals in the afternoon, recording episodes of “Hazbin Hotel” on my dinner break, all before heading back to the theater for an 8 p.m. curtain. I remember there was one night I did a SAG panel with Tina, Kerry and Marco on 55th and Broadway that ended at 7:45, and I was in pincurls and fake eyelashes, ready to go onstage opposite Jonathan Groff at 8:15. It is definitely a balancing act, and one I would not be able to navigate without my team and my husband. Nonetheless, I wouldn’t have it any other way. I love how each discipline has started to inform the other: I’ve taken my spontaneity in the voice-over booth onto set, I’ve taken my trust in stillness in front of the camera onto the stage, and I’ve taken my discipline doing eight shows a week into everything. Getting to dip a toe into multiple pools of the entertainment industry is, I think, the only way my brain wants to operate.

If “The Four Seasons” gets a third season, where would you like to see Ginny go?

In a perfect world? I’d love if Danny/Claude planned a fabulous trip to a gay destination like Mykonos that the rest of the group somehow gloms onto. I remember visiting Fire Island for the first time a few summers ago at Tina’s recommendation and loving it so much. I texted her that I never wanted to leave and she basically wrote back, “Yup. Always follow the gays.” So, maybe we will do exactly that in Season 3. Also, on a very specific Ginny note, I will hopefully have a toddler in Season 3 as opposed to a baby (our babies on set were under 6 months old so they definitely fell into the “handle with care” category!), and my dream is to be able to hold one the way Diane Keaton holds her toddler in “Baby Boom.” It’s a perfect moment of physical comedy, and I aspire to re-create it.

What have you watched recently that you are recommending to everyone you know?

“Beef” Season 2 and the recent Rafael Nadal documentary, “Rafa.” Both Netflix. What can I say? I’m loyal. The entire cast in “Beef” is spectacular, and I love the genre-bending the showrunner weaves throughout. You never quite know where you stand, but the twists feel earned and character-driven as opposed to gimmicky. There’s one quasi-bottle episode set in an ER that felt perfectly surreal, claustrophobic and exactly what it feels like to be in the ER on bad health insurance (speaking from 21-year-old experience). “Rafa” is just … no words. I love a sports doc (“The Last Dance” [Netflix], “Prefontaine” [VOD], “The Endless Summer” [Tubi] — you name it), probably because, in my heart of hearts, I just want to be an athlete.

What’s your go-to comfort watch, the movie or TV show you go back to again and again?

I will never tire of watching “The Parent Trap” [Disney+]. It’s perfect. Chessy is a queer icon, Meredith Blake is the “villain” but also get that vineyard honey, one of Lindsay Lohan’s best performances, and what I wouldn’t give to have an ounce of the class that was Natasha Richardson. Every scene is perfect, there’s not a single “skip” on the soundtrack. Also a flawless Maggie Wheeler cameo! Nancy Jane Meyers: You outdid yourself.

ICYMI

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June 5 (UPI) — The Treasury Department on Friday issued an advisory that financial institutions, including banks and casinos, to “be vigilant” against signs of unlawful employment of illegal immigrants.

The Department’s Financial Crimes Enforcement Network, called FinCEN, in the advisory calls on the institutions employ methods to detect schemes covering up the employment of people who are not authorized to work in the United States.

Treasury Secretary Scott Bessent said in a FinCEN press release that part of the Trump administration’s crackdown on illegal immigration includes “securing our financial system.”

“This administration will not allow illegal aliens to abuse financial institutions to steal billions of dollars from hardworking American taxpayers,” Bessent said.

In order for non-immigrants to work in the United States, employers are required to petition with U.S. Citizenship and Immigration Services for eligibility, before a prospective employee either applies to the State Department for a visa or enters the country through a port of entry, according to USCIS.

FinCEN said in the release that the hiring, concealing and exploiting of workers without visas can give employers advantages over other businesses, depress wages, facilitate identity theft and steal tax revenue from the United States.

The agencies additionally said that the hiring of these workers can also help fund and assist criminal enterprises that include drug trafficking and human trafficking.

The financial institutions are being asked to watch out for red flags of shell companies, identity theft, fraudulently used social security and worker identification numbers, shell companies and a raft of other detectable signs of fraud.

In addition to depository institutions such as banks, credit unions, money services businesses and securities and futures firms, FinCEN has aimed the advisory at casinos, the insurance industry, mortgage companies and brokers, and the precious metals and jewelry industries.

The Treasury Department said that more than $2.5 billion in suspicious activity reported by financial institutions was linked to payroll fraud schemes in 2025 alone, noting one multi-year scheme that cost the United States more than $38 million in tax revenue.

Harry Kane’s final task of the finest season of a magnificent career is to attend to unfinished business as England’s World Cup captain.

Kane is England’s ‘Mr Irreplaceable’ – as proved when Thomas Tuchel’s side were ominously toothless when drawing with Uruguay then losing to Japan in March friendlies at Wembley.

The 32-year-old’s fitness will be Tuchel’s biggest concern as they prepare to start their World Cup campaign against Croatia in Dallas on 17 June, not simply because of his status as England’s all-time record scorer with 78 goals in 112 games, but also because they have no-one remotely in Kane’s class.

If Kane stays fit, and in the remarkable form that brought him 64 goals in 56 games for Bayern Munich this season, England’s hopes will soar.

If not, the reverse applies.

As former England striker Chris Sutton told BBC Sport: “Harry Kane is so important that if he announced his international retirement this afternoon, everyone would instantly view England’s World Cup chances in a different, more pessimistic light.”

Silverware has come late in Kane’s career after barren years at Tottenham Hotspur, when even his stunning goalscoring numbers could not bring glory.

He is now making up for lost time by winning a second successive Bundesliga with Bayern Munich, then scoring a hat-trick as they beat Stuttgart 3-0 in the German Cup final.

And Kane now has his sights set on delivering the biggest prize of all as he leads England on their latest quest to end the search for men’s success stretching back to the 1966 World Cup win.

England’s countdown to their opening World Cup game continues when they play New Zealand in a friendly at Raymond James Stadium in Tampa, Florida, on Saturday (21:00 BST).

Kane has suffered the disappointment of losing successive European Championship finals with England to Italy and Spain, as well as a World Cup semi-final defeat by Croatia in 2018 and a quarter-final loss to France in Qatar.

Now Kane’s stellar form and fitness suggest the time might be right for England and their talisman to overcome the barrier that has brought 60 years of pain.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

It seems odd that the biggest news of the week was the fact that tickets for a movie went on sale, but apparently Christopher Nolan’s upcoming “The Odyssey” is no typical movie. Having already made tickets available for some shows a full year in advance, Universal put more of them on sale for the July 17 opening weekend of the Oscar-winning filmmaker’s ancient epic. There were reports of long online wait times, crashing ticketing systems and the kind of problems more often associated with pop stars than movie nerds.

“The Odyssey” will be playing in a variety of formats, with the Imax 70mm screenings among the most coveted. More venues than usual have also been announced as playing the film in 70mm, including the Village Theatre in Westwood. (A handy visual guide to the different fomats is on the film’s website.) While there is a hint of the ridiculous to some of this mania — popcorn buckets in the shape of Imax cameras and movie tickets going on the resale market for hundreds of dollars — there is no denying how exciting it is to see this kind of anticipation building around any movie.

Back to a ’90s phenomenon

Ewen Bremner, left, Ewan McGregor, Johnny Lee Miller and Robert Carlyle in the movie “Trainspotting.”

(Liam Longman / Sony Pictures Classics)

When it first came out in 1996, “Trainspotting” was an instant cultural phenomenon, capturing the vibes of the “Cool Britannia” moment with its sparkling soundtrack, inventive, high-energy style and cast that included up-and-coming talents such as Ewan McGregor and Kelly Macdonald. It was only the second feature directed by Danny Boyle, who would go on to be an Oscar winner, mount an Olympics opening ceremony and remain a reliably exciting filmmaker all the way to his recent “28 Years Later.”

“Trainspotting” is now back in theaters in a 4K restoration for its 30th anniversary, having lost none of its brash vigor. In his original review, Kenneth Turan said of the film, “Exuberant and pitiless, profane yet eloquent, flush with the ability to create laughter out of unspeakable situations, ‘Trainspotting’ is a drop-dead look at a dead-end lifestyle that has all the strength of its considerable contradictions.”

Appearing like magic

Kathy Najimy, left, Bette Midler and Sarah Jessica Parker in the 1993 comedy “Hocus Pocus.”

(Disney)

Directed by Kenny Ortega, “Hocus Pocus” is one of those movies that has seen its fanbase grow steadily over the years — it is now much more beloved than it ever was on initial release. (It even inspired a 2022 sequel.) Bette Midler, Sarah Jessica Parker and Kathy Najimi play the Sanderson sisters, 17th century witches who find themselves inadvertently brought to modern day by a group of teenagers messing around with casting spells.

The film will play Saturday at the Gardena Cinema, featuring a live commentary from cast members Omri Katz, Thora Birch, Larry Bagby, Tobias Jelinek and Vinessa Shaw followed by a Q&A. This is a rare appearance by Katz in particular, who has retired from acting. Fans of the movie should make the effort to attend.

The Gardena, the last family-owned single-screen theater in Los Angeles, suffered a blow last weekend when a burst pipe flooded the venue. Though they are operational, a campaign has been started to help them recoup repair costs.

Examining the life of the mind

John Turturro in the 1991 movie “Barton Fink.”

(20th Century Fox)

Ranking the films of Joel and Ethan Coen has become a cottage industry of its own. Personally, I go back-and-forth on where to place 1991’s “Barton Fink,” which won the Palme d’Or at Cannes, as well as prizes for director and actor. The movie is by turns funny, disturbing and inscrutable (all good things), with John Turturro in the title role as an intellectual New York playwright who goes to Hollywood to write screenplays — and slowly goes insane.

The movie will play Friday in 35mm at Vidiots with an introduction from Noah Segan, who directed Turturro in one of the breakout titles from this year’s Sundance, “The Only Living Pickpocket in New York.” Hopefully, this will turn into a year in which Turturro gets some long-deserved accolades.

Christmas in June

Elliott Gould on the set of 1978’s “The Silent Partner.”

(Anwar Hussein / Getty Images)

There is something particularly charged about watching a Christmas movie at other times of year — an odd sense of dislocation and maybe even something a little naughty, a circuit-scrambling frisson. So it is particularly notable that as part of their salute to the independent studio Carolco Pictures (behind such films as “Basic Instinct,” “Terminator 2: Judgment Day” and “Reservoir Dogs”), the Vista will be showing 1978’s “The Silent Partner.”

Just the kind of tight and gripping thriller that people pine for all year round, “The Silent Partner” has a screenplay by Curtis Hanson, who would go on to make “L.A. Confidential.” Elliott Gould plays a Toronto bank teller who tries to rip off the thief (Christopher Plummer) who robs his branch wearing a Santa costume as a disguise. Soon they are both scheming against each other.

In his original review of the film, Kevin Thomas called it “tense and ingenious.” In a reconsideration of the film some months later, Charles Champlin called it “a stylish crime-suspense story, a cat-and-mouse game between Christopher Plummer as a clever, sadistic bank robber and Elliott Gould as a bored bank teller who sees a way out of his boredom and into riches.”

So much beauty

Brooke Adams and Sam Shepard in the 1978 movie “Days of Heaven.”

(Criterion Collection)

Terrence Malick’s 1978 “Days of Heaven” is still strikingly singular: a love story told with a stirring visual style. The film’s beauty — aside from its impossibly good-looking lead actors, Richard Gere and Brooke Adams — in part comes from gifted Spanish cinematographer Néstor Almendros, who made his American debut after a career in Europe that saw him working with filmmakers such as Eric Rohmer and François Truffaut. Almendros would win an Academy Award for the film.

The New Beverly will show “Days of Heaven” in 35mm Tuesday through Thursday as a double bill with Truffaut’s 1970 “The Wild Child,” shot by Almendros in black-and-white. Writing about “Days” in 1978, The Times’ Charles Champlin called it “an extraordinary and original visual experience and a movie which is thrilling in its uncompromised purity.”

Perverse fun

Ha Jung-woo, left, and Kim Min-hee in the 2016 movie “The Handmaiden.”

(TIFF)

Korean filmmaker Park Chan-wook was just president of the Cannes jury and has become a much-beloved figure on the international circuit for his wicked sense of humor and sharp sense of style. Nowhere is that on better display than his 2016 film “The Handmaiden,” which is somehow at once a period drama, a con-man thriller and an erotic lesbian romance. Vidiots will be showing the movie Sunday.

As Justin Chang wrote when the film was released, “Without sacrificing his taste for psychosexual perversity or his flair for violent grace notes, Park has given us a teasingly witty and elegant puzzle-box of a thriller whose pleasures are rooted not in visceral shock but in narrative surprise, and which wisely opts to seduce rather than pulverize its audience.”

In an interview at the time, Park said the film’s unpredictability was part of the project’s appeal. “That’s the exact kind of fun to be had with this film and the reason why I chose to make this film. Everything becomes a game of perception. Rather than to say it’s a difficult thing to navigate, it is fun to deal with. Not only for me as a filmmaker but for the audience to see that and engage in that game.”

New this week

• Amy Nicholson reviews the latest attempt to make a movie out of a popular Mattel toy with the lightly-tongue-in-cheek “Masters of the Universe.”
• Amy also reviewed the revival of the satirical “Scary Movie” franchise, with original stars Anna Faris and Regina Hall returning to make fun of such recent hits as “Sinners,” “Weapons” and “The Substance.”
• The documentary “Time and Water” looks at climate change through the life and work of Icelandic writer Andri Snaer Magnason as directed by Sara Dosa, who had a hit with her last film “Fire of Love.” Robert Abele reviews.

One last thing…

This week, our colleagues at De Los launched a podcast hosted by Fidel Martínez and Suzy Exposito. The interview-style video podcast will feature conversations with the people shaping Latino culture in the United States.

The first episode features singer and actor Leslie Grace, who talks about her experiences working on the film “In the Heights” as well as being the star of the canceled “Batgirl.”

SEOUL, June 5 (UPI) — South Korea’s KB Securities said Friday it teamed with global blockchain network operator Canton Foundation and domestic digital asset company Wavebridge.

The Seoul-based brokerage said the three firms would explore ways to take advantage of the Canton Network, a blockchain platform built for regulated financial markets, to support distributed ledger-based capital market transactions.

Over the longer term, they also hope to collaborate on adopting distributed ledger-based financial products in South Korea.

KB Securities said that its ultimate goal is to enable the issuance and cross-border distribution of financial products backed by Korean assets.

Enabled by smart contracts, Canton Network allows participants to exchange data and value for the trading of real-world assets.

Several major global financial organizations participate in the Canton ecosystem, including Goldman Sachs, BNP Paribas, HSBC and Nasdaq, according to KB Securities.

“The transition to a distributed ledger-based capital market is an essential step for future finance. This transformation is already moving from concept to execution globally,” KB Securities CEO Kang Jin-doo said in a statement.

Canton Foundation leader Viv Diwakar welcomed the three-way partnership.

“Korea’s capital markets have the institutional depth and regulatory foundation to move decisively in the shift to distributed ledger infrastructure,” he said.

“This partnership with KB Securities and Wavebridge is an important first step in building that future, and Canton Foundation is committed to supporting Korea’s leadership in this space.”

KB Securities is not publicly listed. The share price of its parent company, KB Financial Group, rose 4.51% on Friday, while the benchmark KOSPI plunged 5.54%.

“In my humble opinion, you have never known how to make coffee or Negroes. The former you leave too light, the latter too black.”

– Venezuelan poet and politician Andrés Eloy Blanco to US visitors, 1944

Contemporary racist attitudes in Venezuela have deep roots in the colonial period (sixteenth to nineteenth centuries). After independence, Venezuela constructed a national narrative that claimed to have overcome racism through miscegenation. We were (are) a “café con leche” (coffee with milk) nation, a blend in which racial differences had dissolved. But this supposed harmony concealed a persistent idea: whiteness remained the ideal, while African and Indigenous identities were seen as something to be diluted and gradually eliminated. 

This whitening process was not only biological, but also cultural and political. Paradoxically, racism in Venezuela became invisible to those who practiced it and even to those who suffered from it, masked under the pretext that “here we are all mestizos.” However, we have seen that when political conflicts intensify, the mask of mestizaje falls away and colonial prejudices resurface. 

The origin of an ideology

Although the validity of the term “race” has been questioned – on the grounds that we all belong to the human race and differ only in phenotypic traits – according to Venezuelan historian Luis Felipe Pellicer, “…if racism exists, race exists,” but only as an ideological construct of domination, and by no means as a scientific truth.

Racism emerged in Venezuela as a result of an exploitative and extractive economy that created a need for enslaved labor. Initially, this labor force consisted of Indigenous people and was later supplemented by individuals brought from the Atlantic coast of Africa. Countries such as present-day Ghana, Togo, Benin, Angola, and the Republic of the Congo were particularly affected. 

Now, the issue of slavery in Africa has deeper roots that warrant a more comprehensive examination, but in the Americas this system underwent a transformation, and what began as an economic activity ultimately established ideas that created negative associations around those subjected to slavery, thereby inventing the political and social category of “blackness.” By merging the condition of slavery with skin pigmentation into a single concept, the colonial mindset ended up stigmatizing every cultural and vital expression of these groups, considering them inferior, ugly, and despicable.

One of the characteristics of enslavement in the Americas was dehumanization and its racial justification. That is to say, here the idea of enslavement due to war or debt repayment was abandoned. The automatic association was: you are a slave because you are a Black African, and vice versa. This phenomenon created the idea that all Africans and their descendants were predestined for servitude and forced labor. 

The racist backlash

The recent incident in Madrid that saw supporters of far-right leader María Corina Machado shout slogans against Venezuelan Acting President Delcy Rodríguez reflects a deep social divide. Sectors of the opposition who identify – whether phenotypically or aspirationally – with a Eurocentric worldview and the ideal of “whiteness” believe that the exercise of power by groups they associate with or perceive as people of African descent constitutes a historical affront. For decades before the Bolivarian Revolution, epithets like “monkey,” “mulatto,” “zambo,” “bembón,” and “bad hair,” among others, paraded across TV screens and in the national press with complete normality and often disguised as jokes – another mechanism for propagating Venezuelan racism. Following his government’s post-2001 radicalization of revolutionary reforms, Hugo Chávez was himself notoriously called a “monkey” and prominently caricatured as such by Venezuela’s right-wing opposition.

It is no surprise, then, that the presence of figures such as Venezuela’s current acting president transcends the issue of political ideology to constitute a rupture in “quality,” a term used in eighteenth-century Venezuela. “What is quality or race?” asks Pellicer. “It is an idea of inferiority regarding a human group that is transmitted, corporeally, through sexual reproduction.” It is an affront, then, to the natural order of things, to the pyramid of colonial society that placed peninsular Spaniards at the apex and people of African descent at the base. 

With the chant “Fuera la mona” (“Out with the monkey”), the Venezuelan far-right hurled an insult that reveals their undemocratic nature. But more importantly, these insults are not even linked to any incompetence in governance, but rather to what these groups perceive as “racial incompetence.” It is the expression of a wounded “whiteness” that uses racism as a defense mechanism against what they see as a displacement of their traditional privileges. It is, in essence, an attempt to restore a colonial order. 

Racism is a power structure. “Colonial thought,” Pellicer observes, “invents the other, whether Indigenous, mestizo, mulatto, or Black, as well as the white self … thereby establishing the ideology of race as the primary marker of inequality, beginning with the invasion of the Americas.” The struggle for honor in the colony was a struggle for differentiation and political recognition. Today, the “animalization” of non-white political leaders is the continuation of that colonial war, which is why the Madrid slur is not a simple rudeness; it is an act of historical violence. It is the voice of the eighteenth century trying to silence the twenty-first. And at this point, one must ask: what is admirable about the idea that, based on skin color, some are more or less fit to govern a country? 

The slave owner/racist does not see a person; he sees a tool, a piece of property, and for this to happen, the mind must adopt a psychopathic and callous mindset. The racist needs to strip the oppressed of their status as subjects in order to invoke a visceral fear of otherness that, if acknowledged, threatens their illusion of superiority. Choosing to be part of this ideological operation of domination today should be a source of shame, for it is the most glaring expression of a violence that heralds the end of humanity.

From Cortés to Díaz Ayuso

This exclusionary mindset is part of a transatlantic trend toward neocolonial revival that seeks to re-legitimize old hierarchies. A telling example is Spanish right-wing politician Isabel Díaz Ayuso’s recent visit to Mexico, where her proposal to celebrate the figure of Hernán Cortés serves as an ideological parallel to the “Fuera la mona” chants heard in Madrid. By attempting to portray the invasion and genocide in the Americas as a “civilizing” feat, Ayuso revives the logic of the “society of qualities”: a structure where moral and political superiority is an exclusive Hispanic and white inheritance, while Indigenous and Afro-descendant peoples are reduced to a state of barbarism remediable only through paternalistic tutelage.

This narrative is not merely a historical debate, but a contemporary validation of the racial hierarchy and justification for overthrowing processes of popular sovereignty in Latin America. Ayuso’s discourse seeks to reaffirm a “Hispanic identity” that views ethnic otherness as a threat to the values of Western civilization. In this sense, what happened in Madrid is a clear symptom of the reactionary neo-fascist wave sweeping large parts of the Global North and South.

Racist remarks

The trauma of Venezuela’s War of Independence (1810–1830) and the Federal War (1859–1863) created the need to invent a narrative in which Venezuelan society was free of conflicts and differences, and thus the persistence of racial and social tensions has been glossed over. However, it resurfaces in comments such as: “Fuera la mona”; “We need to improve the race”; “Black but refined”; “Money whitens.” 

In 1948, conservative writer Arturo Uslar Pietri responded to Rómulo Gallegos’s presidential campaign by stating: “Anyone who speaks of blacks or whites, anyone who invokes racial hatred or privileges, denies the essence of Venezuela. In Venezuela, in political and social matters, there are neither whites nor blacks, neither mestizos nor Indigenous people. There are only Venezuelans .” This argument was almost exactly the same as that put forward by María Corina Machado when asked about the event at La Puerta del Sol, stating that it had occurred because of the fissures of hatred that Chavismo introduced into its discourse over 27 years in power. 

The end of denial

As part of the commemoration of the Day of Venezuelan Afro-Descendance, established under the Hugo Chávez government in 2005 to be celebrated every May 10 [on the anniversary of the 1795 slave uprising led by José Leonardo Chirino], it is both pertinent and necessary to reflect on and understand that racism in Venezuela is a long-standing phenomenon that surfaces with particular virulence during times of political crisis. The historical association between power and whiteness, inherited from the colonial era and reinforced by twentieth-century positivist thought, remains alive in the minds of sections of society that refuse to accept the nation’s diversity, including among working-class communities through what is known as endoracism. 

Understanding the origin of this phenomenon is the first step toward dismantling it. We must move from the false harmony of “café con leche” to true decolonial justice, where a person’s “quality” is not dictated by their “whiteness.” The Madrid incident reminds us that the battle for Venezuela’s mental independence far from over.

Rosanna Álvarez holds an MSc in History of Republican Venezuela from the Central University of Venezuela (UCV). She is a researcher at the Centro de Estudios Simón Bolívar and Fundación Hugo Chávez, as well as a writer at the Libertador 8 Estrellas magazine. She is the author of Venezuela vista e imaginada. Un recorrido visual por nuestra historia and host of the Bolívar Nuestro show on Radio del Sur.

The views expressed in this article are the author’s own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

THE Sidemen appeared to take a sideswipe at KSI after he announced he was splitting from the YouTubers earlier this week.

In bombshell news the Britain’s Got Talent judge revealed he had recorded his last video with his mates and was flying solo.

Today The Sidemen put up a long post on their social media which seemed to criticise the way in which KSI did it.

They wrote: “Ideally, we would have loved the opportunity to give JJ the send off he deserved, a proper farewell video, time for everyone to process it, and a chance to celebrate everything we’ve built together.

“Unfortunately JJ released the news before we had agreed on a mutual way of letting our audience know.”

KSI posted a long video on Sunday afternoon which not only caught fans unaware but seemed to do the same for The Sidemen too.

main man

Truth behind KSI’s exit from The Sidemen as ‘blindsided’ crew’s next step revealed

KS-BYE

Why has KSI left The Sidemen? What the YouTube star said about leaving the group

They said: “His exit did not happen in the way any of us wanted it to. That has understandably left lots of you confused and we feel like we owe you some clarity.

“It’s difficult for us to address the situation and has taken some time, because we’re a group and not an individual.

“We don’t have a spokesperson as such and each of our opinions and feelings differ, which is why we’re using this shared statement.”

Though they did sound a note of positivity, starting off the statement by saying: “We as the Sidemen wish JJ the best and respect his decision to leave.

“We will be forever grateful for the amazing moments and memories we’ve shared together.”

They also signed off reassuring their fans: “This is the end of an era, but not the end of the Sidemen. The rest of us will continue to bring you Sidemen content with the same commitment and optimism we’ve always had.

“We look forward to continuing the journey with you all, and thank you for always supporting us through everything. Ethan – Harry – Josh – Simon – Tobi – Vik.”

In the video KSI posted he said: “This is honestly the hardest video I’ve ever had to make in my life.

“I’ve gone back and forth on this decision for a very long time. I’ve spent months trying to figure out what the right thing to do is.

“But after a lot of thought, I’ve decided that I’m no longer be doing sidemen videos. Today, 31st of May, will be my final Sidemen video.

“Even saying those words out loud doesn’t feel real.”

KSI went on to say: “The Sidemen have been such a huge part of my life for over 12-13 years.

“For almost half my life, this Sidemen has been my second family. We’ve grown up together. We’ve travelled the world together.”

He later added: “The truth is, nothing bad has happened. This decision is completely my own.

“Over the last few years, I’ve felt myself being pulled in a lot of directions than ever before.

“Between everything else in my life, I feel like I’ve been running at full speed at 100mph.

“I’ve spent so long trying to be everything for everyone. Trying to be everywhere. Trying to do it all. Trying not to let anyone down. But somewhere along the way, I started losing the balance in my own life.”

KSI went on: “I’ve found it hard to make enough time for myself. I’ve definitely found it hard to find time for my family. I’ve found it hard to make time for the people I love. And I’ve realised that something has to change.

“The Sidemen deserve somebody who can give 100%. And right now, I know I can’t do that. It just wouldn’t be fair to the boys.

“It wouldn’t be fair to you. And it wouldn’t be fair to myself. Walking away from something you love is painful. Trust me, it’s not been easy. But deep down, I know it’s the right thing to do.

“Those boys helped shape who I am today. And I hope in some small way I helped shape who they became too.”

KSI then went on to thank each of the men behind the successful YouTube channel, before thanking the crew and the fans who supported them on their journey.

Concluding his statement, KSI signed off by saying: “But for now, I need to focus on myself, and I need to focus on fixing my work life balance, just so I can finally focus on my health, and finally make time to see my family and make time to see my partner.”

Fishermen in Gaza are using dinghies made of reclaimed fiberglass, wood, and doorframes salvaged from rubble left by Israeli airstrikes to help revive the territory’s struggling fishing industry amid material shortages.

VENEZUELA Fury looked incredible as she posed in gym and branded herself a “bad b***h” after moving into a lavish static home with her new husband.

The 16-year-old has skyrocketed to new heights of fame after fans were captivated by her lavish wedding in the Isle of Man last month.

Venezuela married her man Noah Price, 19, in a stunning handmade gown with imported Italian lace and a 50ft train.

The Netflix star has been keeping fans updated on her life over on her TikTok account.

Venezuela looked amazing in a new video, where she posed for fans in an Alo gym set.

The gym set, which costs a whopping £218, was a gorgeous bright red colour complete with white detailing.

Read more on Venezuela Fury

HOUSE THIS?

Venezuela Fury gives fans a look at Mrs Hinch-style static caravan living room

HOUSE THAT?

Venezuela Fury gives fans a peek inside her static caravan bedroom

She danced around in the clip as she mimed the lyrics to Cardi B‘s ‘Pretty and Petty’.

They said: “I’m a bad b***h are you mad. You built like your dad.

“You damn near unemployed. They only book you when they can’t afford Coi, look.

“I got one album and I’m up still. Daughter cost more than your pub’ deal.”

Venezuela pouted her lips and threw up a peace sign as she ended the video.

Fans in the comments gushed over Venezuela.

One fan penned: “Diva Period!”

Another fan wrote: “This outfit is everything.”

A third person added: “OMG beautiful.”

The reality TV personality has over 1.3 million followers on the app with fans desperate to keep up with her whirlwind last few months.

Venezuela and Noah‘s wedding was one of the biggest events in May – the bash had 120 guests, a 12-tiered wedding cake, a surprise performance from Peter Andre and an all-night buffet.

Soon after their big day the loved-up pair moved into their posh new home.

The luxury caravan home boasts a stunning marble bathroom with a free-standing bath, a cream kitchen overlooking trees and greenery, and plenty of space throughout.

The living room has a huge built-in TV cabinet with a fireplace beneath.

And the bedroom has large wardrobes and plush grey carpet throughout.

Portuguese star Cristiano Ronaldo hit the training pitch as he readies for his sixth World Cup appearance. Portugal will play Chile in a friendly, before heading to the US for their first World Cup match on June 18. Punters say Portugal is a dark-horse contender to take the title.

Accra, Ghana – Ghana has recorded 14 arrests linked to false news and offensive speech in less than 16 months, nearly double the number documented during the previous administration’s entire eight-year tenure, according to the Media Foundation for West Africa (MFWA).

The rise has triggered a sharp debate in one of West Africa’s most stable democracies over whether authorities are simply enforcing long-standing laws in a new digital environment, or edging into a more restrictive approach to public speech.

The controversy carries added political weight because President John Mahama, while in opposition in 2022, warned that using state power to intimidate dissent was a “dangerous blueprint” for democracy.

Government: enforcement not repression

A senior ruling party official dismissed allegations that the arrests amount to a crackdown.

“The opposition intentionally sponsors people to insult the President,” he told Al Jazeera. “When the law catches up with them, they cry persecution to score cheap political points.”

He pointed to the case of TikToker Prince Ofori, known as “Fante Comedy”, who was arrested last August over alleged threats to President Mahama.

Days after his arrest, Ofori appeared at a political rally alongside opposition figures, a development the official said showed how quickly such cases become politicised.

“They paraded him at an opposition rally,” he said.

Opposition: a warning sign for democracy

Opposition leaders see something more troubling taking shape.

Minority leader Alexander Afenyo-Markin has been among the most outspoken critics.

“The state-sponsored persecution must stop,” he told Al Jazeera. “Arresting citizens for words that do not constitute genuine threats is not justice. It is intimidation.”

He said free speech has limits, but argued that the state is increasingly crossing a line.

“Excessive use of state power risks undoing Ghana’s hard-won democratic gains,” he said.

Where is the line?

At the centre of the debate are long-standing provisions in Ghana’s Criminal Code and Electronic Communications Act, which authorities say are now being applied to a fast-moving digital landscape.

Government supporters argue the increase in arrests reflects the explosion of anonymous and unregulated online content.

Critics say the problem is not the laws themselves, but how they are being used.

A legal consultant who reviewed recent cases said he counted at least 16 alleged misapplications of Section 208 in the past 18 months, compared with roughly a dozen in the previous eight years.

“The law has been abused beyond repair,” he said. “Repeal is the only remedy.”

Veteran journalist Ben Ephson said Ghana needs clearer guidance on where free expression ends and harm begins.

“The government must properly explain the arrests so people can draw the line between press freedom and responsible journalism,” he said.

He added that both journalists and state institutions risk overstepping if the rules remain unclear.

“When you compare the freedom of the media and the rights of the individual, we need to be careful that the media, in trying to do their work, don’t trample on people’s rights,” he said.

A wider global debate

Others say Ghana’s debate mirrors tensions playing out in other democracies.

Tegha King of the Universal Peace Federation Ghana said concerns about shrinking civic space are not unique to Ghana.

“The global civic space must cultivate more free speech, not less,” he told Al Jazeera.

He said stronger institutions, not more arrests, are needed to manage the pressures of the digital age.

“There must be independent courts, transparent enforcement, media self-regulation and digital literacy,” he said.

Civic awareness and external concern

Some analysts point to gaps in public understanding of constitutional rights.

“There is a lack of constitutional education among many Ghanaians,” said David Adofo of the African Chamber of Content Producers. “People must know the consequences of their actions before they act, not after.”

Concerns are also being voiced outside the country.

“We have had many concerns from diasporans about perceived erosion of press and political freedoms, especially news of blogger arrests,” said Nana Kofi Opoku-Agyemang of the NuGhana Expat Center. “Negative news sells fast. The government must be cautious so it does not project a negative image of Ghana in the diasporan community.”

Government stance

Officials insist there is no coordinated effort to silence dissent.

An NDC communicator said the legal framework in question predates the current administration and defended the approach.

“Ghana’s laws, Section 208 of the Criminal Code and Section 76 of the Electronic Communications Act, have been on the books for decades,” he said. “What has changed is the sheer volume of reckless, anonymous and sometimes dangerous content on social media. There is no systematic crackdown. There is simply enforcement of existing law.”

A political irony at the centre of it all

Ghana remains one of West Africa’s more open democracies, with a competitive political system and active media landscape.

But the rise in speech-related arrests has sharpened scrutiny of how far the state can go in policing online expression without undermining the democratic culture that helped define its reputation.

The debate is also politically charged because of Mahama’s own past warnings.

As opposition leader, he described the use of state power against dissent as a “dangerous blueprint.” Today, critics say his government faces accusations it once condemned.

For Alexander Afenyo-Markin, the moment calls for restraint — and reflection.

“We should not continue to say that because it happened yesterday, it should happen today and tomorrow. That cycle must end,” he said. “President Mahama has an opportunity to leave a legacy of tolerance and free speech. I hope he takes it.”

This story includes spoilers for “Masters of the Universe.”

He-Man has made his way back to the big screen thanks to the power of Grayskull — and Hollywood’s love of nostalgia.

Now in theaters, “Masters of the Universe” stars Nicholas Galitzine as Eternia’s long-lost Prince Adam. Working a menial HR job after getting stranded on Earth as a child, Adam “(he/him)” dreams of reuniting with his Sword of Power in order to make his way back home.

Spoiler: He does (with a little help from his friends).

Helmed by “Bumblebee” and “Kubo and the Two Strings” director Travis Knight, the movie is “a dopey, friendly comedy about modern masculinity in crisis with a He-Man who openly wonders what kind of a man to be,” according to a review by Times film critic Amy Nicholson.

Much like the first live-action film around the popular 1980s toyline, the new “Masters of the Universe” features a couple of post-credits scenes that tease what could come in the franchise’s future. But for now, fans will have to wait to learn whether a sequel is forthcoming.

Yes, Orko is in the He-Man movie

Fans of the He-Man franchise can rejoice because everyone’s favorite floating wizard (and court jester) does make an appearance after the main “Masters of the Universe” story ends. In a nod to the animated Filmation series in which the character originated, Orko appears in a brief stinger after the conclusion of the film in order to share what lessons audiences could learn from the story they just watched.

Has He-Man seen the last of Skeletor (Jared Leto)?

(Amazon MGM Studios / Prime)

The mid-credits scene introduces a familiar hero

The most significant of the bonus scenes comes in the middle of the credits. The scene opens with Prince Adam’s mother, Queen Marlena (Charlotte Riley), sharing a moment with Duncan (Idris Elba).

After the queen mentions she had given up hope for reuniting with “both of them,” Man-At-Arms replies “perhaps one day she’ll come back to us too.”

The scene then cuts to the “she” in question, wearing a red cape and holding a familiar sword.

“Force Captain… Adora?” calls out a voice.

“No, not anymore,” she replies.

Those familiar with the lore of the “Masters of the Universe” franchise will recognize that the mysterious woman is Adam’s long-lost twin sister, Adora. The most common backstory is that Adora was kidnapped by Hordak as an infant and raised on the planet Etheria as a member of his Evil Horde. She eventually learns the truth about her heritage and defects to fight for good.

The Sword of Protection gives her the power to transform into the hero She-Ra.

Is that the last post-credits scene?

Nope. The final stinger shown after the credits are done rolling involves Evil-Lyn (Alison Brie) and Skeletor (Jared Leto). It appears He-Man has not seen the last of his nemesis — as long as a sequel is greenlit.

June 5 (UPI) — The attorneys general of several states are preparing to file a lawsuit in the coming weeks to prevent the $111 billion merger of Paramount Skydance and Warner Bros. Discovery.

As many as 10 states are involved in a California-led antitrust investigation of the merger, which would create an entertainment monolith comprised of two of the biggest major players in television, film and streaming globally, the Los Angeles Times, Bloomberg and The Wrap reported.

Officials in the states have started working on the lawsuit and where to file it, the news organizations confirmed, and the litigation could potentially be filed before the end of June.

Although California Attorney General Rob Bonta told The Wrap in early April that “red flags are everywhere when you have a merger of this type,” his office did not confirm that the lawsuit was taking shape and could be filed soon.

“The Paramount acquisition of Warner Brothers remains an active investigation, and we do have any updates to share at this time,” Bonta’s office told the news organizations in a statement.

The states that have been involved in Bonta’s investigation and may join the lawsuit, aside from California, are Colorado, Connecticut, Massachusetts, Nevada, New York, Oregon, Pennsylvania and Tennessee.

Paramount and Netflix competed for months to win the right to buy Warner Bros. Discovery, with Warner’s shareholders voting to approve selling the company to Paramount for $31 per share.

The merger has been controversial because Paramount Chairman David Ellison has said that after the company receives regulatory approval, he plans to make $6 billion in cuts between both companies.

Although Ellison said that the Paramount and Warner Bros. film studios will maintain their current pace of 15 theatrical releases per year, the deal has drawn sharp rebukes from across Hollywood and some parts of the federal government because the downsizing will most likely include job cuts.

Between the mid-1980s and the early 1990s, amid the terminal crisis and collapse of the so-called European socialist bloc, the era of struggle that had begun following the triumph of the Cuban Revolution came to a close in Latin America. A new phase began, during which the leftist and progressive social and political organizations and movements of the subcontinent went through phases of accumulation and de-accumulation of forces.

Phases of accumulation

From 1985 to 1998, these movements accumulated enough social power to topple neoliberal governments and enough political power to secure seats in local governments and national legislatures, but not enough to take control of the national government.

From 1998 to 2009, they accumulated enough social and political power to elect—and in some countries, to re-elect several times—leftist or progressive governments.

Phases of de-accumulation

From 2009 to 2012, there were no electoral defeats for leftist or progressive governments, but there were coups d’état of a “new type” in the “weakest links in the chain”: Honduras and Paraguay.

In 2013 and 2014, there were no electoral defeats, but the margin by which the left retained power in Venezuela and El Salvador was reduced to a bare minimum.

From 2015 to 2019, electoral defeats in Argentina, El Salvador, and Uruguay, coups of a “new type” in Brazil and Bolivia, along with Lenín Moreno’s betrayal in Ecuador, broke six of the “strongest links in the chain,” and the siege against Venezuela, Nicaragua, and Cuba intensified.

Phase of partial recovery and subsequent acute loss of strength

Following the election of Andrés Manuel López Obrador as President of Mexico in 2018 and Alberto Fernández in Argentina in 2019 at the end of the phase of decline, between 2020 and 2024, the left and/or progressive movements regained power in Bolivia, Honduras, Brazil, and Uruguay, held power in Chile, Colombia, and Guatemala, and lost it again in Chile and Honduras in November and December 2025, respectively. In January 2026, President Nicolás Maduro and his wife Cilia Flores were kidnapped by the US military and are currently being held illegally in that country.

Predominant factors in the phases of accumulation (1985–1998 and 1998–2009)

1. The legacy of the historical accumulation of popular struggles, particularly during the period ushered in by the Cuban Revolution in which other revolutionary or reformist processes did not succeed or survive, contributed to opening up spaces for legal struggle.
2. The rejection of the genocidal repression traditionally employed against the peoples of the region forced the United States and its Latin American allies to seek less brutal forms of domination.
3. The momentum of popular movements in full swing brings into the political and electoral struggle social sectors that previously lacked the consciousness, motivation, or conditions to participate in it.
4. The protest vote against neoliberal governments by broad sectors of the population that were not politically conscious could nonetheless be turned against leftist and progressive forces if they failed to meet their expectations, whether fair or unfair, rational or irrational.

Predominant factors in the de-accumulation phases from 2009 onward

1. Historical accumulation depreciates. As time passes, with the superseding of recent realities, the emergence of new social expectations and demands – in some cases due to the fulfillment and in others due to the unfulfillment of previous ones – and the shortcomings and errors of the left and progressivism, there is a relativization or devaluation of the historical legacy.
2. The brutal repression of the past was replaced by “full-spectrum destabilization” against progressive and left-wing governments.
3. Due to their dissatisfaction with left-wing or progressive governments over the failure to fulfill their economic and social promises – due to the “constraints” of the system, pressure from the powers that be, and shifts toward the “center” to broaden their electoral base – a large part of the popular social movements that had provided decisive support in earlier phases began to exercise punitive abstention against them.
4. Social sectors without political ties or preferences, which in an earlier phase cast their protest votes against neoliberal parties, began to cast them against the left and progressivism.

​​With the exception of Uruguay, the overthrow, defeat, or betrayal of left governments was followed by the criminalization, prosecution, and, in many cases, imprisonment of their leaders, most notably Lula in Brazil.

The transformative processes with the greatest capacity to remain in power have been those in Venezuela and Nicaragua, which set out to and succeeded in establishing control over all the institutions of state. It is this concentration of power that has guaranteed the survival of the Cuban Revolution over six and a half decades. However, in Venezuela and Nicaragua there is a contradiction between the formally prevailing liberal/bourgeois system and the actually prevailing institutional system, with characteristics of state socialism, in which a political party – not the only one, but certainly the dominant one – monopolizes control of the four branches of government, the armed forces, and the security services.

The incompatibility between the formally existing institutional system and the institutional system actually in place in Venezuela and Nicaragua remained latent as long as the leaders of their respective transformative processes enjoyed widespread popularity and maintained high levels of approval, or raised expectations regarding the fulfillment of social needs and interests. However, this concentration of power has both a positive and a negative aspect:

• The positive aspect is that it has been decisive in resisting the policy of encroachment, economic blockade, and political isolation that has affected Cuba since the triumph of its Revolution (1959), Nicaragua during the two periods of FSLN rule (1979–1990) and (2006 to the present), and Venezuela since the first term of Hugo Chávez’s government (beginning in 1999).

• The negative aspect is that it distorts the relationship between the end and the means. The end was to develop a national project that would satisfy society’s material and spiritual needs and aspirations, and the means was to establish a power capable of guaranteeing that national project. The distortion consists in continuing to exercise power when one no longer has the capacity to satisfy society’s needs and aspirations, either because one failed to develop that capacity or because it was lost.

Given that external and/or internal forces are attempting to undermine or overthrow the established institutional systems in these countries, and given that neither of them has managed to make progress in building a new society – with this project becoming unattainable in the form and substance originally envisioned – the defense of power becomes an end in itself.

When evaluating any process of progressive social reform or revolutionary social transformation, it is necessary to consider the extent to which it has met or failed to meet its historical goals. In cases of failure to meet these goals, one must take into account the adverse and external factors that have influenced this outcome. However, it cannot be ignored that, even if resulting from such factors, the failure to meet historical goals erodes these processes. In essence, every transformative process is compelled to achieve its historical goals within a timeframe no longer than the moment society perceives it as an “eternal uphill battle.”

The Venezuela Case: Between Reality and Utopia

The kidnapping of President Nicolás Maduro and his wife Cilia Flores by the US military – along with the questions of how such an operation could have been carried out (no less than inside the headquarters of the Bolivarian National Armed Forces!), how the kidnappers knew where they would be sleeping that night, and that they were indeed there, why there was no response, which had been assured would occur in the event of any aggression against Venezuela, and, on top of all that, that the outcome is a “normalization of relations” with the aggressor power agreed upon by the very government that Maduro headed – reveals the fragility of revolutionary processes that claim to have a solid base of popular power, but events like this reveal that, in reality, they lack it.

Twenty-seven years and five months after the start of the Bolivarian Revolution – the first link in a chain of elections and re-elections of leftist and progressive governments that has become increasingly fragmented since 2009–2019 and is now practically extinct – it is time to face reality and assess to what extent the parties, movements, fronts, or coalitions that have held and/or currently hold power in their respective countries are aware of the true relationship between their rhetorical utopias and their political realities.

Between every emancipatory utopia and its corresponding reality lies a “missing link.” The “missing link” between utopia and reality creates a “gap” between the project of revolutionary social transformation or progressive social reform and the transformative or reformist process intended to bring it about. The danger lies in failing to recognize the cumulative widening of the “gap” between utopia and reality and clinging to a utopia as the foundation of a process of revolutionary social transformation or progressive social reform that is increasingly deviating from and becoming disconnected from it.

The disconnect between utopia and reality has consequences, including most notably: the conversion of utopia into dogma; the social alienation that every reformist or revolutionary process is meant to eradicate; the divergence of interests and direction between “leaders” and “followers”; the drift of the process toward disillusionment and failure; and, in well-known historical experiences, such as that of the USSR (to mention only the most prominent), the absolute empowerment of a caste that creates and defends its own political and economic interests, leading to the negation of utopia: from the very pinnacle of “power” itself!

Utopia must be systematically grounded in reality through the active, genuine, and effective participation of society, and never reaffirmed or reformed from “above.” This reevaluation and renewal led by society is the only way to ensure that utopia not only serves as a guide, as Galeano says, but also serves to walk the path that turns it into a political, economic, and social reality that is as close as possible to the vision itself.

Based on experiences and studies conducted in previous decades, since the beginning of the chain of elections and re-elections of leftist and progressive governments in Latin America, attention has focused on denouncing media warfare, cognitive warfare, cultural warfare, and fourth- and fifth-generation warfare. In recent years, Caracas has been the main venue for events and the most active platform for denouncing this form of counterrevolutionary action. These analyses and denunciations must continue “at full speed,” but we must also recognize and accept that this is not the only threat facing leftist and progressive governments and political forces.

All forms of external and internal counterrevolutionary activity must be analyzed and combated, but with the knowledge and understanding that this is not the only battlefront. Another front, just as important or even more so, is the recognition and eradication of our own weaknesses and errors, which make transformative and/or revolutionary processes vulnerable to enemy strategies and tactics. What has happened in Venezuela is proof of this omission: plenty of denunciation of the enemy and little to no self-reflection.

The moral of the story is that yes, we must denounce and unmask the enemy. But no, we cannot focus attention on denouncing the enemy at the expense of recognizing and eradicating our own weaknesses and mistakes.

Roberto Regalado is a Cuban political scientist and PhD in Philosophy. He is a professor at the Center for Hemispheric and U.S. Studies at the University of Havana (CEHSEU) and a member of the Historical and Social Literature Section of the National Union of Cuban Writers and Artists.

He is the author of, among other essays, Latin America Between Centuries: Domination, Crisis, Social Struggle, and Political Alternatives of the Left (2006), Encounters and Disagreements of the Latin American Left: A View from the São Paulo Forum (2008), The Latin American Left in Government: Alternative or Recycling? (2012), and numerous articles in specialized journals.

The views expressed in this article are the author’s own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

Source: Blog América

DECEASED Friends actor Matthew Perry has sold two original Banksy artworks for nearly £1million – including the iconic Girl with Balloon.

The star tragically died in October 2023 after accidentally drowning in a jacuzzi while high on ketamine, with 127 items from his estate having now been sold at auction.

A pair of iconic Banksy artworks, Girl with Balloon and Nola, that Perry owned have been sold for £975,000.

The Hollywood actor, best known for his role as Chandler Bing on the hit TV sitcom Friends, died at the age of 54.

His estate has since been put up for auction with the money going to the Matthew Perry Foundation which helps substance users to recover.

The Girl with Balloon 2005 includes two spray-painted stencils on separate canvases of a child reaching for a red heart-shaped balloon.

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Following an intense bidding war, it sold for a massive £709,674.

After including the 25 per cent buyers premium, it sold for £887,093.

The other iconic artwork, Nola 2008, is a screen print in colours on wove paper of a young girl holding an umbrella while sheltering from the rain.

It was the first Banksy Perry ever bought, according to Heritage Auctions.

The monochrome picture fetched £70,967.

Including the 25 per cent buyers premium, it sold for £88,709.

Both artworks have Banksy’s signature on them.

Other items sold at the auction included signed Friends episode scripts, TV guide displays, and a custom Chandler bobble head.

It also sold Batman memorabilia like a custom ping pong table and The Dark Knight Rises watch.

Perry’s cause of death was determined to be the acute effects of ketamine with drowning as a contributing factor. 

A year after the celeb’s tragic passing, the street dealer who supplied the ketamine, Erik Fleming, was jailed for two years.

Perry’s assistant, Kenneth Iwamasa, was also jailed for more than three years after injecting the actor with the drug.

Both pleaded guilty to the charges during their court appearances.

Italy’s Flavio Cobolli said he was “sad and happy at the same time” after reaching his first Grand Slam final at the French Open on Friday, following the last-minute withdrawal due to illness of his last-four opponent and compatriot Matteo Arnaldi.

The 24-year-old 10th seed will meet Alexander Zverev in Sunday’s final, which will produce a new major champion, after the German second seed earlier moved past Jakub Mensik in the other semi-final.

Just more than 20 minutes before Cobolli and Arnaldi were due to take to Court Philippe Chatrier, tournament organisers announced that the 104th-ranked Italian had been forced to pull out with a “virus”.

“When he came to me almost one hour ago, I almost cried. You know, it’s something that you don’t expect at all. I was ready to play this match,” Cobolli told reporters during a news conference he held with his close friend Arnaldi, as the pair sat three metres (10 feet) apart.

“When he came, I was completely sad for him. But, at the same time, of course, I’m really happy for the result that I reached this week.

“Yeah, now I’m sad and happy at the same time.”

For first-time major semifinalist Arnaldi, withdrawing was “not something that you wish to anybody”, but “the right decision for me to take”.

“It’s tough, because for how the tournament was, for how many hours I’ve been on the court, I was feeling actually very good,” Arnaldi, who had spent the most amount of time on court for a player en route to a Grand Slam semifinal, said.

The 25-year-old added that, on Thursday, he was “feeling OK” during practice, but after his dinner, he began to feel unwell during the night.

“I started to feel so-so with my stomach. I was, like, ‘All right, just didn’t digest very well,’” he recounted.

“But then I woke up at 1:00am, and I started vomiting, and I wasn’t feeling the best. Then I tried to sleep. I couldn’t sleep at all. At 6:00, 7:00am, I vomited again.

“We called the doctor into the room. He came, gave me some stuff. I was hoping that it would just be something from dinner or something like that, but then throughout the day, I couldn’t eat. Every time we did something or would drink, I would go back to the bathroom.”

Despite his best efforts, his state worsened throughout the day.

“I tried to get ready and tried to stay as much as I could here and tried to see if I could go on court, but every time I get up, I feel dizzy,” Arnaldi said.

“It’s a virus, I think, because I was feeling pretty cold. I think I had a fever, like, during the day. I don’t know, to be honest.

“I just know that I can’t move, and I can’t eat, and I can’t drink. So, there was really no way that I will be able to play.”

Cobolli paid tribute to a tearful Arnaldi.

“Matteo is a big inspiration for all of us. He’s an amazing player and amazing professional,” Cobolli said.

“He’s, I think, the best person outside the court for how his match preparation, focus, cool-down. He’s one of the best on the tour, for sure.”

After the conference, Cobolli took to centre court to have a hit watched on by a decent smattering of spectators that had come for the match but stayed to see the world number 14 keep his eye in.

After his quarterfinal victory over Canadian fourth seed Felix Auger-Aliassime on Wednesday, Cobolli will go into the weekend’s final with plenty of rest.

“Maybe having almost four days off is a lot, so you lose the rhythm,” he said.

“Now, I got practice again. I think I will be ready, for sure, for the final, but I also know that I will be fresh, for sure.

“Maybe [the extra time off] will help; maybe not. I’ll tell you after the final.”

US President Donald Trump hailed stronger-than-expected jobs growth before pivoting to Iran, saying negotiations with Tehran “seem to be going quite well”. Trump offered no further details on the talks as he arrived in Wisconsin for an agriculture event.

THE heartbroken girlfriend of James Handy has spoken out in anguish after her own son was accused of brutally stabbing the veteran actor to death.

Wendy Gledhill, 76, fought back tears as she broke her silence outside her home, reeling from the horror of losing her partner and the devastating allegations against her son.

“I’m just trying to make it through one day at a time, a minute at a time,” she said.

“I loved James and my son. I still can’t believe it….I can’t believe my son did it. I’m just trying to …,” she added, before retreating inside, overcome with emotion.

Her son, Michael Gledhill, 44, stands accused of fatally stabbing the 81-year-old actor multiple times in the chest  in a shocking attack at the family home in Tarzana, Los Angeles.

Authorities say the horror unfolded on Wednesday morning when police were called to the property on the 19200 block of Erwin Street following a disturbing 911 call.

A voice reportedly told dispatchers: “I am the son of man, I just killed the man of sin.”

When officers arrived at around 9:30am, they found Handy unconscious and bleeding out in the front yard, suffering from multiple stab wounds.

“We also need [a rescue ambulance] for a male, not conscious, not breathing, suffering from a stab wound,” a responding officer said in chilling dispatch audio.

The beloved actor was rushed to hospital but was later pronounced dead.

In a dramatic twist, Gledhill himself allegedly waved down officers as they approached, telling them he was the suspect they were looking for.

He was arrested at the scene and charged with murder. He is currently being held on a $2,000,000 bond.

Disturbing Ring doorbell footage later emerged showing a man believed to be Gledhill pacing near the home.

He was dressed in a purple or pink shirt and blue trousers, at times touching his face before returning to the property and flagging down police.

Another clip showed him walking back towards the house where Handy’s body was later found, with footage also appearing to capture him leading officers across the lawn.

Neighbours described Gledhill as acting erratically in the past, with one claiming his behaviour raised alarm.

“He looked really rugged … he looks like he doesn’t really change his clothes,” said neighbor Joheina Quibol.

She also recalled a bizarre encounter in which he allegedly questioned her father about cameras inside their home, describing him as “paranoid” and suggesting he may have struggled with mental health issues.

Other neighbours claimed the suspect and Handy had been overheard arguing overnight before the fatal attack.

Despite the brutal nature of the killing, the Los Angeles Police Department said they believe it to be an isolated incident, adding there is no ongoing danger to the public.

A motive for the attack has not yet been established.

Handy’s death has sent shockwaves through Hollywood, with his talent agent Pam Ellis-Evenas confirming the tragedy in a statement.

“With great sadness I can confirm that the gentleman who was attacked and killed on Wednesday in Tarzana was the actor James Handy.”

The New York City-born star enjoyed a glittering career spanning nearly five decades, racking up close to 150 screen credits across film and television.

He was most recently seen as bartender Jimmy in Top Gun: Maverick alongside Tom Cruise.

Handy also appeared in the 2017 superhero film Logan, starring Hugh Jackman, playing a doctor treating an ageing Wolverine.

One of his most memorable roles came in the 1995 classic Jumanji, where he starred alongside Robin Williams, Bonnie Hunt and Kirsten Dunst.

His extensive television career included appearances in hit series such as The West Wing, 9-1-1, NCIS: Los Angeles, CSI: NY, The Young and the Restless, Castle, Criminal Minds, Cold Case, Without a Trace, ER and The X-Files.

He also had notable roles in Alias as Arthur Devlin, and recurring appearances in Melrose Place and NYPD Blue.

Handy’s brutal killing comes less than a year after another shocking Hollywood tragedy involving Rob Reiner, 78, who was found with his throat slit inside his Los Angeles home.

His son, Nick Reiner, 32, has been accused of killing both him and his mother Michelle, 68, while they were in bed on December 14, 2025. He has pleaded not guilty and is awaiting trial.

Russian President Vladimir Putin has turned down an offer for in-person talks with Ukrainian President Volodymyr Zelenskyy, saying he sees no point in meeting. Zelenskyy said Russia “has again chosen war” by rejecting his open letter appealing for a face-to-face meeting.

An acclaimed biopic about Israeli lawyer Lea Tsemel, who has dedicated her life to representing Palestinian defendants charged by Israeli authorities, has been shortlisted for an Oscar.

“Advocate” is one of 15 films shortlisted in the Documentary Feature category, out of an original 159 submissions. The final five contenders will be announced next month.

The award-winning documentary, co-directed by Rachel Leah Jones and Philippe Bellaiche, has been vociferously attacked by right-wing Israeli groups and Israel’s Culture Minister Miri Regev.

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When “Advocate” won Best Picture at the DocAviv festival in Tel Aviv, Regev condemned “the choice to make a movie focusing on a lawyer who represents, supports and speaks in the name of many who undermine the State of Israel’s existence, [and] use terrorism against its soldiers and people”.

In awarding the film, DocAviv judges wrote that “Advocate” is “a thought-provoking project that addresses an important subject and demonstrates impressive cinematic skills, especially the innovative and intelligent use of animation… [It] sketches out a complex portrait of a strong and inspiring woman who believes in the justness of her path with all her heart.”

The award was greeted with outrage, and following an organised campaign, Israel’s state lottery company subsequently announced “it would be pulling its funding for future grants given to best picture winners at Tel Aviv’s documentary film festival”.