Published on
16/06/2026 – 8:30 GMT+2

The central bank’s increase in the uncollateralised overnight rate, by a quarter of a percentage point from 0.75%, puts it at a three-decade high.

ADVERTISEMENT

ADVERTISEMENT

The Bank of Japan has been trying to normalise monetary policy lately after decades of keeping interest rates near or below zero. It adopted ultralow rates to try to encourage more borrowing and spending to counter deflation and pull the economy out of the doldrums.

Inflationary pressures because of the war in Iran, which has sent oil prices soaring in recent months, have hit Japan hard since it imports almost all its oil and gas.

Low interest rates had added to pressures on the Japanese yen, which has fallen lately to about 160 yen to the US dollar.

BOJ Gov. Kazuo Ueda, who has been hospitalised recently, did not attend Tuesday’s policy board meeting. Deputy Gov. Shinichi Uchida was expected to take his place at the news conference set for later in the day.

Before the BOJ decision, Tokyo’s benchmark Nikkei 225 index briefly topped 70,000 early Tuesday before giving up some of those early gains.

Additional sources • AP

PHOENIX — Pavin Smith hit a tiebreaking, solo homer off the right-field foul pole, Ryne Nelson threw seven quality innings, and the Arizona Diamondbacks beat the Angels 4-3 on Monday night.

Smith broke a 2-2 tie in the seventh when he launched his first homer in nearly a calendar year. The veteran first baseman — who came into the game with a .103 batting average — has spent most of this season on the injured list after surgery to remove bone chips in his left elbow.

Geraldo Perdomo added an RBI double later in the seventh that made it 4-2. Paul Sewald gave up a solo homer to Donovan Walton with two outs in the ninth but struck out Oswald Peraza to earn his 18th save in 19 chances.

Nelson (3-5) gave up two runs, scattering nine hits and striking out five. The right-hander has thrown at least seven innings in five of his last seven starts.

Angels slugger Mike Trout hit his 16th homer, an opposite-field shot, to tie the score 2-2 in the fifth. It was the three-time MVP’s 420th career home run.

Walbert Ureña (4-5) threw seven innings for the Angels, giving up four runs (three earned).

The Angels (29-44) grabbed a 1-0 lead in the first on Jo Adell’s double down the right-field line that brought home Trout. The Diamondbacks (37-35) tied it in the bottom half on Gabriel Moreno’s single.

Lourdes Gurriel Jr. returned to Arizona’s lineup after missing roughly three weeks because of a strained left hamstring. He had an RBI single in the fourth.

Up next: The Diamondbacks throw RHP Merrill Kelly (5-5, 5.46 ERA), while the Angels counter with LHP Reid Detmers (2-5, 4.00) on Tuesday.

Los Angeles – “I’m sure when we score a goal today, everyone will be cheering.”

That was the prediction of Iranian fan Parsa Tafreshi, who had travelled from New York to Los Angeles to see Iran take on New Zealand on Monday.

His words would prove largely true.

The game ended in a thrilling 2-2 draw, and each time Iran – known as Team Melli – scored, the stadium erupted in deafening celebrations.

There were two opposing sets of Iranian flags in Los Angeles, home to a large Iranian American community that is largely staunchly opposed to the governing system in Tehran.

Some fans waved the Islamic Republic flag, adorned with the name of God. Others opted for the pre-1979-revolution flag featuring the lion and sun, used by the Iranian opposition.

But when Team Melli were building up an attack, their supporters sang in unison.

Chants of “Iran, Iran” rang throughout the stadium, and the fans held their breath collectively each time Iran’s attackers came near New Zealand’s goal.

Concerns of unrest around the game did not materialise. Iranian fans vastly outnumbered their New Zealand counterparts at the stadium, and the game ended without any major incident.

Anti-team protest

A small group of demonstrators had gathered outside the venue, waving Israeli flags and chanting in support of opposition figure Reza Pahlavi.

They also called on United States President Donald Trump to resume the war with Iran, although Washington and Tehran have already reached a ceasefire deal.

“President Trump, finish the job,” they chanted on a loud megaphone.

Protesters also shouted slogans against the Palestinian group Hamas and Lebanon’s Hezbollah.

One of the demonstrators held a banner featuring the faces of Team Melli players with red crosses on them.

“IRGC Team,” it said, referring to Iran’s Islamic Revolutionary Guard Corps, with red ink meant to resemble blood dripping from the letters.

Protester Kourosh Kiumarsi told Al Jazeera that the Iranian squad is the “regime team”.

Asked about the Israeli flags at the demonstration, he said: “Israel and the USA attacked the regime and helped the people of Iran. They are not at war with Iran. They are at war with the Islamic Republic regime.”

Despite the intensity of the slogans at the protest, it was small and contained.

“I love that all the hype was just outside of the stadium,” said Sudi Farokhnia, who wore a green, white and red wig and a shirt featuring the lion and sun flag.

“Once you walked into the stadium, all you could hear was Iran, Iran, Iran. The energy was amazing. The people were amazing,” she told Al Jazeera after the match.

But that does not mean the entire affair was apolitical.

It would be difficult to argue that the pre-revolution flag is not a political statement.

FIFA bans political symbols at international matches, but thousands of Iranian fans on Monday were able to come in with lion-and-sun flags, shirts and hats.

Many also wore political slogans like “Make Iran Great Again” and “free Iran”.

FIFA did not respond to Al Jazeera’s request for comment on the issue.

Minab message

There were also other political expressions at the match.

Arash, an Iranian fan who asked to be identified by his first name only, wore a shirt that said “Mibab 168” on the back.

The US-Israel war on Iran killed hundreds of civilians, including 168 children at a girl’s school in the southern city of Minab, during the first day of the conflict.

“This is not a political shirt. This is not just to send a political message,” Arash told Al Jazeera.

“It’s a simple, simple statement: Schools are sanctuaries, whether it’s school shootings, bombings. School is a place of virtue. It’s a place of learning. It’s a place that – no matter who you are, what you believe in, what country – school should be off limits.”

Inside the stadium, a group of Iranian fans also revealed a “MINAB 168” message during the game.

There were also Palestinian and Israeli flags visible in the stands.

The match kicked off with a political message: Many fans jeered the Iranian national anthem, which opposition activists see as representative of the government.

Iran’s participation in the tournament was in peril earlier this year because of the war. Team Melli were forced to stay in Mexico as their base camp, while all their group-stage matches were in the US, because the Trump administration refused to host them.

Once the ball was kicked, however, that all faded into the background.

It was 11 versus 11. And the football delivered excitement, joy and disappointment.

Iran dropped two valuable points against a lower-ranked team, but came twice from behind and hit the woodwork once.

And each of the two times the net bulged, the goals brought happiness to a nation with two flags at home and abroad that has gone through war and immense hardship.

There was a number of protesters outside.

But when Iran scored, almost all Iranians cheered.

Venezuela has signed an agreement with General Electric Vernova aimed at boosting electricity generation as the country seeks to improve a power system plagued by years of outages. Officials say the deal could add 5 gigawatts of capacity over four years.

Former Top Gear host Jeremy Clarkson headed to the auction house on the Prime Video series

Jeremy Clarkson and Kaleb Cooper bid farewell to an iconic member of Diddly Squat Farm.

Season five of Clarkson’s Farm saw Jeremy selling off the fan-favourite Lambo tractor after it wasn’t getting much use, following his purchase of the AgBot in the new series.

The AgBot, a fully autonomous, driverless tractor, was busy ploughing the fields of Diddly Squat Farm and sowing seeds.

Jeremy and Kaleb could monitor the tractor’s progress on their computer while they got on with other things on the farm, which meant the 2016 Deutz-Fahr tractor wasn’t getting much use.

The veteran broadcaster decided to sell it off, explaining in voiceover: “”The green Lambo hadn’t turned a wheel in weeks, so I decided to sell it, which meant getting it valued by an agricultural auctioneer.”

The valuation on the prized piece of agricultural kit from Oliver Godfrey left Jeremy somewhat surprised and dismayed.

Oliver responded: “It’s not the easiest thing to sell in the world, I’ll be honest, but I would look somewhere in the region of between £50,000 and £60,000.”

Jeremy revealed that the valuation was “quite a lot less” than he’d initially paid for it when he bought it for £80,000.

On the day of the auction, Jeremy didn’t appear too hopeful about his Lambo’s prospects and said: “Here it is. There’s going to be a frenzy of bidding…”

However, the bidding did start to pick up as people put in their offers for the green tractor that Jeremy had customised and adorned with Lamborghini badges.

As the offers went up, Jeremy remarked: “We are actually getting closer to the £80,000 that I had paid for it.”

Despite the valuation, both Jeremy and Kaleb were left astonished and rather relieved when the Lambo ended up getting snapped up for the sum of £70,500.

Get 30 days of Prime Video totally free

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

£8.99

£0

Amazon

Get Prime Video here

TV lovers can get 30 days’ free access to binge great shows like Clarkson’s Farm by signing up to Amazon Prime. Just remember to cancel at the end and you won’t be charged.

Once the hammer went down, Jeremy said: “Well, it was a financial hit, but it wasn’t a financial kick in the nuts.”

The auction comes ahead of tomorrow’s Clarkson’s Farm season five finale, when audiences will get the final two episodes titled Sickening and Reaping – referring to the TB outbreak and the harvest at Diddly Squat.

Clarkson’s Farm season 5 concludes tomorrow on Prime Video

Head coach Danny Rohl’s exit from Rangers, to be replaced with Heart of Midlothian’s Derek McInnes, appears to move closer as Barney Stewart is reportedly poised to be sold by Falkirk to West Bromwich Albion.

Contracts have been agreed for head coach Danny Rohl’s switch from Rangers to RB Salzburg and for Hearts’ Derek McInnes to arrive at Ibrox as his replacement, but talks are continuing about the German’s desire to take his backroom team with him. (Scottish Sun), external

Rangers are set to receive a £2m compensation fee when head coach Danny Rohl’s switch to RB Salzburg is completed. (The National), external

Senior Hearts officials will interview candidates this week as they prepare for head coach Derek McInnes’ departure for Rangers after compiling a shortlist and hope to make an appointment within 10 days. (Edinburgh Evening News), external

Hearts officials have already held informal talks with head coach candidates from Britain and abroad as they prepare to appoint a new head coach ahead of the first-team reporting back to the Oriam on 25 June before flying out to Spain for a warm-weather training camp. (Hearts Standard), external

Motherwell are down to the final three candidates for their new manager and Gonçalo Feio, who took over at Tondela in March before their relegation from the Portuguese top flight, is among them but also has options in Portugal, Poland and Scandinavia. (Ben Jacobs on X), external

Former Rangers manager Giovanni van Bronckhorst has agreed a deal to become Feyenoord head coach for a second time after leaving his role as Liverpool assistant. (Fabrizio Romano on X), external

Bayer Leverkusen have made fresh contact with Rangers amid interest in centre-back Emmanuel Fernandez, but there is significant other interest in the 24-year-old for whom the Ibrox club want at least £25m. (TeamTalk), external

Bailey Rice has agreed a new contract with Rangers and will put pen to paper later this week despite interest from Ajax, Schalke, Leeds United, Nottingham Forrest and West Ham United in the 19-year-old midfielder. (Daily Record), external

West Bromwich Albion are close to finalising the seven-figure signing of 22-year-old striker Barney Stewart from Falkirk. (Daily Record), external

June 15 (Asia Today) — South Korean broadcaster JTBC and four other companies affiliated with JoongAng Group filed for court-led rehabilitation Monday, two days after the television network defaulted on 20.6 billion won, or about $13.6 million, in debt.

The applications could lead to restructuring, asset sales and efforts to attract new investment if the court approves the rehabilitation proceedings.

The five applicants are JTBC, Contentree JoongAng, Megabox JoongAng, JoongAng Holdings and JoongAng P&I.

JoongAng Group Vice Chairman Hong Jeong-do apologized during a news conference at the JoongAng Ilbo building in western Seoul.

“As a senior executive of JoongAng Group, I sincerely apologize to our employees,” Hong said.

“Management has explored every possible option to overcome the credit crunch and liquidity crisis and maintain the group’s operational stability,” he said. “However, accumulated financial burdens and the prolonged contraction of the capital market have left us with no choice but to file for rehabilitation proceedings.”

JTBC declared a payment default Friday after failing to repay 20.6 billion won in securitized borrowings at maturity.

South Korean credit-rating agencies subsequently downgraded the credit ratings of JTBC and other major group companies.

NICE Investors Service cut JTBC’s unsecured bond rating from BBB with a negative outlook to CCC. A CCC rating indicates a substantial risk of default and generally makes it difficult for a company to raise funds through conventional financial markets.

The agency also downgraded JoongAng Ilbo’s long-term credit rating from BBB with a negative outlook to BB- and lowered its short-term rating from A3 to B-.

Korea Ratings lowered JTBC’s unsecured bond rating from BBB with a negative outlook to BB under negative review. It also downgraded the broadcaster’s commercial paper and electronic short-term bond ratings from A3 to B under negative review.

The group’s financial difficulties have been attributed partly to a sharp decline in television advertising as audiences and advertisers move toward digital platforms and streaming services.

Heavy investment in sports broadcasting rights has also placed pressure on the group’s finances.

JTBC acquired exclusive South Korean broadcasting rights for the FIFA World Cup through Phoenix Sports, an affiliate of JoongAng Group.

Contentree JoongAng, the parent company of Phoenix Sports, reportedly invested $125 million, or about 190 billion won, to secure World Cup rights.

The group also reportedly committed about $500 million for rights to broadcast the Olympic Games from 2026 through 2032 and FIFA World Cup tournaments through 2030.

JTBC failed in February to resell Winter Olympics broadcasting rights to South Korea’s three terrestrial television networks, contributing to substantial losses.

For the 2026 World Cup, JTBC sold some broadcasting rights to public broadcaster KBS for 14 billion won, or about $9.2 million, but did not reach agreements with MBC or SBS.

If the court approves the applications, the companies are expected to consider workforce and business restructuring, asset sales and outside investment as part of a financial recovery plan.

The Seoul Bankruptcy Court assigned the cases involving the JoongAng Group companies and subsidiaries to its Rehabilitation Division 2.

The court will review financial records and other documents submitted by the companies before deciding whether to formally begin the proceedings. Such decisions are generally made within about a month.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260616010005214

Jelly Roll has filed for divorce from Bunnie XO.

The country music star filed for divorce from his wife in Tennessee’s Williamson County on May 18, according to court documents obtained by People — TMZ broke the news. The announcement may come as a shock for country fans who have followed the couple through their sappy podcast appearances and gushy acceptance speeches.

Bunnie XO, who hosts the “Dumb Blonde” podcast, met Jelly Roll at one of his Las Vegas Country Saloon concerts in 2015. Then, a year later on a Las Vegas stage, the “Save Me” hitmaker popped the question.

The pair said their “I do’s” at a local courthouse later than night in a secret ceremony.

Jelly Roll and Bunnie XO have been candid on the podcast circuit about the ups and downs of their relationship. In Bunnie’s 2026 memoir, “Stripped Down: Unfiltered and Unapologetic,” she wrote about Jelly Roll’s 10-month affair in 2018 and her subsequent emotional unraveling.

The couple also has been open about their struggle with IVF in recent years.

As recently as February, while accepting his win for contemporary country album for “Beautifully Broken,” Jelly Roll thanked Bunnie XO in his acceptance speech, saying that he wanted to thank his “beautiful wife” and that he’d be dead or in jail without her.

And during a 2023 appearance on “Bussin’ With the Boys” podcast, Jelly Roll was overcome with emotion recounting his early days with Bunnie XO. “When Bunnie comes into my life, I have to sit Bunnie down and go, ‘Look, I have a kid that you know about that I’m fixing to have to get full custody of.’”

According to the Grammy winner, Bunnie had his back from the beginning.

“I don’t have a house, I’m homeless. So she’s like, ‘Well, the first thing we have to do is get you somewhere to live in Nashville.’ I was like, ‘Well, I can’t put it in my name, I’m a felon, I don’t have enough proof of income to get the kind of place we need to get her in the right school district.’

“Bunnie’s like, ‘Let’s just go get a condo, so you have a bedroom for her.’ … So Bunnie comes down, and we’re getting a condo. I’ll never forget, Bunnie looked at me, and, man, it makes me emotional. She said, ‘No matter what happens with us. I’m gonna help you get this little girl.’

“And I was like, man, what character this woman has,” he continued.

Hours before news of the couple’s split broke, Bunnie XO posted a video on Instagram dancing to Nickelback’s “How You Remind Me,” and mouthing the lyrics “I said I love you and I swear I still do.”

My wife and I moved from London to Marseille a little over five years ago when our British passports still conferred “right to reside” in France. That first winter on the beach, in short sleeves, as our daughters played in the topaz-coloured Mediterranean and the sun set across an ever-clear blue sky, I understood why this part of southern France has always been popular with artists.

I was recently speaking about this with the painter Fanny Nushka and her sailor husband, Benoît Bouchet, on the terrace of Café la Muse in Marseille’s “coolest” neighbourhood. She said: “It took a long time to go back to blue. It’s like being in Paris and painting the Eiffel Tower. It’s dangerous to paint the Calanques [limestone coves] as an artist from here.”

We moved to Marseille for the same reason that has attracted countless artists: it’s cheaper to live here. Marseille’s affordability enables Fanny to paint full-time and Benoît to sail without being away from his family for weeks. Benoît runs daily catered cruises on a listed sailing yacht, Le Don du Vent. For €135, you get a taste of Mediterranean luxury with swimming, snorkelling and sunbathing in the unspoiled sea coves around Marseille, pausing briefly for wine and a lunch prepared onboard.

Céline Ghisleri, co-president of Provence Contemporary Art, which represents 62 arts organisations in and around Marseille, tells me the city has always had a dynamic art scene. However, the turning point came when Marseille was named European Capital of Culture in 2013. Since then, large institutions such as Frac Sud, Mac and the Museum of European and Mediterranean Civilisations (Mucem) have expanded the city’s offering with bigger exhibitions from more widely recognised artists.

This summer, the Mucem’s exhibitions are Bonnes Mères, a collection of contemporary and historical works on the theme of motherhood, and Clément Cogitore’s fascinating Ferdinandea, l’île éphémère, a body of work centred on the brief existence of a volcanic Mediterranean island. At the end of August, the art fair Art-O-Rama will be hosted at La Friche La Belle de Mai. La Friche (the Wasteland) was a tobacco factory and is now an enormous warren of a multidisciplinary arts centre that is always buzzing, especially in the summer when they set up a movie screen and food trucks on the roof. La Friche is emblematic of the art scene in Marseille: absolute chaos, but somehow it works.

Outside Marseille, Plein Sud, a network of contemporary art organisations between Monaco and Montpellier, produces a guide with travel itineraries. It’s how I discovered the charming Gallifet art centre in nearby Aix-en-Provence, which is only about 40 minutes from Marseille but exists in a completely different universe.

You couldn’t be further away from Marseille’s port city energy than Aix’s daily market at Place Richelme, where you can grab a coffee and, if you are lucky, an outdoor seat at the patisserie and salon de thé Maison Weibel. For lunch, I recommend Drôle d’Endroit (Funny Place). It is tucked down an alley off a sidestreet, but the meals are always pleasing and the atmosphere friendly. Another solid choice is Tita for Levantine street food.

As tiny and quiet as Aix is, it has an abundance of museums, such as the Granet Museum, the Caumont Art Centre and the Vasarely Foundation, but they tend to lean heavily on art that historians have already anointed. For example, it wasn’t until 1984 that the Granet acquired any works by the local boy done good, Cézanne, whose preserved studio is just up the hill.

That’s why it was refreshing to find Gallifet trying something different. The owners, Nicolas Mazet and Kate Davis, have a mission to bring contemporary art to conservative Aix. Located on the ground floor of an 18th-century townhouse, the courtyard’s striking red sculpture of a swimmer mid-stroke, by Diadji Diop, hints that Gallifet is more than just a home (the owners live above the art centre).

This summer’s exhibition features a retrospective of the photographer François Halard, with more than 100 works spanning more than three decades. Until the end of September, Gallifet also hosts a seasonal restaurant and chef’s residency. This year, two Paris-based chefs, Lisa Desforges and Bruno Hammerle, will use Provence’s abundant and delicious ingredients to create menus including entrees such as smoked ricotta gnocchi with peas and a peapod veloute. Gallifet also offers two apartments (from €200 and €160 per night), both decorated with pieces from previous exhibitions and filled with Provençal features such as marble fireplaces and tomette terracotta tiles.

A little further up the Rhône, Avignon nestles against the river, enclosed by preserved medieval walls. The Palais des Papes overlooks the renowned vineyards of Châteauneuf-du-Pape to the north and lavender fields to the south. Each July, the town is taken over by the Avignon festival, one of the oldest performance arts festivals.

After a visit, take a walk along the most picturesque and charming street in Avignon, La Rue Peyrolerie. A winding medieval cobbled alley leads to an equally charming restaurant, L’Épicerie, situated in a square beside a small 14th-century gothic church with an ornately carved walnut-wood door. The cuisine is classic French, served in generous portions by friendly staff. Every time we visit Avignon, we dine here and have never been disappointed, but be warned that the terrace fills up quickly. This is a well-known and well-loved spot among locals. Another safe bet for outdoor courtyard dining is Numéro 75.

The most notable address for contemporary art in Avignon is the Lambert Collection, housed in two stunning 18th-century townhouses, Hôtel de Caumont and Hôtel de Montfaucon. The collection is the legacy of Yvon Lambert, a celebrated gallerist and collector who made his reputation in the latter half of the 20th century championing American artists such as Nan Goldin, Donald Judd, Lawrence Weiner and Cy Twombly. The collection continues to support up-and-coming local artists in its Antechamber of Summer exhibition. This year’s exhibition is by Melika Sadeghzadeh, an Iranian artist living and working in Montpellier.

Just south of Avignon, Arles has at its centre a nearly 2,000-year-old Roman amphitheatre, which hosts plays and concerts. The Vincent van Gogh Foundation and Luma host several exhibitions throughout the year, but the real treat comes in July during the Rencontres d’Arles. For 50 years, venues across town, from galleries to grocery stores, have showcased a wide range of contemporary and historical photography.

Recently, we went to Arles for its Festival of Drawing. After a wander through the picturesque medieval streets of the Roquette district on the east side of town, popping into venues as we went, we discovered the tiny restaurant Páou in the quaint Place Paul Doumer. The menu promised sharing plates starring local produce and wines. So we sat down for another meal at another terrace table, under another clear blue sky.

Miguel Rojas had practiced his dance moves in the Dodgers dugout Monday, long before he hit the go-ahead home run. Before the game, he strutted around, at one point even grabbing Dalton Rushing, decked in full catcher’s gear, to get hyped.

Rojas, who pinch-hit for Alex Freeland in the bottom of the seventh and homered to center, was more measured as he crossed the plate without any antics. His veteran steadiness never indicated that he‘d hit a pinch-hit home run only one other time in his career.

The Dodgers’ 4-3 win over Tampa Bay rid them of their middling road performance. The team split a six-game trip, capped by a Sunday loss to the Chicago White Sox, before returning home.

No one found more immediate success than Kyle Tucker, who temporarily put his .227 batting average on the trip in the rearview mirror. For how long remains a question. Tucker’s season so far has looked more like a teenager testing out their driver’s license: stopping and starting and stopping again. Yet everything seemed to be working when the Dodgers (46-27) beat the Rays (41-28).

Of the five Dodgers who’ve played at least 60 games, Tucker has the lowest batting average (.238). Still, he battled in an eight-pitch duel in the second inning before taking a changeup 384 feet over the wall in right-center. His home run tied the score at three apiece, and Tucker wasn’t finished.

The next inning, the Rays’ Ben Williamson hit a two-out single to Tucker in right field, and Tampa’s Jonathan Aranda darted around third toward home. Tucker lasered a ball to Rushing, who tagged Aranda out on the slide.

Miguel Rojas acknowledges the bullpen after homering in the seventh inning.

(Eric Thayer / Los Angeles Times)

The defensive play helped buoy an otherwise precarious start by pitcher Eric Lauer. The left-hander had been undefeated in three starts with the Dodgers, a large departure from the 1-5 record he had with the Toronto Blue Jays. After starting his year with a 6.69 ERA, Lauer had dropped it to 2.76 with the Dodgers.

But inconsistencies plagued Lauer’s start, ranging from the three earned runs he gave up in the first two innings to a pitch clock violation in the fourth. While Lauer eventually settled, the command of his fastball remained absent. He normally crosses the strike zone with 53.7% accuracy on his fastball, getting batters to chase about 37% of the time. In the series opener, Lauer threw his four-seamer in the zone only 42% of the time, cutting his chase rate to 23%.

In other words, the best pitch in Lauer’s arsenal became one of his worst, and the Rays took advantage. Junior Caminero doubled in the first inning, and Ryan Vilade followed with a home run on a cutter, silencing a sold-out Dodger Stadium before the game could even heat up. The Rays tacked on another run on a safety squeeze, taking the lead until Tucker’s home run. Lauer finished after six innings, giving up the three earned runs on six hits and three walks, striking out four.

Tampa Bay starter Nick Martinez fared about as well. The right-hander lasted 5-1/3 innings of three-run baseball, striking out six and walking one.

While there was movement on the bases for both starters, the game lulled until the seventh. A couple of feet separated Rushing’s foul ball from a home run. Reliever Steven Matz didn’t get so lucky with Rojas, who delivered his first homer since April 20.

June 15 (UPI) — The Korean Federation of Community Credit Cooperatives, or KFCC, said Monday that it will provide AI-powered companion robots to elderly residents as South Korea faces the social challenges posed by rapid population aging.

The nationwide cooperative federation noted that a total of 200 robots will be supplied to senior citizens living alone, with the aim of dealing with social isolation.

The robots are designed to offer various support functions, including interactive conversations, medication reminders, and motion-detection capabilities. When emergencies arise, they can alert authorities and connect users with relevant services, according to KFCC.

Information collected by the robots can be shared with caregivers and social welfare workers to help track their health status and identify potential signs of social isolation, the cooperative said.

“The problem of social isolation among elderly people living alone is becoming more severe amid population aging and the growing number of single-person households,” KFCC said in a statement.

“We will continue our social contribution activities to help build warm and inclusive communities where no neighbor is left behind,” it added.

South Korea is one of the fastest-aging societies in the world. Data from the Ministry of the Interior and Safety show that people aged 65 and older accounted for 21.21% of the population as of the end of last year. When the proportion surpasses the 20% mark, a country is classified as as uper-aged society.

Single-person households represented 36.1% of all households in the nation as of the end of 2024.

KFCC is not a publicly listed company.

Here’s TWZ’s weekly carrier tracker monitoring America’s flattop fleet, including deployed Carrier Strike Groups (CSG) and Amphibious Ready Groups (ARG), using publicly available open-source information. Check out last week’s report here.

The U.S. naval blockade of Iranian ports remains in full effect, for now, pending the execution of the ceasefire agreement, scheduled to be formally signed on Friday in Geneva, according to a notice released today by NAVCENT. U.S. Central Command (CENTCOM) forces launched multiple waves of strikes last week against Iran following the shootdown of a U.S. Army Apache helicopter, and disabled an additional two commercial vessels that tried to skirt the blockade, bringing the total to nine. Two carriers, USS Abraham Lincoln and USS George H.W. Bush, embarked with a combined seven squadrons of F/A-18E/F Super Hornets, two squadrons of EA-18G Growlers, and one squadron of F-35C Lightning IIs, continue to support “self defense” strikes and blockade operations.

The Lincoln CSG has been deployed for nearly seven months and would likely be among the first naval assets to rotate out of the theater if the blockade winds down. The details, and scale, of the drawdown of forces in the CENTCOM area of responsibility (AOR), as agreed upon in the memorandum of understanding (MOU), are murky as of publication. More than 20 U.S. Navy surface combatants have been operating in the region.

U.S. Navy fighter jets and command and control aircraft prepare to take off from USS Abraham Lincoln (CVN 72) as the ship transits the Arabian Sea. pic.twitter.com/SAGl2e7y0e

— U.S. Central Command (@CENTCOM) June 13, 2026

USS Nimitz entered the final leg of her homeport shift to Norfolk, operating off the east coast in U.S. 2nd Fleet AOR after a monthslong circumnavigation of South America, according to flight tracking data and public AIS. Nimitz conducted operations northwest of Cuba and the Bahamas last week. On Thursday, six Super Hornets, attached to the “Kestrels” of Strike Fighter Squadron (VFA) 137, carried out an air power demonstration and show of force, dropping MK-82/BLU-111 bombs on a simulated target in the Gulf of America.

On the west coast, USS Theodore Roosevelt continues working up in preparation for a future deployment. The flattop got underway on June 10 for INSURV inspections to verify readiness and returned to San Diego the following day. The group was also spotted conducting a live fire exercise with the Mk 38 25mm machine gun. USS Carl Vinson got underway for sea trials after a nine-month Planned Incremental Availability (PIA) and moored at port in San Diego on June 13.

In the Western Pacific, USS George Washington is on a summer patrol and operating in the Philippine Sea. The CSG conducted a replenishment-at-sea with USNS Earl Warren and helo operations while underway in the vicinity of Guam last week. Destroyer USS Shoup, part of the CSG, pulled into Apra Harbor early this morning, according to AIS.

Eyes in the sky.

An MH-60S Sea Hawk assigned to Helicopter Sea Combat Squadron (HSC) 12 operates above Nimitz-class aircraft carrier USS George Washington (CVN 73) while underway in the Philippine Sea.

The George Washington Carrier Strike Group is operating in the @US7thFleet… pic.twitter.com/l4UWAVHUAW

— U.S. Navy (@USNavy) June 15, 2026

Two ARG-MEUs are currently deployed. Forward-deployed USS Tripoli continues operations in the CENTCOM AOR, and USS Boxer is underway in the Indo-Pacific (INDOPACOM) AOR, operating in the South China Sea. For a detailed review of America’s amphibious assault fleet, check out our recent report here.

Note: Positions are general approximations. Non-deployed LHA/LHD amphibious warships are not shown.

Contact the author: ian.ellis-jones@teamrecurrent.io

June 15 (UPI) — South Korea’s Hyundai Rotem said Monday that the company is showcasing its AI-powered anti-drone technologies at Eurosatory 2026, a defense fair that takes place in Paris this week.

The affiliate of Hyundai Motor Group noted that it has publicly unveiled the system designed to counter unmanned aircraft, including drones, for the first time.

The solution aims to protect troops and military assets from drone attacks by combining AI-driven threat detection and automated response functions, according to Hyundai Rotem.

The firm said that the platform can assess a wide range of battlefield scenarios in real time, analyzing various factors such as the type, distance and altitude of incoming threats to determine the most effective countermeasures.

Built around an unmanned turret platform, the multi-layered defense solution integrates both soft-kill and hard-kill capabilities, Hyundai Rotem said.

The growing importance of such technologies has been recognized by recent conflicts, including the wars in Ukraine and Iran.

Hyundai Rotem is also displaying an export-oriented version of its K2 main battle tank at the exhibition. It has emerged as one of South Korea’s most successful defense exports, as Poland purchased hundreds of the tanks over the past few years.

“By strengthening our capabilities in AI-based protection solutions, including multi-layered defense systems, we will further diversify our business portfolio and enhance our presence in the global market,” Hyundai Rotem said in a statement.

“We will continue to advance key protection and unmanned technologies geared toward preserving human lives, reinforcing our leadership and competitive edge in the defense industry,” it added.

The share price of Hyundai Rotem rose 2.16% on the Seoul bourse on Monday, while the benchmark KOSPI jumped 5.2%.

Ukraine has officially opened the first phase of membership talks with the European Union on Monday. President Volodymyr Zelenskyy welcomed the opportunity and said it sent a clear message that “Europe’s progress cannot be stopped.”

Tyra Banks has filed a defamation lawsuit against Netflix and the directors of “Reality Check: Inside America’s Next Top Model” claiming that she was manipulated and misrepresented in the series.

The three-part documentary, directed by married duo Mor Loushy and Daniel Sivan, revisited the reality show’s rise and many controversies, including former contestant Shandi Sullivan discussing what she described as a blackout sexual encounter that took place during Cycle 2 of the series and was a major plot point because Sullivan was in a relationship.

Sullivan said in “Reality Check” that she felt like producers should have stepped in considering she was heavily intoxicated, but instead they followed her into the bathroom and bedroom to record a sexual encounter with a male model. In a following scene, Banks lectures Sullivan about cheating and “carnal” temptation.

“Tyra Banks participated in the Netflix documentary series about ‘America’s Next Top Model’ because she believed viewers deserved a candid conversation about the show’s legacy — its successes and its shortcomings,” reads the lawsuit. “There are aspects of the show for which Ms. Banks takes accountability and she wanted ANTM viewers to hear that from her directly.”

The lawsuit, filed on Saturday in the Central District of California, claims that the supermodel turned media personality participated in a 3½-hour interview, of which about 16 minutes was used.

“The producers used what could be stripped of context and reassembled to support a false and defamatory narrative unrelated to what she actually expressed,” reads the suit. “The accountability Banks took ended up on the cutting room floor.”

The suit alleges that producers used “selective editing, deliberate omission and surgical manipulation of continuous footage” to create a false narrative that Banks “knowingly allowed a contestant to be sexually assaulted on her show, exploited that contestant’s trauma for ratings, and then could not even remember it when asked.”

Banks claims that she asked Netflix and the producers of the docuseries for access to the unedited footage of her 3½-hour interview, and proposed they work together to “correct the record.”

“Had they agreed, Ms. Banks could have made the truth public and this litigation would likely have been unnecessary,” reads the suit.

According to the suit, Banks was pitched the docuseries as a “definitive three-hour Netflix docuseries exploring America’s Next Top Model as a groundbreaking popculture phenomenon.” The pitch had a Netflix logo on its cover, and Banks had “long trusted and admired Netflix.” The streamer’s involvement was the reason Banks claims she considered the project.

Banks claims the pitch included promises that the documentary would unpack the show’s legacy “not as a takedown, but as a thoughtful in-depth reflection on its influence, evolution, and impact on fashion, television, and culture.”

The suit claims Banks was prepared for a fair comeuppance, but ultimately the former supermodel felt hoodwinked. “Nothing suggested that the project would falsely accuse Ms. Banks of covering up a sexual assault, or being indifferent to what a contestant characterizes as a traumatic experience.”

In February, directors for “Reality Check” revealed that Banks wasn’t invited to participate in the docuseries until well after production began

“It was like, ‘Hey, this can be a great addition, but definitely not a necessity,’” Sivan said. “People talking trash about her is very easy to find. … But having her passion, bringing this program to life, is something that only she could tell.”

Sivan and Loushy, who also helmed the acclaimed 2025 docuseries “American Manhunt: Osama bin Laden,” said they treated “Reality Check” with the same level of care as previous heavyweight projects.

“There were things that were sensitive and important for me,” Loushy said, from the harassment that she said “ANTM” contestants endured to the insecurities that “to us as women, are sitting tight and hard every day on our heart.”

The directing duo hoped to examine the good intentions Banks and producers had, of turning the fashion industry on its head, empowering women and championing diversity, and the way those intentions evolved as the show moved through cycles.

“At the end of the day, was it a force of good, or was it a force of evil? I hope people keep debating that,” Sivan said.

Former Times staff writer Malia Mendez contributed to this report.

The Iranian national team finally got to just play soccer.

Their journey to the World Cup has been uniquely fraught, with a war erupting between the host of their matches and their home country.

They had to relocate their base camp from Arizona to Tijuana, struggled to get all of their traveling party into the United States amid visa scrutiny and absorbed President Trump’s suggestion they may not be safe if they chose to play in the World Cup.

Iran forward Mohammad Mohebi (8) heads the ball for a goal during the second half against New Zealand in group play at the World Cup on Monday.

(Ronaldo Bolanos / Los Angeles Times)

With the focus shifted solely to soccer, Iran’s 2-2 draw with New Zealand in front of an announced crowd of 70,108 Monday night at SoFi Stadium may have felt like a victory because of the sheer fight it took for Team Melli to play in Inglewood.

After Belgium and Egypt tied 1-1 earlier Monday, all the teams in Group G are tied at one point apiece.

The All Whites showed no signs they were rattled by the pro-Iran crowd or their standing 65 slots behind Iran in FIFA world rankings.

Iran fell behind twice, but the team rallied to avoid plummeting to the bottom of its group.

A flurry of chances generated by both teams during stoppage time never translated into a winning goal.

New Zealand struck first.

New Zealand forward Elijah Just, right, celebrates after scoring his second goal against Iran on Monday.

(Robert Gauthier / Los Angeles Times)

Elijah Just rumbled toward the box and seemed to pinball around the Iranian defense. He passed to Sarpreet Singh, who chipped the ball to Chris Wood in the box. Wood then chested the ball back to Just, who took one touch before kicking the ball in for New Zealand’s first goal in the seventh minute.

A small but hearty contingent of New Zealand cheered.

After the hydration break, Iran’s Ramin Rezaeian pushed the ball into the box and tapped it to Saman Ghoddos. Shahriyar Moghanlou’s shot was blocked, but Rezaeian was in position to tap the deflection into the far lower left corner of the net in the 32nd minute.

The stadium roared as Mexico fans joined Iran fans cheering and waving flags.

1

2

3

4

1. Iran goalkeeper Alireza Beiranvand watches the ball go into the net after a goal by New Zealand forward Elijah Just in the first half. (Allen J. Schaben/Los Angeles Times) 2. Iran defender Milad Mohammadi leaps over a New Zealand defender during the second half. (Kelvin Kuo / Los Angeles Times) 3. New Zealand defender Finn Surman, top, goes after the ball in front of Iran forward Ali Alipour during the second half. (Allen J. Schaben / Los Angeles Times) 4. Iranian soccer team fans show their support during the team’s 2-2 draw with New Zealand. (Kelvin Kuo / Los Angeles Times)

Both teams has chances to break the tie late in the first half.

New Zealand earned a free kick in the 45th minute just outside the box. Wood took a direct shot at the goal, but Iran goalkeeper Alireza Beiranvand gathered it with ease.

During first-half stoppage time, Rezaeian’s free kick was headed home by Ali Nemati, but Nemati was clearly offsides and the goal was waived off by the referees.

In the 54th minute, Iran turned the ball over and Just connected with Just for his second goal of the match.

Iran responded in the 64th minute with Rezaeian’s cross headed home by Mohammad Mohebi, tying the game and delighting fans.

Iran forward Mohammad Mohebi reacts after scoring against New Zealand in the second half Monday.

(Kelvin Kuo / Los Angeles Times)

Before the game, protesters outside SoFi Stadium argued Iran’s oppression regime should be sanctioned for human rights violations and banned from competition. Other Iranian Americans countered they gathered at the venue to cheer on players rather than Iran’s totalitarian leaders.

Iran captain and star striker Mehdi Taremi said before the game he hoped the team that has unified in the face of massive distractions could provide solace during a difficult time.

“We, the players of the national team, we play for every Iranian, be it the Iranian diaspora or be it Iranians in the country,” Taremi said through a FIFA interpreter. “Look, in every country, people have different opinions, but we are here as footballers to unite people, and we will try to bring joy to all Iranians, irrespective of where they live.

“Everyone is entitled to their own opinion, and we respect them, but we are here to bring joy to the Iranian people. We do not get involved in politics. We are here to play football.”

Benchmark S&P 500 rises 1.7 percent, while tech-heavy Nasdaq jumps 3.1 percent.

US stocks have rallied on hopes that the tentative deal to end the US-Israel war on Iran will restore stability to energy supply chains roiled by months of disruption in the Strait of Hormuz.

The S&P 500 rose 1.7 percent on Monday, taking the benchmark index within touching distance of its all-time high.

The tech-focused Nasdaq Composite jumped 3.1 percent, aided by a 19.6 percent gain by SpaceX, which on Friday made the biggest market debut in history and minted the world’s first trillionaire in Elon Musk.

The blue-chip Dow Jones Industrial Average climbed 0.9 percent, closing at a record high.

Brent crude futures, the primary benchmark for global oil prices, fell nearly 5 percent to just above $83 a barrel, the lowest price since the first week of the conflict.

Asian stock markets were largely flat on Monday morning, after surging the previous day on the back of US President Donald Trump’s announcement of his deal with Tehran.

As of 01:30 GMT, Japan’s benchmark Nikkei 225 was 0.01 percent lower, while South Korea’s Kospi, the best-performing major index this year, was down 0.06 percent.

In Taiwan, the TAIEX was up 0.2 percent.

Hong Kong’s Hang Seng Index was down 0.07 percent.

Jay Goldberg, a senior analyst for tech-related equities at the Chicago-based Seaport Research Partners, said the announcement of the US-Iran deal had tilted investors’ risk balancing act towards buying into the market.

“To oversimplify, the debate has been: AI spending is strong, but there’s a war going on,” Goldberg told Al Jazeera.

“The war is over, it seems, so that side of the argument falls away. Investors are now feeling better about taking on more risk,” Goldberg said.

While Washington and Tehran’s framework has raised hopes for a return to stability in global energy markets, it is expected to take months before energy flows fully return to normal, due to the massive backlog of vessels around the Strait of Hormuz and the need to ensure the waterway is safe from Iranian naval mines.

According to the International Shipping Chamber, about 500 ships are still waiting to pass through the strait, which normally carries about one-fifth of global supplies of oil and liquefied natural gas.

From his hometown of Sao Vicente in Cape Verde, Vozinha has been his jersey name throughout his club career.

Cape Verde goalkeeper Vozinha broke down in tears at the end of the 0-0 draw with Spain after the 40-year-old was mobbed by his teammates following a stunning display as he denied the European champions victory in their World Cup opener.

Cape Verde were pinned back in their own half for much of Monday’s game, but whenever Spain broke through their dogged rearguard, Vozinha came to the rescue.

His heroics earned him the player of the match, pulling off a string of saves at the end of the first half to deny Ferran Torres, Pedri and Aymeric Laporte.

Here’s everything we know about the Cape Verde goalkeeper:

Where does Vozinha play?

Vozinha goalkeeps for Chaves in Portugal’s second-tier football league.

The World Cup is by far the biggest stage he has reached, but Vozinha began his club career at home with Batuque FC, before transferring to CS Mindelense.

The veteran player’s experience comes from the myriad clubs he has represented – from Progresso in Angola to Zimbru Chisinau in Moldova, Gil Vicente in Portugal, AEL Limassol in Cyprus and AS Trencin in Slovakia, before arriving at Chaves.

Is Vozinha his real name?

No, Vozinha is a moniker for Josimar Jose Evora Dias. It came from his grandparents, whom he spent most of his time with as his father was in the military and his mother was working. The name checks out, since it means “little granny” in Portuguese.

From his hometown of Sao Vicente in Cape Verde, Vozinha has been his jersey name throughout the nomadic club pilgrimage across Africa and Europe.

“When I arrived in Angola, there was another goalkeeper named Josimar, and I said, ‘I am not going to put Josimar II on the shirt’. If everyone knew me as Vozinha in Cape Verde, that’s what I would be,” he told FIFA in an interview earlier this year.

What did Vozinha say after the match?

The Cape Verde keeper was reduced to tears by his heroics and fairytale World Cup debut.

“Very proud… It is an honour for me to represent my country,” Vozinha told reporters of his island nation, the third smallest nation to qualify for a World Cup.

“I cried because I grew up with my grandparents and, unfortunately, they were not here; they died a few years before, and they did everything for me and my life,” he added.

“Also, my mum, she didn’t manage to be here because of the visa. The money for the visa, we didn’t manage on time, and I would like her to be here.”

Is Vozinha world-famous now?

Yes, on all counts.

The goalkeeper’s Instagram following jumped from a modest 500,000 to nearly 5 million within a few hours of full-time in the Spain match.

His quiet brilliance was spotlighted on the world’s biggest stage for all to see.

French football star Paul Pogba took to social media after the match in praise of Vozinha.

“The Cape Verde goalkeeper is really something, waaaaw,” he wrote.

A VHS tape of 1993’s “The Nightmare Before Christmas” introduced brothers Roy and Arturo Ambriz to the tactile whimsy of stop-motion, an animation technique where physical objects are manipulated and photographed frame by frame to achieve the illusion of life.

Realizing that the characters on screen were figures in real sets shocked the Mexican filmmakers’ young minds and set them on an arduous path to craft their own worlds.

“If there’s something we’ve loved our whole lives it’s toys: collecting them, modifying them, playing with them, creating dioramas for them,” said Roy, 36, from under his dark shades during a recent interview at Netflix Animation Studios in Burbank.

“And for us, the most sublime moments in life are when we’re doing something artistic, whether that’s painting, drawing or sculpting. And stop-motion animation combines all of that.”

The culmination of years of tireless work and financial stress for the Ambriz siblings is the breathtaking period fantasy “I Am Frankelda,” Mexico’s first-ever stop-motion feature, which is now streaming on Netflix.

“Thankfully, no one put it into our heads that it was impossible to do this,” said Arturo, 38. “That’s why we don’t like going around saying that this is extremely difficult, because maybe if young people hear that, they might not want to do stop-motion. Don’t tell them!”

A lavish musical, “I Am Frankelda” follows Francisca Imelda (voiced by Mireya Mendoza), a young aspiring writer living in 19th century Mexico and struggling to publish her stories. Meanwhile, in the Realm of Spooks, an alternative reality that’s home to all of the fictional characters Francisca has written, Herneval (Juan Pablo Monterrubio), a winged prince, must save his parents and his kingdom. The creatures in this world live off of human fear, so they create our nightmares.

Herneval crosses into the human world to bring Francisca with him to the Realm of Spooks, so that she can write new nightmares that actually scare people. Humans have become difficult to terrify. By this point, a frustrated Francisca has decided to change her name to Frankelda (a reference to “Frankenstein” author Mary Shelley, who inspired the character). Frankelda and Herneval sing of the relationship between fiction and reality. One can’t exist without the other.

Frankelda was first introduced as part of the 2021 series “Frankelda’s Book of Spooks,” which HBO Max commissioned. In the show, the heroine shares nightmarish tales alongside Herneval, who appears not as a prince but a sentient book. The film “I Am Frankelda” is a prequel that explains the relationship between these characters.

Last month, “I Am Frankelda” screened at the Los Angeles Latino International Film Festival, where Guillermo del Toro moderated the post-screening Q&A. A longtime mentor of the Ambriz brothers, Del Toro first supported them by donating to a Kickstarter campaign to finance their ambitious 2016 short film inspired by cubist art, “Revoltoso,” about a one-eyed boar living during the Mexican Revolution.

“In that moment, it was incredibly validating to realize that if Guillermo liked what we were doing, then it made sense to keep on doing it,” Roy said.

Two years apart in age, Roy and Arturo both studied filmmaking at the Centro, a university in Mexico City. Yet directing together wasn’t always the plan.

“I said, ‘We have to co-direct,’ because the situation naturally lent itself for me, being the older one, to take on the role of director while Roy would serve as production designer. But at a certain point, I realized that the hierarchy was wrong, and that if we wanted something sustainable for the rest of our lives, it had to be a 50/50 split between us. And I mean, 50/50, Roy!” said Arturo, playfully chastising his younger brother.

“It’s more like 60/40, with me having 60% of the power,” Roy added laughing.

In 2011, not long after graduating, Arturo found himself ridden with anxiety. Over the course of his education, he’d focused on artistic excellence but hadn’t much thought about how to actually make a living out of his and his brother’s shared passion. That’s when he decided they should create their own studio, Cinema Fantasma, so as to have control of the projects they took on. Their productions for hire include the Adult Swim show “Women Wearing Shoulder Pads,” which was produced entirely at their company in Mexico City.

“It’s been very difficult because we are filmmakers by vocation, but we are businesspeople by necessity,” said Arturo. “Developing that side of things has been the hardest part, but both are indispensable.”

To wrap up the “Frankelda” series, HBO Max requested a 30-minute special. Instead of accepting that offer, Roy suggested they use the proposed budget allocated to partially fund a full-length feature film. HBO Max agreed with the caveat that the brothers would have to come up with the rest of the money needed on their own.

To finance “I Am Frankelda,” Roy and Arturo mortgaged two homes. They are losing one of them to pay off their debts, so it helps that their dream of animation is a family affair. Their parents are executive producers on “Frankelda”; Roy’s wife, Ana Coronilla, worked as production designer; and Arturo’s spouse, Irene Melis, as a director of photography.

That “I Am Frankelda” is a musical is due in great part to Roy’s love of musical theater.

“At first, Arturo wasn’t sure, but using my 60% share of the power, I convinced him that it should be a musical,” Roy said. Yet it’s Arturo who wrote the lyrics to musical numbers. Each track starts as a poem that composer Kevin Smithers transformed into songs.

A fantastical stop-motion musical period piece, “I Am Frankelda” is far from an easy sell, and that’s what makes its existence all the more astonishing. The Ambriz brothers’ creative pursuit of the unpopular and the unfeasible has bonded them with Del Toro.

Mexican filmmaker Guillermo del Toro, pictured, interviewed “I Am Frankelda” directors Roy and Arturo Ambriz on May 30 during the film’s screening at the TCL Chinese Theatre as part of the Los Angeles Latino International Film Festival.

(Jill Connelly / For De Los)

“He is our most important mentor and the person we admire most in the world, and we also share many of the same interests,” Arturo explained. “That’s why when we saw ‘Pan’s Labyrinth,’ it was like when the glass slipper fits Cinderella. It was exactly what we loved: monsters, war, the cruelty of the human spirit, fairies and period settings.”

“Did you just call yourself Cinderella?” Roy interjected with the mischievous smirk typical of a younger brother trying to ruffle some feathers.

“Yes!” Arturo said quietly but without hesitation.

Every time they hear Del Toro speak about his interests, the Ambriz brothers discover a new well of references and “cultural protein,” from authors to painters.

“Guillermo is someone who actively champions the work of others, which I believe is the right way for an artist to be,” Arturo said.

When they finished “I Am Frankelda,” the brothers sent it to Del Toro, eager to hear his thoughts. As soon as he watched it, Del Toro called them.

“We spoke with him for hours, and he told us everything he saw, obviously with great tact, sharing both the good and the not-so-good,” Roy recalled. “But most importantly, he kept telling us that we had created something unprecedented. He insisted that we would pull through, even though we had ended up with a lot of debt.”

The version of “I Am Frankelda” that premiered at film festivals in 2025 is not the same one that will be available on Netflix. Based on Del Toro’s thorough feedback, the filmmakers recut the film and even animated new scenes. They playfully refer to this new cut that audiences will see globally as “The Grandfather Cut,” to honor Del Toro’s influence.

That “I Am Frankelda” was picked for distribution by Netflix is also Del Toro’s doing, the brothers said. It was the veteran director who suggested the film to the streaming company.

“I Am Frankelda” debuted in Mexico last October to an incredible reception, in part thanks to the fandom the characters had amassed via the episodic series.

“We receive fan art and fan fiction every day. People send us photos cosplaying the characters or of their ‘Frankelda’-themed quinceañeras. We’ve even bought bootleg merch at Mexican markets and on Temu or AliExpress too,” Roy said.

“We’ve bought ‘Frankelda’ socks from there that are of terrible quality, but all the more beautiful because of their bad quality,” he added.

“Of course, there are haters, too, but a large segment of the audience really identified with Frankelda as someone who perseveres, as someone who refuses to let her detractors hold her back. It’s been really beautiful watching that fandom grow,” Arturo said.

Another conviction where they align with Del Toro is their disinterest in engaging with artificial intelligence.

“AI is the antithesis of stop-motion. We’re not even remotely interested in it, because we do stop-motion to enjoy the artistic processes,” Roy said. “We created the studio for painting, drawing, sculpting and writing. Whatever happens with AI doesn’t really matter to us.”

Their second feature, “The Ballad of the Phoenix,” a medieval fantasy, is already in the works.