casting

Marvel’s new X-Men team appears to be coming together.

“Heartstopper” star Kit Connor is reportedly Marvel Studios’ pick to play Scott Summers, the mutant hero also known as Cyclops, in its upcoming “X-Men” reboot. According to Deadline, the film’s director, Jake Schreier, and Marvel Studios President Kevin Feige had met with a number of candidates before landing on the British actor.

Marvel did not immediately respond to a request for comment.

Created by Stan Lee and Jack Kirby, Cyclops is one of the leaders and founding members of the X-Men. He needs to wear special eyewear — usually goggles or glasses — to control the beams of energy that blast from his eyes. The character was previously portrayed by James Marsden in Fox’s original “X-Men” film trilogy (2000, 2003, 2006) as well as in the 2014 crossover “X-Men: Days of Future Past.” Tye Sheridan played a younger version of the character in “X-Men: Apocalypse” (2016) and “Dark Phoenix” (2019).

Marsden is among the original “X-Men” actors set to reprise their roles in the upcoming “Avengers: Doomsday.”

Connor’s casting follows recent reports that Samara Weaving has landed the role of Emma Frost in the upcoming “X-Men” film. Created by Chris Claremont and John Byrne for the comics, the mutant-villain-turned-hero is a powerful telepath also known as the White Queen. The character has previously appeared onscreen in “X-Men: First Class” (2011) portrayed by January Jones.

With his “X-Men” casting, Connor would join his fellow “Heartstopper” and “Heartstopper Forever” star Joe Locke in the Marvel Cinematic Universe. Locke made his franchise debut as William Kaplan, a.k.a. Billy Maximoff, in the 2024 Disney+ series “Agatha All Along.”

These latest “X-Men” developments follow the debut of the MCU’s new Jean Grey, portrayed by Sadie Sink in “Spider-Man: Brand New Day.” Although no official announcements have been made regarding Sink’s future Marvel projects, she is expected to appear in the “X-Men” reboot.

The “X-Men” reboot is expected to land some time after next year’s “Doomsday” follow-up, “Avengers: Secret Wars.” In 2024, Feige told Entertainment Weekly that “the whole story of ‘Secret Wars’ really leads us into a new age of mutants and of the X-Men.”

A federal prosecutor in Texas has shared new details about the moments before an immigration officer shot and killed Lorenzo Salgado Araujo that cast doubt about the government’s claim that the man struck an ICE vehicle before he was shot.

A U.S. Immigration and Customs Enforcement officer killed Salgado Araujo, a 52-year-old Mexican national and longtime American resident, on July 7 as he was driving to a Houston construction job site with three co-workers, including his brother. ICE has acknowledged he was not the target of the operation.

The shooting sparked protests in the nation’s fourth-largest city, echoing Salgado Araujo’s family’s calls for transparency. The family describes him as a hardworking father who was close to obtaining legal status in the U.S. after living in the country for 35 years.

The shooting came just days before two other men were killed, in Florida and Maine, in confrontations in President Trump’s federal immigration crackdown, renewing scrutiny on the Department of Homeland Security’s law enforcement tactics.

Aaron Reitz, the U.S. attorney for the Southern District of Texas, said for the first time Thursday that ICE officers were targeting two Guatemalan men who were potentially subject to deportation. He said they were driving a van similar to the one Salgado Araujo was driving when he was killed. In an earlier statement released the day Salgado Araujo was killed, Homeland Security said he was targeted in an immigration enforcement operation and he was living in the country without legal permission.

Reitz also said that the officers believed that Salgado Araujo and the passengers in his car fit the description of the Guatemalan men the agents were looking for.

Four officers driving two separate law enforcement vehicles attempted to pull over Salgado Araujo’s van using their police lights. Salgado Araujo then made a U-turn and drove over a median to evade getting pulled over, Reitz said.

Later that morning, the officers again encountered Salgado Araujo’s van and for the second time tried to pull him over, this time essentially surrounding the vehicle, Reitz said. Two of the four agents got out of their cars and told Salgado Araujo to put the vehicle in park. Just before he was shot, one of the agents was “partially inside the van or immediately next to it” when Salgado Araujo tried to reverse the van and then drive forward again, Reitz said.

An earlier Homeland Security statement accused Salgado Araujo of “weaponizing” his vehicle. The agency said he rammed his van into a law enforcement vehicle and said an officer opened fire in self-defense. The most recent statement from the U.S attorney’s office, however, didn’t mention any collision between Salgado Araujo’s van and a law enforcement vehicle. It also didn’t explicitly say that the officer feared for his life. There are no reported injuries among the officers involved.

The latest statement didn’t name the officer who killed Salgado Araujo, nor did it specify whether the officer who fired the shot was the same person who was next to, or partially inside, the van.

Reitz also said in the statement that officers “saw in plain view several small bags of a white, crystal-like substance inside the van” and that the FBI later executed a search warrant to investigate for possible illicit substances.

Salgado Araujo’s brother, who was in the van when the shooting happened, has been in ICE detention since the incident. His attorney said the white substance was a salt mixture that the men used as electrolytes to stay hydrated while doing manual labor in the grueling Texas heat.

Few photos or videos surrounding the shooting in Houston have emerged on social media, unlike other deaths involving federal immigration officers.

Riddle writes for the Associated Press.

The Benin Bronzes are a broad term used for the carved ivory, wooden works, metal sculptures and plaques looted by British troops during the Punitive Expedition in 1897.

Scholars estimate that more than 5,000 artefacts were stolen, some of which were gifted to Queen Victoria, others sold in auctions, held in private galleries or donated to museums across Europe and elsewhere.

The call to return the art, which began in the 1930s, intensified in the recent decade, inspired by growing pressure, repatriation activism and the relentless effort of the Benin Dialogue Group, a multilateral stakeholders’ group.

As momentum built at the peak of the homecoming of these arts, Igun Street unexpectedly found itself in the global spotlight. Diplomats, state officials, museum curators and researchers began arriving in numbers local artisans say they had never witnessed before.

This noon, Double Chief’s voice brims with pride as he points to a recently completed sculpture resting on a wooden bench. The bronze figure, a man in a suit and tie, had received its final polish only that morning after months of work.

Yet for many bronze casters, the attention has done little to solve underlying concerns.

“We are struggling to keep the industry alive,” says Oriakhi Osazee, who sits on a wooden stool at the entrance of a store in Igun. A sculptor whose mediums are clay, fibre, brass and bronze, Osazee has been in the craft for more than 35 years. He speaks with depth and conviction, drawing from vivid dates and past events to reinforce his ideas.

Efforts to recruit apprentices have stalled, he says. Young people, on whom the future of the craft depends, are increasingly leaving in search of what he calls “quick money” in other professions, cities and countries.

When their ancestors began, he recalls, their craft extended beyond bronze casting. There were, among the Iguns, men who had a gift in ivory carving. Long before the global ban on ivory trade was made official, that layer of art, without heirs and hope of continuity, had died.

For Agbonmwenre Alex, the subject of heirship within the craft is a matter of personal pain.

Alex, who was taking a tour of his workshop, began learning the craft at the age of eight under the guidance of his father. He started with errands and light tasks before progressing to kneading clay pottery. Over time, he learned every stage of the casting process, from preparing moulds to the final polishing of finished works.

Today, he is the only one of his father’s seven sons who remains in the profession. But uncertainty now hangs over the next generation.

“I would like my sons to take after me,” Alex says. “Unfortunately, I started exposing them to this craft so late. They literally see this work as outdated, archaic, and dying. The zeal, the love for the job, is dead.”

I would like my sons to take after me. They see this work as outdates, archaic, and dying. The zeal, the love for the job, is dead.

by AGNONMWENRE ALEX, BRONZE CRAFTSMAN

His first son chose to study law. His second is pursuing a degree in healthcare. Despite repeated efforts to pique their interest, including offering workshop space, raw materials and financial support to start a business of their own, neither accepted.

“The number of youths is declining drastically. It [the craft] is at risk of going into extinction. Apprentices are so scarce,” says Osazee. “We used to have a lot of apprentices in the past.”