documentary

Chase Iron Eyes drops everything following Renee Good’s killing by ICE to join protests on the streets of Minneapolis. Chase, a resident of the Pine Ridge reservation, is a lawyer whose life and work are shaped by generations of Native American resistance.

With 3,000 federal agents deployed to the Minneapolis-Saint Paul area as part of Operation Metro Surge, Chase sees the impact of the crackdown for himself. When ICE begins targeting Native Americans in Minnesota, he works to move street-level resistance into the courtroom.

Chase, alongside other human rights lawyers, mounts a legal challenge and pursues class-action lawsuits against ICE and the Department of Homeland Security.

Native Americans Resisting ICE is a documentary film by Joi Lee and Ed Ou.

KATIE Price has made a rare sentimental remark about ex-husband Peter Andre in her new Sky documentary.

The reality TV star, 48, shared a sweet comment about ex Peter and how shy he used to make her feel in her latest series, Katie Price: Nothing To Hide.

In the documentary, Katie is sitting down watching her old I’m A Celebrity… Get Me Out Of Here! footage — the show on which she met Peter.

She then opened up about just how much she felt for Peter, calling him her “Prince”.

Katie said: “If I like someone like I liked him, I go all shy. I can’t look at them, and I go all like giddy. It’s pathetic, but that’s what I was like.

“You could see we were into each other and it is so cute to look at. By the end of it I was smitten with him.

play time

Katie Price reveals all on Playboy mansion and naked Hugh Hefner

stepping in

Katie Price’s stepdad shares sad fear he’s to blame for her chaotic love life

“Meeting Pete and being with Pete were the best times of my life, without a doubt.

“I had my prince, I knew I would be with him forever.”

Katie and Peter met in 2004 and started dating shortly after their time on I’m A Celeb ended.

They got engaged later that same year and tied the knot in 2005.

They went on to have two children, Princess and Junior, before divorcing in 2009.

Earlier this year, Katie married for the fourth time, tying the knot with self-proclaimed millionaire Lee Andrews.

The pair’s whirlwind wedding came after just a week of speaking online.

Recently Katie and Lee reunited after Lee was imprisoned in Dubai under accusations of fraud.

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.”

We are living in a time of deep rupture. From Gaza to Ukraine, Myanmar to Kashmir, the United States to Europe, polarisation has become the defining rhythm of our age. Dialogue is no longer just difficult – it is risky. Leaders speak in absolutes. Humiliation and fear spur violence. In this context, the role of the mediator is more fragile, more necessary, and more human than ever.

At the centre of this episode is William Ury, cofounder of Harvard’s Program on Negotiation and one of the architects of modern conflict resolution. Through his life’s work, we trace the hidden anatomy of peace: How trust is built when no one believes in it, how negotiations survive egos, trauma, and political pressure, and how humanity is preserved when everything pushes towards dehumanisation.

Ultimately, The Possibilist reveals that peace is not the domain of diplomats alone. It belongs to all of us. In our homes, our workplaces, and our communities, we all carry a form of power. Political power may change laws – but moral power, the power of empathy, courage, and presence, can change hearts.

A film by Fatima Lianes

WASHINGTON — Jennifer Siebel Newsom has spent more than a decade cultivating an identity distinct from her husband, Gov. Gavin Newsom, as an active documentary filmmaker and gender equity activist with her own organizations, staff and salary.

The 51-year-old calls herself California’s “first partner,” a title she coined herself to signal an equal footing with the governor and gender inclusivity.

Her independent streak has generated her a steady income. She earns money from a set of organizations she founded or controls. They include the Representation Project, a nonprofit that advocates for gender equity through film and education programs; Girls Club Entertainment, a for-profit production company she owns that holds the copyrights to her documentaries; and the California Partners Project, a second nonprofit that works closely with her government office and receives donations solicited by the governor.

Since its creation in 2020, the California Partners Project has received nearly $5.1 million from so-called “behested payments,” raising alarms over the years about the influence large companies have amassed in Sacramento.

California law allows officials to solicit donations to specific charitable or governmental causes when the payments are reported within 30 days. The public donation system, however, came under scrutiny in 2020 when payments made at Newsom’s behest — to a variety of organizations, not just the California Partners Project — ballooned to an unprecedented $226 million to help fund the response to the COVID-19 pandemic.

With no limit on how much money can be donated by organizations or individuals at the behest of the governor, millions of dollars flowed in to prop up public services during the pandemic and fund Newsom’s favored programs, including an effort to address homelessness and a public safety campaign promoting the importance of wearing masks. The top donor of Newsom-behested payments in 2020 was tech giant Facebook, which gave $27 million for gift cards that went to front-line healthcare workers and for public health ads.

“It’s not illegal, but it certainly pushes the bounds of campaign finance law, and the first couple has been doing this for some time,” said David McCuan, a political science professor at Sonoma State University. “In this battle between Newsom and [President] Trump this makes their [the first couple’s] actions, these payments and the operation of the nonprofits a rich target for scrutiny.”

The Newsoms’ financial arrangements are now the subject of renewed scrutiny. The governor has accused the Trump administration — specifically, the FBI and the Internal Revenue Service — of questioning their friends and former employees about him and his wife. The governor said the probes are politically motivated, a personal vendetta because he’s considering a run for president in 2028.

Newsom said he and his wife have nothing to hide, and promised to release all of his recent tax returns — though he has not announced when.

In turn, the governor has demanded that the Department of Justice release all records pertaining to the probe.

“The American people deserve to know who ordered this abuse of power and how far it goes,” the governor wrote on social media last week.

“These are dark days in our nation’s history when the leader of the free world spews animus openly and without shame — aiming to silence and destroy not only his political opponents, but their friends, colleagues, and families,” Siebel Newsom said in a statement to The Times. ”My husband and I will continue to push back on this vindictive attack — and I certainly will not let this distract me from the important work ahead to protect the health, wealth, and safety of women and children and give California kids the best start in life. Together, we can set an example of strong leadership that protects people rather than preys on them.”

To better understand the finances, here is a breakdown of how Siebel Newsom’s company and nonprofits are working.

The Representation Project

Alongside the release of her first documentary, “Miss Representation,” in 2011, Siebel Newsom created her nonprofit, which originally shared the same name as her film. The organization licenses her films and reimburses costs to her production company.

The nonprofit earns some revenue from licensing the first partner’s documentaries for use in classrooms, college campuses and workplaces. Licensing for film screenings at schools starts at $49, while corporate licensing for her films starts at $995; purchase of screening rights also comes with curricula to facilitate discussions.

The Representation Project has earned more than $5.2 million in revenue from film screenings, licensing and speaking fees since 2011, according to a review of its tax filings.

The Representation Project is not required to disclose its donors but has received at least $2.6 million since 2014 from various charitable foundations that disclosed the gifts in their own tax filings. Several corporations that have had business before the state have donated to Siebel Newsom’s nonprofit, including Pacific Gas & Electric Co., AT&T and Kaiser Permanente.

Its past donors also include entrepreneur and progressive donor Susie Thompkins Buell, who is credited as a producer on several of Siebel Newsom’s documentaries, as well as the Marin Community Foundation and Onward Together, the political action organization founded by Hillary Clinton.

Four months after Newsom took office in 2019, the state Department of Education recommended that high schools screen two of his wife’s films, “Miss Representation” and “The Mask You Live In,” a move that has garnered criticism from conservative media outlets. The state said the films “can help facilitate a discussion about the impact of mass media and gender socialization on self-image and relationships with others.”

Though it does not specify where its films have been licensed, the nonprofit boasts in annual impact reports that its films and curricula have “reached over 2 million students” and “are being used in over 5,000 schools in fifty U.S. states.”

Since founding the Representation Project in 2011, Siebel Newsom has received more than $1.9 million in compensation from the nonprofit organization, according to a review of federal tax records. Her separately owned film production company, Girls Club Entertainment, has collected about $2.2 million in independent contracts from the nonprofit, records show.

Combined, the two streams of money total about $4.1 million flowing from the charity to Siebel Newsom personally or to entities she controls over the span of a little over a decade.

Her current annual salary is $161,250 for a 40-hour workweek, records show. Siebel Newsom earns income from both her production company and her nonprofit, according to state financial disclosures.

Jeff Tenenbaum, a nonprofit attorney with 30 years of experience advising nonprofit, tax-exempt organizations, declined to comment on Siebel Newsom’s specific case. But generally, he explained the legal framework that would apply to an arrangement like the one described in the filings.

Under federal tax-exempt organization law, he said, the “private benefit doctrine” governs whether a nonprofit’s overall activities unduly benefit any single individual — including through indirect payments to entities they own. The tax law asks whether too much benefit flows to one person or entity.

This is separate and distinct from the “private inurement” doctrine, which prohibits nonprofits from paying greater-than-fair market value compensation to insiders, including founders, and which requires that such compensation arrangements be approved by individuals with no conflicts of interest.

“Theoretically, a situation like this could raise some private benefit concerns,” Tenenbaum said, when the structure of the arrangement was described to him.

The doctrine does not prohibit all private benefit, he said, only what the federal tax code calls “impermissible” private benefit.

“There has to be too much benefit compared to the benefit to the public,” he said. Whether that threshold is crossed here, he said, would require a fuller review of the organization’s finances, contracts, and other considerations, including copyright ownership issues relating to the films produced.

Girls Club Entertainment

An actress and documentary filmmaker, Siebel Newsom founded her production company to develop independent films with a focus on combating gender stereotypes and empowering girls and women. She serves as the company’s chief creative officer.

She has written, produced and directed five films exploring themes of inequality and traditional gender roles. Siebel Newsom is best known for her 2011 documentary “Miss Representation,” which focused on the few and narrow representations of girls and women in American media.

Tax records show that the production company owns the rights to “Miss Representation” and has licensed the film to the Representation Project for a minimum of seven years for the purpose of distributing and screening the film in public. Costs associated with film production — including the writer, director and producer fees — have been reimbursed by the Representation Project, tax filings show.

Her latest documentary, “Miss Representation: Rise Up,” examines “the rising backlash against women’s progress and the hostile landscape of technology designed to harass and, ultimately, silence women.” The film premiered this month at the Tribeca Film Festival.

California Partners Project

In 2020, Siebel Newsom founded the California Partners Project, a nonprofit focused on improving gender equity in the workplace and the safety and well-being of children in online spaces. She does not collect compensation from the nonprofit or serve on its board.

It hosts an annual “gender equity summit” and provides resources for parents on issues such as social media safety and child mental health.

In the fall of 2024, Siebel Newsom and the California Partners Project hosted representatives from TikTok, Meta, Pinterest and other social media platforms for an event about children’s online safety. A day before the panel, state Atty. Gen. Rob Bonta took a more forceful tack to go after the tech industry by joining with 13 other states in a lawsuit against TikTok that accused the platform of exploiting young app users with its addictive features.

In September of 2024, the governor signed a bill to prohibit internet services and applications from providing “addictive feeds,” defined as media curated based on information gathered on or provided by the user, to minors without parental consent.

The California Partners Project also does not publicly disclose its donors in its tax filings, but much of the nonprofit’s funding appears to come from behested payments. Siebel Newsom does not receive a salary from the organization.

Since its founding, the Newsoms have steered more than $5 million to the nonprofit via behested payments, according to a review of the disclosures. While many donations to the California Partners Project come from charitable foundations, it also received hundreds of thousands from companies including Silicon Valley Bank, Pinterest and the charitable arm of Blue Shield of California.

Its biggest funder is the Federated Indians of Graton Rancheria, a Sonoma County tribe that operates a casino in Rohnert Park and spends heavily in state and federal elections. The tribe has given $2.3 million to the nonprofit since 2022. In June 2023, Newsom appointed tribal Chairman Greg Sarris to the University of California Board of Regents. Newsom has also supported efforts by the tribe to block a smaller tribe from building a casino in nearby Vallejo.

Blue Shield, which has reported giving $100,000 to Siebel Newsom’s nonprofit, also has a cozy relationship with her husband. The nonprofit health insurer was an early donor to Newsom’s 2018 campaign for governor and later received a $15-million no-bid contract to distribute COVID vaccines. State regulators in 2024 also signed off on the nonprofit’s request to restructure and establish a new parent corporation out of state, a move that raised alarm among healthcare advocates.

The California Partners Project did not respond to questions about its donors and spending.

BBC fans can catch this one-off special before tuning into tonight’s World Cup match.

A BBC documentary takes a deep dive into how seven people “tragically perished”.

Fifa World Cup 2026 continues with France vs Iraq coverage kicking off from 9.30pm this evening, Monday, June 22, but there is more than just football on tonight.

At 8pm, viewers can tune into the hour-long documentary Millionaire Superyacht: Why Ships Sink on BBC Two.

The special takes a look at the intense storms of August 19, 2024 when the 54m superyacht Bayesian mysteriously sank off the coast of Sicily where seven people onboard died.

“As search and rescue teams scoured the coast for survivors, questions were asked”, the synopsis continues.

“Why did a multimillion-pound superyacht sink when others nearby didn’t?

“This documentary investigates what went wrong and what needs to be done to keep ships safe at sea.”

When the incident was taking place, all other vessels in the area mysteriously remained afloat but in that same year, aSea Story, a Red Sea dive boat, also capsized without warning.

Why Ships Sink features interviews with experts, including Bayesian’s former captain Stephen Edwards and Dr Sarah Martin who survived the Sea Story.

This documentary is part of a wider anthology series which takes a deeper look at why certain events happen.

BBC states that it delves into the “mysteries and science behind the stories that hit the headlines”.

BBC Two has previously looked at other memorable events, including “South Korea’s deadliest aviation disaster” and the three fatal shark attacks in Egypt in 2010.

Unfortunately, the “Why…?” franchise won’t be returning next Monday night as live coverage from Wimbledon will instead be shown.

Millionaire Superyacht: Why Ships Sink premieres on Monday, June 22, at 8pm on BBC Two.

ASHLEY Cain’s axed BBC documentary is still available to watch on iPlayer.

The reality TV star, 35, came under fire this week after historic tweets were exposed, in which the reality star allegedly made degrading comments about women.

The second series of Ashley Cain: Into The Danger Zone, which was filmed earlier this year, will not air on the BBC – yet the first series remains on the channel’s catch-up service.

It’s after the BBC acknowledged that its vetting process had “clearly failed”.

The Twitter posts made in 2011 and 2013 are said to have referenced extreme sex acts and appeared to make light of consent.

He reportedly used offensive, sexualised and aggressive language about women.

VETTING FAILURE

Ashley Cain’s show axed by BBC after ‘unacceptable’ posts about women

STAR PROBE

BBC launching investigation into Ashley Cain ‘failings’ after his show is axed

Despite this, series one of Ashley Cain: Into the Danger Zone aired in April 2025.

It followed his journey to the world’s most dangerous places, interviewing young men who live on the fringes of society.

Filming for a second series took place earlier this year however, it will no longer air following The Guardian‘s report accusing Ashley of writing derogatory terms in 2014 and 2015 including “sl**s”, “b***hes” and “psychos”.

The newspaper also revealed Ashley was secretly sacked from a BBC job last year for being “drunk on set”.

After the success of his documentary, he was picked to host, Sin City: The Real Las Vegas.

Ashley was flown out to Nevada to film the show but concerns were raised about his conduct.

Appearing to be drunk during filming of the show, the production was suspended and Ashley was ultimately dropped from the project and replaced by another presenter.

Despite this, the incident went largely ignored as Ashley returned to filming with the BBC earlier this year for the second series of his Into The Danger Zone series.

A BBC spokesperson told The Sun:  “The posts by Ashley Cain, albeit from many years ago, are completely unacceptable.”

“The BBC has clear requirements around vetting and social media checks, which are undertaken by the production company.

“In this instance, the process clearly failed and we are investigating why.

“We are continuing to strengthen our processes to ensure everyone working for, and on behalf of, the BBC meets our values and standards.

“We have no plans to broadcast the new series of ‘Into the Danger Zone’, and no future projects with Ashley Cain.”

A TV critic has urged everyone to watch a new Netflix true crime documentary he claims is the best of 2026 so far and will leave viewers feeling a wave of emotions

For those who are passionate about true crime, one television critic has shone a spotlight on a brand new Netflix documentary that he insists is a “must-watch”.

Luke Eccleston went further, describing the programme as the finest of 2026 so far, and predicted it would soon become the “top trending” title on the streaming giant. “The documentary I am talking about is called Maternal Instinct,” he revealed in a TikTok video. Despite running at just 90 minutes long, Luke enthuses that it will have all viewers “hooked” from after just five minutes.

“This tells a story from back in 2020 where a young woman is driving down the highway, she gets pulled over by the police and she has a baby on her lap, which had just been born,” he continued.

Expanding on the plot, Luke explained that once the woman and baby are taken into custody by law enforcement, tests quickly reveal the pair are not related. “What comes next is genuinely insane,” he declared.

Keen not to discourage his followers from watching, Luke pressed on: “The more you learn about the story, this woman and what happened… it is one of the most brutal, heartbreaking, emotional and horrible stories you will ever come across.

“Everyone is going to be talking about this documentary – I guarantee it.”

Netflix’s Maternal Instinct synopsis states: “In a small East Texas town, a young woman from a wealthy family falls for a local hog trapper. Their relationship appears perfect, and within months she’s pregnant and proudly showing off her baby bump all over social media.

“But when a state trooper pulls her over and discovers she has just given birth in her car, her story quickly falls apart, exposing the truth behind a terrifying and unthinkable crime.”

Helmed by Jessica Dimmock, Maternal Instinct chronicles the lives of Jessica Brookes, her boyfriend Wade Griffin, Taylor Parker and Reagan Simmons-Hancock.

On IMDb, the documentary has garnered an impressive rating of 7.4 out of 10 from almost 2,000 reviews.

One viewer confessed in a recent review: “I was not prepared! I went into this documentary completely blind, with no idea where the story was headed. It begins with a mystery. Something seemingly impossible has happened.

“But how? As the pieces slowly fall into place, the story takes an increasingly dark turn, far darker than I ever expected. And I have seen my share… the reveal is a complete and utter gut punch and at one point brought tears to my eyes. And I will have to leave it at that.”

And a second added: “I had never read anything about this case, so I went into this doc knowing nothing of the background or repercussions. I was horrified at how one person could destroy so many lives.

“The documentary pursues the whole journey of the perpetrator extraordinarily well, piecing together her journey for the past 10 or so years of her life where her lies keep getting worse.”

The award-winning journalist takes centre stage one last time in an extraordinary new film made for Channel 4

Former newsreader Jon Snow Is now “living a quieter life” months on from filming a documentary with Channel 4 about having Alzheimer’s disease.

The 78-year-old cancelled a planned appearance on a panel at the Sheffield Documentary festival on Friday which coincided with a screening of Jon Snow : A Last Big Story which shows him navigating life with Alzheimer’s.

The film, which shows the beginnings of his memory fading, actually finished filming last year. Asked how he was now, the Executive Producer Ben de Pear who also worked with Jon for many years on Channel 4 News said: “He has been in Zimbabwe(on holiday) and I spoke to him recently. He was his usual self, he was feisty, funny and really excited about the film coming out. Jon is living a quieter life but I think he is still interested and engaged in the world and still fascinated by people. When he goes to the supermarket he still ends up speaking to people for 20 minutes each.”

On the original plan of him being at the event in person, Ben added: “To be honest some days it is good and he could have been on stage, we could have had a discussion and some days it’s worse. That is the nature of the disease.” He told the audience that Jon “sent his love” before the screening began.

Ben and director, Laura Warner also spoke about the unusual circumstances around making the emotional film and then showing it to Jon and his wife, Dr Precious Lunga.

Laura said she would start each day explaining who she was and what film she was making to make sure Jon was still happy. She added: “Every day we would have to re-consent Jon and he would ask why there were cameras and we would explain.

“He was extremely engaged and leading the story. But there would come a time every day, around about sort of sunset, I think it is called sundowning where Jon would really start to struggle. The cameras went down at that point every day and we would look after him.”

On the final edit, Laura recalled: “Jon and Precious watched it several times in terms of giving it send off. It was really important to Precious that he viewed it by himself the first time, so he wasn’t influenced by her reaction too it or anyone else’s.

“He had a really emotional reaction to it because I think it was the first time he had seen himself with the condition.”

Ben added: “Precious loves the film, she thinks it is really important.”

The film also sees Jon discover a news story whilst on holiday in 2025, which leads an investigation into a Zambian community whose land and water were impacted by a mining disaster.

As the Mirror previously reported, he speaks in the film about his own mortality, and seems happy with the life he has.

Jon says: “A strange old business life. I had a good innings of it. It’s understandable, you can be worried about death, but to be worried about growing older is irrelevant. It’s absurd. How old is older? You’re going to die tomorrow or the next day. Stop worrying and get on with it.”

His wife Precious says of the film: “I want it to be a story of love, laughter, acknowledging that times are hard. I don’t shy away from the fact that it’s hard caring for someone with Alzheimer’s. But we can also be on the lookout for opportunities that would lessen that burden. And yeah we do that by having our little adventures.”

* Jon Snow: A Last Big story will be available to watch and stream on Channel 4 on Sat June 20 at 8pm.

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Glaciers aren’t stationary. Immense and imposing, formed through the downward trajectory of water from mountains as it collects and freezes, they have always moved. Now, however, they’re leaving. The demise of glaciers is a fact inherent in all the bad news about the effects of climate change on what once seemed permanent. But for Icelanders, whose connection to glaciers is ancient and mythic, our human epoch has become an extended hospice for the landscape of their lives.

Somehow, though, Sara Dosa’s documentary on this matter, “Time and Water,” avoids playing like a funeral in waiting. Built around Icelandic writer Andri Snær Magnason’s voiced lamentations on a vanishing frozen world, along with archival footage of his family, it’s no simple howl of grief, even when it takes us to a publicly held memorial in 2019 for Iceland’s Ok glacier, the first such “death” diagnosis in the country’s history. Rather, Dosa’s film is a meditation on change — both the kind that we accept with a heavy heart and something more general. “Time and Water” is a curiously vibrant elegy, teeming with appreciation for the intimate majesty that is all life, generational and geologic.

Dosa has finessed this emotional-meets-elemental space before in her Academy Award-nominated 2022 documentary “Fire of Love,” about married volcanologists Katia and Maurice Krafft. That was a wonderfully eccentric romance forged in molten lava. Here, she’s in a collaboration of sorts with her subjects, both human and elemental. Magnason’s opening narration over spectacular footage of glaciers — up close and from far away — gently informs us that we’re watching a time capsule, one where the bonds of family and environment are intertwined.

We learn how Iceland’s glaciers, essentially rivers of varying pace, begat their unique ecosystems, but also how they provided the breathtaking terrain upon which Magnason’s grandparents Hulda and Árni fell in love. (Grandma Hulda was the first woman to fly in Iceland, itself a very cool fact.) The onset of dementia in Árni spurs his grandson to consider what’s lost when the markers of memory depart. “Time and Water” touches on the epic verse called rimurs, passed down via chanted song by Icelandic women, their descriptive, sorrowful tales like dispatches from previous ages.

“Tone poem” is an overused term in cinema, but the humbling “Time and Water,” graced with a playful, atmospheric Dan Deacon score, earns that distinction. Naturally, it helps that you can never tire of all the air-crisped glacier imagery, captured digitally and in 16mm. Folded into the cozy slide-show vibe of Magnason’s home videos and the carefully chosen archival footage, the movie plays like a scrapbook portrait in which home just happens to boast the grandest of backyards.

How much longer will Icelanders enjoy it? The glaciers are predicted to be gone within 200 years. That’s an eternity or a drip, depending on whose survival we’re talking about. Still, “Time and Water” collapses the notion that we are somehow separate from these ancient, essential formations: an encouraging hello to the future from inside a sobering goodbye.

More than 20 years after Michael Jackson was acquitted on charges of child molestation — and two months since the global superstar’s record-breaking biopic skirted any mention of abuse allegations — a new Netflix docuseries brings his trial and the aftermath to the foreground.

“Michael Jackson: The Verdict,” a three-part documentary directed by Nick Green and released Wednesday, chronicles his 2005 trial in Santa Maria that began with a search raid of the pop star’s sprawling Neverland Ranch and ended with a jury finding him not guilty on 10 counts, including four counts of child molestation. At the center of the case was Gavin Arvizo, a then-15-year-old cancer survivor from Los Angeles.

Because recording was not allowed in the courtroom, the documentary relies heavily on archival footage from media surrounding the trial and firsthand accounts of key figures involved, including prosecutor Ron Zonen, Jackson family attorney Brian Oxman, journalist Diane Dimond, two trial jurors, and friends and supporters on both sides of the case.

The episodes also delve into the 2003 documentary “Living With Michael Jackson,” in which the pop star is interviewed by British journalist Martin Bashir, that sparked questions about his behavior, leading to the charges against Jackson. Jackson’s historically questionable relationships with children, the media circus surrounding the trial and the effect it had on fans, the family at its center and Jackson himself are explored, too.

Here are six key takeaways from “The Verdict.”

Jackson allegedly had his personal assistant order child pornography

One of the docuseries’ most revealing interviews came from Vincent Amen, a former Jackson associate who worked at Neverland Ranch from 2002 to 2003. He said he was put in charge of taking care of the Arvizo family during their stay at the property following media backlash from Gavin Arvizo’s appearance in “Living With Michael Jackson.”

At that time, Amen said, he “wholeheartedly” believed in Jackson’s innocence, especially because Jackson’s friend Frank Tyson, also known as Frank Cascio, a member of the family who filed a lawsuit against Jackson’s estate in April detailing alleged sexual abuse, vouched so strongly for him. Cascio, who met Jackson when he was 5 years old and later became his personal assistant, told Amen, “Michael would never do this with a child.”

Amen’s conviction shifted, however, after he discovered a disturbing magazine that apparently belonged to Jackson in Cascio’s possession.

“Frank cleaned out his house of anything that came from the Neverland Ranch. And he hands me a Nike bag,” Amen said in the docuseries. “I took the bag and I’m driving home, and I felt, ‘Something’s a little suspicious.’ And I said, ‘Let me take a look in this bag.’ I start taking videos to document this. I open the bag. I start looking, and I see a magazine.”

The series shows shaky footage of Vincent apparently finding a nudist magazine called “Naturally.” He flips to a video ordering section with titles circled in black marker, including videos called “Nudist Youth Weekend” and “Euro-Nudist Family.”

“I confronted Frank, I said, ‘Frank, what is this magazine? Because, you know, there’s circles around videos with naked children,’” Amen recounted. “He said, ‘That’s just a phase that Michael and I went through. He circled the videos that he wanted, I ordered them, and it was a phase that we went through.’ They watched them together.”

The Arvizo children called Jackson ‘daddy’ and had their own bizarre nicknames

Along with footage of the nudist magazine, Amen held on to other evidence of his time with Jackson and the Arvizo family, including a set of Polaroid pictures featuring Gavin’s mom, Janet, and younger brother, Star.

In one, Star points directly into the lens. It’s captioned, “You my daddy Michael.” Another photo of a smiling Janet and Star includes a handwritten caption from Janet that says, “Dearest loving Michael, we appreciate you being our family. What God brings together, no man can undo. We love you.”

Under a photo of Star with a cross-eyed expression, he wrote, “I love you, my daddy Michael. Your son, Blowhole.”

“These are the nicknames that Michael would give these young boys,” Amen said.

Bashir documentary marked a pivotal shift in the perception of Jackson

Martin Bashir in “Michael Jackson: The Verdict.”

(Netflix)

Though the first allegations of child molestation against Michael Jackson emerged in 1993, it was footage from Bashir’s “Living With Michael Jackson” that ignited public concern about Jackson’s relationship with Gavin.

In a pivotal scene from the 2003 documentary, Jackson brings Gavin in as an example of a child with cancer that he helped. Gavin, 13 at the time, leans his head on Jackson’s shoulder and holds his hand. Jackson tells Bashir that the two often share a bed at the Neverland Ranch, though in another scene he stresses that it’s not sexual.

“I realized that we had something that was hugely significant, but I didn’t realize the extent of the bombshell until the broadcast,” Bashir recalled in “The Verdict.”

“You can see it. You can look at that moment in the Martin Bashir documentary and you can actually pin the end of his life to that very moment,” J. Randy Taraborrelli, Jackson’s childhood friend and biographer, said in the docuseries.

Given Jackson’s stardom, news and tabloid media swarmed the scene of the trial along with droves of dedicated fans (and a much smaller contingent of detractors). And the archival footage from “The Verdict” shows the extent to which fandom and media frenzy influenced the proceedings.

Jackson’s fans stationed themselves throughout the route he’d take to the Santa Maria courthouse with signs showing their support, sometimes standing and shouting and other times driving alongside him and honking. Jackson had his director of security, Kerry Anderson, film these drives while he waved and engaged with supporters.

As many as 1,000 fans showed up on the first day of the trial, and many would line up starting at 5 a.m. for raffle tickets that would allow them to enter the courtroom. One fan interviewed for the docuseries, Sheree Wilkins, said she quit her job as a preschool teacher to move to Santa Maria for the trial. When the “not guilty” verdicts were announced, she fainted and had to receive medical attention.

TV news stations from around the world, including Taiwan, Japan and Mexico, sent crews to cover the trial.

Even inside the courtroom, where cameras were not allowed, enthusiasm for Jackson’s music could not be contained. Attendees recalled everybody, from the jury to the judge and even the prosecution, “swaying in their seats” when songs played as part of an evidence display.

“I remember me moving in time to his music,” prosecutor Ron Zonen said. “At one point Tom [Sneddon, the District Attorney leading the prosecution] jabbed me and said, ‘Would you stop moving your foot?’ ”

Jackson’s mental and physical health deteriorated

Mark Geragos briefly served as Jackson’s defense attorney.

(Netflix)

According to numerous interviews in “The Verdict,” Jackson’s substance use was problematic before and during the trial.

Jackson was not at Neverland during the raid that predated his charges. According to journalist Dimond, her sources said he was in Las Vegas “having wild parties.”

“There were cigarette burns in the leather couches and chairs. There were empty liquor bottles on every table. And this is where Michael Jackson had been for several days, entertaining young teenage boys, who all spoke German,” she said.

Later, Jackson’s well-publicized physical pain became the catalyst for controversy when he was hospitalized overnight, where he was allegedly given enough pain medication “to tranquilize an elephant,” and failed to show up on time for court the next day. The judge threatened to issue a warrant for his arrest if he didn’t make it to the courthouse within the hour, leading Jackson’s team to speed there at 90 mph.

Throughout the trial, stress took an enormous toll on Jackson, defense attorney Mark Geragos said in the docuseries.

“I watched him just disintegrate, literally disintegrate. The ingestion of substances was just astronomical. There was a time when I actually saw him in the fetal position on the floor, and I thought, ‘What do we do?’ I mean, you don’t want his death to be on your hands because you took some inaction,” he said. “We had genuine concerns whether he could even withstand a trial — physically, mentally.”

The prosecution’s case fell apart at the hands of key witnesses

“The Verdict” lays out, step by step, how the trial ended in Jackson’s full acquittal. One major contributor, the docuseries seems to argue, is the downfall of the prosecution at the hands of its own witnesses.

Defense attorney Tom Mesereau was an expert at discrediting witnesses, subjects told the filmmakers, but certain key witnesses, like Janet Arvizo, struggled to connect with the jury on their own.

“I called her Janet from another planet,” admitted juror Melissa Herard. “Sorry, but that’s just how she acted.”

Jackson’s ex-wife Debbie Rowe was meant to take the stand as a smoking gun for the prosecution but instead revealed no new information and came to Jackson’s defense.

The prosecution also partially hinged its case on past allegations of child sexual abuse against Jackson, but conflicting testimony caused these efforts to backfire. A former Neverland employee claimed to witness Jackson molest Wade Robson when he was a child, but Robson took the stand and denied anything happened.

“It’s hard to convince a jury when the subject of the act itself said it didn’t happen,” Zonen said.

In 2013, Robson reversed his stance and filed a lawsuit against the Jackson estate alleging sexual abuse. His allegations, along with those of James Safechuck, were the subject of the 2019 documentary “Leaving Neverland.”

The last 100 years have seen a boom in trade, prosperity and wealth across the world, at unprecedented rates in human history. As a species, we are now more wealthy, healthy, and less likely to be killed in conflict than ever before, despite the many horrors we see in the daily news cycle.

This golden age we live in has run in tandem with an ever-expanding population; in the 1920s, there were only two billion people on the planet. A century later, that number has skyrocketed up to eight billion. Yet the increase of prosperity and people has come at a devastating price – global warming, the melting of the ice caps, an epidemic of plastic pollution and the mass destruction of the planet’s biodiversity are all intrinsically connected to population growth. More recently, however, the trend has been bucking. The watchful eyes of demographers have been drawn to data that reveal a world of ageing societies, plummeting birth rates, and dwindling populations. Surely this must be a good thing for the planet and therefore humanity … right? Armed with a file full of “population bomb” headlines – the explosion will happen mid-century, when humans will peak around 8.5 – 9 billion people, followed by drastic falls – we embark on a worldwide exploration with a very unique purpose. What truths and human stories can we discover behind the red flag statistics? What are the population tipping points of fertility, birth and death rates? And how, among the other culprits of climate change, conflict, global health and over consumption, might they make or break the future of our life on earth?

Episode 1: Baby Doomers

Netflix’s latest worldwide wager is a menu of programming designed to feed the building fútbol frenzy that will explode in mid-June, when the FIFA World Cup begins. They might even win some Stateside converts ahead of the platform’s presentation of the CONCACAF Gold Cup and Nations League finals in 2027 and 2029.

“We say our goal is to entertain the world; in order to [do that], we need to entertain every single country” where Netflix has a presence, says Francisco Ramos, the streamer’s vice president of original content, Latin America. “Our superpower is that we’re so deeply rooted into local storytelling, then that becomes global.

“Netflix is uniquely qualified at building global audiences” for international sports content, he says. “We are very conscious and deliberate about it.”

Not that original sports content is anything new for the streamer; its first-ever original international series, “Club de Cuervos,” was a Mexican dramedy about a soccer club. But this salvo is precision-guided to hit as about 5 billion viewers get hyped for the global tournament.

“Four years ago, during the World Cup, we launched [an Argentine] documentary called ‘Sean eternos: Campeones de América’ [‘Captains of the World’], and it was massive, and then Argentina ended up winning a few months later,” says Ramos. “Right now, as the World Cup arrives, it’s very passionate.”

It’s not just Latin America that’s being targeted with new programming: There’s a trio of documentaries about Jamie Vardy, Liverpool’s 2005 Champions League-winning team and footballer-turned-actor Vinnie Jones under the “Untold UK” banner; “Poldi,” on German superstar Lukas Podolski; and “The Bus: A French Football Mutiny,” about the national team’s rocky 2010 World Cup journey.

A scene from “USA ’94: Brazil’s Return to Glory.”

(Netflix)

The World Cup-contending squad

For fans, the slate offers documentaries on landmark moments in Cup history (“USA ’94: Brazil’s Return to Glory”), superstar players (“Emi Martínez: The Kid Who Stops Time” and “James”) and even up-and-comers in a prestigious amateur tournament in Brazil (“The Root of the Game”).

But for the uninitiated, apart from the streamer’s FIFA soccer simulation game coming this summer, the gateway drug may be “Ronaldinho: The One and Only.” The doc spotlights one of the most improvisational and dynamic players ever, soccer’s Magic Johnson. The legendary attacking midfielder was a wizard on the pitch and a charisma machine off it.

“Ronaldinho retired from soccer [in 2018], and he’s still in the mainstream. He has 80 million followers on Instagram,” says Luis Ara, director of “Ronaldinho” and “USA ‘94.” “You have [superstars Lionel] Messi and Neymar [da Silva Santos Júnior] talking about him like he’s God.

“He was always so cool … for him, it was not only about winning a game; it was also about entertaining the people.”

Scripted offerings include the feature “Mexico ’86,” starring a wildly hustling Diego Luna. It’s a nasty comedy about the wheeling and dealing (and outright bribery) that landed Mexico the right to host its second World Cup. Non-soccer fans might enjoy the snarky dialogue and bare-knuckled machinations — it plays like a Spanish-language, soccer-themed “Succession” or “Marty Supreme.”

“Brazil ’70: The Third Star” is a miniseries about that country’s campaign to win a third World Cup, led by a name even non-fans know: Pelé. Rodrigo Santoro stars as Coach João Saldanha.

“Brazil was in the midst of the dictatorship; they had to somehow generate some sort of national pride,” says Ramos. “The only thing that unites Brazilians 100% is their team. It becomes this compelling thing about how society is so intertwined with sports, and how sports are so intertwined with politics in Latin America.”

Soccer superstar Ronaldinho Gaúcho is interviewed in the new Netflix documentary “Ronaldinho.”

(Netflix)

Is converting new American fans a realistic goal?

When soccer is the No. 1 sport in so many nations, why isn’t it bigger here?

It might have to do with the U.S. not having been a major player on the world stage, at least on the men’s side. The men’s team’s highest World Cup finish in the modern era is the quarterfinals in 2002, while U.S. women’s teams have won a record four World Cups. But the men have qualified for the tournament this year — which will be played partially in the States — and analysts say the team has improved, though they’re no one’s favorites to win it all.

Ramos says if American audiences stop seeing it as a competition between football and fútbol, they might come to appreciate soccer’s nuances.

“Take a look at the last 20 minutes of the World Cup four years ago, between France and Argentina. It’s the most extraordinary, beautiful art of people moving, and moving in extraordinary coordination. It’s like, the most-watched online thing ever.”

Beyond Netflix’s big bet on the World Cup slate, it’s not hard to get Ramos and Ara to make further wagers on this year’s tournament.

“Four teams have huge chances to win: Spain, France, Argentina and Brazil,” says Ara. “My heart is with Uruguay, but I don’t know if we’re gonna have a chance. Because of my bond with Brazil nowadays, I wish they could win again. A player once said to me, ‘Brazil is the second national team for any fútbol supporter.’ ”

“Oh my God, I will get in trouble,” says Ramos. “I’m Mexican, and it takes place in Mexico [and the U.S. and Canada], but … I’m gonna go with Argentina. My No. 2 would be Brazil.”

On October 28, 2025, more than 2,500 police officers launched a massive raid on two favelas in Rio de Janeiro. They were targeting leaders of Red Command, one of Brazil’s largest drug trafficking groups. By the end of the day, more than 120 people were dead, making it Brazil’s bloodiest police operation.

In the aftermath, police withdrew without securing the scene. Bodies were left behind, and forensic teams never arrived. Residents recovered the dead themselves, which erased critical evidence of what happened.

Through exclusive reporting, Fault Lines reconstructs the case of Douglas de Almeida da Silva, a father and small business owner shot by police that night. Officers say he fired first, but forensic analysis and witness footage raise serious questions about their account.

The raid reflects a broader pattern in Rio, where police routinely fail to preserve crime scenes, undermining investigations and shielding officers from accountability.

Despite repeated deadly raids, gangs continue to control the favelas, raising questions about whether these operations curb the violence or simply add to it.

Women in eastern Democratic Republic of the Congo are disproportionately impacted by Ebola as shortages of protective gear amid funding cuts accelerate the spread of disease. Al Jazeera’s Imogen Kimber reports how these caregivers to the living and the dead are most at risk.

Indonesian authorities have shut down several screenings of a new documentary about alleged human rights abuses in Papua, including Indigenous land seizures. Al Jazeera’s Jessica Washington explains the controversy.

Watch the trailer for a new BBC Sport documentary offering unprecedented behind-the-scenes access to Manchester United and England star Ella Toone as she prepares for her wedding.

Launching on BBC Sport’s YouTube channel and BBC iPlayer on Friday 29 May, 24 Hours With Ella Toone is the first episode of a new BBC Sport digital series which captures a defining 24-hour chapter with some of sport’s most fascinating characters.

Watch on Friday 29 May from 18:00 BST on BBC Sport’s YouTube channel, external, 19:00 on BBC iPlayer and BBC Three. The YouTube Premiere page will be available from 18:00 on Wednesday to set a reminder.

READ MORE: How Toone is navigating grief through football

Available to UK users only.

Netflix is dropping a three-part docuseries that revisits Michael Jackson’s 2005 trial in which he was acquitted on charges of child molestation.

“Michael Jackson: The Verdict” drops June 3 and features archival footage and interviews with key players involved in the trial including jurors, figures from both the defense and the prosecution, journalists who were inside the courtroom and other eyewitnesses who saw the events unfold firsthand.

“It has been 20 years since the trial of Michael Jackson in which he was found not guilty. Yet, to this day, controversy still rages,” the filmmakers said. “No cameras were allowed in court, and so the public’s view of the facts at the time were filtered by commentators and presented piecemeal. It was time to take a forensic look at the trial as a whole.

“Anyone interested in the Michael Jackson story should feel this documentary gives them a window into what was largely a closed event and a chance to feel closer to what happened.”

The Santa Barbara Superior Court trial lasted 14 weeks, and the jury, which included eight women and four men, deliberated for more than 30 hours across seven days.

Jackson was acquitted on 10 felony charges: four counts of child molestation, four counts of plying a minor with alcohol in order to molest him, one count of attempted child molestation and one count of conspiracy to hold the boy and his family captive at the Neverland Ranch. He faced more than 20 years in prison.

Produced by Candle True Stories, the production company behind Netflix’s “Untold: The Liver King,” and directed by Nick Green, “Michael Jackson: The Verdict,” comes at a time of renewed interest in the “King of Pop.”

The Jackson-estate-approved biopic “Michael” hit theaters last month, and depicts the origin story of the hitmaker from childhood through his upward trajectory to superstar status in the 1980s. Notably, the movie omitted the slew of allegations that followed Jackson from the ’90s until his death in 2009.

When Andrea Werhun started writing her memoir, “Modern Whore,” nearly a decade ago, she was afraid to be honest about working as an escort and stripper. But she embraced going public to “use storytelling to advocate for the plight of sex workers.”

In the documentary version of “Modern Whore,” directed by Nicole Bazuin, Werhun has gone not one, but several steps further. Werhun, 36, is not only the main interview subject, she’s also the frequently topless star of all the vividly depicted reenactments of her experiences. The documentary also features bright colors, funky music and an often jaunty tone.

Werhun, who started escorting in college and still does sex work even while pursuing writing and acting, was a consultant on Sean Baker’s “Anora,” and he served as a producer here, offering feedback on their script and numerous cuts of the film. It premiered at the Toronto International Film Festival in 2025 and is now available on video on demand.

Werhun and Bazuin recently discussed the film’s style and goals in a joint video interview edited for length and clarity.

How much were you consciously trying to make this different from other documentaries about sex workers?

Bazuin: I wanted this to feel like a storybook come to life — we literally jump inside Andrea’s book with Andrea as our storyteller and reenactor of her own experiences. People might expect a film about sex work to be be drab or dour, and we wanted to confront that right away with vivid colors and a stylized expressionistic mode that can support all the moods of her experiences. Stylized films sometimes can contain more truth than realistic forms.

Werhun: Cinema verité, which is typically how sex workers are portrayed in documentaries, inevitably comes off as voyeuristic.

Most documentaries about sex work don’t include R-rated reenactments starring the film’s subject. Why include that?

Bazuin: We wanted to disrupt expectations audiences might have and to make it a more human portrait.

Werhun: I love performing and I’d love to have an acting career and this was an excellent showcase of my abilities.

But also it would feel censored if there weren’t any tits, if there were no sex scenes in a film about sex. I’m not ashamed of the fact that I’ve used this body to make a living. Nicole and I crafted the scenes meticulously to convey a point that is artistic, funny and educational.

Bazuin: The movie runs the gamut tonally. It’s a “Trojan whore” for a feminist and sex worker manifesto for political and social change, so we also show the challenges and the assaults that Andrea experienced because we want laws that would make this work safer, including the decriminalization of sex work.

Andrea, why interview your boyfriend and mom on camera?

Werhun: The sex worker stereotype is that we’re isolated and vulnerable, with no support systems; that stereotype makes predators think we’re easy victims. I wanted to dispel the idea that we are incapable of having loving, meaningful relationships.

This is presented as a film memoir yet you then include other sex workers’ perspectives.

Werhun: Unfortunately, when it comes to sex work storytelling, there is a proliferation of cis white, educated women and those tend to be the stories that get platforms. But that experience is minute compared to the wide range of sex workers, so it was vital to expand the narrative to include other perspectives, whether it’s race, gender orientation or class. What we have in common is that we all deserve to be treated with respect and dignity.

You say you’re rewriting the usual story of sex workers as victims or villains but you were a victim, both of exploitative working conditions and sexual assault. Will sex workers always be victimized without legal protection?

Werhun: Most of our clients are not bad people, they’re paying for a service we’re willing to provide. But under any criminalized model, there is inherently exploitation and people don’t feel safe accessing justice. If we don’t have labor rights, we’re going to be victimized. Even strippers are not comfortable going to the police.

We’re fighting a society that wants to keep our work in the dark, to pretend that this isn’t happening, that it can be abolished by throwing people into prison. Criminalization is harmful and guarantees there are more victims.

Where does OnlyFans fit into the sex work equation?

Werhun: The beauty of escorting and stripping is that you can dip in and out. With OnlyFans you’re working 24/7, creating content, interacting with your fans and doing constant self-promotion. With sex work in person, no one has to know about it but OnlyFans will follow you for the rest of your life. I did it for a year and a half and it paid my rent but it’s not my preferred type of sex work. It’s great for people who live online.

How did audiences respond to the film at festivals?

Werhun: Obviously, creating this film was a trust fall. The film is a song and dance on behalf of all whores, trusting humanity to hold me and not hurt me. I was pleasantly surprised by how audiences warmly embraced it. Some people were working through their prejudices in real time and it’s amazing to watch them transform. We hope the film can inspire social change. If it pulls your heartstrings, then when issues of criminalization and legal change arise, people might say, “I remember that movie and I think whores deserve to have equal rights with everybody else.”

Viewers have been left horrified by the chilling new documentary that is free to watch.

Channel 5 viewers have been left horrified by a new true crime documentary.

Murder In Shetland: Trial by Jury follows the killing of Claire Leveque, a woman who was found dead at a remote Shetland home.

Claire, from Canada, was 24 years old when she was killed on 11 February 2024.

She was found with a number of serious injuries in a hot tub at a property in the Sandness area, and though emergency services arrived at the scene, she was pronounced dead a short while later.

A new documentary is now revealing the murder trial that followed, as well as sharing the perspective of her grieving family.

The Channel 5 synopsis teases: “Inside the courtroom as a grieving family and an accused partner collide in a murder trial.”

Sharing a clip on social media, Channel 5 warned viewers: “Warning: Some viewers may find the following video distressing.”

They added: “Claire Leveque’s final months reveal a harrowing story of control and abuse. Now, her family cross continents in search of answers, and justice.”

The trailer heard clippings from the trial, with Claire’s family and friends in tears in court.

It also sees testimonies from experts brought in to prove the case, as a person warns: “This is a horror story from the beginning.”

“This was horrific,” one viewer commented to the clip.

Another said: “Horrendous case – can’t imagine how her family & friends coped with that trial.”

Someone else called it “very chilling”, and said “it wasn’t an easy watch”.

“A hard watch,” another agreed, while someone else said: “#MurderinShetland is remarkable television. Do watch it if you can, although it is quite harrowing.”

Ahead of the documentary airing, Gary Davies, consultant editor for commissioning at 5, said: “This thoughtful series gives a deeply human account of an unimaginable tragedy. It shines a light on the justice process and honours the courage of Claire’s family as they seek truth and remembrance.”

Mark Procter, executive producer for Big Little Fish, echoed the sentiment, saying: “We are profoundly grateful to the Judicial Office for Scotland and to everyone who enabled our access to the trial.

“Above all, we are honoured that the Leveque family have entrusted us to document what happened to Claire. We hope this series serves as a respectful tribute – giving her the voice that was so cruelly taken from her.”

Murder in Shetland: Trial by Jury is available to watch on Channel 5.

Brian Lindstrom, a filmmaker whose documentaries shined a light on society’s underdogs and inspired social change, has died. He was 65.

Lindstrom’s wife, author Cheryl Strayed, confirmed the news on Instagram Friday.

“Brian Lindstrom died this morning the way he lived — with gentleness and courage, grace and gratitude for his beautiful life,” she wrote. “Our children, Carver and Bobbi, and I held him as he took his last breath and we will hold him forever in our hearts. The only thing more immense than our sorrow that Progressive Supranuclear Palsy took our beloved Brian from us is the endless love we have for him.”

According to the National Institute of Neurological Disorders and Stroke, PSP is caused by damage to nerve cells in areas of the brain that control thinking and body movements. The rare neurological disease progresses rapidly.

Strayed, who penned the bestselling memoir “Wild,” which was later adapted for the big screen and starred Reese Witherspoon, announced just weeks ago that Lindstrom had been diagnosed “with a serious, fatal illness.”

Lindstrom was born Feb. 12, 1961. The son of a bartender and a liquor salesman, he was raised in Portland, Ore. — which he and his family still called home.

He was the first member of his family to attend college, which he paid for by taking out student loans, landing work-study jobs and working summers in a salmon cannery in Cordova, Alaska. During a 2013 TEDx Talk, Lindstrom said that after he’d exhausted all the video production classes at Portland’s Lewis & Clark College, his professor Stuart Kaplan gave him a gift certificate to a class at the Northwest Film Center. There, Lindstrom made a short film about his grandpa that landed him a spot in the MFA program at Columbia University.

It was a train trip with his grandpa that inspired Lindstrom to tackle challenging topics with a lens that restored dignity to his subjects. His grandpa was a binge-drinker, and on day three of the trip, he woke up with a hangover and was missing his dentures. Lindstrom, only 5 at the time, noticed the way other passengers treated him and his grandpa differently.

“I think what my films are about is that search for my grandfather’s dentures, the humanizing narrative that bridges the gap between us and them and arrives at we,” he said.

Lindstrom said he returned to Portland after film school and “did several projects with the Northwest Film Center that had me putting a camera in the hands of kids on probation, homeless teens, newly recovering addicts, hard-hit people who had hard-hitting stories to share.”

“Those projects taught me so much about the transformative power of art, and they gave me permission I felt in my personal films to ask people if I might follow them, so that an audience could better understand what they were going through, and by extension, better understand themselves,” he said.

Lindstrom’s 2007 award-winning cinéma-vérité-style film, “Finding Normal,” followed long-term drug addicts as they left prison or detox and tried to rebuild their lives with the help of a recovery mentor.

“What I’m most proud about is that ‘Finding Normal’ is the only film to ever be shown to inmates in solitary confinement at Oregon State Penitentiary, and not, I might add, as a punishment,” Lindstrom said.

In 2013, he released “Alien Boy: The Life and Death of James Chasse,” a documentary that illuminated the life of a man who grappled with schizophrenia and examined his death, which happened in police custody. Discussing the film with LA Progressive in 2018, Lindstrom said that he doesn’t make films for audiences.

“I make them for the people in the film. It is my small way of honoring them,” he told the outlet. “That doesn’t mean I don’t delve into dark areas or that I ignore that person’s struggles. I’m much more concerned with trying to achieve an honest depiction of that person’s life than I am with any potential audience reaction.”

Lindstrom’s work aimed to inspire empathy and humanize those suffering in the margins of society, but it also catalyzed policy change. His acclaimed 2015 documentary, “Mothering Inside,” followed participants in the Family Preservation Project (FPP), an initiative helping incarnated moms establish and maintain bonds with their children.

Midway through filming the documentary, the Oregon Department of Corrections announced it planned to nix funding for the FPP. Lindstrom hosted early screenings of the film, which inspired grassroots advocacy that reached then-Gov. Kate Brown, who subsequently signed legislation that restored funding. The film’s release also helped make Oregon the first state in the U.S. to pass a bill of rights for children of incarcerated parents.

Partnering with Strayed, Lindstrom made the documentary short, “I Am Not Untouchable. I Just Have My Period,” for the New York Times in 2019. The film highlighted the experience of teen girls in Surkhet, Nepal, and the menstrual stigma they faced. Most recently, the filmmaker released, “Lost Angel: The Genius of Judee Sill,” which examined the folk-rock singer’s life from her traumatic childhood and drug-addled adolescence through her rise in the Laurel Canyon music scene and untimely death.

Lindstrom, discussing “Judee Sill” and his style as a filmmaker, told Oregon ArtsWatch, “It’s the chance to kind of focus on the question: What does it mean to be human? The person that the film is about, what can they teach us, what can we learn from them? What can they learn from themselves?”

In 2017, Lindstrom received the Civil Liberties Award from the American Civil Liberties Union of Oregon for his work advancing civil rights and liberties. That same year, he received the Distinguished Alumni Award from Lewis & Clark College.

In Strayed’s post announcing Lindstrom’s death, she described their more than 30-year partnership as a stroke of “tremendous luck.”

“We loved each other and our kids with deep devotion and true delight. He was a stellar husband. He was the most magnificent dad. He was a man whose every word and deed was driven by kindness, compassion, and generosity,” she wrote. “He saw the goodness in everyone. He believed that we are all sacred and redeemable.

“His work as a documentary filmmaker was dedicated to telling stories of people who, as he put it, ‘society puts an X through.’ He erased that X with his camera and his astonishing heart.”

Strayed’s memoir — which followed her as she hiked 1,100 miles along the Pacific Crest Trail in the wake of her mother’s death, a battle with drug addiction and divorce from her first husband — concludes with a happy ending. She finished the months-long hike and sat on a white bench near the Bridge of the Gods, a stone’s throw from the spot where, she writes, she’d marry Lindstrom four years later.

“His greatest legacy is Carver and Bobbi, who embody everything good and true about their father. Their extraordinary grace, courage, and fortitude during this harrowing time was unfaltering and grounded in the undying love Brian poured into them every day of their lives,” she wrote. “We do not know how we will live without him. We’re utterly bereft. We can only walk this dark path and search for the beauty Brian knew was there. It will be his eternal light that guides us.”

Fake online advertisements and social media groups are luring people in Jordan with promises of “quick profits” from cheap gold with sellers disappearing once funds have been transferred or customers defrauded with counterfeit and substandard metals, Jordanians tell Al Jazeera.

Mohammed Nassar said he was quoted a price for gold lower than local market rates due to an “online store” claiming it was exempt from manufacturing fees, government licensing costs or shop rents.

The Jordanian shopper transferred the money to secure what he thought was a bargain before the website disappeared and Nassar realised he had become the victim of a scam.

In another case, a young woman named Tala Al-Habashneh told Al Jazeera that she bought gold through a social media platform after agreeing with the seller and transferring the promised amount.

On closer examination of the product, she found that her gold was counterfeit, mixed with other metals and lacking any official stamps or invoices to prove its origin or carat.

Tala immediately filed a complaint with the Cybercrime Directorate of Jordan’s Public Security Directorate. The case is pending.

Government monitoring

Wafaa Al-Momani, assistant director general for Regulatory Affairs and director of the Jewelry Directorate at the Jordan Standards and Metrology Organisation (JSMO), told Al Jazeera that the institution is the only entity in the kingdom responsible for monitoring precious metal jewellery – such as gold, silver and platinum – and overseeing jewellery trading.

All imported jewellery is examined and stamped by the JSMO before being released onto the market, she said, while local workshops are also required to submit jewellery for inspection and verification before it can be sold.

Al-Momani said her organisation has received some complaints about companies, websites and social media groups engaged in fraud by “promoting the buying and selling of gold, especially broken gold [used or damaged], through unlicensed individuals”.

The JSMO is monitoring sellers engaged in fraud in coordination with security authorities to prevent jewellery from being sold outside licensed shops.

Al-Momani said the JSMO is tightening oversight of gold shops and sellers in the kingdom and said any store found selling unstamped jewellery or violating legal standards will face legal penalties but also warned Jordanians that buying gold through unofficial channels “does not guarantee that the jewellery conforms to legal standards or carats”.

Adornment and treasure

Rabhi Allan, the head of the Jordanian Association of Jewelry and Goldsmiths, explained that gold remains a traditional means of saving and investment for Jordanians as well as an accessory, quoting the popular saying: “Gold is an adornment and a treasure.”

However, he described the sale of gold through social media as “alien to Jordanian society” and stressed that transactions of this “cash commodity” should only take place via official shops with invoices clearly stating the weight, carat and labour costs of the product.

He said the association had filed complaints with the Cybercrime Directorate against unlicensed and anonymous sites, noting that these pages “appear and disappear without warning”, a situation that leaves victims without the ability to secure their consumer rights.

The association has documented numerous complaints and court cases resulting from gold sales conducted through social media platforms that often use edited or fabricated images and fake offers to attract buyers.

Others offer gold at prices significantly below market value to lure buyers, but the product sold is often counterfeit, nonexistent or contains far less of the precious metal than advertised.

He urged citizens to buy gold only via licensed and accredited shops that display official prices and issue proper invoices to protect buyers’ rights.

While questions have been raised about whether some gold sales conducted through social media could be linked to illegal activities, Allan said the cases monitored so far appear to be “individual incidents that do not amount to money laundering”.

Security warning

The Cybercrime Unit of the Public Security Directorate also warned citizens against buying gold through social media advertisements and confirmed that the body has received multiple complaints of fraud linked to the trade.

Colonel Amer Al-Sartawi, Public Security Directorate spokesperson, told Al Jazeera that the grievances ranged from cases where money was wired to fraudsters who subsequently disappeared without delivering the promised gold to incidents in which buyers received counterfeit pieces made from other less valuable metals, such as copper or iron.

Al-Sartawi urged citizens not to deal with such pages and to buy gold exclusively from licensed and accredited shops.