hurry

Tehran, Iran – Iran is “not in a hurry” to resume talks with the United States over its nuclear programme, Tehran’s foreign minister has told Al Jazeera.

Iran remains prepared to engage in indirect negotiations with Washington if the US chooses to talk “from an equal position based on mutual interest”, Foreign Minister Abbas Araghchi told Al Jazeera Arabic in an interview at his office in Tehran that was broadcast on Sunday.

The official also asserted that a critical “shared understanding” regarding Israel is developing across the region.

Tehran’s top diplomat said conditions set by the US for talks to resume – which reportedly include an emphasis on direct negotiations, zero uranium enrichment, and limits on Iran’s missile stocks and its support for regional allies – are “illogical and unfair”.

That makes talks untenable, he suggested.

“It appears they are not in a hurry,” he remarked. “We are not in a hurry, either.”

Araghchi’s insistence comes despite the pressure from reimposed United Nations sanctions and other challenges facing the Iranian establishment.

Rather, the foreign minister said he believes regional dynamics are turning against Israel, the US’s closest ally in the Middle East.

“I sometimes tell my friends that Mr Netanyahu is a war criminal who has committed every atrocity, but did something positive in proving to the entire region that Israel is the main enemy, not Iran, and not any other country,” Araghchi said in reference to the Israeli prime minister.

The comments came two days after Oman’s chief diplomat, for the first time, publicly joined the chorus of disapproval aimed at Netanyahu and his hardline government.

“We have long known that Israel, not Iran, is the primary source of insecurity in the region,” Foreign Minister Badr bin Hamad al-Busaidi told the audience at the IISS Manama Dialogue 2025 regional forum.

He said over the years, the Gulf Cooperation Council (GCC) has “at best sat back and permitted the isolation of Iran”, a stance that he believes “needs to change”.

In the past 48 hours, the heinous lie that the unlawful Israeli and U.S. bombing of Iran was motivated by an imminent nuclear threat has been thoroughly debunked by

– The International Atomic Energy Agency Chief, who has explicitly stated that Iran “is not and was not”… pic.twitter.com/C2uBzBLOHD

— Seyed Abbas Araghchi (@araghchi) November 2, 2025

Oman has for years acted as a mediator between Iran and the US in nuclear, financial, prisoner exchange and other regional issues.

Tehran and Washington were slated to sit down for a sixth round of talks in mid-June, when Israel attacked Iran’s nuclear facilities. That launched a 12-day war that killed more than 1,000 people in Iran and inflicted billions of dollars in infrastructure damage.

After media reports last week said the administration of US President Donald Trump had sent a new message to Tehran via Oman, Iran’s government spokeswoman Fatemeh Mohajerani confirmed that messages had been received.

But she did not elaborate on the content or Iran’s potential response. The White House has not publicly confirmed sending the missive.

During his interview, Araghchi said “almost all” of the about 400kg (880lb) of 60-percent enriched uranium possessed by Iran is “buried under the rubble” of nuclear facilities bombed by the US and Israel.

“We have no intention of removing them from under the rubble until conditions are ready. We have no information on how much of the 400kg is untouched and how much is destroyed, and we will have no information until we dig them out,” he said.

The Iranian foreign minister pointed out that China and Russia have formally announced they do not recognise the UN sanctions recently reimposed against Iran by the European signatories to its 2015 nuclear deal with world powers.

France, the United Kingdom and Germany have signalled they want to restart talks with Tehran. However, no substantial progress has been made.

In the meantime, they have imposed sanctions and restrictions, both in relation to Iran’s alleged drone exports to Russia and its nuclear programme.

The three European powers in September announced they were suspending their bilateral air services agreements with Iran, affecting Iranian carriers like Iran Air.

Some of the flights appear to be gradually coming back, though, with Iranian state television airing footage of an Austrian Airlines flight landing in Tehran’s Imam Khomeini International Airport on Sunday night.

Germany’s Lufthansa is also scheduled to resume flights to Tehran, but the precise restart date has not been publicly announced.

The lure for music stars to cinematize their success will never grow old, and the movies — in need of high-wattage attractions as ever — always seem ready to oblige. The latest to enter that terrain is Abel Tesfaye, the artist known as the Weeknd, whose chart-toppers over the last decade-plus have painted, in club colors and through his haunted falsetto, a hedonist performer’s ups and downs.

It’s one thing to croon about the aftertaste of youthful excess to a dirty, mesmerizing dance beat, however, and another to draw the subject out to a compelling feature length, which the turgid psychodrama “Hurry Up Tomorrow,” starring Tesfaye and directed by Trey Edward Shults, mostly fails to do. But not for lack of trying from the visually vibey “Waves” filmmaker, who wrote the movie with Tesfaye and Reza Fahim, and from co-stars Jenna Ortega and Barry Keoghan, roped into playing along in the superstar’s sandbox of tour-nightmare solipsism.

The title also belongs to the latest hit album of Tesfaye’s, released this year, which the singer-songwriter has hinted in the press to be a redemptive mic drop of sorts for his mysterious sex-and-drugs-fueled Weeknd persona. Whether you call the film a promotional tie-in or companion piece — it was filmed two years ago, before all the album’s tracks were recorded — it’s still little more than a long-form music video vanity project, straining for importance, fumbling at resonance.

A tight frame on Tesfaye’s boyish, anxious-looking face, his angry girlfriend’s breakup voice message (“I used to think you were a good person!”), and superficial pumping up from his manager (a bro-mode Keoghan), let us know all is not right backstage for this musician on the first night of a big tour. Elsewhere, a distraught young woman (Ortega) drenches a house’s interior with gasoline and sets it on fire, then drives to a gas station to refill her canister.

These tortured souls meet the night his coked-up, busted-heart malaise triggers a walk-off midperformance, and she’s there backstage to lock eyes with him and ask if he’s OK. (He’s not!) From there it’s an escapist date of air hockey, carnival rides and, once they settle in a fancy hotel room, the sharing of a sensitive new song.

In the cold light of day, though, when her vulnerabilities bump up against his reset untouchability — Ortega gets a great line, “You don’t look worried, you look scared” — this impulsive star/fan connection takes a violent turn. Anyone familiar with the HBO series “The Idol” that Tesfaye co-created will soon sense an unwelcome reprise of that short-lived showbiz yarn’s retrograde misogyny.

The germ of an edgy fantasia about an isolated pop icon’s ego death is swimming somewhere in the DNA of “Hurry Up Tomorrow,” but it’s been flattened into a superficial, tear-stained pity party. Shults and cinematographer Chayse Irvin are gifted image makers, but they seem hamstrung applying their bag of style tricks — different aspect ratios, multiple film stocks, 360 shots and roving takes — to so shallow and prideful an exercise. There’s always something to look at but little that illuminates.

As for Tesfaye, he’s not uninteresting as a screen presence, but it’s an embryonic magnetism, in need of material richer than a bunch of close-ups that culminate in a howl of a ballad. In the flimsy narrative’s pseudo-biographical contours — notably the real-life voice loss he experienced onstage a few years ago — parallels to what Prince sought to achieve with the real-life-drawn “Purple Rain” are understandable. But that film was a cannier bid for next-level success, offsetting its three-act corniness with emotional stakes that led to a crescendo of its genius headliner’s performance prowess.

“Hurry Up Tomorrow” is thinner and sloppier. It won’t slam the door on Tesfaye’s movie ambitions, but as a bid to conquer the big screen, it’s an off-putting, see-what-sticks wallow that treats the power of cinema like a midconcert costume change.