reality

Ouagadougou, Burkina Faso – Captain Ibrahim Traore, a 38-year-old army officer who seized power in a 2022 coup, has become one of Africa’s most recognisable leaders, hailed by supporters as a symbol of sovereignty and resistance to foreign influence.

But while his image has grown across the continent, his rule has also been marked by increasing restrictions on political activity, persistent insecurity and questions over whether his message of national renewal can translate into lasting change.

In April, Traore told Burkinabe people to “forget about democracy”, arguing that the country was in a revolutionary phase rather than a democratic one. The remark came after his government extended the military-led transition and dissolved political parties, signalling that a return to civilian rule was no longer an immediate priority.

The contrast between Traore’s growing international reputation and the realities inside Burkina Faso has become one of the defining questions of his presidency.

Burkina Faso has been at the centre of the Sahel’s security crisis for nearly a decade, with armed groups linked to al-Qaeda and ISIL (ISIS) expanding across large parts of the country and overwhelming successive governments.

Why has Traore become so popular?

Traore’s appeal extends well beyond Burkina Faso because he has tapped into wider frustration across parts of Africa over foreign military intervention, economic dependence and political elites seen as disconnected from citizens.

Since taking power in a coup in September 2022, he has expelled French troops, strengthened ties with Russia, promoted local industry and agriculture, and presented economic self-reliance as a national priority. His government has joined other military-led governments in the Sahel region moving away from traditional Western security partnerships.

His speeches frequently invoke the legacy of former revolutionary leader Thomas Sankara, who ruled Burkina Faso from 1983 until his assassination in 1987 and who remains a symbol of anti-imperialism and self-reliance across Africa.

Supporters argue that Traore has restored national pride and challenged a system in which Burkina Faso remained politically and economically dependent on external powers.

“What’s happening in Burkina Faso is a genuine decoupling of legitimacy from performance,” Kabir Adamu, a security analyst and founder of Beacon Consulting Limited in Nigeria, told Al Jazeera. “Traore has restructured the security architecture around sovereignty rather than efficacy.”

Adamu said measures such as the creation of the Volunteers for the Defence of the Homeland, Burkina Faso’s withdrawal from the Economic Community of West African States (ECOWAS) and closer security ties with Russia have resonated with a population exhausted by years of foreign-backed military efforts that failed to stop the spread of armed groups.

A Burkinabe diplomat based in Ghana, who requested anonymity because they were not authorised to speak publicly, said Traore’s appeal reflects a desire among some citizens for a leader who appears less influenced by external powers.

“I have followed the speeches of Western leaders for decades,” the diplomat told Al Jazeera. “Traore is the first leader in years who looks like he isn’t reading from their script.”

The diplomat said some supporters view criticism from Western governments as evidence that Burkina Faso’s attempt to pursue a more independent path challenges established relationships.

What has changed under his government?

Traore has sought to turn his sovereignty message into policy, with his government prioritising local production, state control of strategic sectors and reduced dependence on foreign partners.

Officials say Burkina Faso has increased investment in agriculture, particularly in staple crops such as rice and maize, while encouraging local manufacturing and processing industries. The government has also promoted infrastructure projects and sought greater national involvement in strategic economic sectors.

Supporters argue that these measures are laying the foundations for greater economic independence and ensuring that national resources are directed towards domestic development rather than external interests.

The government has also expanded the Volunteers for the Defence of the Homeland programme, a government-backed civilian force created to support the military in areas where the state has struggled to maintain security.

Has security improved?

This remains the central test of Traore’s presidency.

He came to power promising to reverse the deterioration in security that had plagued Burkina Faso for years. Successive governments struggled to contain armed groups linked to al-Qaeda and ISIL (ISIS) that expanded across the Sahel following instability in neighbouring Mali.

Since 2022, the military has intensified operations across the country and repeatedly announced the recapture of towns and strategic positions. Government officials say security has improved in several areas and that the state has regained ground previously controlled by armed groups.

“Traore’s presidency is ultimately judged by whether security has improved,” Mustapha Bature Sallama told Al Jazeera. He is a private investigator and security and intelligence specialist from Ghana who is based near the Ghana–Burkina Faso border.

Sallama said Burkina Faso continues to face serious threats from armed groups linked to Jama’at Nusrat al-Islam wal-Muslimin (JNIM), al-Qaeda’s affiliate in the Sahel, and ISIL’s West Africa Province (ISWAP), with millions of people requiring humanitarian assistance, more than two million displaced and limited independent verification of official security claims.

He added that Burkina Faso and Ghana maintain intelligence cooperation to monitor cross-border threats and prevent the spread of armed group violence into the region.

Despite government claims of progress, Burkina Faso remains one of the countries most affected by armed group violence. Attacks continue across multiple regions, civilians are regularly killed and humanitarian organisations report that millions of people require assistance.

More than two million people remain displaced and access to many affected areas is limited. Independent verification of military claims has also become increasingly difficult as access for journalists, researchers and humanitarian groups has narrowed.

What about political freedoms?

Traore’s government has increasingly moved beyond a military transition towards a broader consolidation of power.

In January, authorities dissolved political parties and suspended political activities, arguing that they fuelled division during a period of national crisis. The move followed an earlier extension of the military transition, effectively postponing a return to electoral politics.

The tightening of state control has also extended beyond politics. Last month, Traore publicly declared that “the battle has begun” against Muslim scholars he accused of promoting religious extremism, following the adoption of a new Religious Freedoms Law and the arrest of several prominent Sunni clerics.

The confrontation was significant because many Muslim leaders had previously been viewed as part of Traore’s support base. Critics warned that the measures risked weakening religious independence and freedom of expression, while authorities argued that extraordinary steps were necessary during a national security emergency.

Rights groups have also raised concerns over restrictions affecting political parties, journalists and civil society organisations.

So does the record match the reputation?

Traore’s rise has been built on a powerful message: that Burkina Faso should have greater control over its security, resources and political direction.

For many supporters, he represents a generation of African leaders willing to challenge former colonial powers, reject Western security frameworks and demand greater control over national resources. In a region where frustration with foreign intervention has been growing, that message has resonated strongly.

But the strength of Traore’s image has also created a difficult test: whether symbolic victories can translate into improvements in people’s daily lives.

If the measure is sovereignty, political messaging and the ability to inspire supporters, Traore has achieved remarkable influence in a short period and become one of Africa’s most recognisable political figures.

If the measure is security, humanitarian conditions and political freedoms inside Burkina Faso, the picture is far more complicated. Armed violence continues, displacement remains widespread and questions remain over whether military rule can deliver lasting stability.

Traore has proved highly effective at turning sovereignty into a powerful political message. The question now is whether that message can deliver the security and justice that many Burkinabe people expect.

“We are proud to see a leader who stands up to the West and wears our traditional clothes. That pride is real,” a youth leader in Ouagadougou, who requested anonymity because of concerns for their safety, told Al Jazeera.

“But pride doesn’t feed a family, and it doesn’t protect a village. We want Captain Traore to be a symbol of strength, but we also need him to be a symbol of safety and justice here at home.”

Hungary’s corporate landscape is undergoing its most significant transformation in decades as businesses that flourished under former Prime Minister Viktor Orban adjust to a new political order led by Prime Minister Péter Magyar. Companies that once benefited from close ties to the previous government are now restructuring their operations, while investors and foreign firms are watching for signs of a more competitive business environment.

The shift follows Magyar’s decisive election victory in April, ending Orban’s 16 year rule and ushering in an administration that has pledged to curb political favoritism, increase transparency in public procurement, and align Hungary more closely with European Union governance standards.

Construction Giants Shift Strategy

One of the clearest signs of the changing business climate comes from Market Építő, one of Hungary’s largest construction firms, which has historically secured major government backed infrastructure projects, including football stadiums.

Chief Executive Sandor Scheer said the company is preparing for a future less dependent on large public contracts.

“We are preparing for a shift where, instead of large scale projects, we will have a higher volume of smaller scale projects, and housing and infrastructure construction will become dominant,” Scheer told Reuters.

The company, which has been linked to Orban ally Istvan Garancsi, generated roughly one quarter of its revenue from public contracts during the previous administration.

End of the Crony Capitalism Model?

For years, Orban’s political allies built powerful business empires through access to state spending, public tenders, and favorable regulations across sectors including construction, banking, telecommunications, and real estate.

Analysts believe companies that relied heavily on government infrastructure spending now face the greatest risks.

Daniel Hegedus, Deputy Director of Berlin’s Institute for European Politics, said construction and road building companies closely tied to Orban’s political network could struggle to survive as contracts become more competitive.

Some firms, analysts warn, may disappear entirely if they fail to adapt to a marketplace where political connections carry less influence.

Government Pushes Transparency Reforms

Prime Minister Magyar has moved quickly to introduce anti corruption legislation designed to satisfy long standing European Union concerns over Hungary’s procurement system.

A 2024 OECD survey found Hungary had an unusually high number of single bidder public procurement contracts, while research by Hungarian anti corruption think tank CRCB concluded there was clear evidence of political favoritism in state tenders during the Orban era.

The reforms are also intended to unlock billions of euros in suspended European Union funding that has been tied to improvements in governance and transparency.

Markets React to Political Transition

Investors have already responded to the changing political landscape.

Several companies widely viewed as benefiting from their proximity to the previous government have experienced significant share price declines since Magyar’s election.

Among those affected are construction and energy group Opus Global, real estate developer Appeninn, telecommunications company 4iG, and MBH Bank.

The declines contrast with a broader rally in Hungary’s stock market, reflecting optimism that a more transparent business environment could attract greater international investment.

Companies Defend Their Business Models

Despite the uncertainty, businesses linked to the previous administration reject suggestions that their success depended solely on political connections.

Market Építő says its financial strength and diversified operations provide long term stability regardless of political change.

Road construction giant Duna Aszfalt, whose owner became one of Hungary’s wealthiest businessmen during Orban’s tenure, also expressed confidence in its future.

The company stated that it had successfully competed against international firms even before Hungary’s democratic transition in 1990 and remained prepared for a more competitive marketplace.

Meanwhile, telecommunications firm 4iG denied benefiting from political favoritism, while MBH Bank said its procurement practices fully complied with both Hungarian and European Union regulations.

Review of Previous Government Contracts

The Magyar administration has also begun reviewing spending commitments approved under the previous government.

One early decision was to suspend an extension of a southern Hungarian highway and request that Duna Aszfalt repay funds received before the election for the project.

The move signals a broader willingness to scrutinize public contracts awarded during Orban’s administration and reassess government spending priorities.

Foreign Investors Could Benefit

Political analysts believe the reforms could reshape Hungary’s investment climate by creating more opportunities for international firms that previously struggled to compete with politically connected domestic companies.

Greater transparency in public procurement, combined with stronger oversight, may improve investor confidence and encourage new foreign investment into sectors previously dominated by companies with close government ties.

However, the transition is also expected to produce significant disruption as businesses adapt to a competitive environment driven more by market forces than political relationships.

What Comes Next

Hungary is entering a new phase in which political change is reshaping corporate power as much as government itself. Companies built around privileged access to state contracts now face growing pressure to compete in a more transparent marketplace, while new reforms seek to restore confidence among investors and European partners.

Whether these changes produce lasting economic modernization or simply redistribute political influence will depend on the implementation of Magyar’s reform agenda. For Hungary’s business elite, however, the era of relying on political proximity for commercial success appears to be drawing to a close.

With information from Reuters.

The reality TV regular has landed her own show which arrives on Disney Plus in a matter of days

Fans of the Real Housewives and Vanderpump Rules have a new must-see show for their watch lists.

House of Stassi premiered in the US this week with its UK release now just days away. The eight-episode series will be available to stream on Disney Plus from August 12.

It documents former Vanderpump Rules star, Stassi Schroeder, as she returns to the spotlight after her sacking from the show back in 2020. While she previously dipped her toe back in to reality TV with spin-off Vanderpump Villa, her own series will take fans deeper into her life and inner circle.

As per the Disney Plus synopsis: “House of Stassi follows reality TV icon Stassi Schroeder as she steps into her next act. In this meta-docuseries, Stassi navigates her long-awaited return to television – this time with the people she loves most by her side.

“As her ambition pulls her back into the spotlight, those around her level up. But as cameras roll and truths surface, her closest relationships are put to the test.”

Why is Stassi Schroeder famous?

She got her big break on the long-running reality series, Vanderpump Rules. A spin-off of the Real Housewives of Beverly Hills, the show began in 2013 and follows fan favourite housewife Lisa Vanderpump and the lives of the staff working across her restaurants and bars.

Stassi was on the show from the very start as a worker at Lisa’s West Hollywood restaurant, SUR. Her outspoken nature made her a standout personality across the eight seasons she featured in. She has also launched a successful podcast and has written three best-selling books.

Stassi Schroeder controversy explained

Back in 2020, Bravo confirmed it had fired Stassi and her co-star Kristen Doute from Vanderpump Rules. It came after a past incident from 2018 resurfaced in which the pair had called the police on black TV personality, Faith Stowers, for a crime she did not commit, claiming she resembled a suspect.

Stassi later issued a statement addressing the “racially insensitive comments”, writing: “I did not recognise the serious ramifications that could have transpired because of my actions. What I did to Faith was wrong. I apologise and I do not expect forgiveness.”

She added: “I am going to continue to look closer at myself and my actions – to take the time to listen, to learn, and to take accountability for my privilege.”

Meanwhile Kristen did the same, saying: “Although, my actions were not racially driven, I am now completely aware of how my privilege blinded me from the reality of law enforcement’s treatment of the black community, and how dangerous my actions would have been to her,” adding that she would “do better.”

Meghan Markle feud

Stassi claimed on her podcast in 2025 that she was “furious” at Meghan Markle and was boycotting her Netflix show With Love, Meghan. It came after she was allegedly refused freebies from Meghan’s As Ever brand, despite Stassi publicly supporting her in the past.

“The way she moves through social media, I think that she’s stuck in 2017, and she just thinks I’m a lowly reality person,” Stassi told her podcast listeners. “That’s what I think, and I am furious, and this is the last straw. I’m not watching her show anymore.”

Noticing that a PR package had been sent to another podcast host who had been critical of Meghan in the past only added fuel to the fire, and Stassi vowed: “I’m going to unfollow her right now. Literally, I’m unfollowing her. Done!”

Meghan has never commented on the supposed PR package snub nor the remarks made by Stassi.

House of Stassi arrives on Disney+ from August 12.

The new series follows a reality icon as she makes her long-awaited TV comeback

Reality TV fans have been binge-watching their way through a new series they’re calling ‘perfection’.

House of Stassi follows the life of Stassi Schroeder, a breakout star of long-running Real Housewives spin-off, Vanderpump Rules. However, she was sacked from the series back in 2020 alongside Kristen Doute following a ‘prank’ on a black co-star, with the new show marking her return to TV.

The pair had called the police on reality TV personality, Faith Stowers, for a crime that she didn’t commit. In a later apology, Stassi penned that she “did not recognise then the serious ramifications that could have transpired,” adding, “I do not expect forgiveness.”

The controversial reality star’s “next act” is the subject of the new series which premiered on Freeform this week before being made available on streaming service Hulu.

Its official synopsis reads: “House of Stassi follows reality TV icon Stassi Schroeder as she steps into her next act. In this meta-docuseries, Stassi navigates her long-awaited return to television – this time with the people she loves most by her side.

“As her ambition pulls her back into the spotlight, those around her level up. But as cameras roll and truths surface, her closest relationships are put to the test.”

All eight episodes are now available on US streaming platform Hulu, with the first reactions rolling in. However, viewers in the UK face a short wait before they can indulge in the series too. The episodes will be made available to UK-based reality fans on Disney+ from August 12.

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One fan of the show penned: “Binged the whole thing. The second half of the finale is exactly what reality TV should be (and used to be). The way they left it on a cliffhanger was the perfect set-up for Disney to order more episodes.”

They continued: “It makes for great television, my fear is this type of stuff is what permanently alters relationships so hopefully they realise what they really signed up for.”

“I’m on episode five and I can’t stop watching – it’s very entertaining,” said a second viewer, while a third remarked: “So obsessed with this show. Just finished the first three eps. It’s structured amazing. I love the narration and fourth wall breaks/lack of fourth wall. I need a million more episodes.”

House of Stassi is now streaming on Hulu in the USA. It premieres in the UK on August 12 on Disney+

On the heels of the trailer reveal for the big-screen adaption of “Children of Blood and Bone,” the book’s author is claiming in a new video that an on-set ordeal traumatized her — and fans have been left with more questions than answers.

On Wednesday, Tomi Adeyemi upped the ante when discussing the ongoing behind-the-scenes drama that’s overshadowed the new film. Although the author, in her latest video on the falling-out, hinted at a painful ordeal that unfolded on set, fans are still scratching their heads as to what exactly happened and who was involved.

“I’m gonna post this so ideally I won’t have to talk about this anymore,” she said in a five-minute, 40-second video posted to social media. “And what I’m about to share is not a secret to the people involved. It’s a reality that I’ve had to live with for about a year and a half, and everyone involved, at least at the highest level, has been made aware of this reality, and they haven’t done anything to make it better. If anything, they’ve only antagonized me, and I accept that, but I also accept if I don’t say something, I think it’s just going to be worse.

“I’m not gonna speak on what I endured to make it through the young adult trilogy, and I’m not going to speak about everything that I also suffered through to make the adaptation a reality,” she continued. “I’m actually only going to speak about what happened after I left that set of my own film adaptation, hyperventilating and sobbing, and there are many witnesses, so it’s not really a secret.”

The author continued that, when she returned to America from an overseas filming location, she suffered “such severe somatic pain and so many panic attacks” that she knew she would never be able to watch the film.

“But as it is being marketed, and as I am still being antagonized behind the scenes, which is where I hoped all of this would stay, it’s become apparent to me that reality needs to at least be made known so that you guys can understand how this film — which I worked on to make it a little better for us to be alive — is also the worst thing I have ever had to live through, and I don’t wish to speak on it anymore.”

Adeyemi concluded that she never wants to hear about the film adaption again, and then she seemingly threw shade at director Gina Prince-Bythewood, whom she co-wrote the screenplay with, saying, “I don’t have anything to say about the people who made it. I do not care anymore. I’m trying to move on. This video might make it worse, but I don’t know how it can be any worse.”

Representatives for Prince-Bythewood and Paramount Pictures did not immediately respond to The Times’ request for comment.

Earlier this month, the Nigerian American author posted a since-deleted video on TikTok that also left her followers puzzled in which she said there was a reason she stopped promoting the forthcoming film. Although she didn’t spell out the reason, she posted a screen shot of a February 2025 text exchange with one of the film’s stars, Amandla Stenberg, in which she told the actor not to use her name in interviews and then blocked her.

Stenberg, who is African American and Danish, had been at the center of a casting controversy due to claims that colorism was at play when she landed the role of Princess Amari. (Read more about the controversy here.)

On Monday, Paramount held a “Children of Blood and Bone” trailer launch event at the Brooklyn Academy of Music in New York City. In a discussion moderated by “Master of None” actor Lena Waithe, Prince-Bythewood and the A-list cast talked about the making and almost-not-making of the film, and Prince-Bythewood seemed to reveal her stance on the fallout over Stenberg’s casting.

The director said her big-screen adaptation was “beautifully inspired by Nigeria and also inclusive of the whole diaspora. We wanted all of us to be able to see ourselves within this, just our complete and utter humanity, all the beautiful hues.”

In the comments section under Adeyemi’s Wednesday video, frustrated fans asked the author to be more transparent while others suggested maybe a non-disclosure agreement was hindering her ability to offer any specifics on the incident.

“Children of Blood and Bone” is slated to hit theaters Jan. 15.

THIS is the moment reality TV star Samie Elishi was escorted off the Love Island set by security after being banned from watching the final.

The 26-year-old, who originally appeared on season nine of the ITV show, flew out to Majorca to watch her man Tyrique Hyde on the last episode of Aftersun.

But, after spending hours getting glammed up for the “special day” she was refused entry into the villa.

In a video posted to her TikTok, Samie could be seen filming behind the cameras and production crew as she approached the set.

She filmed stunning Love Island host Maya Jama and her beau Ty all ready to film before things “took a turn for the worst.”

“We got told that we weren’t actually allowed to watch the show,” confessed Samie.

Read more on Samie Elishi

MY TY

Samie Elishi reveals future with Tyrique Hyde and she opens up on huge milestone

awkward

Love Island’s Ty grabs pal by neck after revealing favourite Islander is Samie’s ex

“Before everyone in the comments starts asking why, we don’t know why we had no explanation.

“The three of us [her, Harry Cooksley and Kane Ruddach] did actually have seats in the audience but they just got taken away, escorted, back to the holding villa.”

She continued: “God knows how I managed it but I got the show up on my phone, found a place with actually good signal and watched from my phone on a tripod.

Samie explained that while “it wasn’t quite” how they expected to spend their evening “Ty did amazing as always.”

The Love Island alum was banned from watching the final Aftersun alongside the partners of the other panelists – Shakira Khan and Joe Baggs.

Samie and Tyrique began dating back in March just weeks after she returned from Love Island All Stars in South Africa.

They were first spotted together at a Baller League match but The Sun revealed they had actually been out on a string of dates before then.

The loved up couple have since been on multiple holidays, barely leaving each other’s sides after going Instagram official.

Samie has publicly been a big supporter of Ty’s career, cheering on his Aftersun gig and his daily Love Island themed streams.

Twenty-five years after “Is This It,” the Strokes are as big as they’ve ever been — and not just among old heads eager to relive the wasted glamour of the early-2000s garage rock revival. Go to a Strokes gig these days — they’re playing arenas and headlining festivals like next month’s Just Like Heaven in Pasadena — and you’ll find teens and twentysomethings in the audience; open up Instagram and there’s frontman Julian Casablancas dispensing viral hot takes on the New York City subway. On Spotify, the band’s most-streamed song isn’t the Giuliani-era “Last Nite” but “The Adults Are Talking,” which came out at the beginning of the COVID-19 pandemic — a feat of cultural endurance unmatched by any of the Strokes’ Gen X or millennial peers.

So what better time to drop a new album full of arcane jokes, baffling vocal affects and light conspiracy theorizing?

The group’s first LP since 2020’s Grammy-winning “The New Abnormal,” “Reality Awaits” is easily the nuttiest entry in the Strokes’ catalog, with a spooky opening track, “Psycho S—,” in which Casablancas, his voice slathered in AutoTune, ushers the listener “past the hall of judging dead into the bed of nightly dread.” (Sexy!) “Falling Out of Love” is a lilting robo-country ballad about dancing alone under acid rain; “Liar’s Remorse” is a voice-and-guitar lament about submitting to artificial intelligence that Casablancas croons for some reason in a terrible Caribbean accent.

Then there’s “Lonely in the Future,” in which Casablancas name-drops John Legend and Josh Groban, appears to ding Harry Styles for cribbing the beat from the Strokes’ “Hard to Explain” and informs Anthony Fantano, the popular internet music critic, that he “would not recognize art in any age.”

Philosophically, “Reality Awaits” feels less like a Strokes album than like a Casablancas solo record or an effort by his other band, the Voidz, which he’s used for the last decade or so as a kind of finsta for his harder-edged sociopolitical musings. “Going Shopping,” the LP’s lead single, casts a condescending eye on anyone insufficiently troubled by what the singer views as the creeping tyranny of a super-rich ruling class: “The worse reality gets, the less you want to hear about it / Solidarity can be difficult when you got cool stuff to lose.” That “Going Shopping” is the album’s jauntiest cut — with a music video that restages Paul Simon’s “You Can Call Me Al,” no less — only sharpens the critique.

Yet every now and then the Strokes, who absolutely ripped at Coachella in April, lock into a groove with the springy precision that’s been the band’s signature since the beginning. “Dine N’ Dash,” “Going to Babble On,” “Lonely in the Future” — it’s pure pleasure to hear the guitars in these songs slashing away over a rhythm section as crisp and nimble as this one. For all they’ve absorbed from their forbears, the Strokes don’t sound like anybody else, even when they seem to be trying to, as in “The Fruits of Conquest,” which suggests early Maroon 5 having a go at the Rolling Stones’ “Miss You.” (Obviously, I mean this as a compliment.)

You can view the indelibility of the Strokes’ style as the reason the band makes so many wacky decisions on “Reality Awaits”; looked at differently, the band is taking advantage of its persistent success to spend a bit of creative capital. Either way, Casablancas doesn’t actually seem worried at all in “Going Shopping” when he voices some anxiety about how long he can continue to matter. “I’ve been thinking about what I want to say,” he sings, “But I’m an old man now — at least that’s what they tell me anyway.”

“Imagine the scenario; one of our Havoc hypersonic missiles loaded on an F-15EX Eagle with a mission profile locked-in and ready to go. This new missile is designed for low-cost and high-effect – it’s very difficult for an adversary to track in flight,” explains Chris Spagnoletti, chief executive officer of Ursa Major, as he discusses the company’s expanding hypersonics activities. Part of a company strategy to help overcome critical Department of War munitions shortages, Ursa Major’s Havoc was unveiled in early 2026. With a unique 3D-printed propulsion system, Havoc has been envisioned as a hypersonic missile that aims to re-write the rulebook for these types of weapons.

Ursa Major’s ambitious vision comes at a time of something of a renaissance in U.S. aerospace development and defense manufacturing, with newer firms establishing major positions within a rapidly evolving marketplace. These fresh takes on cutting-edge defense technologies also come as the United States celebrates its 250th birthday and looks back on a history of unlikely up-starts changing the world with new ideas and ways of doing business. It’s in this same spirit that Ursa Major looks to stake its claim.

The firm is evolving from a propulsion provider into a prime contractor and integrator with a keen focus on hypersonics and solving a need for affordable high-speed missiles at scale for the U.S. and its allies. In recent operations, the U.S. has fired a vast number of standoff air-to-ground weapons including more than 850 Tomahawks cruise missiles in the recent war with Iran and hundreds of high-end interceptors, stressing a system that’s been constrained by prolonged replenishment timelines. 

Spagnoletti says he strongly believes that hypersonic missiles are “the most important and pressing issue within critical munitions, with solid rocket motors coming close behind.” The company’s approach to design and production in both of these areas means Spagnoletti sees Ursa Major as being “well positioned to solve” these pressing requirements for the U.S. military.

“We are innovating on manufacturability and on new munition systems,” he continues. “It’s all under the umbrella of scalable munitions. Ursa Major’s founders really focused on developing very complicated propulsion systems, but with a strong propensity on design for manufacturability – essentially developing very high performing rocket engines as low-cost and as reliably as possible.”

Ursa Major has produced hundreds of engines and motors and accumulated more than 135,000 seconds of hotfire test time in under a decade. From its very beginnings the company has innovated through advanced manufacturing techniques that have evolved to leverage AI-enabled 3D-printing, specifically metal printing. “We’re looking at the problem set, and the landscape here is about how we can help the United States catch up as quickly as possible. We don’t just want a “me too” product, because we find there’s a lot of that in this space. This is about finding real answers to the desperate need to replenish our critical munitions fast,” says Spagnoletti.

Solid rocket motors in high demand

Having started out with liquid rocket engines, Ursa Major increasingly saw a burgeoning requirement for solid rocket motors (SRMs) for munitions, which Spagnoletti says have remained tied to traditional manufacturing approaches. Ursa Major says its approach to SRM manufacturing is designed to complement and strengthen the broader defense industrial base by providing flexible manufacturing capacity, common architectures, and modernized production methods.

Ursa Major’s manufacturing approach fundamentally changes how SRMs are designed and built using additive manufacturing, modular tooling, and software-backed production cells. This enables rapid switching between SRM variants without expensive retooling, which reduces production timelines and increases flexibility. 

In addition, Ursa Major’s highly-loaded grain technology increases motor performance and range without increasing motor size. By leveraging common architectures and using a limited set of qualified propellants, it says it can reduce qualification timelines and simplify production across multiple variants. The company’s energetics (solid propellent grain) strategy aims to expand domestic propellant capacity and reduce dependence on fragile supply chains, while using reliable mix, cast, and cure processes.

“Both in the liquid rocket engine side, and in solid rocket motors, the approach from the outset is deeply embedded in our culture; how we design, how we build, how we scale,” says Nick Doucette, co-founder and vice president of strategic operations for Ursa Major. “We came at the manufacturing problems from a completely different direction. We started out building liquid rocket engines, which were – to a degree – supporting the launch industry. That approach allowed us to develop new platforms that use new types of fuels or higher performance rates and lower costs.”

“From the start it helped support a growing launch industry, but very quickly it started to find its way into the hypersonics community as our engines, products, and performance points really started to solve some interesting problems. As we leaned heavily into the hypersonics needs, we realized that the early Ursa Major approach in manufacturing and the types of tech that we’re using are really solving some of the actual problems, and that led to our solid rocket motor programs.”

When building solid rocket motors, the inert part of the manufacturing leverages additive manufacturing heavily – Ursa Major avoids fixed tooling. “For example, after we qualify a motor, say a specific diameter booster, and then the government comes back to us and says that the adversaries have adapted. Now they want slightly different thrust, or maybe get additional range. We’ve already thought about that, our manufacturing line doesn’t need to change. We can use the same manufacturing line and adapt it,” explains Spagnoletti.

“We kept the energetics formulation essentially the same – it’s tried and true and it has been munition-tested for years – but we looked at the problem from the manufacturability of the entirety of the system. From a contracting point of view, this gives the government a lot more flexibility and to be as agile as the adversary. This has been happening on the development side for the past three years, working with several primes and the U.S. Navy. They’re inherently leveraging our ability to turn things fast, and now that’s translating into contracts for us.”

“The Navy really understood our approach to manufacturing,” adds Doucette. “They challenged us to apply our approach with liquid rockets to the solid rocket motor industry. To look at the problems and peel back the onion on solid rocket motors. What we found is that the choke point actually lies the metallic components that make what we call the inert tube section, that then gets packed with the energetics. The energetics are difficult for sure, but what actually chokes the supply chain is the 36-plus months to make the metallic tube structures. To compound the problem, all these production lines of the last 30, 40, 50 years are designed around one platform. Can you imagine an automotive company that has a huge expensive factory but only ever makes one car model! I mean, it would economically go out of business.”

“We have demonstrated that, by looking at the steps to make a solid rocket motor, be it metal printing the end domes or how we do the internal features and make the actual case to how we in some cases load the highly-loaded grain to get more performance, we can do all of it on the same production line for any motor between two inches and 22 inches in diameter. The same equipment, the same people, the same factory footprint. If we want to scale, we just copy paste the factory. If the demand signal changes in a year – which if recent conflicts give us any indication they probably will – that factory can switch over to a different munition. We just stop making one size and tool up for the new size in a matter of months.”

Ursa Major’s primary 93-acre corporate headquarters is located in Berthoud, about an hour north of Denver, Colorado. Here the company has the facilities to test its liquid rocket engines on site and it also designs, develops, and manufactures here. “Our main building is really split in half,” explains Spagnoletti. “On one side we have liquid rocket engine manufacturing and development to power hypersonics, and on the other behind a steel rolling door are the solid rocket motor development and low-rate production as part of our replenishment of critical munitions.”

“At the Colorado site, we’re actually grinding, mixing, casting, curing thousands of pounds of energetics per year for our solid rocket motors, with a lot of automation built-in to not only protect the people but also to make the process more consistent. We have another site for our high volume solid rocket motor production – it needs a lot of space – and we are targeting to manufacture hundreds of thousands of pounds of energetics for use in various shapes and sizes by the middle of 2027.”

The company has expanded with more than 400 acres for SRM production in Galeton, Colorado.

Solid rocket motors of all sizes

Nick Doucette already sees the solid rocket motor work evolving. “We will eventually boost-power our Havoc system with our solid rocket motors. Remember, we got into SRMs due to seeing the critical munition needs, with an open door for manufacturing innovation and a problem we want to help solve. So we’ve built a manufacturing approach and we are now building a multitude of different size classes for different customers.”

The smallest SRM that Ursa Major is actively working on is for the Advanced Precision Kill Weapons System, or APKWS, from BAE Systems. “This currently uses a very dated motor and there’s been a lot of need in the industry to essentially innovate on that motor,” explains Doucette. “So we’ve been working extensively with both BAE Systems and the U.S. Air Force on that particular platform, especially with highly loaded grain, and we see a very promising future there.”

Doucette explains that Ursa Major has already made several hundred 2.75-inch motors for testing and development. This will be an extended range version of the motor, packing a significantly larger amount of energetic material into the same size rocket casing.

In 2024, Ursa Major won a contract with the Naval Energetics Systems and Technologies (NEST) program to develop and test a new design to apply its SRM manufacturing processes to the Mk104 dual-thrust rocket motor that powers the U.S. Navy Standard Missile 2 (SM-2), used for surface-to-air defense, and the SM-6 anti-air, land, and sea missile.

Trusted solid rocket motor providers are in limited supply, and the versatility of Ursa Major’s production process opens up a raft of potential opportunities, particularly in the missile defense space. The 10-14-inch range is what Doucette calls a “sweet spot” for interceptor missiles.

Asked about air-to-air missiles, Doucette says: “of course, we’re looking at it. There’s been a lot of conversations around how Ursa Major would approach the problem, but we have a lot going on already, so we’re making sure we don’t try to swallow the whole critical munitions list at once.”

“Most of these larger hypersonic weapons are all boosted,” adds Doucette. “These have a booster in the back end, and we have additionally completed internal work to develop that 22-inch diameter SRM capability. So now we can do anything from 2-inch to 22-inch on that same production line using our common modular manufacturing approach.”

Unleashing Havoc

Ursa Major’s parallel efforts in hypersonics brings the story full circle. Alongside the solid rocket motors business, hypersonic missiles have become a critical part of the company’s efforts, as Nick Doucette picks up the story. 

“There’s two specific products that Ursa Major makes in the hypersonics realm right now. The first is an engine that’s liquid oxygen-powered with rocket fuel. We call it Hadley, and we’ve had that for the better part of a decade. Hadley powers the Stratolaunch hypersonic Talon A testbed, for example. We don’t make the vehicle, we just provide the engine and support services, and Hadley has flown 10 times now.”

“The challenge with Hadley is that it uses cryogenic liquid oxygen, which presents a whole suite of issues from a tactical perspective. A military user can’t sit and wait for the propellant to get cold, like you do with liquid oxygen. We needed to make a similar engine, slightly lower thrust, a little smaller, but essentially in the same packaging, make it storable and most importantly, make it tactical, so that you can drop it from a plane or shoot it vertically from a ship. So we switched from liquid oxygen to hydrogen peroxide.”

“The catch there was that the only way we were able to do that in the right packaging, tightness, and density, was to use 3D-printing. Fast-forward through six years of insane additive development and the Draper engine became a reality. It simply would not have been possible without massive advances in the additive world because of the complexity of what we’re doing geometrically. It’s a really challenging thing to do.”

Draper is a 4,000-pound-thrust engine that is powered by hydrogen peroxide and rocket fuel. Its use of non-cryogenic storable propellants enables long-duration storage, rapid deployment, and operational flexibility in real-world conditions. Its massive potential drove Ursa Major to search for a suitable hypersonic vehicle design to match it with.

“We strongly believed that Draper introduced a differentiating threat vector for any adversary,” Doucette continues. “China has had boost-glide hypersonics for a decade. Other hypersonic designs use a scramjet, which are costly and complex. Draper opened up hypersonic performance, where you have a wide range of trajectories and adaptability as well as other really creative mechanisms that, to be honest, the adversaries don’t have. I mean it’s wildly different, which we see as being a very valuable asset to the national security arsenal.

“The concept of using a liquid rocket engine for a hypersonic weapon is absolutely game changing. Draper can be throttled – unlike solid rocket motors that use a pre-mixed propellant and oxidizer that cannot be controlled once ignited – plus it’s designed to be more safely stored than other liquid rocket engines, providing the tactical storage capabilities that are typical of a solid rocket motor.”

Doucette says that Ursa Major looked to find a partner for the vehicle itself, but concluded that none were suitable, particularly when it came to moving fast. The decision was made to go it alone in-house with an air vehicle. The result is Havoc, which is designed like other hypersonic programs to fly in excess of mach 5, and intended to be launched in a variety of ways; as a single-stage from an aircraft or ground-launched with added booster stages. It’s also designed to run out at circa $3-million apiece. “We entered a rapid campaign in partnership with the Air Force Research Laboratory and we went from concept to flight-ready in about six months,” Doucette says.

Hypersonic missiles currently in testing with the USAF include the AGM-183A Air-Launched Rapid Response Weapon (ARRW), which is a boost-glide hypersonic system, with rocket boost and an unpowered glide vehicle inside. The Hypersonic Attack Cruise Missile, or HACM, also features rocket boosters, but with an air-breathing scramjet second stage vehicle. Both are limited to operations in the Earth’s atmosphere – whereas Havoc can operate either in or above the atmosphere.

“With regard to propulsion in aerospace defense, there’s three main types; air-breathing, solid powered, and liquid powered,” Doucette explains. “In the world of hypersonics, specifically, we’re talking about fast-moving, somewhat unpredictable, missile systems that are moving at over five times the speed of sound. You have the same propulsion methods, but liquid fuel has never really been introduced.”

“The air-breathing hypersonic weapons are typically scramjets and ramjets, which the U.S. has been developing for a very long time. They’re expensive and exquisite, but very long range.

“China has something in the order of 600-700 operational boost-glide systems in its arsenal right now. This is not new to them. They’ve been practicing, watching, and rehearsing.” Doucette warns that the U.S. fielding a boost-glide or scramjet hypersonic weapon may not really change the dynamic, which is why Ursa Major’s argument for its liquid-powered weapon is so strong.

“The novelty of being liquid-powered is that it carries its own oxidizer and fuel, which means it can go anywhere – in the atmosphere, out of the atmosphere, high, low. A solid rocket can technically do the same thing, but the big difference with the liquid system is that it can turn on and off an infinite number of times. A solid is going where it’s going, but a liquid could be on one trajectory and a split second later turn it off, then instantaneously head on a different trajectory because you can maneuver it from a powered vector perspective. Draper is also fully throttleable down to 10% all the way up to 100%.”

There are currently no competing systems that have the ability to bridge the gap between running in atmosphere and out of atmosphere with such a degree of throttle control. Ursa Major is currently the only company with a hypersonic vehicle and experience in the liquid-powered hypersonic realm. It has twice ground-launched from a rail what it calls “Havoc Block 0” in partnership with the Air Force Research Laboratory, under its Affordable Rapid Missile Demonstrator (ARMD) program. These demonstrator flights have been designed as multi-domain tests. “The great thing about Havoc is that we can alter the wings, add our solid rocket motor boost system, and it means we can ground launch, VLS [vertical launch system] launch, or air-launch,” Doucette says.

“Havoc provides something the Department of War has not previously seen,” adds Chris Spagnoletti. “Having a mid- and long-range tactical weapon that can deep throttle, turn on and off at will, is agnostic to atmosphere, rapidly change vector, accelerate and de-celerate, skim the sea, fly outside the atmosphere – this really opens up the aperture of what a munition can do. This is very tough for conventional systems to figure out what it’s intending to do.”

Rapidly scaling production

Spagnoletti says Ursa Major’s hypersonic program can scale quickly because of the company’s additive manufacturing and AI-driven manufacturing processes. Draper’s liquid propellant also has additional advantages when it comes to production. “We can drain the fuel, bring them into a facility, and that now-inert system doesn’t need massive keep-out distances,” explains Spagnoletti. “So, say in a 100,000 square foot building, we can produce 500 full-up missile systems per year inert, then fuel them right before we ship them or at the operational location.”

“Some companies are advocating for things like multi-year contracts, and that really matters to them because they’re setting up rigid long-term production lines. We’ve flipped that on its head where if a customer decides in say five years they want this weapon to look different, we have a common modular approach that we can swap things out. Most of the aerospace systems I’ve worked on in my career have long five or 10-year windows. Design, build, qualify – they don’t want to make hardware changes because it’s going to take ages and cost a lot of money to modify and qualify those systems. They’re inherently resistant to change, not because they don’t want to help and adapt, but because the system allows a massive amount of inertia, production lines have rigid tooling and processes, they can’t adapt. What’s different about Ursa Major is, again, that we design for manufacturability and leverage advanced manufacturing.’

Ursa Major Additive Manufacturing

In addition to its Colorado facilities mentioned earlier, Ursa Major also has a plant in Youngstown, Ohio, which is a center of excellence for 3D-printing, they then ship to Berthoud for final assembly and test. A lot of parts and components are manufactured in house, including valves, tanks, pressurization systems, avionics, but it does have dependency on some external suppliers where appropriate. “We have some really strong partnerships where we can’t bring things in-house. We’re such experts in additive manufacturing that we know when not to do it.”

“Importantly, we are not reducing costs by using the cheapest parts. In my 36 years in the aerospace industry, when it comes to building a critical munition, I know the devil’s in the details – it has to work every time and there’s only so cheap you can go before you start to sacrifice reliability. Some of our competitors are trying to achieve a lower cost hypersonic system, which is great, but those are typically salvo weapons where you just launch a lot of them. The Havoc missile system is more of a strategic asset.”

Ursa Major is making significant moves in the U.S. military’s missile stockpile recapitalization effort. It has opened up versatile methods of producing solid rocket motors, and it has demonstrated the functionality of Havoc with the Air Force Research Laboratory, including the concept of operations with the liquid rocket. Spagnoletti points out that the U.S. used to use liquid rockets prior to the advent of solid rocket motors. Use of additive manufacturing and 3D-printing is always in the conversation too, it’s how this company can scale its innovations fast.

The next major milestone it’s driving towards is a follow-on demonstration phase for Havoc – a boosted, full hypersonic flight. “We’re pushing for that in 2027,” says Spagnoletti.

As America marks its 250th year, the dream of a hypersonic missile with a 3D-printed engine that can be delivered in large quantities at an affordable price could materialize into another significant landmark in the story of American defense innovation. At least that’s Ursa Major’s goal, and it appears to look more promising by the day.

KELLY Osbourne has signed up to star in a new reality show documenting her life and personal struggles after the death of her father.

The daughter of belated icon Ozzy Osbourne, 41, used to feature in the much-loved show The Osbournes alongside her family.

But this time around Kelly will be taking centre stage in a show focusing on her reinvention as a single mother to son Sid, 3.

Kelly and her fiance, Sid Wilson from Slipknot, split up in March of this year.

She’s since been romantically lined to hairstylist Kiinicki but according to The Daily Mail it’s been an “on and off” relationship.

Kelly’s family and friends, including Lily Allen and DJ Fat Tony, may also be making appearances in the new programme.

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Speaking about the show’s contract, a friend said: “The deal is done, and the production company is finalising which broadcaster this will go with; most likely Disney.

“It will focus on how she is stepping back into life after the trauma of Ozzy dying last year and after breaking up with Sid. It’s about her rebuilding.”

Kelly lost her father in July last year after he suffered a heart attack in his home in Buckinghamshire.

The Black Sabbath star, 76, had only finished his farewell tour Back To The Beginning a matter of weeks before passing away.

Despite suffering a heart attack, Ozzy struggled with numerous other health conditions including Parkinson’s and complication of a quad bike accident from 2003.

Kelly and her family have since been grieving and doing their best to stay strong.

In December, marking the first Christmas without her father, an emotional Kelly shared online: “Christmas will never be the same.

“I will never be the same. The person I was before he died does not exist any more.

“It changes you. He was magical. There is no one like him.”

The Osbournes premiered its first episode in 2002 on MTV, with its first season being cited as the most-viewed series to ever hit MTV.

Sony Pictures will invest $100 million and take a minority stake in virtual reality venue operator Cosm, as the studio continues to build a business in communal experiences.

As part of the investment, Sony Pictures Chief Executive Ravi Ahuja will also join Cosm’s board of directors, the studio said Wednesday. The size of Sony’s minority stake was not disclosed.

The El Segundo-based Cosm currently operates three venues — one at Hollywood Park in Inglewood, and the others in Dallas and Atlanta. The company plans to open additional venues in Detroit and Cleveland.

Cosm bills itself as a “shared reality venue,” and its facilities center around a massive, wraparound screen that is intended to envelop viewers with additional digital effects. The company has largely focused on sports, though it has also shown Cirque du Soleil shows and done several collaborations with Warner Bros., including recent screenings of 2001’s “Harry Potter and the Sorcerer’s Stone” in honor of the film’s 25th anniversary.

“Cosm sits at the intersection of several trends shaping the future of entertainment,” Ahuja said in a statement. “We’ve followed Cosm since before launch and have been impressed with the quality of the experience and the enthusiasm it’s generating with audiences.”

The investment is Sony’s latest venture into experiential entertainment. In 2024, the Culver City-based studio acquired dine-in theater chain Alamo Drafthouse Cinema.

ASHLEY Cain has spoken out for the first time since he was axed by the BBC after allegedly making degrading comments about women online.

The reality TV star penned an apology on Instagram, addressing “language I used many years ago that I am not proud of”.

The 35-year-old was dropped by the Beeb last week after historic social media posts came to light which were deemed “offensive” to women.

His BBC Three documentary Into The Danger Zone has been shelved for its second season.

In response to a disastrous day as he was dropped by his management, Cain took to Instagram to address the controversy.

“You may have seen a recent article concerning language I used many years ago that I am not proud of.

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“I don’t deny it. I don’t excuse it. And I certainly don’t condone it,” he began.

Cain blamed the loss of his football career as one of the factors which caused him to feel “lost, frustrated and unsure of where my life was heading”.

He went on: “The reality is that growth doesn’t happen overnight. It happens through experience.

“Through mistakes. Through hardship. Through being forced to look in the mirror and ask yourself whether you’re willing to become better.”

Yesterday, the Daily Mail reported that Ashley had been dropped as a client by his management company Off Limits amid recent events.

“Ashley has been dropped by Off Limits, who also represent stars such as Jimmy Bullard, Jesy Nelson and Harry Redknapp,” an insider told the publication.

“They have a roster of talent who are household names, they don’t want to be associated with him after the vile posts came to light.

“Ashley is now pretty much blacklisted in the industry, and it’s doubtful he will ever be on television again.”

Ashley no longer appears on Off Limits website as a listed client.

The Ex on the Beach star’s 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.

Derogatory terms allegedly written in 2014 and 2015 include “sl**s”, “b***hes” and “psychos”.

He also said he’d like to “choke slam” and “spit in the face” of Love Island star Jessica Hayes while commenting on the ITV2 reality show.

Cain’s apology post said he has learnt lessons from fatherhood over the past decade.

His daughter Azaylia Cain sadly died in 2021 of a rare form of acute myeloid leukaemia.

She was just eight months old when she died after a battle with the aggressive disease.

“Losing my daughter changed me forever,” Cain wrote.

“Since then, I have dedicated my life to trying to honour my daughter’s legacy and help others wherever I can.”

The reality star added: “I cannot change what I said over a decade ago. What I can do is take responsibility for it.

“What I can do is continue striving every day to be a good father, a good human and a positive force in the lives of others.”

Cain’s shock slurs sit uncomfortably alongside his more recent work as a BBC presenter exploring masculinity and gangs in dangerous locations around the world.

A BBC spokesperson said: “We are very clear we expect the highest standards of behaviour from everyone who works with or for the BBC.

“When allegations are brought to our attention we take them seriously. We will consider this information carefully and do not intend to comment further at this stage.”

The BBC were reportedly unaware of the offensive content prior to recruiting Cain as a host.

Dad-of-three Cain was a professional footballer at the time of his oldest offensive tweets.

Following contracts at Coventry City and non-league Barwell, he was forced to retire from the game in 2014 due to the effects of a serious achilles injury.

He turned to reality TV and starred in the first series of Ex on the Beach. More recently he appeared on Celebrity SAS, The Real Full Monty and Celebrity MasterChef.

Cain was left devastated in 2021 when his daughter Azaylia died from leukemia aged just eight months.

He set up The Azaylia Foundation in her name and has tackled gruelling endurance challenges to raise money and awareness.

PARIS — There’s a present-day answer to the question that was posed in verse by the French medieval poet and street brawler François Villon: “Where are the snows of yesteryear?”

They’re right here, in high summer, on Paris’ oldest bridge, the Pont Neuf, where an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range, has arisen over the river Seine.

Using about 200,000 square feet of printed fabric, Paris-born street artist JR has created “La Caverne du Pont Neuf.” It’s his version of and homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.

They’re the fabled duo who first wrapped the arches of this same bridge in straw-colored fabric in 1985. Over the years, they also surrounded 11 islands in Florida’s Biscayne Bay with flamingo-pink cloth, hung saffron-colored fabric “gates” in New York’s Central Park, installed a “running fence” of billowing white material across nearly 25 miles of Sonoma and Marin counties and, in 1991, planted 3,100 yellow umbrellas, blooming like 20-foot-tall poppies, through the Tejon Pass north of L.A.

I interviewed Christo in 2011, and he was eloquent about how his and his wife’s work alters perceptions of nature, and about the deliberately transient character of the art itself. JR, an acolyte of their work, told me in an email that “an ephemeral artwork forces you to come now, and usually to come with other people. The visit becomes a shared moment … and this moment becomes a memory.”

In a city celebrated for artworks that have survived for centuries, this installation was very nearly too transient. A kooky hailstorm in late May, a heat wave in June, followed by ruthlessly ripping winds, delayed the opening by days. At last, beginning one midnight, the air pumps began and the work arose like a limestone-colored soufflé. It will be open around the clock until June 28.

Plus ça change, plus c’est la même chose. Back in 1985, Christo’s engineer on the Pont Neuf project, Ted Dougherty, pointed out that above 25 mph, “wind is not our friend.”

The piece works from two vantage points: from afar — visible from a lot of central Paris — and also from inside it, in the “cave” part. Pedestrians crossing the bridge pass through a fabricated interior, a cavern-like space printed in 3D realism and enhanced with a specially designed scent to evoke the dank, earthy aroma of humankind’s early habitations.

JR and Thomas Bangalter in “La Caverne du Pont Neuf” in Paris.

(Tara-Jay Bangalter)

JR intended it to be both. “From the start I designed two works in one. There is the silhouette — what you catch from the quais, from the bridges, from a boat on the Seine or simply walking past on your way somewhere else. That image belongs to everyone, including the people who never chose to look at art that day.”

And then, he said, “there is the inside, which is slower and more intimate, almost in the dark, hard to photograph.” That aspect is “a journey to cross the bridge, to go from darkness to light.”

When Christo and Jeanne-Claude wrapped the arches of the Pont Neuf more than 40 years ago, it took years of planning and permits to make it happen. “La Caverne du Pont Neuf” was a breeze by comparison.

JR, whose other vast outdoor works have delivered double-takes of humans’ scale and their architecture, told me that cities have come to understand “that public art brings people together and that the image travels around the world. Once Christo showed it could be done safely and beautifully, the conversation changed. It was much easier for me to have my project accepted, thanks to them. They also proved the economic positive impact to the cities they worked in. I believe there should be more large-scale, ambitious public art projects.”

It’s one thing to conceive of such a project and another altogether to make it happen — so much technology, compared to, say, mixing paints and choosing a paintbrush. But the science that “La Caverne” required “is the art, not an obstacle to it,” JR said.

“Trompe l’oeil turns adults back into children,” JR said.

(Elea Jeanne Schmitter)

All the canvas, the engineering, the meticulous assembly, the permits — “none of that is preparation for the work, it is the work. Christo taught me this. The process is visible, and even more after the storm we experienced a couple of days before opening to the public. Nature always reminds you who is in charge. When the wind tore the canvas before we opened, we took it down, re-sewed it, reinforced it,” all in full public view.

“Where I stay careful is in not letting the technology become the subject. The augmented reality by Snap’s AR Studio adds to the project, doesn’t take you away from it.”

That air should be JR’s vital collaborator — no complex and costly scaffolding for these magic mountains — is nothing new in Paris.

The first free flight of humans above the earth, on Nov. 21, 1783, sent aloft two men in a hot-air balloon crafted by the Montgolfier brothers from silk fancifully painted in blue and gold with figures of the zodiac. It wafted across Paris for about 25 minutes at about 3,000 feet. Ephemeral, yes — and unforgettable.

Artists and couturiers are fond of the whimsy of trompe l’oeil, the trick of the eye, the illusion of reality. I am a sucker for it, for fashion like that of clothing designer Elsa Schiaparelli. JR has used it often, as a massive-scale magical deception to make the Louvre Pyramid “disappear” into the old Louvre, and opening up an imaginary subterranean world below the Eiffel Tower.

“Trompe l’oeil turns adults back into children,” he told me. “You know it isn’t real, you know that ‘La Caverne du Pont-Neuf’ is not made of rock, that this is printed canvas. And yet your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”

Vanessa Feltz has addressed some of her struggles in the early 2000s and argued that while people were very excited by the introduction of reality TV, vetting is now too ‘sketchy’

Vanessa Feltz has called for an end to “sordid” reality TV shows which she said gave her some of her lowest moments in her career.

The broadcaster, 64, shared her thoughts on how the format has changed over the past two decades, while reflecting on some incidents involving reality stars. According to Vanessa, vetting processes on some shows were “sketchy at best.”

In an article for You, the journalist said reality shows often recruit “individuals desperate for exposure” from social media – with women often asked whether they are looking for love, and men asked whether they are hoping to have some fun. Describing the reality genre as “sordid,” Vanessa said things have significantly changed since the early 2000s.

At the time, the idea of having “real people, doing real things, in real time” on TV seemed “revolutionary”, she argued, as demonstrated by the success of Big Brother. “We wanted ‘ordinary’ people scratching their armpits, pairing socks, quarrelling, vying, lying, picking their toenails and getting their rocks off,” Vanessa, who famously broke down and told Big Brother to “f*** off” during the first-ever Celebrity Big Brother in 2001, wrote.

Back then, mental health wasn’t given the same importance it has now, Vanessa said, meaning that many people – including herself – didn’t realise that reality TV posed any risk to participants. But she wrote: “When I said I’d had enough and please could I pack my case and go – we weren’t being paid, we were doing it free for Comic Relief – Big Brother replied: ‘If you leave, Vanessa, you’ll be the most hated woman in Britain.'”

She said that after being evicted, she “shook uncontrollably” and was “disorientated, trembling” until she was able to reunite with her daughters, which made her “remember how it felt to be myself.” She said: “A quarter of a century later people still ask, what the beep happened? I tell them, when you are on a reality TV show it isn’t a game.

Opening up on her experience of filming Celebrity Fit Club in 2004, Vanessa said she was “so scared” of letting her team down that she “stopped all food and water on Friday mornings” and after the weigh-in on Saturday afternoon, contestants “were all shaky and faint with hunger.”

She said that after drinking a glass of water and eating a couple of Ryvita crackers, they would go back on the scales and find they had already gained back the weight presenter Dale Winton had announced they had lost. “It was hell,” Vanessa reflected.

Giving the example of reality star Sinitta, who appeared on her Channel 5 show Vanessa on June 1 and said she needed therapy after I’m A Celebrity…South Africa due to the amount of trolling she faced, the broadcaster said reality TV is capably of leaving people damaged.

Vanessa’s reflection comes after her Channel 5 daytime chat show was cancelled only a year after its debut. According to reports, the presenter was blindsided and left furious by the news. The chat show sees Vanessa talk to guests and people at home who had called in to share their experiences of whichever topic was on the agenda.

But this week, a 5 spokesperson confirmed to the Mirror that the show would be coming off air, saying: “Due to afternoon scheduling changes, ‘Vanessa’ will be rested from July 17th. We thank Vanessa and her team at ITN for 18 months of warm, witty, wise and searingly honest shows. Vanessa remains a valued member of the 5 family and we are discussing future projects together.”

Following the cancellation, a source told the Mail that Vanessa was blindsided when she was told that the show had been axed. They said: “Vanessa was brought into a meeting after her show came off air this week. She had no idea what the meeting was about and certainly didn’t expect to be told it was not being renewed. She feels so blindsided but also let down by bosses.”

The cancellation is thought to be linked to low ratings for the programme, as well as an inability to get the scam callers under control. The source said that producers “tried their best to crack down” on the pranks, but it couldn’t be done.

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JUST two weeks ago, Tina O’Brien was waxing lyrical about going on her first solo holiday as she embraced single life for the first time in years.

It turned out to be rather short-lived, though, as yesterday the Corrie star was spotted kissing a hunky new man in the street.  Now, insiders tell us why her latest fling – with Irish TikToker Rory Martin – has sparked concern amongst her inner circle, who fear her new beau might have an ulterior motive.

Our insider said: “Tina was genuinely trying to enjoy some time on her own after her recent split, but she has really fallen for Rory’s Irish charm. 

“Rory is no stranger to hanging out with famous women – he was linked to Una Healey last year and has gained a bit of a reputation for being a ladies’ man.

“He loves TikTok fame and will really be enjoying the attention he’ll be getting off the back of dating Tina.

“It’s worrying for her friends, because they don’t want to feel like she is being used.

“Tina is someone who loves love and enjoys being caught up in the whirlwind of it all, and they just don’t want her to rush into anything.”

While her last ex, Adam Fadle, disliked the limelight, Rory, in contrast, is said to be very taken with her high profile.

We’re told Tina now lives in a very well-known area where paps often frequent, so it’s unlikely to have come as a surprise to her that they were photographed.

It’s thought Tina, 42, actually met Rory, 30,  through her daughter, 17-year-old Scarlett, who she shares with ex Ryan Thomas. 

They are said to have connected through the music world. Rory also dabbles in singing and guitar playing, as well as doing social media.

He also works for the ambulance service – but is believed to be in the call centre rather than working as a paramedic, as his social media would suggest.

Our source continued: “People think Rory is some kind of sexy paramedic, but the reality is much less glamorous.

“He really plays up to it in his social media because he knows his thirst traps in his uniform attract both women and men to him.”

Last June, Rory surprised fans by posting a video of him singing with Saturday’s star Una in a kitchen.

We’re told the pair were casually dating for some time and really enjoyed making music together. 

Tina’s new romance comes seven months on from her splitting from her millionaire boyfriend Adam Fadle, whom she met in Cheshire following her move there.

The actress, who is known for playing Sarah Platt on the Cobbles, is thought to have been single since her split from millionaire businessman Adam.

At the time, we revealed that it was interior designer Adam who ended things with the star. Rather than being taken with her glam life in the public eye, we’re told it ended up being a huge turn-off for him.

Our insider said: “He was the one who wanted out and ended it. In a brutal swipe, he said it ended up being like something out of a Coronation Street storyline.”

That relationship was hot on the heels of the end of her marriage to personal trainer Adam Crofts. They got together just four months after it ended. 

Tina and Adam Crofts were married for six years and share a son, Beau, together.

Tina also, of course, has her daughter from her relationship with her former Corrie co-star Ryan Thomas.

Her romance with Ryan lasted from 2003 to 2009, with the pair’s very public split fraught and involving a number of public spats. 

Most recently, the pair have been navigating their daughter’s burgeoning singing and social media career together. 

While Ryan has fully embraced that world, Tina’s had a love-hate relationship with social media over the years, vowing to take a break from Instagram in 2020 after calling the site “toxic” and admitting she felt like a “fraud” trying to present a “filtered version” of her life to gain validation. 

But six years on, things are completely different, and she has big plans for the future after signing up to an agency – Alpha Talent Group – which will be helping her land a series of brand partnerships.

Alpha already has a string of celebrity clients. They look after boxer Tommy Fury, The Wanted star Max George, Made in Chelsea’s Miles Nazaire, and Love Island stars Paige Turley, Helena Ford, and twins Eve and Jess Gale.

While Tina is set to branch out on socials, fans shouldn’t expect to see her all over TikTok, like Scarlett and her dad Ryan and his brothers Adam and Scott Thomas are.

Our source previously explained: “She won’t be doing cringe TikTok trends, but there are some exciting brand deals on the horizon.

“And don’t be surprised if she steps out of her comfort zone and does some reality TV – she did Strictly over a decade ago and feels like she wants the public to see her personality.”

And dating another social media star, who has half a million followers on TikTok, is probably not a bad place to start. 

A couple who booked a trip to Barcelona shared their ‘expectations’ of the city, but soon discovered the ‘reality’ was vastly different from what they’d imagined

Barcelona, the capital of Catalonia in northeastern parts of Spain, is a popular for Brits looking for a weekend break or a summer escape, thanks to its mix of buzzing city life, Mediterranean coastline, and world-famous architecture. And it’s not only Brits who are drawn to the Spanish city, as it welcomed around 16 million tourists last year alone, a 2.9 per cent rise from 2024.

But officials in the city have warned that tourism levels have resulted in residents being priced out due to the number of homes being converted into holiday lets. In a bid to tackle the problem, the city ramped up its tourism tax in April 2026, with a charge of up to £10.91 (€12.50) per night for holiday rentals, up from £5.45 (€6.25) previously.

Yet this doesn’t appear to have deterred visitors, as countless holidaymakers regularly flock to social media platforms like TikTok to share their experiences in Barcelona.

But many have discovered it’s worlds apart from what they might have imagined. Among them are Lara and Laurens, a Dutch couple who chronicle their travels on TikTok.

In a recent clip, they revealed how their dream vision of Barcelona had been ‘ruined’ because of the sheer amount of roadworks under way during their stay.

The pair kicked off by outlining their ‘expectations’ for the trip. This included soaking up the stunning architecture across the city, enjoying sangrias, and people-watching while strolling along the lively streets.

And Lara went on to reveal the ‘reality’ of a trip to Barcelona, which featured an abundance of roadworks, building sites, and makeshift pedestrian routes flanked by wire fencing, all making way for construction projects taking place on the pavements and roads.

“Would you still visit Barcelona right now?” Lara and Laurens asked viewers in the caption of the video.

Lara wasn’t alone in her observations either, as viewers quickly descended on the comments section to share their own experiences of visiting the beloved Spanish city. “This! And every single water fountain was turned off when we went,” one person shared.

A second viewer chimed in: “Yep! I was there recently and tons of construction going on!” Another added: “Pffff no nice. I hope you can enjoy your travel.”

Not everyone agreed, however, with one person pointing out: “That’s ONE street.” Another echoed the sentiment, writing: “It’s just one street by the market! Everything else is great!”

“I’m here right now. It’s a beautiful city. All cities have construction here and there,” one further commenter remarked.

“How dare cities upgrade their infrastructure while you’re on vacation!” someone else wrote.

Lara was quick to respond, saying: “Haha no it’s great that they’re doing it. It was just a lot on the same time. Still love Barcelona.”

The “Love Island USA” production team is mourning the loss of executive producer James Barker, who died last week while on set in Fiji.

“Love Island USA” producers ITV America and Peacock confirmed Barker’s death in a media release shared with The Times on Monday. The announcement said that Barker died after “an unexpected medical emergency” but did not provide additional details, including the day of his death and a cause of death. Barker was 40.

“James’ unimaginable loss has been deeply felt across not just the entire Love Island USA production, but throughout all of ITV and Peacock,” the television companies said in a joint statement. “He was a beloved and greatly valued member of our collective family whose kindness, talent and dedication left an indelible mark on all of us and everyone who had the privilege of knowing and working with him. We extend our heartfelt condolences to James’ family, friends and colleagues.”

Barker began his tenure on “Love Island USA” in 2020, first working as a story producer. He has worked as an executive producer on the series for the last three seasons and was also a member of the producing team on “Love Island” companion series “Love Island Games” and “Love Island: Beyond the Villa.”

Barker, according to Monday’s statement, also oversaw the hit series’ pop soundtrack. For an interview with Rolling Stone in 2025, Barker recalled watching the original British “Love Island” series and how pop music supplemented the on-screen romances and heartbreak: “I think that is where my brain immediately said, ‘One, this is amazing, and more shows should be like this.’ And two, ‘How do I work on “Love Island”?’”

Barker also noted in the interview that he drew inspiration for the “Love Island USA” villa sound from his pre-TV career as a nightlife DJ and spoke about the process of hand-selecting music from established pop acts and up-and-coming artists.

“In the past, there was such a stigma about reality shows that a lot of artists didn’t want their music associated with reality shows. And that’s starting to turn around now,” Barker told the outlet. “[Artists are] more and more seeing, well, one, the financial aspect of having your music synced in these kind of shows, and also just the wide reach of viewers.”

Before “Love Island USA,” Barker was a producer on reality series “Pawn Stars,” “Counting Cars” and “Forged in Fire.” He later served as a story producer on “Queer Eye,” “Cosmic Love” and “Are You My First?” Outside of his TV work, Barker often performed as DJ Chaotic at gay bar C’mon Everybody in Brooklyn.

“Love Island USA,” which began its eighth season earlier this month, will pay tribute to Barker in Tuesday’s episode.

He is survived by his mother Malinda.

TEDDY SWIMS says he is glad he was 30 years old before achieving global success – otherwise he could have gone off the rails.

The US star, whose single Lose Control sent his profile rocketing in 2023, said he doesn’t understand how younger stars like Benson Boone have coped with their early fame.

Teddy explained: “He’s crushing it at, like, 23. If they would have gave me that at 23, I would have sent that straight up my nose.

“Thank God it happened to me at the time it did and I’m capable of understanding this and taking it seriously.

“I’d have probably been so terrible about it. I’d have spun out immediately if I’d been given that at such a young age.”

Since then though, Teddy’s had further hits with The Door and Bad Dreams, but doesn’t let success get to his head.

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He said: “I try not to hang up my diamond or platinum records in my house, because I feel like I’ll just be looking at them and be like, ‘My best days are behind me,’ or something.

“So I try just to keep my head down and keep rocking.”

Asked if they’re in storage, he confessed: “A lot of them I’ve given to my family on Christmas. It saves me a little money there too.

“You know, my aunt’s got The Door gold record from a year ago.”

A real beauty spot, Maya

MAYA JAMA is clearly feline fine as she turns up the heat in a skimpy leopard-print mini dress.

The Love Island host sizzled as she fronted the dating show’s ITV2 spin-off Aftersun in the slinky number.

Maya, who previously dated grime star Stormzy, split from her Manchester City footballer boyfriend Ruben Dias in April after 18 months together.

But she clearly isn’t moping around, and has been on holiday in Ibiza, where she flaunted her curves in a tiny bikini.

Maya said of the break-up: “I’m an all-or-nothing girl, I don’t casually date, so yes, I will love loudly or not at all – and if it ends, it ends. I decided a long time ago not to base my life decisions on public opinions.”

Sounds like she’s got the dating game sussed.

JACK WHITEHALL has apologised to Becky Hill for calling her a “Wetherspoons Whitney”, claiming the pair “had a chuckle” about his dig – despite her writing diss track Daddy’s Range Rover about him.

I revealed last month how Becky has penned the song all about him making her the butt of a joke while he hosted the 2024 Brits.

Jack says: “I think my biggest surprise is it’s taken so long for some- one to write a diss track about me. I apologised when I saw her.”

Becky doesn’t sound like she sees the funny side, however – blasting the “privately educated nepo baby”.

Jesy’s hol of a look

LITTLE MIX singer Jesy Nelson celebrated her 35th birthday pondering what is coming next for her.

Holidaying with friends, she mused: “Whatever will chapter 35 bring?”

Well, it is unlikely to bring a reunion with her estranged former bandmates.

Jesy was not a guest at Perrie Edwards’ wedding to Alex Oxlade-Chamberlain in Portugal over the weekend, after Perrie said Jesy made her “blood boil” by claiming she felt unsupported during a mental health crisis.

Whatever comes next, it’s going to be a page-turner.

LEAH LETS LOOSE IN IBIZA

ENGLAND women’s football captain Leah Williamson made the most of her break from the game by enjoying a wild girls’ trip to Ibiza.

I’m told the Arsenal player let her hair down at the White Isle’s most legendary club Pikes last week.

Then on Friday night she let loose at Calvin Harris’ residency at superclub Ushuaia, where she partied with pals and her model girlfriend Elle Smith.

One onlooker told me: “Leah was ­having a great time doing shots with her mates – she was really ­living her best life.”

A calf injury meant she was ruled out of the last Lionesses squad, and it sounds like she is still feeling the effects as Leah wasn’t dancing as much as her mates.

But I reckon a blow-out in Ibiza might be just what she needs before getting her head back in the game.

FRESH off a collaboration with Ed Sheeran, Martin Garrix has teamed up with Madonna.

The Dutch DJ debuted Bizarre, one of the tracks from Madge’s highly anticipated Confessions II album, during a New York party.

From the clip I’ve heard, it sounds like an absolute beast.

ASTON: MY BOY’S READY TO HAVE BITE AT POP STARDOM

JLS star Aston Merrygold reckons he could have the next Justin Bieber on his hands in the form of his talented eldest son.

He revealed that eight-year-old Grayson Jax is already showing serious star potential.

The Beat Again singer said: “My oldest is full-on – he’s ready, he wants to do everything. He’s so much better than I ever was. Little Justin Bieber on the way.”

While fans wait to see if another Merrygold is about to hit the charts, Aston is juggling life as a musician with being a hands-on dad to his three children and setting a good example.

The singer has teamed up with Bupa Dental Care to launch the kids’ story and audiobook The ­Dentist’s Apprentice, aimed at ­helping youngsters overcome fears over check-ups on their teeth.

Aston said: “The whole premise is about trying to get rid of dental anxiety that young people have.

“Having all that pent-up anxious energy is not healthy for anyone. The dentist is about check-ups, it’s about prevention.”

Aston will soon be back on the road with JLS for their UK tour.

They are playing eight more shows, ending in Derby on August 29.

Reality programme The Vardys has wrapped up and fans of the show have one big question

Reality show The Vardys has ended, leaving fans with one question.

The programme followed footballer Jamie as he left Leicester City and moved to Italy alongside wife Rebekah and their family.

As it ended on Thursday (June 4), many fans were left wondering if it would be back for a second series, reports Leicestershire Live.

Spanning three episodes on ITV, The Vardys documented the famous family’s relocation to a luxurious Lake Garda residence, where they adjusted to a new life and were faced with a break-in.

“After a difficult and dramatic five years in the UK, Rebekah is ready for the next chapter – but uprooting and moving to Italy with four kids (plus a superstar footballer husband) is not exactly what she had in mind,” a synopsis stated.

“As she manages the emotional and physical upheaval of the new move, she reflects on her recent challenges in the UK, intent on putting the ‘Wagatha’ drama behind her and focusing on an exciting new chapter.”

Following the finale, numerous viewers expressed their desire for another instalment.

“Watched all three episodes last night, loved it… will there be a second series,” one person asked on Instagram.

Rebekah hosted a Q&A on her Instagram Story, and when questioned about a potential second season, she responded: “We only ever agreed to do three episodes, but we will see. It’s a busy time right now.”

Another viewer mentioned watching the programme on catch-up and thoroughly enjoying it, asking if there would be further episodes. “Ah, thank you, we will see,” the star replied.

One viewer asked whether Rebekah and Jamie might venture onto YouTube, and she teased: “Just wait and see.”

Numerous viewers have suggested the series has revealed a different side of the star, and when one commented that Rebekah was a “great mum and wife”, she responded: “A villain makes a better story than the real person, I guess. Sometimes it’s easier to believe a headline than think for yourself.

“A lot of people built careers on getting me wrong,” she continued. “I’m really not as scary as they want you to believe.”

The Vardys is available on ITVX.

Channel 4 abruptly cancelled plans to reboot the popular competition series

Channel 4 fans have pleaded with bosses to bring back a show they say is “prime British TV.”

The savage reality competition series titled Four Weddings quickly became a huge hit with fans all thanks to its chaotic moment.

The show saw four brides-to-be attend and score each other’s weddings, awarding marks for dress, venue, entertainment and food in hopes of coming out on top and winning a luxury honeymoon.

As expected there were some rather uncomfortable scenes as some contestants were rather harsh with their scores or were clearly opting for shady tactics.

The series originally broadcast on Sky Living between 2009 and 2013. With the success of smash hit shows such as Married At First Sight, it sparked the interest of Channel 4 producers decade later, who planned to reboot the show.

The team behind Come Dine With Me, were expected to run the show and it was said that they would be introducing a big change to the news – the star prize would be switched from a holiday to a £50,000 cash prize.

Despite fans’ excitement at the time, the network abruptly cancelled the reboot just days before it was supposed to start production. No official reason was given for the sudden cancellation of the series.

There are no plans of the show making a return since it vanished from our screens, however TV fans have urged Channel 4 to consider a revival again following a nostalgic post on social media.

One fan commented: “This is prime British TV.” Another said: “We need this show back.” A third wrote: “This was peak UK reality. LOVED this show, so underrated.”

Another commented: “This was the best programme ever.” One fan said: “This was so savage.” One insisted: “This is the best show ever.”

Meanwhile another fan added: “I don’t know why they stopped this show, I would watch it over Corrie.”

It comes as a former bride, who appeared on the show previously opened up about how the show left her completely blindsided.

Linsie Abshire, who was 26 when she was crowned winner, revealed that her honeymoon prize came with one major thing she was completely unprepared for.

The bride took to Reddit and explained that while they were being sent to Tuscany for five nights, with dinner, a spa day, a wine and olive oil tasting, and a $1,000 gift card all paid for, the most significant expense was not covered.

Linsie wrote: “They do not pay for the plane tickets.” Her husband was naturally “kind of upset” because they had been under the impression that the entire trip would be paid for.

Matt Brown, who starred with his family in the Discovery reality television show “Alaskan Bush People,” was found dead in the Okanogan River in Washington state, law enforcement officials said Sunday.

Brown’s body was discovered Saturday by a group of private citizens who were conducting a search, the Okanogan County Sheriff’s Office said in a statement.

Brown’s brother, Bear Brown, said in a video posted Saturday on social media that fellow brother Noah had been with the search team, helped pull the body out of the river and identified him.

The official cause and manner of death is still to be determined by the coroner, the sheriff’s office said. But the Brown family believes Matt Brown died by suicide, Bear Brown said in the video.

Witnesses said they saw Matt Brown in or near the river and that he “took his own life,” Bear Brown said on social media.

“I would have never suspected he would hurt himself, honestly,” Bear Brown said in the emotional video. “He struggled for a long time.”

Bear Brown said his brother had battled with alcohol and drugs and that Matt Brown told him in their last conversation that he had “fallen off the wagon.”

The Brown family and their life in the Alaskan wilderness were the subject of the reality TV show “Alaskan Bush People,” which ran on the Discovery Channel from 2014 to 2022.

At this year’s Sundance Film Festival, filmmaker William D. Caballero won the NEXT Special Jury Award for Creative Expression for his intensely personal, multimedia feature debut, “TheyDream.” During his acceptance speech, he made a powerful statement.

“In case ICE were ever to harm me or kill me, this film will serve as the truth of who I am, and who my family is, before Fox News or this administration ever makes us out to be the villain[s],” he recalls paraphrasing during a recent interview.

Blending live action footage with different animation techniques — as well as the 3-D-printed miniatures that have been a fixture of Caballero’s work for more than a decade — “TheyDream” honors the filmmaker’s Puerto Rican loved ones, particularly his mother, Milly.

She collaborated with him in the making of this one-of-a-kind portrait of loss, resilience and shared healing. Their heartfelt exchanges throughout this process are also shared on-screen.

“Seeing her light up and become transformed throughout was just invigorating, because it allowed us to talk about heavy things and bond throughout the process of creating a story that’s personal [for us] both,” Caballero says. “It’s like, ‘Let’s guide each other and instead of me taking your stories and making magic with them, let’s make this magic together.’”

The brilliantly unconventional piece of autobiographical storytelling will screen as the closing night film of the Los Angeles Latino International Film Festival (LALIFF) on Sunday. Recently, John Leguizamo and Ben DeJesus joined the film as executive producers.

Starting with his 2013 short film “How You Doin,’ Boy? Voicemails From Gran’pa,” Caballero has used miniatures to immortalize his loved ones. That bite-sized introduction to his Boricua grandfather’s humorous wisdom evolved into the HBO Latino show, “Gran’pa Knows Best.”

“When I started working on ‘Gran’pa Knows Best,’ I knew that 3-D printing was this new technique,” he says. “But I’d never seen anyone that looked or sounded like my grandfather in it. I realized that it could be a really creative method to preserve his voice and his story. “

Then came the 2017 short “Victor & Isolina” about his grandparents’ relationship, and more recently in 2022, he debuted “Chilly and Milly,” which focused on his parents. Some of the sets from these shorts, tiny replicas of places familiar to Caballero, and a few of the miniature characters were reused in “TheyDream.”

“Being able to create these things in miniature is almost like getting back in touch with the idea of play,” Caballero explains. “As a child, you invent lots of stories all the time. But now as an artist, I’m able to tell stories that touch upon reality and painful memories, but also hopes and dreams in a way that hearkens back to the innocence of childhood.”

Filmmaker William D. Caballero will screen “TheyDream” on Sunday at the Los Angeles Latino International Film Festival (LALIFF).

(William D. Caballero)

“TheyDream” is a culmination of the eclectic and nimble artistic practice that Caballero has developed since he studied digital art at the Pratt Institute in Brooklyn.

“I’d always just been attracted to new ways of expressing myself and expressing stories. And I say this both in a way that brings me pride, but also brings me a bit of a headache, because I don’t think I’ll ever be a conventional filmmaker,” he says, laughing.

Still, working outside the margins of traditional moviemaking requires great adaptability.

When Caballero received funding for “TheyDream” in 2021, the money wasn’t enough to conceive it as he had originally envisioned it: entirely told with 3-D-printed figures in physical sets. The lack of resources forced him to rethink his approach, and he opted for hiring two Puerto Rican animators, Julisse Tinoco and Frank Martinez, each of whom animate in distinct styles, to help him create some of the sequences needed.

“This all goes back to the resourcefulness that I learned when I was young,” Caballero says. “When you’re born Latino and low-income in this society, you can’t let yourself be written off or you’re already defeated before you even begin.”

Caballero grew up in housing projects in New York City, and later in a trailer in his grandmother’s backyard in Fayetteville, N.C. Both of his parents were disabled.

Filmmaker William D. Caballero poses as his father for a reference shot in the making of his 2026 film “TheyDream.”

For Caballero, he says the arts have provided an escape that he “needed in order to survive and not feel weighed down by American consumerism, by poverty and by feeling trapped.” Whenever grief has perturbed him, Caballero has processed it through creativity.

With “TheyDream,” he wished to extend that vehicle for self-reflection to his mother. The film addresses complicated familial bonds and his mother’s experience caring for others.

“Throughout the years, we’ve lost several of my family members that we were both close to, but my mother especially,” he says. “She feels their absence much stronger than I do. I live in Los Angeles, my mother still lives in North Carolina. Knowing that she was alone in the mobile home, it just made me feel like, ‘That can’t be good for her.’”

His mother, he says, deals with self-esteem issues because her identity has for so long been reduced to being a caretaker for elderly relatives, who, inevitably, pass away — leaving her feeling like a failure. In reality, it was thanks to her devotion that they added years of life.

Caballero’s mother was at the Sundance premiere of “TheyDream,” where she witnessed how others saw her through the film she helped her son craft.

“I wanted her to feel like, ‘Mom, look at all these people that are clapping for you. They’re clapping for you because you are a hero. You deserve to hold yourself high and be strong and know that there’s something incredible in your story that’s indicative of the stories of many low-income Americans, regardless of race,’” Caballero says, visibly moved.

A prolific and highly regarded artist (he is a 2018 Guggenheim Fellow), Caballero has several other projects in the works that he’s trying to shop around. One of them is an episodic series titled “Second Fiddle,” about a 15-year-old Latino boy who gets accepted to a prestigious summer youth orchestra camp — and whose overbearing mother decides she’s going to stay in the camp with him.

Caballero’s mother, Milly, got the animated treatment in “TheyDream.”

“I never saw a Latino playing violin on TV or the big screen. I didn’t see any quirky, nerdy, artsy Latino kids like I was,” he says. “And I felt in my core that [it] was just wrong and something that I could change.”

Another project, “Raúl Playing Game,” is “an adult version of Pixar’s ‘Inside Out,’ ” that takes place in the mind of a closeted bisexual man. Caballero himself is bisexual. In 2022, “Raúl Playing Game” was selected for the LALIFF Inclusion Fellowship, which provided support for a short film version that serves as proof of concept for a potential TV show.

“I always wanted to make sure that I was telling authentic stories even if not necessarily always positive stories,” he says. “I’m very happy that I never lost track of that. Because I do believe that we need to tell our own stories, in our own unique voices, before someone else does it for us.”