seizes

Narcotics worth more than $972m seized in two separate operations carried out within 48 hours.

The Pakistani navy, operating as part of the Combined Maritime Forces (CMF), has seized nearly $1bn worth of narcotics from two vessels sailing through the Arabian Sea.

The CMF, the naval network overseeing the operation, said in a statement on Wednesday that last week, the Pakistani navy intercepted the dhows in two separate operations over 48 hours and seized narcotics worth more than $972m.

The crew boarded the first dhow and seized more than 2 tonnes of “crystal methamphetamine (ICE) with an estimated street value of $822,400,000” on October 18, the CMF said in a statement.

“Less than 48 hours later, the crew boarded a second dhow and seized 350 kg of ICE worth $140,000,000, and 50 kg of cocaine worth $10,000,000.”

The CMF did not provide further details on where the vessels originated, but added that they were identified “as having no nationality”.

U.S. Central Command congratulates the Saudi-led Combined Task Force 150 of Combined Maritime Forces for successfully seizing more than $972 million worth of narcotics. Over a 48-hour period, Pakistan Navy Ship Yarmook conducted boarding operations of two dhows in the Arabian…

— U.S. Central Command (@CENTCOM) October 21, 2025

The operations were conducted in direct support of a Saudi-led Combined Task Force 150, which said “the success of this focused operation highlights the importance of the multi-national collaboration”.

It was “one of the most successful narcotics seizures for CMF”, said Saudi Arabian navy’s Commodore Fahad Aljoiad, commander of the CMF task force carrying out the operation.

The CMF is a 47-nation naval partnership tasked with inspecting more than 3.2 million square miles (about 829 million hectares) of waters, including some of the world’s most important shipping lanes, to prevent smuggling, the statement added.

In a separate statement, the Pakistani navy said the achievement highlighted its “unwavering commitment to regional maritime security, global peace, and the collective fight against illicit trafficking at sea”.

WASHINGTON — The United States took survivors into custody after its military struck a suspected drug-carrying vessel in the Caribbean — the first attack that anyone escaped alive since President Trump began launching assaults in the region last month, a defense official and another person familiar with the matter said Friday.

The strike Thursday brought the death toll from the Trump administration’s military action against vessels in the region to at least 28.

It is believed to be at least the sixth strike in the waters off Venezuela since early September, and the first to result in survivors who were picked up by the U.S. military. It was not immediately clear what would be done with the survivors, who the people said were being held on a U.S. Navy vessel.

They confirmed the strike on condition of anonymity because it had not yet been publicly acknowledged by Trump’s administration.

Trump has justified the strikes by asserting that the United States is engaged in an “armed conflict” with drug cartels, relying on the same legal authority used by President George W. Bush‘s administration when it declared a war on terror after the 9/11 attacks. That includes the ability to capture and detain combatants and to use lethal force against their leadership.

Some legal experts have questioned the legality of the approach. The president’s use of overwhelming military force to combat the cartels, along with his authorization of covert action inside Venezuela, possibly to oust President Nicolás Maduro, stretches the bounds of international law, legal scholars said this week.

Meanwhile, the Navy admiral who oversees military operations in the region will retire in December, he and Defense Secretary Pete Hegseth announced Thursday.

Adm. Alvin Holsey became the leader of U.S. Southern Command only in November, overseeing an area that encompasses the Caribbean Sea and waters off South America. These types of postings typically last between three and four years.

Holsey said in a statement posted on the command’s Facebook page that it had “been an honor to serve our nation, the American people and support and defend our Constitution for over 37 years.”

“The SOUTHCOM team has made lasting contributions to the defense of our nation and will continue to do so,” he said. “I am confident that you will forge ahead, focused on your mission that strengthens our nation and ensures its longevity as a beacon of freedom around the globe.”

U.S. Southern Command did not provide any further information beyond the admiral’s statement.

For the survivors of Thursday’s strike, the saga is hardly over. They now face an unclear future and legal landscape, including questions about whether they are now considered to be prisoners of war or defendants in a criminal case. The White House did not comment on the strike.

Reuters was first to report news of the strike late Thursday.

The strikes in the Caribbean have caused unease among both Democrats and Republicans on Capitol Hill, with some Republicans saying they have not received sufficient information on how the strikes are being conducted. A classified briefing for members of the Senate Armed Services Committee this month did not include representatives from intelligence agencies or the military command structure for South and Central America.

However, most Senate Republicans stood behind the administration last week when a vote on a War Powers Resolution was brought up, which would have required the administration to gain approval from Congress before conducting more strikes.

Their willingness to back the administration will be tested again. Democratic Sen. Tim Kaine of Virginia, along with Sens. Adam Schiff, a California Democrat, and Rand Paul, a Kentucky Republican, is bringing another resolution that would prevent Trump from outright attacking Venezuela without congressional authorization.

Toropin and Mascaro write for the Associated Press.

“Kiss of the Spider Woman,” a sexual and scatological dazzler about an inmate‘s obsession with a favorite musical, sounds like the kind of thing some folks won’t watch even if they, too, were locked in a prison for years. Their loss. In the spirit of the film, I’ll try to change their mind.

It’s 1983 Argentina, the last days of a militarized dictatorship under which 30,000 people have been disappeared. Scraggly, severe Valentin (Diego Luna) is a political prisoner with ties to the revolutionary underground. His new cellmate is a brazen chatterbox named Molina (Tonatiuh), a gay window dresser serving an eight-year sentence for indecency in a public bathroom. They have zero shared interests. But to pass the time — and, more importantly, to get Valentin to put down his biography of Lenin and talk a little — Molina recounts the plot of a Golden Age spectacular starring the fictional movie star Ingrid Luna (Jennifer Lopez), a red-lipped, pineapple-blond beauty whose vintage posters brighten their wretched gray walls.

“I hate musicals,” Valentin complains.

“Then I pity you,” Molina says breezily, charging into the first scene.

Through beatings and starvation, poisonings and betrayals, all under the gaze of the oppressive warden (Bruno Bichir), Valentin and Molina escape into Technicolor in a desperate need for distraction. The writer-director Bill Condon (“Chicago,” “Dreamgirls”) has savvily, unabashedly reworked the 1993 Broadway extravaganza (already a bold adaptation of the 1976 experimental novel and 1985 Academy Award-winning drama). He’s double-cast Luna and Tonatiuh as the film-within-a-film’s leads and changed the imaginary tale from a Nazi propaganda flick to a melodramatic but moving South American romance between a glamour queen and a noble photographer. Its themes of love and sacrifice come to mirror Valentin and Molina’s own relationship.

The songs themselves are the same rather-forgettable numbers by John Kander and Fred Ebb who did a zingier job mixing fascism with feathers in “Cabaret.” “Live inside me on a movie screen,” Lopez’s Ingrid sings, luring Molina to get lost in daydreams. Behind her, dancers gyrate like victims being electrocuted. (I wouldn’t have minded more jolts of morbid humor.) Unhummable as the music is, its message has a spark: In the war for liberation, it’s OK to take mental breaks.

In fact, pleasure is necessary, especially for the regularly tortured Valentin who seems to have been numb for a long time. (Communist memoirs don’t stir the soul.) A hardline ascetic, Valentin won’t even alert the medics when he’s sick, in case they give him morphine.

The two roommates comically bicker about what scant pop culture Valentin knows, taking shots at “Raging Bull,” Meryl Streep and his own crass insistence that Ingrid’s character, Aurora, is frigid due to some kind of childhood trauma. (“Oh, God, let her be,” Molina sighs.) Yet, their conversation always pirouettes back to the gap between the real world and the movies.

“I hate to break it to you,” Valentine says, “but nobody sings in real life.”

“Well, maybe they should,” Molina huffs.

Maybe in confinement they can’t.

Condon smartly limits who sings and why and when. In the 1985 drama, which starred Raul Julia and William Hurt (who won the Oscar for Molina), both men remained trapped in this horrible dungeon and never sang a song. On Broadway, all of the characters — even cranky Valentin — crooned numbers the whole way through. But Condon draws a thick line between reality and fiction to highlight how much his leads need the freedom for radical self-expression.

“Kiss of the Spider Woman” is about a lot of things: Valentin reconnecting with his emotions, Luis discovering that he’s more than a self-described trivial sissy. (“I cringe every time you make fun of yourself,” Valentin growls.) But it’s fundamentally about those scenes in which the palette and polish of the film shifts and cinematographer Tobias A. Schliessler switches from handheld to Steadicam. The putrid chamber drama becomes a fantasia, befouled rags turn into tuxedo pants and it’s finally safe to belt how they feel.

Earlier incarnations of this story had activism as the end goal, Valentin for his principles and Molina for his new friend. Condon is more focused on their humanity. Caring for each other makes this bleak world worth fighting for. Without joy, we’re already in chains.

People will come out of “Kiss of the Spider Woman” gushing about Tonatiuh and with good reason. Striding confidently into his first starring role, the L.A.-born breakout talent is a bright new discovery with shining eyes and brash exuberance. He needs to be excellent for the movie to succeed and he’s pretty darned close, even pulling off a glib beat where Molina recoils from a battered man and quips, “If I looked like that, I’d want a bag over my head too.” There are scenes where he comes off arch and a little telegraphed, although in fairness, that’s also just who Molina is — performance is protection. And when Tonatiuh cowers from the guards, we get a hint of what Molina has suffered without Condon ever having to show the abuse.

To keep things faithful to 1983, Tonatiuh’s Molina doesn’t identify as transgender — the character sticks to the limited vocabulary of the time. But you see Molina’s subtle disappointment when Valentin, trying to be supportive, insists, “You’re not a monster, you’re a man.” And Condon has tweaked a climactic refrain, changing the pronoun to “Her name was Molina.”

Playing Ingrid-as-Aurora — the heroine of a film that, even its biggest fan admits, is “no ‘Citizen Kane’” — Lopez is shellacked under two layers of diva artifice. But at this point in her career, she’s suited to being an icon. She’s long since given up pretending she’s still Jenny from the Block, and Condon has shaped the role of Ingrid to her like a corset. You hear it in the line, “No matter how hard Hollywood tried to make her all-American, she never stopped being Latin” and more than that, you see it in Lopez’s delight as she flashes her legs and tosses her hair. She knows she can nail this role and she really hoofs it. There’s a wide-angle shot of a nightclub where Condon gives her and a dozen background performers a full, uncut minute to twirl. Most impressively, Lopez grabs a martini, slowly does a one-legged spin to the ground and then uncoils herself to stand back up and cheer.

She has a harder time commanding the screen in a third role, when Ingrid also acts the part of the sinister Spider Woman, a spiky-haired, taloned jungle goddess who smooches her prey to death. The movie’s stiff Spider Woman set pieces are a relic of the ’90s musical that put Chita Rivera in a massive web. Trapped in them, Lopez can’t do much more than a predatory grin. But it’s still better than how Condon’s “Chicago” chopped up its choreography into close-ups (and here, there’s still a few gratingly askew camera angles). The new film is the director’s penance: an apologia to musical lovers who want to see the star do every inch of the dancing.

Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings. For his second role as Ingrid’s onscreen boyfriend, Condon resurrects a discarded number from the original musical where Luna croons about being “An Everyday Man,” his warm voice perfectly imperfect. Even when he’s grouchy and filthy, you get why Molina would imagine Valentin as the ideal romantic lead.

I don’t want to spoil the ending other than to say that Condon adds an exclamation point to his insistence on music as emancipation with a new scene set after the fall of the junta and its right-wing abduction squads. The camera looks down at the jail as the inmates spill into the courtyard. Then it pulls up for an aerial shot of the entire block. We see citizens flood the streets. We hear honking horns and spontaneous street music. The whole country is free to sing.

WASHINGTON — Transportation Secretary Sean Duffy announced Wednesday that his department is taking management of Union Station, the main transportation hub in Washington, away from Amtrak, in another example of how the federal government is exerting its power over the nation’s capital.

Duffy made the announcement in a statement before he joined Amtrak President Roger Harris at Union Station for the launch of the NextGen Acela, the rail service’s new high-speed train.

The secretary said Union Station, located within walking distance of the U.S. Capitol, had “fallen into disrepair” when it should be a “point of pride” for the city.

“By reclaiming station management, we will help make this city safe and beautiful at a fraction of the cost,” Duffy said.

At the event, Duffy said President Trump has been “pretty clear” about what he wants.

“He wants Union Station to be beautiful again. He wants transit to be safe again. And he wants our nation’s capital to be great again. And today is part of that,” Duffy said.

Duffy echoed the Republican president, who said last week he wants $2 billion from Congress to beautify Washington as part of his crackdown on the city. The Republican president has sent thousands of National Guard troops and federal law enforcement officials into Washington in a bid to fight violent crime he claimed had strangled the city.

Local police department statistics show violent crime in Washington has declined in recent years, but Trump has countered, without offering evidence, that the numbers were fudged.

National Guard troops have been on patrol inside and outside of Union Station after Trump launched the anti-crime effort earlier this month. Vice President JD Vance and Defense Secretary Pete Hegseth were shouted down by opponents of the federal intervention when they visited with troops there last week.

During Wednesday’s train unveiling, Duffy will also talk about what the administration is doing to turn Union Station into a world class transit hub, according to a Transportation Department news advisory.

Duffy had pressed Amtrak about crime at Union Station in a March letter to its chief operating officer and requested an updated plan on how it intended to improve public safety there.

Superville writes for the Associated Press.

June 5 (UPI) — The Justice Department has seized more than $7.74 million dollars related to an illegal employment and cryptocurrency scheme operated by North Korea, officials announced Thursday.

The complaint, filed in the U.S. District court in Washington, alleges that IT workers were illegally hired and collected cryptocurrency for the North Korean government as a way to avoid sanctions imposed by the United States.

“This forfeiture action highlights, once again, the North Korean government’s exploitation of the cryptocurrency ecosystem to fund its illicit priorities,” Matthew R. Galeoti, director of the Justice Department’s criminal division, said in a release. “The department will use every legal tool at its disposal to safeguard the cryptocurrency ecosystems and deny North Korea all its ill-gotten gains in violation of U.S. sanctions.”

The Justice Department said North Korean workers used false identities to obtain employment with U.S.-based companies, often remotely, as a way to avoid sanctions and illegally obtained cryptocurrency, which they then sent back to North Korea.

“Those IT workers have generated revenue for North Korea via their jobs at, among other places, blockchain development companies,” the Justice Department release continued.

To send the cryptocurrency to North Korea, the IT workers allegedly laundered it by setting up accounts with fictitious names, sending funds in small amounts, converting funds or moving them to other blockchains or converting them to other forms of currency. They also allegedly commingled their funds with other money to hide their origins.

Earlier this year, the FBI issued guidelines on how to recognize extortion and theft of sensitive company data, and offered rules on how to address it.