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World Cup 2026: ‘A sense of injustice’ – Belgium say Trump move fired them up

Belgium midfielder Nicolas Raskin said his team felt a “sense of injustice” over United States striker Folarin Balogun’s one-match ban being suspended by Fifa shortly before their World Cup last-16 match.

Balogun, 25, appeared certain to miss the tie in Seattle after being shown a straight red card for a foul on Bosnia-Herzegovina defender Tarik Muharemovic in the previous round.

But on Sunday Fifa suspended the automatic one-match ban for 12 months, leading to widespread criticism, with Uefa, Belgium and England boss Thomas Tuchel among those speaking out against the ruling.

On Monday US President Donald Trump said he asked Fifa to review Balogun’s ban, which he said would have left a “big stain” on the tournament.

But, despite the American’s star striker being cleared to play and starting the match, Belgium convincingly beat the tournament co-hosts 4-1.

“A lot has happened off the pitch over the last two days,”said Belgium and Rangers midfielder Raskin.

“There was a sense of injustice within the squad, and we were determined to respond on the field.”

Belgium captain Youri Tielemans insisted the affair had boosted his side.

“We told ourselves we had to respond on the pitch. That’s what we did,” he said.

After Belgium scored their fourth goal several of their players were pictured dancing in a style similar to the ‘Trump dance’ – where he rocks his hips and slowly pumps his arms – which gained notoriety during the 2024 US presidential campaign.

The official Instagram account for the Belgium national team also appeared to mock the debacle, posting a picture of striker Romelu Lukaku cupping his ear with the caption “overturn this”.

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6 nonfiction Emmy contenders to watch this season

Nonfiction films and series are among some of the most-watched (and most-discussed) programming on TV. As Emmy season heats up, the directors of six notable contenders share thoughts about their projects.

‘The Yogurt Shop Murders’ (HBO)

Sonora Thomas and Barbara Ayres-Wilson in "The Yogurt Shop Murders."

“It’s just a famous, famous story in Texas, but particularly Austin,” director Margaret Brown says of the bewilderingly complex case of four teenage girls slain at a yogurt shop in the state’s capital in 1991. “You heard about it all the time at parties. My best friend was like, ‘That story is rabbit hole upon rabbit hole upon rabbit hole — no one knows what really happened. It’s impossible to figure out.’ I liked the idea of something that was impossible to figure out. But when I started doing the interviews, I was like, ‘This is dark, this is deep trauma.’ I’d never watched or done true crime before. I didn’t realize what it would be like to sit with people who hadn’t known what happened to their siblings and children for over 30 years. I remember [thinking], ‘I’ve got to get this right. I can’t mess this up. There’s just too much pain here.’”

‘The American Revolution’ (PBS)

"The American Revolution"

“Leading up to it, I said I just don’t want us drowning in fife-and-drum treacle,” director Ken Burns says of his expansive treatment of America’s origin story, which draws out the experiences of Native Americans and enslaved people as well as the era’s atmosphere of civic discord. “Clearly it’s not, because we’re so existentially challenged by the moment. But the revolution gives us a sense of perspective. Times were more challenging then. More division. More division in the Civil War. More division in Reconstruction. Yes, the threats are unprecedented, but they’re not totally unfamiliar. Mark Twain is supposed to have said history doesn’t repeat itself, but he’s [also] supposed to have said it rhymes. I love that. So like Odysseus, I tie myself to the mast and resist the temptation to put a little neon sign in the film saying, ‘Isn’t this so much like today?’”

‘Sean Combs: The Reckoning’ (Netflix)

Christopher Wallace, The Notorious B.I.G., left, and Sean Combs in "Sean Combs: The Reckoning."

“There was so much noise,” says director Alexandria Stapleton, who tracks hip-hop mogul Sean “Diddy” Combs’ rise and shocking fall in this series, executive produced by 50 Cent. “I’m scared for my safety, I’m scared for my career. Then there was every journalist, every giant corporation, trying to chase the same story. Because there was a feeding frenzy, there were a lot of people that were not truthful. It was making sure that we were going after the right people to speak with, and then … making sure that they felt safe emotionally. No one knew who I was interviewing while I was making it. In making a project about a man who’s very connected in media and very good at whatever he wants his narrative to be, there was a very deliberate decision to not drop this project until we literally were a week out.”

‘Ocean With David Attenborough’ (National Geographic)

David Attenborough stands at the coast in Southern England.

(Keith Scholey / Silverback Films and Open Planet / National Geographic)

“It’s been weird, because I’ve got older, and he sort of stayed the same, like the Dorian Gray picture,” says Keith Scholey, one of the film’s directors, of the 100-year-old broadcasting legend and naturalist. “He’s still got that huge power and presence and commitment. It comes from the heart. He’s got a huge depth to him, in terms of knowledge, experience, personality … but he’s also very self-effacing. The most boring thing in the world for David Attenborough is David Attenborough. He’s interested in every aspect of the truth, and he loves uncovering that and passing that on to the world. He knows how to present in a way that it’s a performance, but it’s not a performance.”

‘Neighbors’ (HBO)

Victoria Rohn and Melissa Lovasco in "Neighbors."

“Neighbor disputes are a great leveler,” says Harrison Fishman, who co-directs this gonzo excursion into neighborhood feuds with Dylan Redford. “If you think about class and race and politics, all that stuff gets thrown out the window when people are dealing with such small, concrete problems. You quickly start learning why people care so much about the things that they’re fighting for. It becomes a bit like a Trojan horse into learning about aspects of America and things about people that have nothing to do with the dispute. Those tangents are so valuable to us, because it gives context to the dispute. But it also helps people understand who everybody is in our country.”

‘Mr. Scorsese’ (Apple TV)

Martin Scorsese and Isabella Rossellini in "Mr. Scorsese."

“We would get together and have these very long conversations,” says director Rebecca Miller, who interviewed American cinema’s great poet of tortured masculinity over five years. “But then in terms of the other voices, I thought, ‘Who knows him best?’ There was this wonderful movie called ‘Crumb,’ by Terry Zwigoff. He interviewed [cartoonist R. Crumb’s] ex-girlfriend at a certain point, and I felt like I got a view into the person, not in a gossipy way, but … trying to get a rounded view. If you only get the front-facing part, you’re not going to get a full sense of who they are. It was very important to me that we hear from the daughters or his wife, that there’s a sense of a person in there.”

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JPMorgan Acquire Revolut? 4 Reasons a Deal Makes Sense| Global Finance Magazine

An acquisition is the easiest way for the titan to get a leg up with digital nomads and international customers.

At first glance, it seems an absurd idea: JPMorgan Chase & Co., with its roughly $850 billion market cap, acquiring European unicorn Revolut, a private neobank valued at $75 billion.

Seemingly absurd, yes, but also worth considering, because it underscores the challenge that upstart fintechs pose to traditional banks. JPMorgan has already tested the practicality of building a digital-first banking experience internally. It launched Finn in 2017 as a standalone mobile banking brand aimed at younger users, then shut it down in 2019 after it failed to gain traction.

But the Finn experiment was not a clean rebuttal; it looked more like a legacy institution’s attempt to market around a shifting banking relationship than a fundamental rethink. A Revolut acquisition would give JPMorgan an established entry point into a dynamic new field.

I’m old enough to remember when BlackBerry’s CEO scoffed at Steve Jobs, saying, “You don’t need an app for the web.” We know how that played out. It’s easy to dismiss what doesn’t seem to fit your current moment, and just as easy to miss the next shift when you have the means to act.

JPMorgan doesn’t need Revolut. But the point isn’t survival; it’s trajectory. If banking is moving toward super apps as primary accounts, the question is whether JPMorgan can realistically build that future internally, or whether buying it may be the faster path.

Here are four reasons it could actually make sense:

1. The Technology

Ask a senior engineer at Revolut whether JPMorgan could replicate its platform quickly, and you’re likely to get a laugh. Ask JPMorgan’s technology leadership, and you’re likely to hear the opposite.

Both can be true.

By the time JPMorgan was experimenting with the future, Revolut was writing it. The fintech hit 100,000 customers within a year of its funding and scaled to 50 million by the end of 2024. It’s redefining what consumers expect from banking in Europe, and its sights are now set on the U.S. as well. In March, it applied to the U.S. Office of the Comptroller of the Currency and the Federal Deposit Insurance Corporation for a U.S. national bank charter.

2. The Culture

JPMorgan has the resources to succeed in the era of super-apps. But building a globally integrated, mobile-first platform is as much about organizational culture as it is about technology. Revolut was built for speed, iteration, and cross-border functionality from day one. JPMorgan was built for scale, stability, and regulatory complexity.

As Finn illustrates, those traits are not easily interchangeable.

JPMorgan could buy smaller firms in payments, investing, foreign exchange, or onboarding to assemble its own version of a super app. But stitching together components is not the same as acquiring a scaled, integrated platform with tens of millions of users, unified technology, and talent that lives and breathes a culture built around speed and innovation.

Realistically, an acquisition would require a significant premium over Revolut’s most recent private valuation. But that cuts both ways; JPMorgan would be paying for a scaled operating system, not a collection of disconnected parts.

3. The Geography

The difference between the two banks shows up in their approach to competing in Europe. JPMorgan is already expanding its digital retail presence and building out its footprint beyond the U.S. But the approach is incremental.

Revolut is anything but incremental. The company has grown to more than 70 million customers, adding roughly 1 million every 17 days. It provides immediate scale in markets where JPMorgan is still building.

Banks like Banco Santander have spent decades building global retail networks, market by market. For JPMorgan, acquiring Revolut would dramatically shorten that timeline, turning a multi-year expansion into near-instant relevance.

4. The Demographics

Traditional banking still assumes a static customer: one address, one jurisdiction, one primary market. While that remains true for many customers, it doesn’t justify treating digital nomads and international customers as undeserving, which is exactly what many U.S. banks do.

A growing segment — freelancers, remote workers, and globally mobile professionals — lives across borders. They earn in one currency, spend in another, and expect their financial lives to follow them. Revolut was built specifically for this customer.

JPMorgan, for all its scale, still largely adheres to a domestic model. Acquiring Revolut would instantly position it at the center of a shift already underway: one that legacy banking structures are not designed to support.

Regulatory Hurdles

Of course, a deal this large would face serious scrutiny in the U.S. and the U.K. Regulators would question systemic risk, governance, the impact on competition, and whether one of the world’s largest banks should absorb one of fintech’s fastest-growing global challengers.

But “difficult” and “impossible” are not synonyms, especially in modern finance, where every few years brings a deal that once seemed unthinkable. If JPMorgan believed the strategic gap was large enough, regulatory friction would become part of the negotiation, not the automatic death of the deal.  

It would also send a signal to regulators and policymakers — intentionally or not — that U.S. banking structures may need to loosen if domestic institutions are to compete more effectively on the global stage. Even floating a deal like a JPMorgan/Revolut tie-up would force a conversation the industry needs to have.

No, JPMorgan doesn’t need Revolut. But at some point, it may have to decide whether to write the future of banking or keep refining the version it already dominates.

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Artists, community welcome World Cup to Inglewood with murals and more

A lot has changed since Jacori Perry attended Morningside High School.

Perry is now a renowned artist who goes by the names Mr. Ace and AiseBorn.

The school is now known as Inglewood High School United.

And the lecture hall on that campus now features a large, ornate mural of a soccer ball being grasped by the hands of two people — freshly painted by the 2004 Morningside graduate as the city of Inglewood prepares to host eight World Cup games at SoFi Stadium starting next month.

A man brushes paint onto a mural while harnessed to a lift above the ground.

Local artist Mr. Ace works on his mural at Inglewood High School United on May 11. The artist, whose real name is Jacori Perry, attended the school when it was known as Morningside High more than two decades ago.

(Eric Thayer / Los Angeles Times)

“If you told me that I would be back here painting one of the walls on this campus when I was in high school, I don’t think that I necessarily would have foreseen it,” Mr. Ace said as he put the finishing touches on his mural last week. “So I’m a little in amazement about just the way life works in that sense.”

He was one of several Los Angeles-based artists to participate in a Road to World Cup Community Day last month at Inglewood High United. Many of the artists — including Juan Pablo Reyes (“JP murals”), Michelle Ruby Guerrero (“Mr. B Baby”) and Angel Acordagoitia — sketched designs on portable panels (12-feet by 8-feet) and picnic tables for community members to paint.

The picnic tables will remain at the high school in front of Mr. Ace’s mural. The mobile murals will be placed throughout LAX to welcome visitors arriving for the World Cup.

Kathryn Schloessman, chief executive of the Los Angeles World Cup 2026 Host Committee, said in a news release that the event was “just one example of how the energy of the World Cup can be felt in neighborhoods across our region.”

“Students, artists, and volunteers came together to create a work of art that will live on well beyond the end of the tournament,” Schloessman said. “It’s a reflection of the creativity, diversity, and community pride that makes our region so special as we prepare to host the world for FIFA World Cup 2026.”

Community members were encouraged to take part in the painting process, no matter their skill level.

“We made it easy enough for people that have zero experience to a proficient level of experience, for them to all be involved,” said Reyes, who designed and helped paint two mural panels and three tables. “We did the sketch, and then I tried to dab a little bit of color — whatever color is supposed to be there, I dabbed a little bit of color right there, so they would have a guide. …

People stand on a scaffold and on the ground while painting a mural on a large panel.

Students and community members help paint a mural panel during a Road to World Cup Community Day event May 2 at Inglewood High School.

(Dawn M. Burkes / Los Angeles Times)

“I was right there, kind of supervising, making sure that everything went as planned. And if anybody has questions, they’re more than welcome to let me know about them. But, yeah, it’s pretty easy for them to kind of be involved and feel that sense of ownership and have a sense of pride that, ‘Yeah, I was part of that mural-creation process.’ It’s a rich experience for them.”

Acordagoitia sketched several tabletop designs for the public to paint at the event.

“They did great,” he said of the community members. “They helped a lot. They were asking questions. They got all the other colors correct. So, yeah, they were excited. A lot of kids were excited to see the live painting, because now kids are used to being on their phones. So that was a great experience for them.”

Acordagoitia also opted to paint a mural panel on his own because “it was a little more technical,” involving portraits of his 8-year-old son, a nephew and a friend.

“I wanted to focus more on the youth because that’s really our future,” he said. “So that’s, that’s the main thing about the mural, just about the kids, soccer, culture, community. It’s exciting for me, because I grew up playing soccer and to include soccer with art, it’s just a dream come true.”

Guerrero said “the community was a big help in filling in all the background colors that I need in order to build the detail and layers” on the two mural panels she designed.

“My whole style is based on culture. And I think that there’s a connection there with the World Cup and how I feel like it brings together all the culture and just, like, celebration,” Guerrero said. “It kind of goes hand in hand with the type of work I do, because my stuff is really festive, celebrating culture. And just as an L.A.-based artist, I think the collaboration made sense.”

The four artists also took part in another Road to World Cup Community Day in downtown L.A. at Gloria Molina Grand Park on March 14. At that event, the artists sketched designs on large sculptures shaped like soccer balls and on an oversized picnic table, also for community members to paint.

While Mr. Ace opted to paint his permanent mural at Inglewood High School United on his own, he was sure to include the community theme into his work.

“The idea was really centered around just creating something that was community-based — something that represented the World Cup but also represented some sense of community,” he said. “And so what I did was try to create something that was symbolic, very direct in terms of its relationship to soccer and figuring out through that how to create something simple that [brings] into that a sense of community. And that’s how I landed on the two hands holding the soccer ball.”

A man stands in a lift and paints on a wall with blue paint as part of a mural with an ornate design.

Local artist Mr. Ace works on his World Cup-themed mural at Inglewood High School United on May 11.

(Eric Thayer / Los Angeles Times)

Back when he was a student on that campus, Mr. Ace said he was always involved in art and knew he wanted a career as an artist. He struggled to come up with the right words to describe how it felt being back there creating a work of art to be shared with the students, all of the community and everyone who happens to see it on the way to a World Cup match.

“I guess there’s no words to really describe it,” he said. “I think if any artist gets the opportunity to paint at their own high school — especially if they’ve been doing large-scale works around the city, the country or the world — I think that is a little touching. When it’s attached to something like the World Cup … you know, a large part of my childhood was spent in Inglewood, so coming from my circumstances and life, I think it’s even more intriguing.”



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