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Rescuers in Venezuela are racing against time to find survivors after twin earthquakes left thousands missing. International teams have pulled several people from the rubble alive, including 11-year-old boy Moises rescued after a six-hour operation and a newborn reunited with their family.

Approximately 1.3 million Syrians returned from abroad in 2025, nearly three times the figure recorded the previous year, while a further two million internally displaced Syrians went back home, cutting the global Syrian refugee population from 6 million to 4.9 million.

On December 8, 2024, the al-Assad dynasty, which lasted 54 years, was removed from power by a rebel offensive.

The 14-year-long war led to one of the world’s largest migration crises, with some 6.8 million Syrians, about a third of the population, fleeing the country at the war’s peak in 2021, seeking refuge wherever they could find it.

More than half of these refugees, about 3.74 million, settled in neighbouring Turkiye, while 840,000 found refuge in Lebanon and 672,000 in Jordan.

Hiam told Al Jazeera she returned to Syria with her family after more than a decade of living in a host country. “The reason that pushed us to return was the high cost of living we were facing in the host country. We stayed there for 12 years, and it was a great hardship for us as refugees.”

We returned to Syria, thank God, but in the beginning it was difficult because we didn’t find homes or anything. Syria now is completely different from when we left. The return was very difficult at first – the scene was very hard for me.

“But thank God, I became stronger. The first period was very difficult, and at the beginning, it was hard to cope,” Hiam explained.

According to UNHCR data, some 556,00 Syrians returned from neighbouring Turkiye, 465,000 from Lebanon and 256,000 from Jordan.

More than seven in 10 returnees have reported improvements in security and freedom of movement in Syria, according to the UNHCR. Almost three-quarters of Syrian refugees abroad have also said they would eventually like to return home.

Returns in 2026 reached 549,800 by mid-May, driven by deteriorating conditions in Lebanon.

Julia Donaldson and the BBC have a long festive association with hits including The Gruffalo, Zog and last year’s The Scarecrows’ Wedding

Children’s Author Julia Donaldson and the BBC have announced which of her stories they will be turning into an animation for Christmas 2026.

A half hour special of The Baddies is being made by production company Magic Light Pictures. It will feature all-star voice cast, with returning favourite Rob Brydon voicing Ghost, Alison Steadman as Witch, Hammed Animashaun as Troll, Robyn Cara as Girl, Francesca Mills as Mouse alongside Sheridan Smith as the Narrator.

Author Dame Julia Donaldson said: “The Baddies was enormous fun to write because I loved inventing these gloriously wicked characters and then thinking about what might happen when they finally meet someone brave enough to outwit them. Magic Light has done a brilliant job bringing the story to life and the cast have captured all the humour, silliness and spookiness perfectly.”

The Baddies is about the worst Baddies in the world – a troll and a ghost and a witch, who love nothing more than being bad and boasting about it. When a girl with a blue spotty hanky moves into a cottage nearby, the Baddies quarrel about all the nasty tricks they want to play on her.

Then a mouse sets a challenge for the Baddies to see who can steal the hanky. Soon they learn that they may have met their match in the little girl. The story is described as being “packed with mischief, humour and heart”, and is a celebration of courage, kindness and the power of standing up to bullies.

Narrator Sheridan Smith said: “I’ve always loved Julia Donaldson and Axel Scheffler’s stories, so it was such a joy to be part of bringing The Baddies to life. The film is funny, spooky and full of heart, and the animation is absolutely beautiful. I think families are going to have enormous fun watching these wonderful characters causing chaos this Christmas.”

The Baddies is adapted from the hugely successful picture book written by Julia Donaldson and illustrated by Axel Scheffler.

Previous adaptations include The Gruffalo, Zog and last year’s The Scarecrows’ Wedding which pulled in 8.7 million viewers across the festive period

Lindsay Salt, Director of BBC Drama, said: “It’s with a mix of excitement and trepidation that we welcome The Baddies to BBC iPlayer and BBC One this Christmas. I’d like to assure everyone at home that we’ll be working very closely with Julia, Axel and the team at Magic Light to keep viewers safe from Ghost, Witch and Troll’s dastardly deeds.”

The aniamation will go out and Christmas Day on BBC1. Previous adaptions of Julia Donaldson and Axel Scheffler’s works are available to stream on BBC iPlayer.

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CANNES, France — Greeting from the Croisette, where the 79th Cannes Film Festival is underway — and where the Envelope has its inaugural Cannes issue.

I’ve been hard at work since before the Oscars assigning and editing stories about the global film industry and this storied event’s role in it, albeit with an L.A. twist. And with this special edition of the newsletter, you too can be a part of the “Entourage,” at least vicariously. Read on for more highlights from the issue, and be sure to check out Amy Nicholson and Joshua Rothkopf’s conversation about the Cannes films they’re most excited to see before you block out your schedule.

Cover: Almodóvar, uncensored

(Shayan Asgharnia / For The Times)

You know you have a juicy interview on your hands when you wake up to it being aggregated by the trades, and I can’t really blame them: Columnist Glenn Whipp’s cover profile of Spanish auteur Pedro Almodóvar, in competition here with his new film “Bitter Christmas,” is chock full of pungent quotations.

At 76, the filmmaker is unafraid to speak his mind, whether it be about the apolitical Oscars or the decline of American democracy. But his metafictional treat, in which an acclaimed filmmaker falls out with an old friend over pilfering real life for inspiration, shows that he’s equally willing to turn that critical lens inward. It’s the film, he says, “where I’ve been cruelest with myself.”

Digital cover: Cannes kid Diego Calva

(Ian Spanier / For The Times)

In one of those serendipitous intersections editors dream off, it’s Almodovar that our digital cover star is most amped to meet during the fortnight: “If Almodóvar shakes my hand, I can die in peace,” Diego Calva tells contributor Carlos Aguilar.

With two films at the festival — Jordan Firstman’s “Club Kid,” playing in Un Certain Regard, and Nicolas Winding Refn’s highly anticipated out-of-competition title “Her Private Hell” — Calva, who appeared earlier this year in “The Night Manager” Season 2, may be hard for Almodóvar to miss. But the actor isn’t letting the auspicious moment go to his head. “My friends don’t care whether I have seven Golden Globes or if I’m not working at all,” he says. “To them, I’m just Diego.”

What’s next for Nollywood

(Photo illustration by Stephanie Jones / For The Times; photos courtesy of Anthill Studios, African International Film Festival)

I admit I didn’t know much about the Nigerian film industry beyond the term “Nollywood” before reading Daron James’ deep dive on how the West African country is charting a new course after its recent streaming boom went bust. Now I’m eager to see if its embrace of theatrical exhibition — including, gasp, building more cinemas — can rub off on its American namesake.

Nollywood may produce “the second most movies globally after India,” as James writes, but “creative hustle… is still as important as ever.”

More coverage of the 2026 Cannes Film Festival