talks

Trump calls for Zelenskyy to be replaced as negotiator, while Ukraine’s president says arms shipments delayed.

United States President Donald Trump says someone other than Ukrainian President Volodymyr Zelenskyy should negotiate on Kyiv’s behalf in talks to  end Russia’s war.

“Zelenskyy is a man that should have had settled this war a long time ago. If he would’ve listened to me, he would have made a much better deal a long time ago,” Trump told reporters outside the White House on Monday. “Maybe it’s time for Zelenskyy to get somebody else to negotiate.”

The US president has been verbally swiping at his Ukrainian counterpart for several days as a rift between the leaders deepens.

On Sunday, Trump claimed on Truth Social that Zelenskyy does not want to end the war. Earlier this month, he called for him to be replaced as president, and labelled him a “warmonger” over Ukraine’s attacks on Russian oil refineries.

Trump has also defended sanctions waivers for Russia, saying in the same Truth Social post that he wants to keep Moscow at the negotiating table.

Zelenskyy said the decision “will hurt Ukraine” and strengthen Russian President Vladimir Putin’s war effort.

Trump also announced plans on October 9 for Russia to supply more than 300,000 metric tonnes of diesel to US and global markets to tackle fuel prices that have soared since the US and Israel launched a war on Iran in late February.

The decision has angered not only Kyiv, but also European partners and US officials, who say it rewards Moscow while it continues its four-and-a-half-year war on Ukraine.

Zelenskyy told US senators at a meeting on Monday that decisions taken by the Trump administration “are hard to explain between friends”.

He said arms shipments had been delayed and intelligence sharing restricted.

“We also know that … the Pentagon is delaying the delivery of missiles that our partners have already paid for through the PURL (Prioritised Ukraine Requirements List) programme,” he said.

To his knowledge, he added, one missile package was waiting for the signature of US Defense Secretary Pete Hegseth.

He also said several European countries were ready to transfer Patriot interceptor missiles from their own stockpiles but were awaiting US approval.

In remarks posted in a video on Telegram, Zelenskyy said that on three occasions in the past week, Ukraine had not received the advance warning of Russian attacks generally provided by its partners.

Last week, Zelenskyy suggested a disruption of Starlink services in Ukraine was “deliberate”. US Secretary of State Marco Rubio rejected the claim.

The sparring comes as Trump’s special envoy Steve Witkoff is ⁠set to travel to Norway this week for the next round of negotiations on ending the war in Ukraine, the Reuters news agency reported, citing three people familiar with the matter.

Two of the sources said they expected Zelenskyy to attend the meetings.

The Oslo discussions are expected to include Zelenskyy, Norwegian Prime Minister Jonas Gahr Store, representatives of the E4 – made up of the United Kingdom, France, Germany, and Poland – the European Union, and NATO.

LOVE Island star Ciaran Davies has met with show bosses about a THIRD stint in the villa.

He won January’s All Stars’ series with Samie Elishi but they split three weeks later – and today the loved-up beauty announced she was pregnant with Aftersun panellist boyfriend Tyrique Hyde.

Ciaran has held talks about returning for 2027’s legends run in Cape Town, South Africa.

A source said: “It’s early days but bosses have met with Ciaran who is considering a third try at finding love.

“Execs have met with a variety of Islanders but the line-up won’t firm up until December.

“Obviously Samie has very much moved on and so has Ciaran and he hopes to find the same happiness too.”

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Ciaran – a 23-year-old former surveyor from Pencoed, South Wales – was a runner-up on Love Island‘s 11th season, going on to win All Stars this year with Samie, following his second stint in the villa.

Tyrique appeared on Love Island during the summer of 2023, with Samie’s first appearance coming on the winter version the same year.

While they may not have been on the show together, he’d always admired her from afar and consistently named her as his top Islander.

Despite Samie being crowned All Stars champion with Ciaran earlier this year – they split three weeks after February 23rd’s glittering final, prompting Tyrique to make his move.

Six months on, and the couple are expecting a child.

Posting online, Samie shared a sweet video of her getting an ultrasound.

Tyrique and Samie could be seen sharing a kiss as they held the sonogram pictures of their little one.

They both beamed with joy as the song Forever My Lady played in the background.1

Reposting the announcement on his Instagram story, Tyrique wrote: “Don’t make a scene. Can’t wait for this next chapter.

“Love you @samieelishi.”

In late March, Samie was seen out on a date with Tyrique at the Baller League then in May they told fans how they were officially boyfriend and girlfriend – and now they’re happier than ever.

Samie is thought to be due to give birth in spring 2027.

As Puerto Rico continues to grapple with the long aftermath of Hurricane Maria — from an unreliable electrical grid to ongoing water shortages — the need for stories that see the island as more than a backdrop feels especially urgent.

That’s part of what makes “Hurricane Seasons,” an intimate new independent film about a Puerto Rican family returning home, feel so timely. The film, which screens Sunday at the Newport Beach Film Festival, stars comedian Aida Rodriguez as Glori, a Brooklyn-based artist and community-center worker. She returns to Puerto Rico to help her sister (Justina Machado) care for their terminally ill mother (Priscilla Lopez).

When their matriarch convinces the family to embark on a bucket-list road trip around the island, old family secrets surface as the 2019 protests following Hurricane Maria unfold around them. Directed by Nicole Gomez Fisher and written by Xavier Ortiz — with Rodriguez also serving as a producer — the film is both a story of a multigenerational family and a love letter to Puerto Rico.

For Rodriguez, who is best known as a stand-up comedian, “Hurricane Seasons” also marked a return to a part of her artistic identity that existed long before comedy — her love of acting. But she admits that stepping back into acting, especially as the film’s protagonist, wasn’t an easy transition.

Aida Rodriguez, left, and Priscilla Lopez in a scene from “Hurricane Seasons,” directed by Nicole Gomez-Fisher.

(Laura T Magruder)

“It was terrifying. It was very scary because as a stand-up comedian, I work very hard at trying to obtain my most authentic self so that I can share it with everybody — to be my truest self, my truest Aida,” she says. “And when you loan yourself to a character and the art form of acting, you’re loaning yourself to that character and bringing yourself to that character, of course, because that is why they choose you. But you are telling a story from the perspective of another person.”

Rodriguez had pursued acting before going into stand-up comedy. Upon moving to Los Angeles, she quickly booked acting work, signed with an agency and began taking classes.

But comedy eventually taught her to do almost the opposite of what acting required.

“When I started doing standup, the direction and the notes were always like: ‘Release any character you have in mind and just access yourself,’” she says. “So it was a battle for me. Coming back to becoming an actor and giving the character Glori what Glori deserved — and allowing Glori to live, and Aida to sit in the back — became something important for me to do.”

She adds that it took a lot of work with coaches and classes for her to relax into acting again, allowing Aida the comedian to rest while focusing on what this role required of her.

The film’s protagonist, Glori, is a Brooklyn-born-and-raised Puerto Rican woman whose connection to the island runs deep, despite her living stateside. This is something Rodriguez, who is half Puerto Rican and half Dominican, born and raised in the States, also personally relates to.

That tension — between where you live, where your family comes from, and who gets to decide whether you are “Puerto Rican enough” — is one of the film’s central themes and one reason the script resonated with Rodriguez.

“My testimony through my art has always been finding unity, solidarity, power and connection with other people,” she says. “I think that the story of growing up in the States and connecting to the island is a universal story that most people, regardless of where they come from, experience. [There’s this] idea that you’re never American enough nor whatever you are — in this case Puerto Rican enough — because there’s always a judge and jury on both sides.”

Rodriguez sees those tensions as a consequence of a much larger and complex history. She believes so much of the judgment on both sides is a lingering effect of colonization.

“For me, that was one of the most attractive things about the script — [it] was being able to engage in a conversation about what being Puerto Rican really is,” she says. “Is it based on colonial standards? Or is it based on maintaining our cultural richness and our legacy, that is handed down to us regardless of where we are?”

That question takes on even more weight today as Puerto Rico sits in the aftermath of Hurricane Maria, which Rodriguez believes shifted the relationship between Puerto Ricans on the island and those living stateside.

“There was a shift, because there are wounds from both places,” she says. “There are wounds from the people on the island that stayed and stuck it out. [They want to ask] the ones who left, ‘why do you get to claim this, if you’re not here sticking it out with us?’ Then the people who leave feel like, ‘we had to do this, so that we can not only survive, but send money back to the island.”

Rodriguez explains that, in many ways, the aftermath of the hurricane sparked arguments on both sides that were necessary to begin healing the tension. She believes it highlighted issues that Puerto Ricans, as part of a diaspora, could no longer ignore; it also highlighted an island and a community that Americans outside of the Latine community paid little to no attention to.

“It took a hurricane for people to know what Puerto Ricans were,” she says. “I think there was a cultural shift and there was a conversation that needed to be had, about what happens on the island. And what that means to those of us who are not there.”

That conversation serves as the meat and bones of “Hurricane Seasons,” in which Puerto Rico isn’t simply a location. It’s an integral presence in the story. Rodriguez, Ortiz and Gomez Fisher all agreed that filming most of the movie on the island was essential, not only creatively but also economically and culturally.

“The other thing that was very important about taking the movie back to Puerto Rico was to invest in Puerto Rico and to stimulate some sort of revenues for the island and that the crew was a Puerto Rican crew,” she says. “The DP [director of photography] was a Puerto Rican DP — all people that live on the island.”

It was important to them that if they were going to tell a story about Puerto Rico that was also shot in Puerto Rico, that Puerto Ricans on the island actually benefited from the production.

“It’s not cool to go to Puerto Rico and shoot a movie and bring in your own people from the States, and the people in Puerto Rico have to be inconvenienced with their roads being blocked and things shut down and an influx of Americans that come there to be disrespectful and them not making anything out of it,” Rodriguez says.

This commitment shows in the protest scenes. Rather than using background actors, the film features real Puerto Rican residents, including a local activist and singer.

“It didn’t feel rehearsed. It didn’t feel fake,” she says. “I just think that the feelings and the passion and the rage and the sense of urgency is still there.”

Ortiz’s commitment to specificity extended to the family casting, intentionally matching the actors to the real-life relatives they are based on.

“It wasn’t performative. It was actually real because that’s what all of our families look like,” she says. “Puerto Ricans, Dominicans, we just have that diversity because of all the stuff that’s happened in the past.”

Glori’s character also represents a refreshing departure from the way Latina women are often portrayed onscreen. She is a mother, a daughter, a community center worker, an artist — and a woman with a complicated romantic and family history. She is beautiful and desirable, but her sexuality isn’t the defining characteristic of her existence — something we don’t see enough when it comes to Latina roles.

“For me, I didn’t have to step outside of myself for the role, which was really refreshing because every audition that I ever get, I do have to step out of myself because when people write Latinas in Hollywood, they tend to write them one way,” says Rodriguez. “They look a certain way, they talk a certain way, and that’s not the reality of what being Latino, especially in America, is like.”

Rodriguez could freely inhabit a Latina character without feeling as though she had to perform her Puerto Rican-ness for the audience.

“I didn’t feel like I had to perform my Latinidad. I could just exist in it,” she says.

Rodriguez adds she’s ready for a Hollywood that wants Latina actors to have the same range of characterization that white actors have long been afforded. She’s open to seeing Latinas being everything in TV and film, where can they exist in a world in which they can just be people who just happen to be Latinas.

“I really do look for a day when we can just be people and not just be the funny, spicy friend,” she adds. “Some Latinas are not spicy. Some Latinas are nerds, and some Latinas are quirky, and some of them are goofy and some of them are clumsy. And just like everybody gets to see the spectrum of whiteness with all the different kinds of characters, I would love to see that for our people. For all people of color, actually. I think it’s important to see us all as full human beings, and that means that we can be anything.”

The film’s multigenerational story touches on the cultural inheritance passed between mothers, daughters and grandmothers — whether through old traditions or ordinary rituals. It’s something audiences, regardless of background, can likely relate to.

“The most important message that I’ve kept from my [foremothers] was never to lose my sense of Puerto Rico; that, even if I don’t live in Puerto Rico, Puerto Rico lives in me,” she says. So much of that inheritance lives in the little things she remembers about her Puerto Rican grandmother, she says, from the té de tilo she’d make for an upset stomach; the recao that grew on her grandmother’s balcony because she didn’t have a backyard; or the azabache she still wears to this day for spiritual protection. They are the same small traditions she has passed on to her kids.

“My daughter makes better arroz con gandules than all of us,” Rodriguez says. “And her recipe is true to what my grandmother’s recipe was. That will continue to live on, until we are able to go back to our island and live in peace.”

That freedom is one reason Rodriguez believes independent film is so important for stories like “Hurricane Seasons.” Without a studio machine making decisions based primarily on commercial expectations, filmmakers have more room to tell a story on their own terms.

“Once the studio gets involved, they start thinking about dollars, which they got to make money, but they prioritize the dollars,” Rodriguez says. “And I think that’s why a lot of these big projects that they spend a lot of money on have failed because they don’t honor the storytelling. They don’t honor the authenticity of the world, the authenticity of the stories.”

Her hope is that “Hurricane Seasons” encourages more people to tell their own stories — especially Puerto Ricans.

“Puerto Ricans are not a joke; we’re not a punchline. You don’t get to tell us we don’t speak correct Spanish and make fun of our songs. Then, years later, appropriate our culture and become big time doing what we do, using our terms and our colloquialisms because it brings you capital,” she says. “We are people. We’ve been doing this for a very long time, and our grandmothers and our tias and tios matter, and they’re not [a] costume that you can just put on [to] make money off of it.”

Before we wrapped up the call, Rodriguez paused for a moment when I asked her what Puerto Rico means to her. Then her eyes lit up, and her voice softened as she described why the island means so much to her — and why so many people, even outside of the diaspora, find themselves drawn to it.

“Puerto Rico is a very special place, which is why so many people want to kick us out, so they can move [in],” she says. “But they’ll never have the magic, because the magic is us.”

Lisandro Martinez meets with his Manchester Untied manager Michael Carrick before apologizing for criticism of the club.

Manchester United defender Lisandro Martinez apologised on Thursday for criticising the club’s hierarchy following their Champions League defeat by Atletico Madrid, after holding talks with manager Michael Carrick and senior officials.

Martinez met Carrick and club executives after training, two days after saying the club needed greater investment to help the team compete at the highest level following Tuesday’s 2-0 loss.

“Today I met with the club’s leadership and the manager,” Martinez said in an Instagram post, in his second statement since the interview.

“It was a very positive conversation where we were able to exchange views and speak openly about what happened after Tuesday’s game.”

A club source said that any internal disciplinary action would remain private, adding that it had been Martinez’s decision to apologise publicly and that all parties considered the matter closed.

British media, including the BBC, reported that United fined the defender over the outburst.

Martinez acknowledged that his frustration following the defeat had got the better of him and apologised for choosing the wrong moment to air his feelings.

“Everyone knows that I am a passionate person and that I live football with great intensity,” he said.

“The frustration of the defeat led me to express how I felt at a time and place that perhaps were not the right ones, and for that I want to apologise.”

The Argentina international had singled out director of football Jason Wilcox in the post-game interview, saying United needed more signings to compete with their rivals and build a squad capable of challenging in Europe.

Martinez said his comments had not reflected the unity required at Old Trafford and stressed his belief that everyone at the club was working towards the same goal.

“Our club is at its best when we are all united, and I recognise that my words in that moment did not help with that,” he said.

“I know that every single person at Manchester United is doing everything possible to achieve our shared ambition, bringing the success that this club and its supporters deserve.”

Martinez finished his statement by drawing a line under the episode.

“With this situation now behind us, we are fully focused on winning together.”

United are 13th in the Premier League after six games in their worst start in 40 years. They travel to seventh-placed Leeds United on Sunday.

Retail chain Poundland is in talks with potential buyers as it seeks a rescue deal, it has confirmed.

Executives are working with an Irish property development group on a management buyout, as first reported by Sky News, external.

But a union representing shopworkers warned that the retailer could fall into administration if that deal falls through, putting thousands of jobs at risk.

This outcome would be “a disaster for our members”, the Usdaw union said.

Poundland has about 600 stores in the UK and Ireland, and 12,000 employees.

The chain has been struggling for a number of years due to pressures including rising costs and competition.

However, it expects sales to have grown more than 3% in 2026 compared with the previous year, which managing director Barry Williams said earlier this month was evidence that its recovery plan “is working”.

The retailer was sold for £1 last summer by previous owner Pepco to US investment firm Gordon Brothers.

The current owners are in the process of seeking buyers, with the Poundland management attempting a buyout, a spokesman said.

Mr Williams, along with the firm’s leadership team and Andy Bond, a former chairman of Pepco, have been working with Irish real estate firm Martin Property Group on a management buyout.

Martin Property Group is the management team’s “preferred partner”, the spokesman said, but the team will “work with whoever can deliver the best result for the business, colleagues and suppliers and build on the successful recovery that’s already taking shape,” he added.

However, Bally Auluk, a national officer at Usdaw, said there are “deep concerns that the business could go into administration” should this buyout fail.

“We are aware that a management buy-out has been attempted and we are told that their offers are being turned down,” he added.

A Poundland source disputed this, however, saying the Martin Property Group is part of the sale process and remains the management team’s preferred partner.