World

Great Britain became World Team Cup champions for the fifth time as Alfie Hewett and Gordon Reid joined forces to secure a 2-1 victory over Japan in Florida.

Japan were the defending champions of the competition, which is the wheelchair tennis equivalent to the Davis Cup and Billie Jean King Cup.

However, Hewett and Reid ensured Britain got their hands back on the trophy with a 6-1 6-2 win in the deciding doubles match against Tokito Oda and Daisuke Arai.

“We’re really happy to get the title back,” said Reid, who was also part of the World Team Cup-winning squad alongside Hewett in 2015, 2019, 2023 and 2024.

Hewett added: “It’s the first time it’s come down to the deciding doubles for us, so I’m just really happy that we got over the line.

“It’s always a privilege to play for your country and there’s been a great atmosphere and team spirit again this week between all the lads.”

Reid got Britain off to a winning start on Saturday with a commanding 6-2 6-2 victory over world number 21 Arai, who he has now beaten in all five encounters between the pair.

The start of the second singles match was then delayed because of extreme heat in Orlando, with Hewett and Oda returning to court six hours later when temperatures had cooled.

Just a week after beating the world number one in the singles final of the US Open, Hewett was unable to repeat his feat as he fell to a narrow 6-4 7-5 loss.

“I’m a bit disappointed that it wasn’t a 100% day after my loss in the singles, but it was a really high-level match and just came down to a few points in both sets that could have gone either way,” he said.

However, Hewett bounced back in the doubles alongside Reid as Britain, who also had 21-year-old Ben Bartram in the team and were captained by Martyn Whait, backed up their wins against South Korea and the Netherlands earlier this week.

TOMORROW night in Philadelphia, Ed Sheeran is expected to return to the stage for the first time since the biggest crisis of his career began.

Venues and promoters removed rapper Macklemore as the opening act on his US tour for voicing pro-Palestinian views on stage — prompting a legion of musicians, many of whom were British megastar Ed’s friends, to publicly turn against him over the past week.

This evening at Lincoln Financial Field, Ed will perform to 60,000 fans alone, with just his guitar and his trusted loop pedal, after Irish singer Aaron Rowe and Danish group Lukas Graham pulled out as support acts.

Irish folk group Beoga have performed with Ed on every night of the Loop World Tour — but they have also withdrawn, along with Billie ­Eilish’s brother Finneas, who was due to open six of Ed’s south ­American dates later this year.

“The world feels like a very lonely place for Ed right now,” an insider tells me.

“He couldn’t have done more to change the situation. He genuinely tried everything. This pile-on has been awful.”

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I’m told dad-of-two Ed, 35, is ­planning on pushing ahead with the concert this evening before taking a view on the remaining ten dates across the US before his shows in South America.

My insider explained: “He wants the tour to continue for fans.

“They will have spent a lot of money on travel and hotels and will want to see him perform.

“The plan is to see how it goes tonight and then Ed and his team can take a view on whether they will carry on or not.”

Last night local action groups Philly Palestine Coalition and Shut Down D&Z confirmed they would be demonstrating at the train station closest to the venue.

Police said they would be increasing patrols in the area and were dispatching extra officers to the area around Lincoln Financial Field before the concert starts at 8pm.

Jasmine Reilly, a spokesman for the Philadelphia Police Department, said last night: “Our officers are talking to Ed’s team to make sure all appropriate measures are taken.”

A second source told me: “A nightmare scenario is if unrest begins inside before or during the show. It’s a possibility because of the heightened emotions with everything that is going on right now.

“Naturally Ed and his team’s concerns are for the safety of the people inside and outside the venue.”

Tonight’s gig will take place 15 days after Macklemore lit the touchpaper under Bad Habits hitmaker Ed.

The rapper — real name Benjamin Haggerty — played his pro-Palestinian protest song Hind’s Hall in New Jersey before telling the crowd: “A big part of the reason why I wanted to do this tour in the first place is so I could stand up in ­stadiums like this and say two words that are very near and dear to my heart: Free Palestine.”

The next day he stood on stage again at the MetLife Stadium and declared: “To all of my Jewish brothers and sisters: criticism of Israel, criticism of apartheid, being against genocide in no way is a criticism of you.”

Two days later, the Israeli-American Council published a ­petition calling for Macklemore to be removed from Ed’s shows.

On September 8, Jewish singer Pink ramped up emotions when she shared a statement on Instagram with her 11.7million followers.

She blasted Macklemore for going on stage “in front of a stadium full of music-loving families, with violent images from a war on the screens, dedicated a song to the movement of his choice, and then took the mic to tell all of the Jews in the stadium that it wasn’t about them.”

Three days later Macklemore was removed from Ed’s tour. US promoters Messina Touring Group said that it had been notified by venues on Ed’s US tour that they “will not allow a concert to take place with Macklemore on the line-up.”

In a statement calling Ed a “brother”, the rapper said: “Nothing I’m writing here is out of spite or because I want to tear down his character.

“But as I told Ed multiple times on the phone, our friendship can’t change my responsibility to tell the truth about what happened.”

Macklemore explained that Ed had told him billionaire Robert Kraft, the owner of the New England Patriots American football team and their Gillette Stadium in Massachusetts, would not allow him to play the two dates there on September 25 and 26.

Macklemore added: “Ed was in a f***ed-up position.

“His typical apolitical stance was being challenged in a way it never had been before.

“He told me that the words ‘Free Palestine’ and the image of the Palestinian flag were hurtful to a lot of people he spoke with. I told him that if those words were more ­offensive than tens of thousands of Palestinian children being killed by Israel, then there was a fundamental disconnect between where those ­people stood and where I stood.

“But he couldn’t get past his public-facing, ‘I don’t take sides.’ ”

The next day Ed addressed the ­situation in a statement to his 47million Instagram followers and revealed the lengths he had gone to in a bid to get everyone back on board.

He said he had spoken to “activists on both sides” as well as the owners of stadiums to find unity and that he was “appalled” by the conflict.

Ed added: “I am not complicit. I have my personal views on this devastating conflict. Just because I choose not to speak publicly, it doesn’t mean I don’t have them, and it doesn’t mean I don’t care.

“Macklemore coming off the tour was the promoter’s decision, it was not mine.

“I would never let down the fans who had made plans, nor would I abandon the touring crew and the other support acts and musicians who rely on me for work.”

Explaining his decision to remain apolitical, he said: “There is a ­reason I do not use my professional platform for politics.

“My audience includes young people, often children, of all backgrounds.

“Those who come to my shows do not expect a political forum. I respect Macklemore’s strength of purpose to stand up and shout for what he believes in.

“However there is room for multiple approaches to the same end: peace.”

He concluded: “I have spent this week trying to build bridges, to find a solution, and unfortunately I was unable to do so.

“I know who I am, both as a person and as an artist, and those who know my heart know my values too.”

Despite his attempts to make amends, Ed was left flattened the following day as the artists on his tour started to pull out.

In a statement, Irish group Beoga said: “To play in venues that silence anyone advocating for Free Palestine is simply not an option for us.”

Pro-Israeli billionaire Kraft then came out fighting in Ed’s corner.

Shortly after Macklemore announced he was donating his $1million fee for the tour to humanitarian organisations providing aid to Palestinians, Kraft said Ed had been in touch before asking to match a donation he had made.

Kraft said: “I have dedicated much of my life to building bridges between all people.

“I believe deeply that all lives are worth protecting.

“Earlier today, before Macklemore challenged me to match his donation, Ed called me and asked me to commit $2million to match his donation to aid in the region to fight this humanitarian crisis.

“Ed now plans to reach out to other venue owners and our goal is to continue to work together to build bridges.”

Kraft also pointedly recalled Macklemore’s stunt in 2014, where he performed on stage in a costume which featured anti-Semitic tropes.

Macklemore apologised and said he did not mean to offend anyone but conceded the outfit could have looked like a “Jewish caricature”.

In the days prior to tonight’s show, high-profile stars have waded into the row, including British singer Paloma Faith, Hacks actress Hannah Einbinder and Formula 1 champ Lewis Hamilton.

The controversy also spilled over into politics, with US senator ­Bernie Sanders blasting Kraft.

The Democrat wrote: “In the United States of America, billionaire stadium owners should not be able to silence artists because they speak out on political issues.

“Today it is the genocide in Gaza. What’s next? If they can silence one artist, they can silence anyone.”

Since his statement, Ed has not spoken and is, insiders tell me, “staying focused” on the hours ahead of the concert.

A source said: “Ed has never faced anything like this before.

“It’s been devastating. He is trying to do the right thing by everyone. Sadly that isn’t always possible.

“As he said in his statement he has his own views on the conflict.

“Just because he has not been public in speaking about them, it doesn’t mean he doesn’t care or hasn’t actively been helping in whatever way he can.”

EVER dreamt of getting a World Record? Well, you soon can have a chance at securing one in a huge new UK attraction dedicated entirely Guinness World Records.

Guinness World Records London, which is the first permanent entertainment venue from Guinness World Records, will open at The O2 in Greenwich, this winter.

Spanning across 2,322sqm, Guinness World Records London will be home to 45 different official Record Challenges, in five arenas.

Challenges include Loudest Scream, Fastest Typist, Fastest Basketball and Fastest Buzzwire.

Visitors testing out the different challenges could even walk away a Guinness World Record holder themselves.

There will be a number of interactive exhibits as well.

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While no specific opening date has been revealed yet, on the attraction’s website it states “late 2026” as the expected opening.

The website adds that there will also be “themed food and drink”, as well as a shop with “record-breaking souvenirs”.

Ahead of the attraction opening to the public, Guinness World Record London are looking for the UK’s most competitive family.

The winning family will be the first to look at the new attraction and try out the different challenges.

Will Munford, Adjudicator at Guinness World Records, said: “Guinness World Records London will give every guest the unique chance to take on our line-up of brilliantly fun and exciting record attempts, and potentially walk away a world record breaker themselves.

“We know how competitive families can get, so we want to find out who is the most competitive of them all and get them along to our new attraction to see if they have what it takes to become our first record breakers!”

WANT to know what true happiness feels like? You’ll need to ditch crowded European beaches for mud-covered, chill out sessions and freezing cold lakes.

Earlier this year, Finland was named the happiest country in the world for the ninth year running.

According to the World Population Review, Finland scored 7.74 out of 10 overall in the most recent index – compared to the world average which is 5.57.

The happiness score factors are calculated across six categories including social support, life expectancy and freedom to make choices.

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The report also mentions that top-ranked countries tend to have a combination of a higher income average, longer life expectancy and great freedom.

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So on a recent trip to Finland, I really put those stats to the test exploring different parts of Finnish life and culture to find out just why they are so cheerful.

Saunas

If the Finns are known for one thing, it is their saunas.

With a staggering 3.2million saunas compared to 5.2million people, there is nearly a sauna per 1.6 people.

And until experiencing the sauna culture in the country for myself, I didn’t get the hype.

But being in a sauna is the ultimate relaxation.

And they aren’t all the same kind – you get saunas of different temperatures, wood-fired saunas, smoke saunas and so on.

My favourite was the peat sauna, where I covered myself in mud and let it harden before scrubbing it off in the shower.

It is meant to do wonders for your skin and I did feel very refreshed and clean afterwards.

Saunas are also proven to be good for your health, with benefits for your heart, circulation and stress levels – promoting relaxation, better well-being and a decent night’s sleep.

Free foraging

In Finland, there are Everyman’s Rights – a traditional legal principle that allows everyone to freely explore nature without the landowner’s permission or having to pay a fee.

Whether it be swimming, walking, cycling or even riding a horse, you are allowed to do it all – even on privately owned land.

As part of the rights, you are allowed to pick wild berries, mushrooms and flowers as long as they are not protected species.

And Finland is abundant with tasty berries such as blueberries and lingonberries and mushrooms, such as chanterelles and porcini.

I love UK forests and it is always fun to see different mushrooms, but having such a variety that are safe to eat is something a little more special.

Forests & lakes

Seventy per cent of Finland is covered in forest and 10 per cent of the land area is lakes.

With that in mind, there are a lot of lush green places to walk and open calm waters to swim in.

In total, Finland has around 188,000 lakes with the largest being Lake Saimaa, which is where I visited.

Despite the water being a chilly 17C, thanks to the Everyman’s Rights you can dip in and out as much as you like.

The refreshing dips truly are invigorating and very relaxing if paired with a session in a sauna.

Most of the lakes are surrounded by dense forest with towering trees that look like they have been ripped out of a fairytale.

You can spend even longer enjoying it as you are allowed to pitch a tent for a night or two freely.

Kota culture

Across the parks, forests and at the edge of lakes you will find these cosy-looking indoor-outdoor cabins.

These are actually nicknamed ‘kota’ or ‘Grillikota’ and are shelters invented by the indigenous Sami people of Lapland around 4,000 years ago.

Over the years, the huts have been modernised relevant to today’s uses and now they are usually hexagonal or octagonal wooden cabins along hiking trails used to grill sausages and make food while enjoying outdoor adventures.

Public huts, such as those I found on one of the many islands on Lake Saimaa, are unlocked and free to use and are usually managed by the Finnish Forest Administration.

There only tends to be one rule and that is that the space must always be made for the newest, most exhausted hiker who arrives.

Firewood is also provided for free at public kotas and you must leave no trace.

Less people

Finland is about 1.4 times bigger than the UK, yet the country’s population (5.2million) is just over half the population of the UK’s capital, London (9.1million).

While initially I felt a little uncomfortable when walking around Imatra and seeing no people, it means that everywhere is so peaceful and constantly clean.

The entire time I was in Finland I didn’t see a single piece of rubbish – but with an incentive of around 20 cents per bottle you recycle, it’s easy to see why.

TORONTO — Canadian Prime Minister Mark Carney is heading to Europe in the middle of a trade war with President Trump, seeking a deeper relationship with the European Union that could give Canadians greater freedom to work and study there.

Canada will seek an arrangement that would allow Canadians to live and work in Europe without visas as part of a strategic partnership, according to a senior Canadian official familiar with the discussions.

The official said Ottawa is not seeking to replicate the arrangements Norway or Switzerland have with the EU and did not propose “associate membership,” a term used in a recent report. Canada instead wants a partnership tailored to its priorities, with investment at its core.

Roughly 70% of Canadian exports go to the United States. Europe is central to Carney’s effort to reduce that dependence.

Carney has ruled out EU membership, saying Canada instead wants “a unique security and economic alliance” with the bloc. He said formal discussions will begin next month.

Economics is only part of the push, Carney said Tuesday. “The core of this, yes, there is an economic component, but it is about greater sovereignty,” he said.

Canadian government officials have consulted provinces and labor groups but have not settled on what form the relationship should take. The official spoke on condition of anonymity because they were not authorized to discuss the talks publicly.

Carney’s Trump challenge returns to Europe

Carney will attend European Commission President Ursula von der Leyen’s State of the Union address Wednesday as a guest of honor before addressing the European Parliament on Thursday.

Carney cautioned against expecting a major announcement in Europe, saying the “real deepening discussions” will begin at the Canada-EU summit in Montreal in late October.

The trip puts him back on the European stage as relations with Washington reel from tariffs, threats and personal attacks since trade talks collapsed.

Carney said Tuesday that economic integration, once viewed largely as an asset, is increasingly “being used as a weapon by certain countries,” making it more important for Canada to deepen ties with trusted partners. He is also carrying to Europe a message that has won praise there but that European governments have been reluctant to follow in dealing with the United States: Middle powers should resist economic coercion and be willing to walk away from a bad deal.

Carney’s Davos speech on middle powers in January drew a personal rebuke from Trump, and another forceful defense could raise the temperature again.

Canada has retaliated against U.S. tariffs and rejected terms Carney says would weaken its sovereignty. Europe, by contrast, shelved retaliation and accepted a deal leaving most EU exports to the U.S. facing tariffs of up to 15%.

That choice is striking given the EU’s economic weight as the world’s largest trading bloc.

At Davos in January, Carney urged middle powers to band together rather than bow to great powers. When countries negotiate alone with a hegemon, he said, “we negotiate from weakness. We accept what is offered.”

“This is not sovereignty,” Carney said. “It is the performance of sovereignty while accepting subordination.”

In a European Parliament debate in March, French lawmaker Chloe Ridel said Carney had “said out loud what many Europeans think quietly,” while German lawmaker Tobias Cremer urged Europe to “show the same courage as the Canadians have done in this moment of rupture.”

Tobias Gehrke of the European Council on Foreign Relations said Europe accepted economic pain in hopes of preserving U.S. support for NATO and Ukraine, but gained neither firm security commitments nor stable ties with Washington.

“European governments will be watching closely to see whether retaliation creates leverage or simply produces more escalation and an increasing bill,” Gehrke said.

Building a hedge against Washington

Canadian Finance Minister Francois-Philippe Champagne rejected the idea that Canada’s push toward Europe is simply an effort to gain leverage over Washington, saying Ottawa intends to keep working with the United States even as it builds stronger partnerships elsewhere.

“It’s always about us,” Champagne told the Associated Press. “We will still do things with the United States.”

But Champagne also said the geopolitical landscape has fundamentally shifted. “The world has changed and America has changed,” he said. “And I think the world has taken notice.”

Carney’s trip follows his global investment summit in Toronto, part of a broader push to attract international capital and reduce dependence on the United States.

Canada and the EU already cooperate on trade, defense, energy, technology and critical minerals. Bilateral trade reached about $147 billion in 2025, making the EU Canada’s second-largest trading partner.

Europe moves closer to Canada too

Underscoring the push for closer ties, the European Parliament said Monday that it will open an office in Ottawa, its 10th outside the EU, with a regional mandate extending to the Arctic.

“At a time when the world is becoming more unpredictable, like-minded partners need to work even more closely together,” European Parliament President Roberta Metsola said.

Canada this year became the first non-European country to join the EU’s $173-billion SAFE defense program, giving Canadian companies access to joint procurement.

Ian Lesser of the German Marshall Fund in Brussels said Trump’s tariffs and policies toward the North Atlantic Treaty Organization and his stated intention to acquire Greenland for the U.S. have accelerated efforts by Canada and Europe to diversify their economic and security ties.

“The sheer unpredictability emanating from Washington has given history a shove,” Lesser said. He said many in Brussels still prefer to accommodate Washington or “wait and see” whether November’s midterm elections produce a Congress able to constrain Trump.

Carney will also travel to Britain to meet Prime Minister Andy Burnham for the first time. Both men are supporters of Everton soccer club and are expected to meet at the team’s League Cup match against Wolverhampton on Wednesday.

Gillies writes for the Associated Press. AP reporter Sam McNeil in Brussels contributed to this report.

SEVERAL UK eateries have been named among the best in the world – from a mash bar to a £100 gothic feast.

Tripadvisor has revealed its 2026 Travellers‘ Choice Awards: Best of the Best Restaurants and 12 of the top spots in the world are in the UK.

All the spots featured were decided on by millions of reviews for the past year.

Here is a rundown of the top places to head for a bite in the UK:

Coming out eighth in the world in the Casual Dining category was Casa Brazilian Rodizio in York.

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Diners have to flip a card on their table to green if they want the chef, who is doing loops of the room, to carve spit-roasted meats at the table.

For a breather, visitors must turn the card to red.

Dinner costs £36.95 per person and is available every evening from 4pm and includes premium cuts such as flank steak and chilli beef.

Next up, longtime Travellers’ Choice favourite Makars Gourmet Mash Bar, Edinburgh was named twelfth in the world on the same list.

Diners are meant to pick a meat or plant-based alternative, with one of nine mash options including Scottish cheese and black pudding.

When it came to the Hidden Gems list, Hampstead-based spot Bonoo Indian Tapas which serves Indian small plates was named 13th in the world.

Prices range between £20 and £40 per person.

A few UK destinations were named on the best Date Nights spots in the world, as well.

London Steakhouse Co., which was opened by chef Marco Pierre White in 2008 and typically ranges from £40 to £100 per person, secured fourth place.

Another steak spot – The Herd Steak Restaurant in Bath – was then named in eleventh place.

And finally, modern family-run British bistro 1863 Restaurant in the picturesque village of Pooley Bridge in the Lake District came in at 19th.

Up in Glasgow, Indian spot Green Gates Merchant City made the world list for the first time, ranking sixth in Vegan & Vegetarian restaurants category.

When it comes to immersive food and drink experiences, the Royal Historic Pubs Walking Guided Tour in London, costing from £32 per person, was named tenth in the world on the World Wine & Beer Experiences list.

The tour usually includes heading to different historic pubs and learning about their history and famous visitors including former Prime Minister Winston Churchill, King Charles II and pop icon Ed Sheeran.

Dishoom was first on the Viral Right Now list, with London hotspots Mad Hatter’s Tea at Sanderson’s following in third and Borough Market Food Tour London named twelfth.

If you don’t mind splashing the cash, in Edinburgh, Scotland, The Witchery was named fourth in the World in the Fine Dining category.

The Witchery also claimed the top spot in Europe and the UK, for Fine Dining.

The well-known restaurant is a Gothic-style luxury restaurant which originally opened back in 1979 and can be found inside a historic building dating back to the 16th century.

Inside, diners can expect candlelight and oak panels with meals usually costing over £100 per person.

OpenAI boss Sam Altman thinks people should have more faith in his company and others like it to do the right thing when it comes to artificial intelligence (AI) development amid rising public concerns about all the risks.

“The world should trust that we are going to do the right thing because it’s the right thing and we feel the magnitude of this,” Altman said on Tuesday during a conference in San Francisco.

However, Altman noted that people were justified in their fears around AI, as the capability of the tools has progressed rapidly.

“It doesn’t take as much imagination as it used to for [us] to imagine how this could go wrong,” he said. “I think the world is right to be afraid of this.”

Altman’s comments came during an appearance at an annual conference hosted by software firm Salesforce.

It was the first time he had spoken publicly since a post went viral last week by a researcher who quit the AI firm Anthropic. The researcher claimed AI could kill all humans by the end of the decade if left unchecked.

A handful of other AI executives and experts responded by saying they agreed with the assessment, though they didn’t explain how they came to their conclusions or how exactly AI could accomplish such a thing.

The fervor over the claims has led to more scrutiny of AI development in recent days, and in response, Anthropic chief executive Dario Amodei called for the pace of all AI development to slow, external and urged governments to regulate the industry.

The post was applauded by Altman, as well as co-founder of Google’s DeepMind Demis Hassabis, and Elon Musk, owner of social media site X and AI assistant Grok.

By Tuesday, more AI leaders were voicing support for self-regulation rather than government involvement.

Altman said that he felt AI companies like his own were capable of essentially regulating themselves.

“We will get it right, I’m very confident in our company’s and industry’s ability to do this safely,” Altman said, adding that he was sure that they would “keep alignment and safety way ahead of capabilities” and if they couldn’t, they would “slow down or stop”.

After Altman’s comments, Meta boss Mark Zuckerberg wrote on X that every AI lab has the ability and the incentive “to take its own actions” towards making AI tools and models that are designed for safety.

“Any lab that doesn’t focus on alignment will fall behind,” Zuckerberg wrote. “Labs face significant liability if their models cause harm, so they have a strong incentive to prevent this as well.”

Jensen Huang, head of Nvidia, also said at the same Tuesday conference that the AI firms should decide if new versions of the technology should be released and not be managed by outside forces.

“We don’t need new laws or regulations,” Huang said, adding that there should not be a “false choice” between the speed of innovation and the safety of AI products.

Nvidia is the biggest company in the world by valuation, with its profits having boomed as a result of rampant demand for the AI computing chips it makes.

“Safety is paramount. However, safety is an engineering problem,” Huang said.

He added that if at any time a leader of an AI company lacks confidence in their product they should choose to not release it.

“That’s a very obvious thing to do,” Huang said. “Run as fast as you can, but if at any time you feel the institution is not in control, take a pause.”

Some industry figures have argued resurgent AI fears were overblown and were being jumped on to generate hype for the industry.

During the conference, Altman addressed a crowd of hundreds of business people, telling them they should use AI tools to aid in their work, but also needed them in order to protect their businesses from potentially AI-enabled cyber attacks.

The idea of AI executives being left to entirely regulate themselves has struck some in the industry as a bad idea.

Jack Clark, an Anthropic executive and co-founder, told the BBC on Monday that leaving AI to be a “totally unregulated industry” was “rolling dice with immense risks”.

Patrick Hillman, the chief operating officer of Logical Intelligence, which is chaired by Yann LeCun, a sage of the AI industry, noted Tuesday how little faith people have in tech companies to do anything truly in the public interest, external.

“The only institution that Americans might trust less than Washington these days is Silicon Valley. I have worked and lived in both and I assure you both have earned this scepticism,” Hillman said.

“If you believe what you are building is dangerous, show us what you are prepared to stop doing,” he added.

In an abandoned warehouse in Barcelona, the diva concealed her face beneath a helmet. Her hair moved like a black waterfall as she strutted, bare feet arched, as if in heels. The heels do appear later, click-clacking as the camera reveals a screen on her pelvic region, and as she reveals her face, growling a provocative verse from “Taconeando” — “Yo sé que tu quieres que me venga.”

Throughout the course of her July 27 “XXXXX” livestream, which beamed her first album in five years to the world, the artist-producer Alejandra Ghersi Rodríguez, best known as Arca, bathed in the warm hue of red light and strobes — and later, what seemed to be blood.

She blew kisses to the camera and toward the sky. She let out vocoded screams as she writhed on an industrial floor and lay resplendently upon a mountain of sand. She covered her bikini-clad body in peonies, visually echoing an Ana Mendieta “Silhueta.”

It would be too simplistic to label “XXXXX” as a return to form for the expansive Venezuelan artist; this record is more than a pop-timized syncretization of her previous electronic experimentations, such as her 2013 debut EP “&&&&&,” or the hourlong single “@@@@@.”

Lest we forget her celebrated self-titled album in 2017, which was the first time we heard Arca’s voice untreated to the doleful melody of a tonada, the Venezuelan folk genre popularized by llanero troubadour Simón Díaz; or the wildly ambitious five-album “Kick” cycle, in which she indulged in the Caribbean sounds of dembow and reggaeton, then melded them together into one ambient stream, with her signature glitchy flair.

The album cover of “XXXXX,” which calls to mind one of Swiss artist’s H.R. Giger’s biomechanoid machine-human chimeras, nods to the much-ness inherent here: specifically the post-humanist conceit of “diva as technology” that lies at the bloody, beating heart of this record.

What best captures her ambitions on “XXXXX” is the aptly named song “Everything,” which centers a soft-hard sequence of percussion that threatens to consume you — and if it does, you let it.

When every color of paint is mixed together, a dark color emerges. When every sound is blended together, what does it become? An orchestral flourish slowed to a whisper as in “Finisher?” An explosion, like in the fast-rattling crackle of “Syncope?” Or a hand on your hookup’s throat, telling them they know exactly what you want from the interaction as in “Fxck?”

The alchemy on “XXXXX” doesn’t always go down smoothly. Arca’s never been an artist to be easily swallowed and thrown back into the ouroboros of the pop machine; if she’s always been the sand in the cog, what happens when the underground diva herself surfaces to mainstream superstardom? These are problems to ponder in the shadows of a club.

The diva as a concept is already rooted in transformation. A beautiful, powerful woman flaunts her voice dramatically onstage, reaching new heights and incarnating — to paraphrase Wayne Koestenbaum’s observations on operatic divas, like Maria Callas in his seminal text “The Queen’s Throat” — an airy sense of freedom.

Arca — a nonbinary trans woman who makes uncategorizable music and embodies unquestionable glamour — anchors her divahood in a mutation of body, soul and sound. It’s a concept she has been playing with since her second album, “Mutant,” which also gave her fanbase a name.

Still, attempting to situate her in any tradition is moot.

Her divahood exists in the context of Venezuelan underground electronic music, where Arca was the youngest of a generation of DJs and producers. This includes the raptor house don DJ Babatr; hard fusion father DJ Yirvin; Luis Garban (who plays as Cardopusher and Safety Trance); MPeach; and Phran.

It was two years ago that Arca brought all of them together in Caracas; it was then that the glitchy young experimentalist, now the most famous contemporary Venezuelan musician, became the gravitational center of a scene as fractured as the country it was born from.

Arca is now the kind of artist who could be seen walking runways in Berlin, or seated front row at the Saint Laurent show at Paris Fashion Week. Last month in Iceland, Arca served as the high priestess of Echolalia: an eclipse rave helmed by longtime collaborator Björk and a coterie of local acts.

Arriving in a summer defined by pop divas switching gears — Charli XCX turning to rock music (in a sense), Madonna leaning hard into nostalgia after a career of refusing to repeat herself, and the ever-smiley Karol G surrendering to her saudade — Arca’s “XXXXX” is similarly an invitation to transmute.

But if we can locate Arca’s divahood in a lineage, it might be in the modern tradition of the anonymous and enigmatic doll at the rave: ready to let her ego dissolve into the bass.

You listen to the quiet internal world Arca conjures on “Raver,” with its jangling and haunted electronic keys. You can see her clearly there: lost under the strobes, eyes turned up toward heaven, letting herself sway, sweaty, between moments of euphoria, completely in her body. Has anyone ever been more enraptured and glorious? Every raver has, in a sense, wandered gladly to oblivion with “eyes closed and heart open,” as Arca says on “Cinch.”

We may get drugged up to forget it all; or we go sober with earplugs and water and good sneakers and coffee, or cold yerba mate toward the music. Yet all of us seek to get lost in the sound, to cinch our waists and let the bass move through us — to have the transcendental experience of “[letting] the beat f— you,” as Australian scholar McKenzie Wark describes halfway through her essential book, “Raving.”

The aesthetics of ravers reaching the mainstream — and into the hands of normies through the rise of so-called “corporate raves” — has allowed for the creation of depictions that exist outside of the real, silent moments of transcendence. It’s the communion, after so much ceremonial dance, with the divine.

For all the modernity of its rave philosophy and sci-fi metallic soul, “XXXXX” has a connection to an ancient divinity — to older technologies, from ritual to radio.

Near the beginning of “XXXXX,” the song “Willow” ushers us into this new world, with a clanging that evokes the sound of church bells in space. After a minute of this, the crash of hi-hat punctures the silence. Arca’s pitched-up vocals seep through, matching the beat in a disjointed chant: “Willow tree blowing in the wind, let it fall.” The song continues flourishing with the deconstructed trap beat and dark synthesizers that call to mind the classic sounds of witch house. It’s the opening of the ceremony, the energetic cleansing of the space.

The album’s loose framework as a transmission from an intergalactic underground radio station, “Diva Experimental FM,” is a structure she’s been playing with for years in the form of a show streamed on NTS. She launched this new era with another mix for the show called “Airdoll,” a storm of baile funk with currents of ambient music, R&B and Gregorian chants. These various sonic streams fuel the mechanical but witchy futurist soul of “XXXXX.”

In their multi-genre 2025 book “Dysphoria Mundi,” Spanish trans philosopher and activist Paul B. Preciado points to gender dysphoria as a symptom of the world’s broken state and the utopia that could well rise from the ashes. The constant procession of natural disasters — and the indifferent leaders and the violent bloodthirsty systems they work under — push society to mutate into something better. As with Arca the artist, “XXXXX” is a curse-breaker, a cultural palate cleanser and a call to evolve.

YES, we know it’s still T-shirt weather in much of England for at least five hours of the day in between downpours, but it’s time to start thinking about booking your Christmas days out.

One for the calendars is an immersive festive experience that transports families through a snowy North Pole, that’s returning for the second year in a row – and it has a new village and playground.

The Wundrful World of Christmas will return this November taking families on a journey through the snowy landscape to see Santa.

It’s specifically designed for children between the ages of three and eight, who will venture through the frosty landscape in a 50-minute experience.

The journey through the North Pole will begin in the Enchanted Forest towards the Elves’ Workshops.

Little ones can say hello to the elves who will be busy making presents and working at the toy sorting station.

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Then onto visit Mrs Claus in her cosy cottage where she’ll have plenty of biscuits to go around and tell a story or two.

Then it’s into Santa’s Study to do some letter writing and meet him in person.

Along the way there will be live performers, theatrical sets, storytelling animation screens and plenty of festive lights.

New for this year is the Elves’ Playground which will be fully kitted out with Christmas lights and trees.

It will also have fairground rides, food and drink and even a Christmas market for trinkets and gifts.

For anyone who visited last year at its Borough Yards venue, the experience has moved to Immerse LDN at Excel London.

Last year, one visitor said: “Lovely doing this experience with you guys!”

Another added: “We loved it too. Ours [kids] chewed the ear off Santa and he was brilliantly patient with the epic chinwag session.”

It will run from November 13 until December 24 and you can buy tickets here.

Tickets for adults start from £29.90 and £24.90 for children (1-15 years).

KHARTOUM: The World Food Programme’s funding for Sudan — the world’s largest hunger crisis — has fallen by about ​half this year, its acting head told Reuters, as war drives more people into hunger while the regional crisis raises prices and aid budgets plummet. 

Speaking from the Darfur region after a trip across the country, acting Executive Director Carl Skau said that while access had represented humanitarians’ largest obstacle in the past, now “we have (a) presence that we are not fully utilising because of the lack of funding.” 

The gap to sustain current operations was just short of $300 million, he said. 

This year, we’re about half what we were in terms of funding last year, says Carl Skau, Acting executive director of The World Food Programme

“This year, we’re about half what we were in terms of funding last year,” Skau said. Last year, the agency received $645 million, but almost three-quarters into this year funding is only ‌at $206 million. 

The war ‌between Sudan’s army and the paramilitary Rapid Support Forces has devastated ​wide ‌swathes ⁠of the ​country, displacing ⁠up to 14 million people, ruining harvests and decimating the economy. 

Almost 20 million people face hunger in Sudan, but budget cuts have forced the agency to focus efforts on the 5 million most in need, of whom it has recently scaled up to reach 4 million people. 

Even then, the organization, the UN’s largest by budget, is forced to make difficult decisions. 

In Tawila, North Darfur, the makeshift home to about 1 million people, the agency is able to reach everyone monthly but with only a half ration that covers two weeks’ food, Skau said. 

“It’s not ⁠clear how they really are surviving the other two weeks,” he said. 

In El-Obeid, the central Sudanese city where about 1 million and counting ‌have sought refuge since the start of the war in April ​2023, the agency is only able to provide help ‌to those who arrived in the past several months. 

“We are providing, but less and less. A year ‌ago it was better because of resources,” Skau said. 

agency recently began providing aid in the city of Al-Fashir, once home to 1 million people, where an RSF attack last year, “bore the hallmarks of genocide,” according to investigators. Skau said, “there is little sign of life having returned.”

His organization is not the only one struggling as major donors reduce aid. The ‌International Organization for Migration said on Monday that emergency relief supplies for hundreds of thousands of people displaced by the war could run out within weeks ⁠unless donors step in ⁠with urgent funding. 

The UN agency said supplies of shelter materials, sanitation items and emergency household goods are expected to run out by the end of September. The aid system itself can only keep functioning until December without more money. 

Aid groups like IOM are struggling with funding shortfalls after the Trump administration — the US was previously the world’s biggest aid donor — cut billions of dollars in foreign assistanceto UN agencies and charities over the past year. Other major donor countries have also cut aid budgets, citing tight finances and higher defense spending. 

“We simply can’t turn our back on the people of Sudan,” IOM Director General Amy Pope said in a statement, adding: “The entire humanitarian system could collapse within weeks if we don’t act now.” 

IOM says 8.6 million people remain displaced within Sudan, while another 4.9 million have returned to their homes. The agency says it ​needs $15 million to keep the aid pipeline running ​for the rest of the year, supporting about 305,000 people. Without it, more than 100 humanitarian organizations would struggle to quickly deliver lifesaving aid. 

At age 14, Glen Walsh started surfing because of a crush. He was a boogie boarder until the object of his adoration told him, “What are you riding that for? You should be surfing. Get a surfboard.” So, he did. “I was terrible at it, but I kept going. I was super persistent.”

That resilience proved useful. As a gay teenager in Santa Monica, Walsh was often called slurs on the Venice Pier. “You think you’re like a unicorn — a weirdo,” he says. He felt at odds with the local surf community. To Walsh, surfing was “super straight, very hypermasculine, very intimidating.” Yet his love of the ocean — and sure, crush-worthy surfers — kept him returning to the water. “I wanted to be around them, and surf with them,” he says.

When Instagram launched in 2010, Walsh began posting one of his early loves — only this time, it was morning surf conditions. Every morning, before surfers paddled out, the longtime Venice resident described swells, winds and surf conditions to his followers, becoming for some the town’s trusted surf chronicler.

A “Surf Swim” sign greets beachgoers at Venice Beach — a stretch of coast where daily surf reports and grassroots organizing have helped break down traditional surf stereotypes.

(Christina House / Los Angeles Times)

His videos combined informative dispatches with the laid-back vibe of surfer ASMR. “Light offshore wind. Clean, glassy barrels,” he declares softly to the camera as gray waves break behind him. “Lumpy close-out with hollow barrels with low tide, fam.”

At first, the account functioned like a group chat for local surfers. “Friends were asking me how the waves were, and I was texting them. I figured I’d jump on Instagram and start doing it for them,” says Walsh, who has been a Venice resident for 15 years.

What began as a practical update for a handful of friends eventually attracted followers in London, Berlin and Tokyo — people who checked in daily to see whether the surf was firing in Venice Beach. The account has amassed over 10,000 followers, inspiring imitator accounts. “Now it’s just for everybody,” says Walsh. “I built a community around the surf reports. It really blew me away. I didn’t realize that people were so interested.”

His surf reports have made him an unofficial mayor of Venice surf culture, getting recognized at the beach town’s local hangouts like Hinano Cafe and the Cow’s End. “People stop me and tell me they love my surf reports. They don’t even surf, but they see it every day,” says Walsh. “I always tell people I’m very popular between Washington Boulevard, Lincoln Boulevard and Rose Avenue.” His nickname around town is Glenice Venice.

However, the real triumph wasn’t becoming recognizable around Venice — it was finding other queer surfers, something that felt elusive in Walsh’s youth in Southern California. “I had met a lot of other surfers from all over the world and built a queer community of surfers here in L.A.,” says Walsh. “It was pretty awesome.”

Walsh saw an opportunity to use his surf report to not only report on the condition of the ocean — which is especially unpredictable during our current El Niño cycles — but to also create a burgeoning queer space in the Venice surf scene. “I could set up a community-based surf report for everybody, and the fact that I happen to be queer made it a little more unique,” he says. He began to connect with gay surfers, organizing trips with them and building lasting friendships. “It was just a lot of fun, building a little team.”

Later, Walsh became a co-producer and music supervisor of a movie about homophobia in surfing titled “Out in the Line-Up” that premiered at film festivals across the world in cities such as New York, San Francisco and Sydney, Australia. “The movie kind of spoke for itself. It was a worldwide issue — homophobia in surfing.” Since then, Walsh has served on panels about queer people in the surf world. Last June, the film had a 10th anniversary screening in Venice, hosted by the Venice Surfing Assn. “At some point, I brought some diversity to this culture. I put my name on it,” he says.

In recent years, others have joined Walsh’s efforts to create a burgeoning queer surf scene at Venice Beach. In 2020, Shelly Guidera relocated to Venice and noticed that there wasn’t a strong queer presence in surfing. “My friend and I were maybe the only queer people some of these surfers had ever seen,” she says. Shortly after, Guidera started Dream Team Surf, a collective for queer surfers to meet up and build camaraderie.

Its mission is simple. “It’s all of us looking out for each other,” Guidera says. “ Having a team of people makes the experience that much more enriching and safe.”

Surfers ride the waves near the Venice Pier, where Glen Walsh does his daily surf reports.

(Eric Thayer / Los Angeles Times)

Early on, Guidera was inspired by Walsh’s uplifting presence in the Venice surf scene. “This person is respected in the community for what he brings, which is knowledge and insight and fun and flair,” says Guidera. In turn, Walsh has championed Dream Team Surf.

In January 2025, Dream Team Surf hosted a Pride beach party with a banner that read: “Trans bodies belong on the beach.” In some San Diego area beaches, Guidera says, queer representation can still feel like an anomaly. “It’s so funny because it’s like these people have maybe never seen a woman in a bathing suit with hairy legs,” she says. “I’m like, ‘Oh my God, it’s not that deep.’”

Guidera is certified in surf therapy, taking courses through Groundswell Community Project, a surf therapy program that uses surf to promote holistic healing. The mental health benefits of surfing are lifelong, Guidera explains. “Growing up as a swimmer, surfing was a form of play and wellness,” she says. “It eased the brakes on competition and the structure within competitive swimming.”

Group photo of Dream Team Surf, which hosted a Pride beach party.

(Sara Werner)

Even if you don’t shred waves, being in the ocean can promote healing. “To give people access to the ocean that is in and of itself a form of wellness,” she says. “There’s a level of surrender and humility that comes with surfing and that comes with being in nature. … You have to be so present in such a way that makes you a stronger person.”

Like Guidera, Walsh also works as a surf instructor with a similar goal to instill confidence in his students. “I was teaching a lot of people to surf, mostly women who didn’t want a straight man to teach them how to surf because it feels vulnerable enough,” says Walsh. “I try to break down the stereotypes and have a little fun with them and let them become a kid again.”

When done correctly, he argues, surfing can invite expansiveness. “I love seeing people out there. Feel the fear and do it anyway,” says Walsh. “And creating a lifestyle around it — going to different beaches — and meeting friends.”

Poorna Jagannathan has played everything from a ruthless gangster (“Deli Boys”) to an overbearing immigrant mom (“Never Have I Ever”). Now with HBO’s “Lanterns,” she adds an all-powerful galactic android to her acting resume.

Her character’s identity was a secret for much of HBO’s DC Comics series until a reveal in Episode 4 that a rancher’s trophy wife, Zoe Macon (Jagannathan), was, in fact, the deadly Manhunter. Then another great surprise rocked the “Lanterns” universe Sunday when in Episode 5, she is killed by Lantern trainee, John Stewart (Aaron Pierre).

“She is dead, for sure. Maybe …” teases Jagannathan, who had to take a crash course in Green Lantern lore before assuming the role in the eight-episode series from showrunner and co-creator Chris Mundy (“Hell on Wheels,” “True Detective,” “Ozark”).

Jagannathan’s character belongs to an ancient, shape-shifting race created by the Guardians of the Universe as the galaxy’s first police force, but they’ve since gone rogue and are now out to eliminate the human race. Green lanterns are interstellar peacekeepers who wear rings that give them extraordinary powers. When veteran Lantern Hal Jordan (Kyle Chandler) and his mentee Stewart are tasked with solving a murder in rural Nebraska, they trip upon a great mystery that included ferreting out which resident in the small town of Rushville is the Manhunter.

The series has been lauded for elevating the superhero genre while presenting as a gritty crime drama. In this edited conversation, Jagannathan explains the demise of the Manhunter, how she morphed into a comic book villain for the role and what it’s like to feel all powerful at this stage in her career.

John Stewart (Aaron Pierre) and Zoe Macon (Poorna Jagannathan) in a scene from Episode 5 of “Lanterns.”

(HBO)

How much did you know about the DC universe before taking on this role?

I didn’t understand a lot of this world, but I did grow up on Wonder Woman. I twirled my way into my teens. So at least there’s that. It’s such a huge property, so there’s a lot to learn. But I realized that there’s a lot of similarities between Lucky (the gangster she played in “Deli Boys”) and Zoe. Lucky was originally written for a man. So with “Lanterns,” when I was first reading the script, I just kept looking at the cast of characters and thinking who might it be? I just expected a man would be playing the Maneater.

Maneater?

I mean Manhunter. I kept messing up and saying that when we started working on the show, too. It’s the name of an old Hall & Oates song. [Jagannathan hums, “She’s a man eater… .”]

Explain who or what a Manhunter is.

Manhunters were created by the galaxy as part of a police force, and then they went rogue. They were created to enforce justice, but it was a very particular kind of justice. There was no gray in the Manhunter. No emotion. It was either right or wrong, and they would eliminate what was wrong. But then they started feeling things.

The guardians saw it was an operation that went wrong so they closed it down. She [Zoe] is a sole survivor. She runs away to a place where she adapts quickly to the creatures around her, and learns how to feel. So she’s this feeling machine that battles against her own programming, but at the end of the day she can’t help her programming. When there’s a conflict, she resolves it by killing half the population.

Jagannathan on her character in “Lanterns”: “She’s a sole survivor. She runs away to a place where she adapts quickly to the creatures around her, and learns how to feel.”

(Christina House / Los Angeles Times)

Manhunters morph to fit in with the population around them, but the skin your character chooses is that of a brown Indian woman. She does not look like anyone else in the small, predominantly white town of Rushville. Her explanation of why she made that decision — to essentially not fit in — is really powerful. Can you recall what she said?

I remember that monologue. [John Stewart] asks, “Why did you choose this skin?” I say, “Power.” “How do you conquer a civilization and a people?” You come to it from the outside. “How do you learn about things from the outside?” In your world, you don’t want obstacles, but in my world, I need those obstacles to get a higher vantage point, to see a deeper purpose.

The absolute outsiderness is a relatable point. I did ask Chris about it and he basically said that as an Indian woman in Nebraska, you’re an outsider. You’re already alien. People are not going to ask you a lot of questions. You’re not going to be part of any power structure. So she just is an anomaly, and there’s no more questions around it.

Did you know Zoe would turn out to be the Manhunter when you first auditioned for the role?

No. The scenes that I got were the one at the bar where I’m picking up Stewart, and the scene right before I die, which is [when we’re] in bed and I’m trying to get him to leave. Like “You gotta go or you’ll die!” They didn’t indicate she was extraterrestrial in anyway. There was no E.T. flair to [the dialogue]. It was so grounded that it was easy to inhabit this character. I’m happy because if I had had even an inkling she was the Manhunter, I might have brought an alien touch to the scene. But I couldn’t quite figure out her place in the story. Definitely not during the audition, and definitely not till I read the last [scene].

Your first big breakthrough on American television was in 2016’s “The Night Of.” That was 10 years ago. Now you’re landing all these powerful, commanding and sometimes villainous roles.

I’m telling you, it’s like I couldn’t have imagined a future like this. If you’d asked me back then what kind of role do you want, I’d have no idea. Between Zoe and Lucky, they’re my two favorite TV baddies. Then Nalini (the overbearing mom in “Never Have I Ever”) and Salma (who has an affair with the title character in “Ramy”). All these characters are very strong women.

What is it that you channel to embrace these powerful roles?

The second I turned 50, I just felt an inexplicable comfort in my own skin that I never felt before. A belonging in my own skin. That translates into belonging in different spaces where I could have been uncomfortable in before, so it’s a great time to inhabit these characters. Before I would have really s— myself with a character like Lucky or Zoe, but now it feels a lot more accessible.

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1. Jagannathan as Aunt Lucky in Hulu’s “Deli Boys.” (James Washington/Disney) 2. Maitreyi Ramakrishnan as Devi, left, and Jagannathan as Nalini in Netflix’s “Never Have I Ever.” (Isabella B. Vosmikova/Netflix)

Do you see similarities between the characters you’ve played over the past few years?

They’re untethered, powerful women. They will do anything to keep their power. Their north star is power over anything else. Usually with female characters, everything always hearkens back to the family. Zoe is older. She is confident. She weaponizes her femininity right away, and she’s unafraid. She does it with nonchalance. She appears to not give a [damn].

All villains and warriors have an Achilles’ heel, and for female roles in particular, it’s usually sacrificing themselves to protect their family. Family is their kryptonite.

But a character like Zoe is willing to destroy everything, including her family, to keep power. She’s untethered from love and responsibility. You always expect a very masculine force to come in with this kind of power, and the fact that it never does with “Lanterns” is so unique.

You spoke on a “Lanterns” panel at San Diego Comic–Con? Describe the experience.

The [people who come in costume] are better humans than I am. To go somewhere and have your entire family dressed in Spider-Man regalia, roaming the streets of San Diego. It’s a manifestation of pure, unbridled passion from youth then passed down through generations. I wish I too had a passion like that.

“The second I turned 50, I just felt an inexplicable comfort in my own skin that I never felt before,” Jagannathan says. “That translates into belonging in different spaces where I could have been uncomfortable in before, so it’s a great time to inhabit these characters.”

(Christina House / Los Angeles Times)

Were you terrified somebody would ask you a complicated question …

… about Green Lantern?

Yes.

I had to be really upfront and honest and explain that I know so little. It’s Aaron [Pierre] who is really into comic books. He really got into this world. I did speak to a Green Lantern expert as part of the preparation for the role. I do remember him telling me how special John Stewart was in the universe. One of the first introductions of a Black superhero [in mainstream comics] was in Green Lantern, so it holds a very sacred space in comic book history.

Can you talk about your forthcoming Apple TV drama series, “Nocturne.”

It comes out Oct. 30, and it’s basically like if “Silence of the Lambs” was a documentary on Florence Nightingale. That makes it seem so tame, but it’s so, so frightening. The serial killer genre is new for me. I read the book [it’s based on] and had to install a security system in my home. I couldn’t sleep anymore! It’s with Stephen Graham, Liev Schreiber and Zazie Beetz. I play an overworked FBI agent who was brought in to help solve a crime that [law enforcement] initially tried to deal with internally and they messed it up. So they decided they decided to bring in the big guns.

You said earlier that Zoe is an outsider. Did you consider yourself an outsider, too?

Growing up, we moved around a lot. I was literally changing languages every three years. I needed to adapt quickly to whoever was around me, and it often came at the expense of never really knowing myself. You just had to quickly read the society. The language. The gestures. You had to decode quickly in order to fit in.

Even as an adult, I was not fully settled into a point of view until my 40s. That was maybe the allure of acting — getting to show a little bit of my insides through acting. It’s finding out who you might be.

Evelina Fernández’s “Antigone: In the Language of Kings” receives a theatrically entrancing staging at the Getty Villa’s Outdoor Theater in a production co-produced with Latino Theater Company.

The adaptation resets Sophocles’ tragedy to Aztec culture in a transposition that is both visually and musically enlivening. If the drama is oversimplified, it nonetheless makes for a gripping spectacle.

It’s not easy to find analogies that can reanimate the importance of burial rites to a modern audience. The production’s creative team, led by the inexhaustibly inventive director José Luis Valenzuela, returns us to a world where the dead are owed sacred duties and the living are fearful to renege on this basic human responsibility.

The incense-filled production — conducted in English, Spanish and Nahuatl (the language of the Aztecs), with English and Spanish supertitles — proceeds like a pageant. Headdress-clad warriors clash on the battlefield. A masked chorus, moving with the coordination of a Broadway musical ensemble, gives voice to the anxiety and grief of the collective. A statuesque figure of death, trailing black fabric, sweeps up the casualties of war with the efficiency of a human vacuum.

In Sophocles, Antigone, Oedipus’ headstrong daughter, defies the edict issued by her uncle Creon, the newly deputized king, declaring that her slain brother Polynices is an enemy of the state and therefore ineligible for burial. For Antigone this is an imposition of political power over divine law, and she puts her life on the line to uphold her obligation to her family and faith.

The ensemble of “Antigone: In the Language of Kings” at the Getty Villa Museum Outdoor Classical Theater.

(Cassia Davis / © 2026 J. Paul Getty Trust)

The German philosopher Hegel considered Sophocles’ “Antigone” the high-water mark of tragedy for the way it dramatizes the collision between two equally justified moral positions. Creon, representing the claims of the polis over the clan, cannot be dismissed outright. Nor can Antigone, whose all-consuming identification with her cause renders her indifferent to other obligations, be adopted as a user-friendly hero.

Tragedy arises from the one-sidedness of their claims. Antigone loses her life and Creon, for all intents and purposes, destroys his own, suffering the deaths of his most cherished loved ones.

Hegel’s reading of “Antigone” illustrates his thesis-antithesis-synthesis view of dialectical progress. Sophocles, it can be surmised from the other plays in his Oedipus cycle, likely conceived “Antigone” with a larger metaphysical design. But even if Hegel’s interpretation would have seemed off the mark to him, Antigone and Creon are too complex to reduce to a schematic argument.

Fernández simplifies these antagonists. Her Antíkona (a formidable Esperanza América) reveals her softer side even when rejecting her sister, Ixmene (Alexis B. Santiago), for not having the courage to zealously join her fight.

Tlahtoani Klion (Cástulo Guerra), Emperor of Tenochtitlan, is a ruler so intoxicated with his own authority that he’s clearly courting rebuke from the gods. It’s only a matter of time before his hubris is slapped down.

The acting is theatrically robust, though not always subtle. I wondered if ambiguity had been outlawed along with the funeral rites of Antíkona’s warrior brother Polynices. The bold clarity of the performances was energizing, but the wailing sometimes sounded like parody grief.

The outsize nature of the production invites overacting. And Ric Salinas, who plays Chachalacani, humorously obliges, bringing his Culture Clash vaudeville skills to the role of the sentry who’s caught between the rock of Klion’s tyranny and his fellow feeling for Antíkona’s sympathetic cause.

Strong performances are elicited from José Eduardo Moreno, who plays Klion’s son Hemon, Antíkona’s fiancé, and Zilah Mendoza, who plays Cihuatlahtoani Euridice, Klion’s wife. Their portrayals, mixing ferocious strength with stark vulnerability, make the tragedy’s pileup of bodies at the end all the more piercing.

The ensemble of “Antigone: In the Language of Kings” at the Getty Villa Museum Outdoor Classical Theater.

(Cassia Davis / © 2026 J. Paul Getty Trust)

América’s Antíkona is as unyielding as any Antigone I’ve seen. It’s a commanding portrayal, but I wish the production didn’t shrink from its protagonist’s fierceness. The obdurate side of the character is lessened with a gesture Antíkona bestows on Ixmene — a reassurance that even though she’s a revolutionary, she’s still an affectionate sister.

Sophocles is made of harsher stuff. Fernández’s adaptation is anxious to turn tragedy into a sermon, offering theatergoers moral solace where Sophocles leaves his audience in a contemplative state of stunned silence.

But the staging makes up for the dramatic shortfall. Valenzuela masterly orchestrates the mise-en-scène. The majestic costumes of Catarina Copelli, invoking a rich brocaded world on the brink of disappearance, might be the real superstar.

François-Pierre Couture’s scenic design is mesmerizing without ever being overbearing. “Lee” Xinyuan Li’s lighting heightens the sense of theatrical foreboding. Yee Eun Nam’s projections inject into this transient world a welcome subtlety.

Urbanie Lucero’s choreography and movement direction maintain the production’s graceful poise. The musicians, discreetly performing at the back of the stage under the guidance of Mesoamerican instruments director Christopher García, charge the air with percussive Indigenous wonder.

“Antigone: In the Language of Kings” marks the Getty Villa’s 20th anniversary of reinventing classical tragedy for our time. This gorgeous staging makes me ardently wish that the theater extends the tradition for at least another 20 years.

A new chapter in Saudi Arabia’s cultural and creative journey begins this morning as the inaugural cohort of students at Riyadh University of the Arts starts their first academic semester. The university launches with immense ambition, bold objectives, and a steadfast foundation: a Saudi identity built on global standards.

Since its inception, the university has enjoyed historic support from the Custodian of the Two Holy Mosques and the Crown Prince — may God protect them — alongside regulatory empowerment that reflects their dedication to the role of culture in the nation’s progress. This culminated in the royal decree authorizing its establishment and approving its charter, representing the highest regulatory authority in the Kingdom.

The overwhelming response to enrollment at the university highlights the genuine passion of Saudis for culture and the arts, a passion rooted in their authentic cultural heritage and ambitious future vision. Since the opening of applications was announced, the university has received thousands of enrollment requests across various cultural disciplines and degree programs offered in its inaugural year. This underscores a true belief in the present and future of the arts within the Kingdom’s major developmental journey, coinciding with a phase in which the entire world is witnessing a remarkable expansion in the creative economy and cultural investment.

The university serves as a major milestone in the human capability development project within the cultural sector. This massive undertaking has seen the Kingdom’s cultural ecosystem make significant strides, with human capability and development initiatives accounting for more than a quarter of all initiatives launched by the ministry and its cultural commissions over the years. These initiatives have served a long list of beneficiaries, with more than 63,000 individuals receiving education and training across various cultural sectors since the establishment of the Ministry of Culture in 2018. The project continues to grow, with its creative impact visibly reflecting on all facets of development within our flourishing society.

I congratulate all the creative men and women who began their academic journey today at Riyadh University of the Arts.

Because education is the foundation for building cultural capabilities, the university has arrived to strengthen the development of the cultural sector, achieve global excellence in culture and arts education, and elevate Saudi culture and its presence both locally and globally. It also aims to bridge the current gap in the cultural labor market, foster an environment that stimulates cultural initiatives in the private sector, and boost overall cultural production in society. This comes at a time when Ministry of Culture forecasts indicate that demand for cultural jobs will exceed 7 percent annually of total employment, with the number of jobs across various cultural sectors projected to reach nearly 346,000 by 2030. Additionally, demand for roles in arts, technology, and design is growing annually by 40 percent in the Middle East, alongside a growth in cultural tourism of more than 109 percent between 2019 and 2022.

The university offers its programs in cooperation with the world’s most prestigious universities through partnerships that facilitate knowledge transfer and the exchange of expertise. This educational framework combines academic rigor with creative innovation and the integration of technology, while balancing theoretical sciences with practical application. It further enables researchers to expand their scope of awareness and knowledge within a fertile cultural environment like Saudi Arabia, where the cultural sector has proven its ability to effectively contribute to the national economy, achieving rapid growth thanks to the support of our wise leadership and the contributions of Saudi creatives across all fields.

The university aims to become a specialized, leading institution in the field of culture in the Middle East and North Africa region, rank among the top 50 cultural universities internationally, and serve as a global hub for academic achievement, scientific research, and cultural and knowledge exchange from Riyadh to the entire world. Among its core missions, the university focuses on strengthening the value chain across all cultural sectors and supplying them with creative and leadership talents, including artists, producers, administrators, and entrepreneurs. This spans the fields of cultural management, film, music, museum management, theater, performing arts, design arts, architecture, fashion, visual arts, photography, heritage and civilization studies, culinary arts, and cultural education.

I congratulate all the creative men and women who began their academic journey today at Riyadh University of the Arts. I am entirely confident that this major milestone will enhance their creative paths, given the university’s commitment to providing top-tier education through partnerships with leading institutions. It offers an exceptional student experience through a diverse range of disciplines, programs, and innovative educational methods, while enabling research and collaboration across cultural sectors. Together, we will enhance the competitiveness of national capabilities in the cultural sector so that Saudi Arabia may flourish with diverse cultural expressions that enrich individual lifestyles, strengthen national identity, and foster cultural dialogue with the world.

I extend my thanks and appreciation to Custodian of the Two Holy Mosques King Salman bin Abdulaziz, and to Prince Mohammed bin Salman bin Abdulaziz, Crown Prince and Prime Minister, for the care, empowerment, and encouragement that Saudi culture receives.

— Prince Badr bin Abdullah bin Farhan is Saudi Minister of Culture and Chairman of the Board of Trustees at Riyadh University of Arts.

— This article was first published in Arabic in Asharq Al-Awsat.

JEREMY Clarkson has backed an Instagram influencer to take over Gardener’s World following Monty Don’s shock exit.

Don announced his departure earlier this week after 23 years on the show.

Writing in his column for The Times, Jeremy has called upon the BBC to carefully consider who will be Don’s replacement.

The former Top Gear presenter reflected on the gardening show tenderly, calling it a “pixelated comfort food”.

However, Jeremy made a surprising suggestion as to who could fill Don’s shoes.

He said: “So, for the new host, might I recommend that the producers trawl the staff in the nation’s garden centres for candidates. Or check out a girl called Chloe from Blooms & Greens on Instagram.”

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Chloe, who boasts 672,000 followers online, is famed for her gardening videos.

She offers short snippets of her tending to her organic vegetable garden or floral bouquet creations.

And it seems Jeremy is not the only fan, with one of her videos racking up 2.3million views.

He said: “This is a show that’s watched by a certain type of people. And it should be presented and written and produced by that sort of person.”

He likened her to Don himself, but 50 years his junior, Irish, and a woman.

Speaking of his own gardening skills, Jeremy confessed to being less garden-native than the beloved host.

He called himself “the only person in human history ever to kill a spider plant.”

And that was not his only planting frustration he reflected on – one time he bought a Baobab tree seed from Morocco.

The same seed refused to grow until he passed it onto his gardener, Shaun, where it is now thriving under his care.

Jeremy also delved into the time he planted 50 Christmas trees, only for 47 of them to grow too tall to be of any use.

He said: “But despite this ineptitude, I do watch Gardeners’ World and that’s why I was sad this week to hear that after 23 years, Monty is leaving the show.”

With the BBC likely currently having conversations about Don’s replacement, Jeremy weighed in with his concerns on the topic.

He said: “I have the most horrible feeling that whoever gets the gig will not be the sort of person who wears corduroy.”

He suggested, if not Chloe, then producers try garden centres to find a host.

Jeremy added: “What they need to remember is that Gardeners’ World is a show about gardening, for sure, but it’s also a state of mind.”

RIYADH: Prince Fahad bin Jalawi bin Abdulaziz, vice president of the Saudi Olympic and Paralympic Committee, received an honorary 6th Dan black belt from World Taekwondo President Chungwon Choue during their meeting at Taif Camel Racing Track.

World Taekwondo gave Prince Fahad the black belt in recognition of his efforts to support taekwondo globally and promote international sports through Saudi Arabia’s hosting of major events.

The honorary belt is awarded exclusively to heads of state and sports officials who support taekwondo’s development.

The presentation took place on the sidelines of the 15th General Assembly of the Islamic Solidarity Sports Association in Taif, which brought together leaders of Olympic committees from 57 Islamic countries, along with heads of international sports federations and organizations.

Sept. 11, 2026 11:58 AM PT

WASHINGTON — President Trump observed Friday’s 25th anniversary of the Sept. 11 attacks at a ceremony at the Pentagon by commemorating the lives lost when Al Qaeda militants hijacked planes and killed nearly 3,000 people in three locations and upended American foreign policy and national security.

Trump and First Lady Melania Trump listened as the names of the 184 people killed at the Pentagon that day were read aloud, a bell tolling between each. In his remarks, Trump recounted the stories of several of the victims and insisted that the moment has led to a fortification of American resolve.

“We will never, ever forget,” Trump said. “That’s why we fight today. We don’t have a choice.”

Earlier, in a downpour at daybreak, Defense Secretary Pete Hegseth and top military officials stood outside and watched as a giant American flag was unfurled on the building struck by one of those planes a quarter-century ago.

It was the second year in a row that Trump observed the day at the Pentagon. The president, who is originally from New York, last attended the ground zero ceremony there in 2024.

Vice President JD Vance attended the New York observance alongside former presidents, while other administration officials took part in the ceremony in Shanksville, Pa. Vance had planned to be in New York for the anniversary last year but instead flew to Salt Lake City to be with the family of Charlie Kirk after the conservative activist was fatally shot.

Widow calls on Trump to reconsider relations with Saudis

At one point during the solemn remembrance in New York City, a woman whose husband died in the attacks criticized Saudi Arabia and called on the Trump administration to rethink the United States’ tight relationship with the kingdom.

Terry Strada, who lost her husband Tom Strada on 9/11, called on Trump to “tell the Saudis to stop lying” and accused U.S. presidents of choosing “to protect the Saudis instead of standing with the 9/11 families.”

Strada, who was one of the 9/11 family members who read aloud the names of victims at this year’s remembrance, added that the current administration should “stand with the families, stand with the survivors.”

“It has been one betrayal after another. President Trump can still change that,” she said before calling on Vance to “carry that message back” to Washington.

Strada is part of a group of family members of 9/11 victims embroiled in a long-running lawsuit against the Saudis. They allege a group of extremist religious leaders in Saudi Arabia gained influence in the Saudi government and aided the hijackers. Fifteen of the 19 hijackers were Saudis, but the Saudi government has long denied any involvement in the attacks.

Trump and Hegseth try to bridge 9/11 and Iran war

Trump began his remarks by recalling the sense of American unity following the attacks. “In those harrowing days after the attacks, we saw the authentic spirit of our nation,” Trump said. “We were all New Yorkers that day. Every one of us. We were all New Yorkers. We were all family.”

The president and his Defense secretary sought to connect the events of 9/11 to the war with Iran. Trump saluted the service members “working right now to ensure the world’s No. 1 sponsor of terror — the Islamic Republic of Iran — will never, ever have a nuclear weapon.”

Hegseth used the moment to make the case that the U.S. military had “laid waste to the world’s most prolific state sponsor of terrorism” with the war against Iran.

“Our warriors have fought an Islamic theocracy that has wished us death for nearly half a century, that cheered on 9/11, a regime that has sponsored terrorist attacks against Americans for decades, killing thousands, including our comrades in Iraq, in Afghanistan,” Hegseth added.

Officials wonder if 9/11 could have been thwarted

At Friday’s commemorations, there was also a measure of reflection about whether 9/11, the deadliest attack on the U.S., could have been prevented.

Homeland Security Secretary Markwayne Mullin at a ceremony at his agency’s headquarters said it was a moment to consider the success of his department, which was established following the attacks and has “prevented it from happening again.”

Still, Mullin noted that Osama bin Laden, architect of the attacks, had fired “warning shots” in the years prior to 9/11 about his intent to carry out a major strike on the U.S. The U.S. national security apparatus certainly had “failures along the way,” Mullin said.

Condoleezza Rice, who was serving as White House national security advisor on 9/11, participated in Friday’s commemoration at the Pentagon. In her remarks, she acknowledged that she still feels deep pain that “those of us in authority on that day did not see the nature of the danger in time to prevent the attack of 9/11.”

“I will always carry deep personal remorse for the pain that you, the families of the fallen, still feel, and for the trauma that our country endured,” Rice said.

Binkley, Madhani and Kinnard write for the Associated Press. AP writers Anthony Izaguirre and Sagar Meghani contributed to this report.

The biggest news to come out of two film festivals this week stemmed from documentaries about tech moguls gone bad.

When Alex Gibney’s film production “Musk” premiered at the Venice Film Festival on Tuesday, it received a five-minute standing ovation, shouts of “thank you” from the audience and endless play across social media. The nearly four-hour production chronicles the rise of the world’s first trillionaire out of the dot-com boom, and lays bare the dangers that the Tesla and SpaceX chief executive now presents as a plutocrat with questionable judgment and unchecked power.

Closer to home, at the Telluride Film Festival, it was comedian Nathan Fielder (“The Rehearsal”) and Lance Oppenheim’s “You Can See Everything” that made breaking news. Their film features unfettered access to former Theranos Chief Executive Elizabeth Holmes in the weeks before she reported to federal prison to serve a sentence of 10 years and three months. She rode the early 2000s wave of venture-capitalism consumer-tech hype, defrauding investors and the public with a bogus new way to test blood. By 2014, she was the world’s youngest self-made female billionaire.

A couple of decades ago, films about Musk and Holmes probably would have framed the pair as forward-thinking entrepreneurs and architects of a new era. Today, the pitchforks are out, and who else better represents the hubris and greed of late-stage capitalism?

There’s plenty of buzz around both films ahead of their October releases, yet the richest man in the world is helping promote the “Musk” doc by incessantly posting about Gibney and his “hit” piece.

Musk’s X posts have referred to the filmmaker as a “horrible human” and a “bitter old man” and declared, “Dogs— is worth more respect.” Always looking for a conspiracy to explain away the perfectly explainable, he wrote that the film was a “psy op.” He included in the post an image of Gibney as a puppet of the Democratic Party and George Soros. Musk also offered Trumpian prose: “Gutless Gibney’s fatal flaw of fabricating a false film.”

“Musk” is due for a theatrical release in the U.S. on Oct. 16 followed by a streaming launch on HBO Max.

Musk’s attorney Alex Spiro is threatening a lawsuit. He sent a letter to the Gibney-led Jigsaw Productions accusing the filmmaker of misrepresenting facts about the mogul. Spiro says the filmmaker suggested that Musk used his Starlink satellites to bend the 2024 election in favor of his friend and ally Donald Trump.

“You are … on notice, before release, that the insinuation is false, that the material refuting it is public, and that you chose not to be told the rest,” Spiro wrote. Spiro claimed he contacted the production “multiple times” and “requested an opportunity to present the facts in the normal fact-checking process that is the hallmark of ethical journalism. You have refused to engage.”

Gibney says Musk declined to be interviewed for the film. In his absence, the documentarian created a digital avatar of the Tesla CEO and used statements pulled from decades worth of the entrepreneur’s interviews and public appearances. The film chronicles his childhood in South Africa and his time in Silicon Valley, and suggests that Musk’s genius is not as an inventor but as an investor. His talent, the film contends, is stock-pumping.

“Musk” also reportedly explores how the trillionaire had access to sensitive techno-surveillance data when he ran the Department of Government Efficiency (DOGE) under President Trump in 2025. Geoffrey Hinton , often referred to as the Godfather of AI, is interviewed in the film and explains why Musk’s potential access to the data is such a problem: “It’s fairly clear to me that Trump is hell-bent on corrupting the midterm elections,” Hinton says. “If you wanted to corrupt those midterm elections and you wanted to use AI, all you needed to do was get detailed information on U.S. citizens. And what DOGE did looked like just what you would do.”

Gibney in interviews about the film has warned that Musk’s widespread, unchecked power is “extremely dangerous to world democracy.”

“What I discovered was that the story of Musk was not [a] new tech story,” Gibney said in a news conference at the Venice Film Fest. “[It’s] really the story of an old wine in a new bottle. His story turns out to be the story of the confidence man, the stock pumper, his wealth and power comes from inflated stock, and so I had told that story before with Enron and with Elizabeth Holmes, and so it was a story that was oddly familiar to me.”

Gibney is renowned for taking on big money, corruption and anything else that reeks of injustice. He’s tackled Wall Street, big pharma, Scientology, Guantanamo, and even Theranos founder Holmes.

The new film about Holmes, “You Can See Everything,” offers a quirkier, up-close take on Holmes. Produced by A24 and set for an Oct. 16 theater release, it follows the disgraced CEO post-conviction, and she appears more than comfortable in front of the filmmakers and their cameras. Audiences at Telluride were surprised by the access she gave to the filmmakers, and that Holmes spoke openly about her plans to launch a biotech comeback and revive Theranos from her cell in a Texas prison camp.

Forget the celebrity glitz of high-profile film festivals. In these eat-the-rich times, it’s the dark side of wealth, fame and alleged genius that satiate audience appetites. Enter two new documentaries that feed the beast.

The “best of the best” in athletics are preparing to compete in the inaugural World Athletics Ultimate Championship that gets under way in Budapest this weekend.

The three-day competition will see 26 Olympic champions from Paris, 26 world champions from Tokyo last year, and this season’s top athletes battle it out to be crowned the best in track and field.

Many return to the stomping ground in the Hungarian capital after successes at the 2023 World Championships, while others have racked up global titles after breakout performances throughout the year.

Here’s Al Jazeera’s all-to-know guide to the meet:

Who, what, where and when at the Ultimate Championship?

The Ultimate Championship is an invite-only competition featuring the Olympic gold medallist, World Championship gold medallist, Diamond League winners, and the best performers of 2026 based on the World Rankings qualification system.

It runs from September 11-13 in Budapest and will become a biennial feature in World Athletics’ calendar. The sport’s global governing body chose 2026 to launch the event in between the World Championships, and, in Olympic years, use it to round out a highly competitive season.

Jamaican sprint legend Usain Bolt, an ambassador for the event, said it was “great to see track and field going in a different direction”.

“It’s going to be great to see the best of the best,” the eight-time Olympic gold medallist said at a news conference on Thursday before the event.

“This was one of my greatest things. I’ve always lived to compete against the best and I would thrive in this moment.”

What is the Ultimate Championship prize pot?

The $10m prize pot will see winners of each event bag a record $150,000.

That’s more than double the $70,000 given at last year’s World Championships in Tokyo, and three times what was awarded by World Athletics to Olympic champions in Paris. Second place takes home $75,000, third place $40,000, all the way to $2,000 for 16th-place finishers.

Relay teams will split $80,000 among themselves, followed by $40,000 and $24,000 for second and third place, respectively.

The Ultimate Champion also walks away with global “bragging rights”, World Athletics President Sebastian Coe said before the event as he explained its significance to the sport.

What’s new at the Ultimate Championship?  

For one, there are no medals. It’s part of World Athletics’ “reimagining of awards” that replaces the traditional accolade with a customised trophy for the Ultimate Champions based on individual tokens.

All events will be direct semifinals or finals rather than starting off as heats. Athletes competing in the men’s and women’s 200m will select their preferred semifinal heat and lane based on their seed order.

A tie for first place in a vertical jump will be decided by a jump-off rather than be shared, while athletes in throwing events will have four attempts down from the typical six, that too in the 8:8:6:4 model.

The mixed 4×100-metre relay will feature in Budapest after its debut at the World Relays earlier this year, with each quartet competing in national kits.

Why is Ultimate Championship getting criticism from a few athletes?

A number of events have been excluded from the Ultimate Championship, including shot put, triple jump, women’s hammer throw, and discus throw, as well as long-distance track events like 3,000-metre steeplechase and 10,000-metre.

World Athletics said its decision was based on viewership and priority for faster-paced events.

Olympic discus champion Matthew Denny and former world champion and two-time triple jump champion Pedro Pichardo were among the athletes who lamented the decision on social media.

Denny, current world number two, explained that the prize money “can change a career and a life” and implored World Athletics to reconsider its stance on public interest driven by its own statistics.

“Innovation should not come at the expense of opportunity.”

World record watch

These athletes are already the creme de la creme in their field and are most likely to set a world record, based on this year’s performance:

• Men’s Pole Vault: None other than Sweden’s Armand ‘Mondo’ Duplantis, who has broken the world record 15 times and most recently this March.
• Men’s 800m: World lead Emanuel Wanyonyi has repeatedly threatened fellow Kenyan David Rudisha’s 1:40.91 set at the London 2012 Olympics.
• Women’s 800m: Audrey Werro is fresh off her 1:53.70 set on home soil at the Zurich Diamond League in August. The Swiss’s time is third all-time and dangerously close to the 1:53.28 set by Jarmila Kratochvilova in 1983.
• Men’s 400m hurdles: Brazil’s Alison dos Santos recently smashed the record in Zurich, five years after Norway’s Karsten Warholm clocked 45.94 at the Tokyo Olympics.
• Women’s 100m hurdles: Zurich magic extended to the women’s 100m hurdles as USA’s Masai Russell stormed to a 12.09 to cap off 12 straight wins this season.

OASIS have launched a countdown to a major announcement with a drone display above their beloved Manchester City’s home ground.

Over the past few weeks, Liam, 53 and Noel Gallagher, 59, have dropped a string of cryptic clues about their next world tour, and last night they continued to hype up the buzz.

Oasis reformed two years ago, after the long-feuding brothers caused the band to split-up in 2009.

Now after their successful run of gigs last year, they have appeared to confirm they will be making another tour announcement on Monday (September 14).

Oasis teased the news with a huge drone display flying above the Etihad Stadium last night.

The display saw the band’s iconic black and white logo light up the sky at 11pm.

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The incredible light show, which was 120m-long, then revealed a date which read “14.9.26”.

Onlookers got to watch the drone display in the sky for ten minutes before it disappeared.

Oasis have been dropping clues left, right and centre.

Yesterday, they appeared to confirm the tour locations with a new video which left viewers scrambling to decode where the gigs will take place.

And on Tuesday, Liam and Noel teased another upcoming tour location with a subtle nod to a moment around the time the group split.

Meanwhile, The Sun exclusively revealed that Oasis will be returning to the stage next year.

They will perform a record-breaking run of six concerts at Knebworth and a 12-date residency at the Etihad Stadium in Manchester.

World War Two continues to shape relations between Russia, China, Taiwan and Japan, with competing interpretations of the conflict increasingly intersecting with present day geopolitical tensions.

The issue resurfaced last week when Russian diplomats in Taiwan screened a film about Japanese militarism and World War Two. The screening raised concerns in Taiwan that Moscow was helping Beijing promote a narrative of a rising Japanese military threat while also creating divisions between Taipei, Tokyo and their Western partners.

The disagreement reflects fundamentally different interpretations of who fought Japan, who ultimately defeated Japanese forces in East Asia and which governments have the right to claim that legacy.

What’s Happening

Russia’s presentation of Japan’s wartime history comes against the backdrop of its own unresolved dispute with Tokyo over territory captured at the end of World War Two.

Soviet forces entered the war in East Asia only during its final weeks, when the Red Army moved into Japanese occupied northeastern China. Soviet forces withdrew from most of the region in 1946 and transferred many captured Japanese weapons to Mao Zedong’s communist forces.

The Soviet Union quickly recognized Mao’s government after the People’s Republic of China was established in October 1949 following the communist victory over Chiang Kai shek’s Republic of China.

Soviet forces also seized four islands off Japan’s Hokkaido at the end of the war. Russia calls them part of the Kurils, while Japan refers to them as the Northern Territories. Moscow continues to control the islands.

Russia and Japan have never signed a formal World War Two peace treaty, with the territorial dispute remaining a major obstacle.

China’s View of World War Two

Beijing presents the history of the war as a central part of China’s national narrative.

The Chinese government says China sacrificed 35 million people during its struggle against Japan, which Beijing dates back to Japan’s 1931 invasion of Manchuria.

China officially refers to the conflict as the Chinese People’s War of Resistance Against Japanese Aggression and describes World War Two as the World Anti Fascist War.

Beijing argues that China and the Soviet Union were the mainstays of resistance against Japan and Germany, while Chinese communist guerrilla forces formed the backbone of the resistance inside China.

This interpretation gives the wartime struggle an important role in China’s broader political narrative and its portrayal of Japan’s contemporary military posture.

Taiwan’s View

Taiwan strongly disputes Beijing’s interpretation.

Taiwan’s government argues that the People’s Republic of China cannot claim credit for a war fought before the PRC was established in 1949.

During World War Two, the Republic of China under Chiang Kai shek was China’s government, while Taiwan itself was under Japanese colonial rule. Republican forces carried out much of the fighting against Japan.

The Chinese civil war was temporarily suspended during the conflict as Chiang’s forces and Mao’s communists formed an uneasy alliance against Japan.

Taiwan also points to the formal Japanese surrender at the end of the war. The Republic of China, represented by Chiang’s government, signed the surrender alongside the other Allied powers, including the Soviet Union.

From Taipei’s perspective, Mao’s communist forces used the war to strengthen themselves and subsequently benefited from the civil war that resumed after Japan’s defeat.

Why It Matters

The competing historical narratives are not simply disagreements about the past. They influence how the governments involved portray present day security threats and diplomatic relationships.

For China, Japan’s wartime history remains an important element of its criticism of Japanese military development. For Taiwan, however, Beijing’s use of that history is also connected to its claim over Taiwan and its attempt to define the historical legitimacy of the Chinese state.

Russia’s involvement adds another layer because Moscow has its own unresolved territorial dispute with Japan stemming directly from the final stages of World War Two.

The screening of a film about Japanese militarism in Taiwan therefore carries significance beyond historical commemoration. Taipei sees the issue through the lens of its current relations with Japan and the West, while Russia and China share interests in challenging what they portray as a resurgence of Japanese military power.

Key Stakeholders

Russia retains control of the disputed islands off Hokkaido and has never concluded a formal World War Two peace treaty with Japan.

China presents itself as a central force in the wartime resistance against Japan and emphasizes the enormous Chinese sacrifice during the conflict.

Taiwan argues that the Republic of China, rather than the People’s Republic of China, represented China during World War Two and carried out much of the fighting against Japan.

Japan remains directly affected by the competing historical narratives, particularly because of its territorial dispute with Russia and its increasingly important relationship with Taiwan.

What’s Next

The dispute over World War Two history is likely to remain intertwined with current tensions in East Asia.

For Taiwan, the concern is that Russia and China could use wartime history to portray Japan as an emerging military threat and undermine Taipei’s growing ties with Tokyo and other Western partners.

For Japan, historical disputes remain connected to its relationships with both Russia and China.

For Russia and China, emphasizing their wartime resistance against Japan provides a historical framework through which they can criticize what they see as a revival of Japanese military power.

Analysis

The significance of the dispute lies in how history is being used as a tool of contemporary geopolitics. The same war produces fundamentally different political narratives depending on which government is telling the story.

Beijing emphasizes China’s enormous wartime sacrifice and the role of communist forces. Taipei emphasizes the Republic of China’s role as the government that fought Japan and signed the Japanese surrender. Moscow emphasizes the Soviet Union’s final campaign against Japan and retains territory captured during that period.

These competing narratives matter because they provide historical legitimacy for present day political positions. As Japan strengthens its security relationships with Taiwan and Western partners, wartime memory can be used to frame those developments not simply as responses to current security concerns, but as part of a longer historical confrontation.

The dispute therefore shows how the legacy of World War Two remains an active element of East Asian power politics rather than simply a question of historical interpretation.

With information from Reuters.