By June 2026, the cracks inside the GOP weren’t hidden anymore. On May 19, the Senate voted 50–47 to push forward a bipartisan war powers resolution that would limit President Donald Trump’s ability to keep military ops going against Iran. Four Republican senators crossed the aisle and voted with Democrats. Then on June 3, the House went even further with a 215–208 vote—four House Republicans joined Democrats in a pretty blunt pushback against Trump’s leadership.

At first it looked like just another fight over war powers and Congress doing its job. But it feels like something bigger: the start of a real tug-of-war over what the Republican Party is going to be once Trump isn’t the center of everything.

For almost ten years now, Republican politics has been all about Trump. You rose if you stood with him, and you got sidelined if you didn’t. Loyalty often counted more than old-school conservative ideas, passing bills, or sticking to principles. But every party eventually has to answer the tough question that personality-driven movements hate: what happens when the big guy starts looking more like a problem than a winner? That question is getting harder for Republicans to dodge.

Trump didn’t just take over the party in 2016 — he remade it. The old Republican worldview of strong alliances, free trade, and steady leadership shifted toward a more populist, Trump-centered style.

It worked for a while. He won elections, fired up voters who felt ignored, and built a super-loyal base. As long as the wins kept coming, most Republicans went along. Parties get tested in the tough times, though — not the good ones. And the Iran conflict is turning into exactly that kind of test.

A lot of Republicans who backed Trump’s rise never thought they’d end up defending another big Middle East war. Trump made “no more endless wars” one of his best lines—slamming both parties for the messes in Iraq and Afghanistan.

Now the fighting with Iran has dragged on for months. Costs are adding up, gas prices sting at the pump, and nobody’s really clear on what “winning” would even mean. That’s created real quiet discomfort inside the party. The senators and reps who voted to rein in Trump’s war powers weren’t just talking procedure. They were signaling that blind loyalty isn’t automatic anymore.

Parties talk a lot about ideology, but when things get serious, survival often wins out. Some Republicans are starting to put distance between themselves and Trump — not because they hate everything he stands for, but because they don’t want their own careers sinking with one person. There’s a real difference between backing conservative policies and handing the whole party over to a single leader. More of them seem to be waking up to that.

What’s interesting is that the pushback is coming from inside the tent. Democrats opposing Trump is old news. When Republicans do it, it hits different. Senators like Rand Paul, Susan Collins, Lisa Murkowski, and Bill Cassidy broke ranks on the Senate vote. In the House, guys like Thomas Massie, Brian Fitzpatrick, Tom Barrett, and Warren Davidson did the same. These are still small numbers. But big shifts often start small.

The bigger story might be that some Republicans are finally imagining a future without Trump dominating every headline. A younger crop is coming up—they agree with him on immigration, trade, and culture wars, but they don’t want the party to be defined only by personal loyalty to him forever. They want a Republican Party that can keep going after he’s gone—Trumpism as one important piece, not the whole thing.

History shows parties sometimes tie themselves too tightly to charismatic leaders. Sometimes it revitalizes them. Sometimes it drags them down.

Right now, some inside the GOP worry Trump might be moving from asset to liability—especially with the Iran war dragging on and polarization getting worse. Trump is still the biggest force in the party with a rock-solid base. But power and lasting control aren’t the same.

These congressional votes show that at least some Republicans are already looking ahead to the next chapter. They see the risks of hitching the whole party’s future to one man. Whether they’re right or wrong, time will tell. But the conversation inside the party has clearly moved past just Iran or war powers. It’s now about whether the Republican Party still belongs to Trump — or whether it can finally start belonging to itself again.

TIKTOK star Becki Jones has revealed what she REALLY eats in a day on holiday at an all inclusive hotel.

Showing off her 10 stone weight loss in Tunisia, Becki, 32, could be seen eating yummy food and enjoying herself following the news of her engagement.

Becki, who has denied having used fat jabs or having surgery to shed the weight in around six months, began her day with some scrambled eggs and one slice of toast.

The slimmed down star then looked at the yummy cakes and pastries before opting for a bowl of yogurt with jam on top of it, a sprinkling of cereal and a tiny cupcake.

After breakfast, Becki headed outside and enjoyed a carton of apple juice.

She later sipped a fruity cocktail, which looked as though it had the consistency of a smoothie.

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Becki and her husband-to-be then looked at some of the food that was on offer on the beach.

Sitting down, Becki then zoomed into what was on her partner’s plate, which was fries and chicken nuggets, though it is not known if Becki ate anything.

Later on in the day, Becki ate a bowl of food that looked like minced beef, coleslaw, fries and some baguette without any butter.

She then headed outside again and enjoyed a yummy frozen cocktail.

Lounging beneath the sunshine, Becki opted for an ice cream which was in the flavour of ‘berries and cream’.

Back in her room, Becki had showered as she tucked into a packet of savoury snacks with some water.

Heading out again, Becki had a wander around before sitting down to eat two chunky spring rolls with a chilli dip.

She then ate what looked like mashed potatoes with a chicken kiev and broccoli.

Becki then enjoyed what looked like a creamy risotto dish before tucking into a berry-flavoured cake for dessert.

One fan commented on the post: “That risotto looked lush not gonna lie.”

While another said: “Great day of food!!! Looks so yum!”

This comes after Becki confirmed that her partner Chris Beattie had popped the question to her during a dreamy beachside proposal on their holiday.

Becki took to Instagram to share the moment that Chris got down on one knee to pop the question to the TikTok legend.

“We’ve been keeping a secret. I said yes. My fiancé, my Chrissy. What a surprise!!

“I was shocked, emotional, nervous laughing and we’ve been in a little bubble since Monday,” she penned online.

“You’ve not only shown me love but you’ve shown me kindness, respect and what it feels like to be treated like a princess.

“This was so special, romantic and the best kept secret.

“I love you Chrissy so so so much.

“Here’s to the future and making more memories.”

Wyatt-Hodge always been one of England’s most fascinating cricketers. She jokes and smiles, but that should never be confused with anything but fierce determination.

As a cricketer, she as resilient as they come.

Wyatt-Hodge made her debut in the same Mumbai ODI as Heather Knight and the pair are now the longest-serving members of this England set-up.

From the World Cup win at Lord’s in 2017 to last year’s Ashes drubbing down under. Together they have witnessed it all.

But while Knight was front and centre nine years ago as captain, Wyatt-Hodge was a bit-part player. She played five matches before others returned from injury for the trophy tilt.

Now, at 35, there is still time for this career’s defining chapter.

While Wyatt-Hodge took her parental leave, debate bubbled about who would be England’s openers when the big time came in this tournament.

Sophia Dunkley’s form faltered and Amy Jones was promoted. The one certainty, despite her absence, was always England’s diminutive right-hander.

Bleary-eyed from the sleepless nights, she made 29 when she did return against India last month in Bristol. Three single-figure scores followed but again England did not waver.

“Some people just need a bit of pressure and a bit of ‘something’ on a game,” said another former team-mate Katherine Sciver-Brunt, who watched on from the commentary box.

“This is exactly the sort of environment she needs.

“As a cricketer you can thrive or you can go within yourself, and she thrives with situations like these.

“Don’t be surprised if she is the highest run-scorer of this tournament now.”

It was also fitting that when Wyatt-Hodge reached three figures, captain Nat Sciver-Brunt was at the other end.

Like Wyatt-Hodge she is a cricketer and mum. Like Wyatt-Hodge she rocked her bat to celebrate reaching three figures at last year’s 50-over World Cup.

Coincidentally both tons were against the same opposition.

“It was really nice to have her in the middle to celebrate that hundred – two mummies,” Wyatt-Hodge said.

“I got a bit nervous at the end when the crowd was cheering me on. Nat said just take a breath and time it. I was really determined.”

As Wyatt-Hodge took the crowd’s acclaim and left the field, it was the jettisoned Dunkley who met her first by the boundary edge.

There is a togetherness building in this squad and Wyatt-Hodge is one of its most popular members.

“It was pretty emotional. A few of the girls said they had a few tears,” she said of those moments returning to the dressing room.

It was Graham Gooch who coined the phrase ‘Daddy Hundred’. This was one of the mummy variety.

After everything, few are more deserving of this moment in the sun than Wyatt-Hodge.

June 12 (Asia Today) — Nam June Paik connected Seoul, Tokyo and New York by satellite in 1986.

His project, “Bye Bye Kipling,” brought Korean traditional dance, American popular music and Japanese avant-garde art together on one screen in real time. The work directly challenged British writer Rudyard Kipling’s famous line that East and West could never meet, presenting instead the possibility of communication across borders and cultures.

That history of encounter and exchange is at the center of “Road movie: Art between Korea and Japan since 1945,” now on view at the National Museum of Modern and Contemporary Art, Korea, in Gwacheon. The exhibition marks the 60th anniversary of normalized diplomatic relations between South Korea and Japan and traces 80 years of artistic exchange since Korea’s liberation in 1945.

The exhibition features about 200 works by 43 artists and artist teams from both countries. It was jointly organized by the Korean museum and the Yokohama Museum of Art. The show first opened in Yokohama late last year and drew about 37,000 visitors before coming to South Korea.

Featured artists include Nam June Paik, Lee Ufan, Lee Bul, Jung Yeondoo, Koki Tanaka, Jiro Takamatsu and Takashi Murakami, along with other major figures in contemporary Korean and Japanese art.

Paik is one of the central figures in the exhibition. He studied aesthetics and art history in Japan in the 1950s and later built close ties with Japan’s avant-garde art scene. It was there that he met Shigeko Kubota, his lifelong partner and artistic collaborator.

Alongside “Bye Bye Kipling,” the exhibition presents Kubota’s video work “Broken Diary: Korean Trip,” which documents Paik’s return to South Korea after 34 years abroad.

The exhibition, however, does not focus only on well-known artists. Its first section, “In Between: Zainichi Koreans’ Gaze,” examines the lives of Korean artists who remained in Japan after liberation. Cho Yanggyu’s “Sealed Warehouse” depicts a dark, enclosed labor site and reflects both the reality faced by Zainichi Koreans and the wounds left by national division.

The exhibition also explores the growth of artistic exchange after South Korea and Japan normalized diplomatic relations in 1965. Works by Lee Ufan, Park Seo-bo, Yun Hyong-keun, Jiro Takamatsu and Kishio Suga show how artists in the two countries influenced one another as modern art movements developed across borders.

Later works by Masato Nakamura, Takashi Murakami and Lee Bul show how artistic exchange expanded in the 1990s from official institutions to personal networks and collaborative relationships.

Lee Bul’s “Cyborg W5” presents a futuristic but incomplete body, questioning boundaries between humans and machines and between male and female identities. The work reflects the shared concerns about technology and identity that shaped Korean and Japanese contemporary art after the 1990s.

The exhibition’s final section shifts from past exchange to present-day solidarity. Koki Tanaka’s “Vulnerable Histories: A Road Movie” links the massacre of Koreans after the 1923 Great Kanto Earthquake to more recent anti-Korean demonstrations in Japan, asking viewers to consider histories of discrimination and exclusion.

Jung Yeondoo’s “Magician’s Walk” reflects on landscapes after the 2011 Great East Japan Earthquake and explores the possibility of empathy and solidarity with the suffering of others.

The exhibition also extends to the museum’s outdoor sculpture park in Gwacheon. Six sculptures by Korean artists based in Japan and Japanese artists, including Duckjun Kwak, Quac Insik and Lee Ufan, highlight the museum’s role as an important site of Korean-Japanese artistic exchange.

Kim Sung-hee, director of the National Museum of Modern and Contemporary Art, Korea, said the exhibition revisits “historical moments experienced by the two countries and the traces of artistic exchange formed within them.”

Kim said she hopes the exhibition will offer visitors a chance to rediscover “the status and possibilities of Korean and Japanese contemporary art.”

The exhibition runs through Sept. 27.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260612010003954

The provided text is an excerpt from a digital publication called Occasional Digest, specifically focusing on the historical origins and evolution of the holiday known as Russia Day. Although many citizens mistakenly refer to the date as Independence Day, the source clarifies that this title has never been utilized in an official capacity. The holiday was established by Boris Yeltsin in 1994 under a lengthy name commemorating the country’s sovereignty and new national symbols. It was eventually simplified to its current name in 2002 to provide a more concise identity for the celebration. Additionally, the text includes several news headlines from June 2026, ranging from international poli … 

Caracas, June 12, 2026 (venezuelanalysis.com) – Venezuela’s Bolivarian National Armed Forces (FANB) have launched a large-scale operation on Tuesday in Bolívar state, one of the country’s main mineral-rich regions in the southeast and also one with a heavy presence of criminal organizations.

Local media outlets and non-governmental organizations reported helicopter overflights, explosions, and the displacements of hundreds of people leaving gold extraction zones in Las Claritas and the area known as Kilometer 88, two key locations within the Orinoco Mining Arc.

According to Bloomberg, the military actions targeted illegal mining operations controlled by armed groups. Former opposition lawmaker for Bolívar state Américo De Grazia claimed that military forces attacked several gold-mining enclaves through aerial bombardments and gunfire.

The Venezuelan government, led by acting President Delcy Rodríguez, and the armed forces have offered no official information regarding the operations, as well as casualties, arrests, or official goals. Rodríguez met with military leaders on Wednesday to discuss a “100-Day Plan” to optimize the functioning of the armed forces but did not comment on the reported Bolívar deployment.

The operation took place in a region where the state has struggled to assert authority in the face of a proliferation of armed groups that control and administer mines, run artisanal mining activities, and regulate economic activity linked to gold extraction.

At the same time, local reports indicated that the military operation could be aimed at capturing Yohan José Romero, known as “Yohan Petrica,” a founding member of the Tren de Aragua criminal outfit, who reportedly operates in the area alongside Juan Gabriel Rivas Núñez, alias “El Negro Juancho,” and a third figure known as “Humbertico.”

Some sources have also not ruled out the presence of Héctor Guerrero, alias “Niño Guerrero,” the top leader of the large-scale criminal group that emerged inside Tocorón prison in Aragua state.

In September 2023, the Venezuelan government deployed “Operation Gran Cacique Guaicaipuro,” with more than 11,000 security personnel, to intervene in Tocorón prison. However, multiple reports indicated that “Niño Guerrero” and other senior gang leaders were warned in advance and escaped through a network of secret tunnels.

Guerrero is currently the subject of an Interpol Red Notice on charges related to transnational organized crime, drug trafficking, money laundering, and arms trafficking. The US State Department is offering a reward of up to US $5 million for information leading to his capture.

For its part, the media platform Miraflores al Momento denied separate reports alleging the presence of US military contingents in El Callao, another major gold-mining area in Bolívar state. Likewise, fact-checking outlets Cazadores de Fake News and CotejoInfo confirmed that images circulating were generated by artificial intelligence.

However, local outlets confirmed that, though without any military presence, US officials and business executives have conducted visits to gold-processing facilities belonging to the state-owned Venezuelan Mining Corporation (Minerven) in El Callao.

Last April, Venezuela approved a new mining law granting expanded incentives for private corporations to exploit gold and other “strategic minerals.” Concessions will last up to 30 years and may be renewed for two additional ten-year periods. The new law 

The legislation additionally introduced provisions for international arbitration in dispute resolution, a safeguard sought by investors, and a reduction of royalties and taxes at the Venezuelan government’s discretion.

Among the companies expressing interest are Canadian firms Gold Reserve and Augusta Capital Corporation, which seek to revive the large-scale gold and strategic minerals project known as “Siembra Minera.” Likewise, Roland Mineral Enterprises Corp. has already begun procedures to explore and develop gold, copper, and silver deposits. Swiss commodities giant Trafigura is also advancing a responsible sourcing program in partnership with state-owned Minerven.

There have additionally been corporate initiatives and feasibility studies by US companies—including mining firms such as Hartree, Peabody Energy, Ivanhoe, and TechMet—to enter the sector, though security concerns reportedly remain an obstacle.

Mining municipalities in southern Venezuela report some of the country’s highest rates of homicide, as well as reports of forced labor and widespread sexual violence. The gold extracting activities are mostly unregulated. According to former opposition lawmaker Américo De Grazia, only the gold processed by Minerven enters official records, while the rest circulates through parallel channels.

Similarly, Transparency Venezuela estimates that just 14 percent of the revenues generated by the gold sector reach the Central Bank and public coffers through royalties and export-related payments.

Edited by Ricardo Vaz in Caracas.

The Washington National Opera filed a lawsuit on Thursday that demands more than $17 million from the John F. Kennedy Center for the Performing Arts. The opera company claims it is owed millions in donations that have been withheld.

The lawsuit claims that after the opera company and the Kennedy Center parted ways in January, center officials have not returned more than $17 million in gifts and donations that belong to the opera company. The lawsuit lists the federal government as a defendant because the Kennedy Center was established by Congress.

According to the suit, the opera company and the Kennedy Center had a longstanding contract in which WNO produced its operas at the Kennedy Center, which in return, provided a number of services and other support for the opera company including managing its donations.

In late 2025, after approximately 15 years of affiliation, the suit claims that the Kennedy Center stopped performing the obligations of their agreement, which included marketing, fundraising and administrative support, as well as timely reporting on the growth of the opera company’s funds. When the opera company requested the Kennedy Center remedy the issue, center officials asked to sever ties.

“Five months have now passed since the termination of the affiliation, and the Kennedy Center still has not returned the funds to WNO,” reads the suit. “To the contrary, according to the Kennedy Center’s Chief Financial Officer, the Kennedy Center has put a significant portion of WNO’s money at risk by using it to collateralize the Kennedy Center’s line of credit.”

In an emailed statement responding to the lawsuit, Roma Daravi, a spokeswoman for the Kennedy Center, told The Times that the contract between the opera house and the center financially burdened the center for more than a decade. The statement claimed that taking into account the company’s endowment, an external accounting firm calculated that the opera company had “accumulated a $72 million deficit to the center” between 2011 and 2026.

“The Center has acted transparently and in the best interests of the public throughout this process,” the statement reads. “This lawsuit is meritless, and we plan to pursue a countersuit to defend the institution.”

The legal action comes during a tumultuous time for the Kennedy Center. Last year, President Trump fired the board and appointed himself chairman of the Kennedy Center.

In December, President Trump’s name was installed on the exterior of the center the day after his handpicked board of trustees voted to change the institution’s name to the “Trump-Kennedy Center.” Last month, a federal judge ordered President Trump’s name to be removed from the exterior of the building within two weeks and a halt to the Trump administration’s planned two-year closure of the venue.

On Friday, the court-ordered deadline for removing his name sparked widespread interest and crowds gathered outside the center. A live cam was also placed near the structure.

The Times arts editor Jessica Gelt contributed to this report.

This is what Rooney said: “It is a red card. We have seen it before when players have gone through, and the whistle has gone, and it is a red card.

“It is a very dangerous play. I know he wins the ball, but the follow-through, he hits him in the temple. That is the worst place to be hit.

“He [Oluwaseyi] could get knocked out. He might come back in a week’s time and have delayed concussion. For me, that is a clear red card.

“I don’t think it is the first time we [himself and Darren Cann] have disagreed.

“When you see players win the ball, it is with reasonable force. They follow-through and then they go and get a red card, so it is the same, but with his hands. It is easier to move your hands back than it is with your leg.”

Former France forward Olivier Giroud, another member of the BBC team, was seeing both sides. He said: “As a striker, I would have been frustrated to not get a penalty on that one.

“On the other hand, I understand what Darren Cann says. You hit the ball first and it is hard for him to get his hands off the striker’s head.”

So now it is your turn to act as the referee and take part in a vote. Should it have been a red card or not? Have your say.

Jibril Rajoub is in Mexico awaiting a US visa to attend the World Cup 2026.

The head of the Palestinian Football Association says he is waiting in Mexico City for permission to enter the United States to attend the FIFA World Cup with other federation heads.

Jibril Rajoub attended the opening match between Mexico and South Africa on Thursday, but he has now joined several people accredited to attend the World Cup who have been denied visas or have yet to receive them from the US.

“I don’t believe that it’s fair to use or to abuse and deny the right of all footballers all over the world to attend,” the veteran Palestinian political figure told The Associated Press news agency.

The Palestinian team did not qualify for the World Cup, but FIFA typically invites the heads of football associations from around the world to the event every four years, which it frames as a celebration of global unity.

“Everyone will be welcome in Canada, Mexico and the United States for the FIFA World Cup next year. We are working exactly for that,” FIFA President Gianni Infantino said last year.

The US, however, has refused entry to delegates from several countries, including a referee from Somalia and a photographer travelling with Iraq’s team.

Infantino said this week that FIFA had been trying to resolve visa issues but could not overrule the US government.

“We need to respect that we are not the kings of the world who can rule over governments and police forces,” he told reporters on Wednesday.

The US Department of State had no immediate comment on Rajoub’s visa, but last year implemented new restrictions on Palestinian passport holders, including on anyone who had been employed by the Palestinian Authority.

It revoked a visa to allow Palestinian President Mahmoud Abbas to travel to the United Nations General Assembly last September.

Rajoub and other Palestinian football officials have long argued that Israel violates statutes by allowing teams from settlements in the occupied West Bank to play in Israel’s national league.

They have pushed FIFA to sanction Israel, highlighting restrictions on the movement of Palestinian players and how Israel’s genocidal war on Gaza has damaged or destroyed 80 percent of sports facilities and killed at least 565 players there, according to the association.

Last month, Rajoub refused to shake hands with the head of Israel’s football federation at Infantino’s behest because he said the gesture would not heal wounds but instead whitewash Israel’s actions.

Rajoub pointed out that when Russia hosted the 2018 World Cup, it did not implement comparable visa restrictions for people who were invited to the tournament.

Cyle Larin’s equaliser gives Canada first World Cup points after Jovo Lukic put Bosnia in the lead in the first half.

Canada striker Cyle Larin came off the bench to salvage a 1-1 draw for his side against Bosnia and Herzegovina in a frenetic Group ⁠⁠B opener that had long looked like it would end in defeat for the World Cup cohosts.

Bosnia went ahead in the 21st minute of the game on Friday when Jovo Lukic steered home a flick-on from a corner ⁠⁠for his first international goal in his country’s return to the World Cup after 12 years.

Canada thundered forward and should have equalised through Richie Laryea in the 53rd, only for Bosnia’s Sead Kolasinac to miraculously steer his shot off the crossbar and away to safety.

The Canadians continued to attack relentlessly, but despite creating plenty of chances, they lacked precision in their finishing as the ‌‌Bosnians dealt with a succession of crosses and looked to be heading for a narrow win.

Larin had other ideas, however, when introduced in the 76th minute and made an immediate impact, swivelling in the box and firing home a deflected strike less than three minutes later to equalise and send the home crowd into raptures.

The result gave Canada their first-ever World Cup point but left them short of the winning start they had craved.

Jonathan David had a glorious chance to put Canada in ⁠⁠front early on, but the country’s all-time leading scorer sent his well-struck shot ⁠⁠from the centre of the area right at goalkeeper Nikola Vasilj.

After Lukic put the battle-tested Dragons on the board, it was Canada, roared on by a boisterous red-clad crowd, who took over.

Canada pressed for the rest of the half but were unable ⁠⁠to establish much of a presence deep in the Bosnia half, with almost every ball they sent into the area quickly cleared from danger.

The hosts nearly ⁠⁠drew level at the start of the second period when Laryea ⁠⁠went through on goal and his shot looked certain to head over the line until Kolasinac stepped in at the last moment to clear via the bar.

With the game starting to open up, Bosnia nearly doubled their lead moments later when Ermedin Demirovic went ‌‌through on goal, but Maxime Crepeau, making his World Cup debut after missing the 2022 edition with a broken leg, made a crucial save.

That set the stage for Southampton striker Larin, who earned the honour of ‌‌scoring ‌‌Canada’s first World Cup goal on home soil when he blasted home a right-footed shot from the centre of the box in the 78th minute, moments after entering the game.

In “Rheology,” Shayok Misha Chowdhury, an experimental theater artist, and his mother, Bulbul Chakraborty, a theoretical physicist, bridge the language of their different disciplines to explore a subject dear to both of them: loss.

Chowdhury, author of the play “Public Obscenities,” a 2024 finalist for the Pulitzer Prize, and the director of the sensational off-Broadway production of Jordan Tannahill’s “Prince Faggot,” is as tenderly devoted to his mother as the young Marcel was to his own in Proust’s “In Search of Lost Time.” The idea of his mother dying is insupportable to Chowdhury, but given that she’s in her 70s and he’s in his 40s, certain terrifying realities must be faced.

“Rheology,” which is receiving its West Coast premiere at REDCAT (in a brief run ending Saturday), is the piece they’ve created to prepare Chowdhury for that fateful day. This strikingly staged Bushwick Starr, HERE Arts Center and Ma-Yi Theater Company production is an interdisciplinary experiment that is as playful in its methodology as it is serious in its research aims.

Chakraborty, a professor at Brandeis University, starts off with a physics lesson. Her subject is sand, and she poses a simple question: Is the sand pouring through the hourglass sitting on the counter before her a liquid or a solid?

A charismatic teacher, she knows how to Socratically engage a room. Her welcoming manner draws out from the audience the different ways sand behaves both like a solid and like a liquid.

Shayok Misha Chowdhury, in rear, and Bulbul Chakraborty in “Rheology” at REDCAT.

(Roy and Edna Disney CalArts Theater [REDCAT])

Rheology, or the science of how a substance responds to external stress, is her chief interest. Her research, focused on soft condensed matter, has been seeking a comprehensive theory to explain the curious elasticity of such material. A photo of a sand dune, in which she’s seated alongside Chowdhury as a toddler, helps illustrate her point that sand can flow like a liquid yet retain its shape like a solid.

An onstage sandbox is more than just another visual accompaniment to her talk. It’s a source of both elemental mystery and childlike wonder. But elucidation is her motive. She enters the box with her bare feet, noting the way the sand flows around her toes yet supports her weight in observation of the rule that “every grain has to be in force balance.”

She writes equations on the board to explain these findings, equations that begin to glow as the production moves from the realm of pure science to the more slippery domain of art. The transition, like all aspects of this piece, is frolicsomely conducted.

While pouring sand from one container to another, Chakraborty appears to be overcome with dust. For a moment, it’s not clear if this is part of the show or a medical incident until Chowdhury, discreetly occupying a seat in the audience, asserts himself as the director. He asks his mother to run through the death scene with a different sequence of movements and introduces the accompaniment of George Crotty on cello to liberate her performance.

They are rehearsing not so much Chakraborty’s end but Chowdhury’s reaction. He assumes he will fall apart and vows to die himself out of heartbreak. Chakraborty wants him to carry on his work, just as she carried on her research as a mother with a young son who would wail uncontrollably when she would drop him off at daycare.

She recounts that his emotional outbursts were so extreme that it was painful leaving him behind. But she was assured that he was handling the separation. For proof, she was taken into a private teacher’s room, where through a one-way mirror she saw him compose himself shortly after her departure and start to play with the other children.

Mother and son enact a similar situation where, after a more permanent leave-taking, she can catch a glimpse of her son recovering himself sufficiently to survive her loss. Chowdhury, a queer artist who enjoys sampling performance modes, adopts the figure of the grieving Bollywood widow. The effect isn’t to lampoon but to confront his raw emotion and to test his capacity for resilience.

The experiment might sound sentimental, but Chakraborty, the production’s secret weapon, maintains a scientific restraint, albeit one suffused with maternal anguish. The way she listens to her son, takes in his feelings, gently suggests other possibilities of response and treats his experimental theater piece with the same dignity as her own research is incredibly moving to witness. Her performance won an Obie Award, and though she insists that she’s not an actor she demonstrates a sincerity and collaborative grace that many veteran performers would envy.

As it unfolds, “Rheology” can seem piecemeal, even haphazard. There’s an informality built into the production, but it’s somewhat deceptive because the mercurial staging is extremely precise. Chowdhury’s direction has visual panache. Kameron Neal’s video design transforms Krit Robinson’s part lab, part lecture hall set into something kaleidoscopic.

When mother and son sing songs from the famous cycle by Bengali writer-composer and Nobel laureate Rabindranath Tagore or hold a deathbed conversation in Bangla, the piece spins further across time and space. Empiricism gives way to surrealism. But the world, as any scientist probing into the atomic level can attest, contains more secrets than meets the eye.

Fragile matter is Chakraborty’s specialty, and her expertise is put to novel use in shoring up her son’s tender heart.

The stunning victory by the New York Knickerbockers over the San Antonio Spurs on Wednesday gave ABC the most-watched NBA Finals Game 4 since 1998, the year of Michael Jordan’s last championship with the Chicago Bulls.

Nielsen data showed an average of 20.9 million viewers watched the Knicks overcome a 29-point halftime deficit to top Victor Wembanyama and the Spurs 107-106 at Madison Square Garden, the greatest comeback in NBA Finals history. The Knicks have a 3-1 lead in the series and will play Game 5 on Saturday in San Antonio, attempting to win their first NBA championship in 53 years.

Through the first four games, the NBA Finals are averaging 19.6 million viewers, also the highest since the Bulls-Utah Jazz faced off on NBC in 1998. The series is on track to become the most-watched since the NBA Finals moved to ABC and ESPN in 2002.

“The match-up is ideal from a media business standpoint, featuring the nation’s largest media market with New York, teams with robust followings and multiple all-stars, especially Wemby, the compelling new face of the NBA,” said Lee Berke, president of LHB Sports Entertainment & Media, Inc.

The Knicks-Spurs series is up 116% over the first four games of last year’s match-up between the Oklahoma City Thunder and the Indiana Pacers. But the most encouraging numbers for ABC and ESPN is the growth among younger viewers, who have become harder to reach in the age of social media and streaming. Ratings among teens aged 12 to 17 are up 138% while the 18 to 24 age group is up 147%.

ABC is also seeing spikes in viewing among women, up 121%, and the Latino audience due to its large populations in the markets of New York and San Antonio, according to Flora Kelly, ESPN’s senior vice president for audience research.

Viewing in the New York market alone is accounting for 18% of the national audience.

Este Haim, Taylor Swift, and Mariska Hargitay react during the 2026 NBA Finals at Madison Square Garden on June 10, 2026.

(Al Bello / Getty Images)

In addition to delivering highly competitive games, the NBA Finals also had President Trump and pop superstar Taylor Swift in attendance at Madison Square Garden. Both are capable of turning a live TV event into a full-blown spectacle.

“What we’re seeing is that this Spurs-Knicks series is a tremendous cultural moment,” Kelly said.

Trump attended Game 3, making him the first sitting president to attend an NBA Finals. While Trump was a fixture at Knicks games before he entered the national political scene, some commentators, such as ESPN’s Stephen A. Smith, believed the president’s insistence on attending Monday’s contest became a distraction that disrupted the home team’s momentum. (The Knicks lost the game 115-111, ending the team’s streak of 13 consecutive wins).

Swift showed up for Game 4, joining “Law & Order: SVU” star Mariska Hargitay and the other celebrities that regularly show up court side at Madison Square Garden.

The US president has sought to reshape the capital city’s image and institutions through series of plans and projects.

President Donald Trump’s name is set to be removed from the facade of the Kennedy Center, an entertainment and cultural institution in Washington, DC, after a judge rejected a last-minute request to keep it in place.

US District Judge Christopher Cooper dismissed an effort by the centre’s board, whose members were handpicked by Trump, to reverse a previous order taking his name off the building by Friday.

The saga is yet another example of Trump’s effort to make changes to major sites and institutions across the nation’s capital, on which he has sought to impose himself through a series of planned projects that include an enormous triumphal arch and a White House ballroom.

Many of those efforts have faced legal challenges.

Trump dismissed the centre’s previous leadership and appointed a board that named him chairman.

Cooper had ruled last month that the addition of Trump’s name to the exterior of the John F Kennedy Center for the Performing Arts was illegal and ordered its removal.

“Unfortunately, Judge Cooper and the Radical Left would rather see it DIE than have President Trump transform it into something that everyone could be proud of,” Trump wrote in a 580-word social media post at the time, slamming the decision, referring to himself in third-person.

A June 4 memo from the centre’s Office of General Counsel had instructed staff to use the name “The John F Kennedy Center for the Performing Arts” or “Kennedy Center” in email signatures, letterhead and other documents. The centre’s website also dropped Trump’s name.

But the board attempted to salvage the change in an appeal on Thursday, appealing a previous ruling that denied their request for a stay. Cooper rejected that request on Friday.

Chinese media and think tanks view the United States’ hosting of the FIFA World Cup from a purely geopolitical, economic, and commercial perspective, critically assessing the infrastructure and political climate. Chinese circles see the tournament not merely as a sporting event but as a central tool for the United States to polish its image, bolster its global leadership amidst current international polarization, and advance its political agenda. This perspective is highlighted through several key points, the most important being the geopolitical dimension. Here, Chinese think tanks argue that the tournament reflects the level of competition between major powers, with Washington attempting to use hosting as a soft power tool to project its influence. However, Chinese media, in turn, emphasized the state of sharp international polarization and division, criticizing the political challenges and the wrangling that accompanied the broadcasting negotiations. Furthermore, a number of (commercial considerations) have been raised, with the tournament facing criticism from Chinese media due to its exorbitant cost and the significant time difference between North America and China, leading to a decline in Chinese public interest. This hesitation was reflected in the negotiations, as FIFA incurred financial losses after China Media Group (CMG) signed the broadcasting agreement late and at a price significantly lower than FIFA’s requested.

Regarding the (organizational and policy challenges), Chinese research and media institutions expressed reservations about the tournament’s logistical challenges, particularly the longer travel distances between host cities compared to previous editions, as well as concerns related to US immigration laws and security restrictions. Despite the absence of the Chinese national team from the tournament, China’s commercial involvement was substantial. Beijing demonstrated its active presence through Chinese commercial sponsors, such as Hisense, and sporting goods factories in eastern China, which reaped significant economic benefits from manufacturing tournament flags and souvenirs. Chinese media coverage, particularly through its official channels, was extensive. CGTN, the Chinese state broadcaster, developed comprehensive plans to broadcast and cover the matches, ensuring the event reached millions of Chinese fans across its various platforms.

Furthermore, Chinese state media and intelligence and military think tanks utilized Washington’s hosting of the FIFA World Cup to offer a number of strategic, media, and intellectual analyses regarding China’s calculations in response to American actions. Major events are often used as a primary arena for geopolitical competition between the two superpowers. Beijing’s vision can be summarized by its use of major sporting, cultural, and other events as a political tool. Beijing views Washington’s hosting of major international tournaments or events as more than just sporting or cultural occasions; it sees them as an extension of American information and decision-making strategies aimed at projecting American influence and hegemony globally. While China seeks to highlight international contradictions, Beijing has directed its media apparatus to demonstrate that Washington’s attempts to unilaterally assume leadership or project messages of unity are, in reality, met with sharp division and polarization within the international system. Here, China has attempted to counter American soft power. This media coverage of the FIFA World Cup in the United States reflects a continuous Chinese effort to neutralize Western and American soft power by focusing on structural issues in international relations, such as the absence of multipolarity, and by promoting the Chinese model as an alternative striving for a more balanced world.

In this context, Chinese media and think tanks view the United States’ hosting of the World Cup through the lens of soft power, geopolitical strategies, and trade, while sharply criticizing the infrastructure and political circumstances surrounding the tournament, particularly in the aftermath of the Iran War and a number of global geopolitical upheavals stemming from US policies. Chinese analyses focus on purely commercial interests, criticizing the exorbitant costs of broadcasting rights. Conversely, they highlight the role of leading Chinese companies in profiting from the event by providing innovative and advanced broadcasting technologies and exporting merchandise and fan supplies. However, they also offer several critical observations regarding the infrastructure and political climate. Chinese research centers express critical skepticism about the readiness of US cities, suggesting that complexities related to visa requirements and a strict security and political environment could hinder fans and undermine the freedom of movement necessary for such events.

Based on the preceding understanding and analysis, we can discern the perspective of Chinese media and research centers that the United States exploits hosting international sporting and political events as a prominent tool for employing sports to enhance American soft power, attempting to project influence to manage conflict, and solidifying its leadership of the global order. Therefore, Chinese think tanks and intelligence agencies have developed a comprehensive media and research plan to expose American polarization worldwide. Conversely, Chinese media and think tanks emphasize Washington’s failure to garner international consensus, highlighting the sharp division and widening gap between Western powers and the rising powers of the Global South. This underscores the mechanism of conflict transformation, where competition is no longer limited to the economic and military spheres but has expanded significantly to encompass soft power tools and media discourse. This reflects a picture of expanded strategic competition and its impact on international stability.

Elizabeth Olsen has been a regular on our screens for the past 15 years with plenty more to come.

Elizabeth Olsen fans may be surprised to see an unexpected hit ranked as number one.

Actress Elizabeth is no stranger to some of the biggest shows and films around, including none other than the iconic Avengers franchise.

She initially found fame as the older sister of twin actresses Mary-Kate and Ashley Olsen, known for appearing in Two of a Kind, before creating her own path in the entertainment industry.

As it’s now been revealed that Olsen is pregnant with her first child with husband and musician Robbie Arnett, here’s a breakdown of how Elizabeth Olsen’s work is ranked.

Elizabeth Olsen shows and films ranked

10. In Secret

Coming in last place for Elizabeth Olsen’s work is 2013 film In Secret, also referred to as Therese with just 41% on Rotten Tomatoes.

Also starring Oscar Isaac, Jessica Lange and Tom Felton, the official synopsis reads: “Therese is stuck in a loveless marriage to her sickly cousin, Camille.

“Her life changes when she meets Camille’s childhood friend, Laurent.

“They have an affair, but things end rather tragically.”

9. Love & Death

Scoring a more respectable 63%, Love & Death is a 2023 biographical crime drama that aired on HBO Max in the US and ITV in the UK.

The description reads: “Two couples lead peaceful and happy lives in a small Texas Town.

“However, an extramarital affair tragically alters the course of their lives.”

Olsen stars alongside Jesse Plemons, Lily Rabe, Tom Pelphrey and Krysten Ritter.

8. Eternity

Supernatural romantic-comedy Eternity came out last year and earned an impressive 76%.

Starring opposite Olsen in the Apple TV film is Whiplash actor Miles Teller and Masters of the Air actor Callum Turner.

The synopsis reads: “In an afterlife where souls have one week to decide where to spend eternity, Joan is faced with the impossible choice between the man she spent her life with and her first love, who died young and has waited decades for her to arrive.”

7. Doctor Strange

One of the numerous films in the MCU (Marvel Cinematic Universe) to score big for Olsen is Doctor Strange with 73%.

The description reads: “In an accident, Stephen Strange, a famous neurosurgeon, loses the ability to use his hands.

“He goes to visit the mysterious Ancient One to heal himself and becomes a great sorcerer under her tutelage.”

Olsen is joined by the likes of Benedict Cumberbatch, Rachel McAdams and Chiwetel Ejiofor.

6. Kill Your Darlings

Released 12 years ago, the 37-year-old stars in thriller romance Kill Your Darlings with Harry Potter icon Daniel Radcliffe and The Amazing Spider-Man 2 star Dane DeHaan.

The synopsis for Kill Your Darlings, which earned 78% on Rotten Tomatoes, reads: “A literary revolution ensues when Ginsberg meets Carr at college.

“However, an unresolved murder invites trouble for Carr and sets Ginsberg on a path to reveal the truth through controversial poetry.”

5. Avengers: Infinity War

2018’s Avengers: Infinity War is the third Avengers film and the 19th film overall in the MCU (Marvel Cinematic Universe).

Starring as Wanda Maximoff, also known as the Scarlet Witch, Olsen features in all of the Avengers movies with this one ranking 85%.

In this chapter of the Avengers story, the team joins forces with their allies to stop Thanos from finding the infinity stones.

4. WandaVision

Olsen has her own time centre stage in the MCU sitcom WandaVision where “Vision and Wanda live a normal life in Westview and conceal their superpowers. “However, as decades pass by, they start doubting that everything is not what it seems.”

Joining her in the hit series are recognisable stars like Kat Jennings, Kathryn Hahn and Paul Bettany.

WandaVision scores a near-perfect 92% with fans on Rotten Tomatoes.

3. Avengers: Endgame

Of course, it’s no surprise that Avengers: Endgame is among Elizabeth’s most popular films with a whopping 94%.

Once again joined by the MCU’s usual suspects including Chris Evans, Robert Downey Jr and Chris Hemsworth, Endgame became the highest-grossing film of all time, making more than $2.79 billion.

The synopsis reads: “After Thanos, an intergalactic warlord, disintegrates half of the universe, the Avengers must reunite and assemble again to reinvigorate their trounced allies and restore balance.”

However, Avengers: End Game not only isn’t Olsen fans’ favourite but also comes in second place with two other projects scoring higher.

1. Sorry For Your Loss

One of those taking the top spot with a staggering 97% is the two-seasoned drama Sorry For Your Loss.

Originally debuting in 2018, the description for the drama states: “The sudden death of her husband upends and transforms every relationship in Leigh Shaw’s life, also forcing her to realize there was a lot about her husband that she didn’t know.”

Archive 81 and Uncorked actor Mamoudou Athie, Star Wars ’ Kelly Marie Tran and Ozark’s Janet McTeer join Olsen in this Prime Video series.

1. His Three Daughters

Also declared as Elizabeth Olsen’s top project is the 2023 comedy-drama film His Three Daughters with 97% from Rotten Tomatoes.

The description reads: “Three distant sisters reunite in NYC to care for their sick father.

“Tensions rise as they confront past issues, aiming to heal family bonds amid laughter and tears.”

Gilded Age star Carrie Coon and Poker Face’s Natasha Lyonne Rachel both lead the cast with Olsen.

CHICAGO — Dodgers superstar Shohei Ohtani was out of the lineup Friday against the White Sox after exiting the game before with discomfort in the back of his left knee.

Manager Dave Roberts had expressed optimism Thursday night, after the Dodgers’ 8-6 win against the Pirates at PNC Park, that Ohtani would not miss additional time for the ailment. But he added: “Obviously with the travel [to Chicago on Thursday night], we’ll just kind of see how he comes in.”

Especially at this point in the season, the Dodgers have incentive to play it safe with Ohtani’s recovery. Pushing him to return early and exacerbating the injury would be a larger blow to a team seeking its third straight World Series championship.

With Ohtani out, left fielder Alex Call was in the leadoff spot, and Santiago Espinal served as the designated hitter.

It was not immediately clear whether the injury would affect Ohtani’s next pitching start. He’s lined up to take the mound Wednesday against the Rays, before the Dodgers’ off day Thursday.

The United Arab Emirates has agreed to unlock billions of dollars for Iran, pursuing a tactical shift after weeks of Iranian attacks on the wealthy Gulf Arab state amid its ongoing war with the United States and Israel, four sources told the Reuters news agency.

The report on the move coincided with the final stages of broader negotiations between Tehran and Washington to end the war. Diplomats say those talks involve the release of tens of billions of dollars in Iranian oil revenues frozen in foreign banks under US sanctions.

Two regional sources told Reuters that the UAE had agreed to release a total of $10bn, more than $3bn of which had already been delivered.

Two other sources with knowledge of the ⁠arrangement put the total funds involved at $20bn, adding that the move had been agreed in return for a halt to Iranian attacks on the UAE.

One of the sources with knowledge of the arrangement also said a first tranche of $3bn had already been made available.

Reuters could not establish whether the funds earmarked for the transfers belong to the UAE or originate in long-blocked Iranian accounts in the UAE banking system, or elsewhere.

But a UAE official, asked to comment on the transfer, said the country was trying to ease tension and foster peace.

“The UAE’s foreign policy is guided by promoting de-escalation and reducing tensions across ‌the region, while advancing lasting peace and stability,” the official said.

“The UAE supports efforts, including those undertaken by the United States, to protect the peoples of the region from the repercussions of conflict.”

The White House did not immediately respond to Reuters’s request for comment on the move.

‘Red line’ workaround

Earlier on Friday, Vice President JD Vance said that frozen funds would not immediately be released to Iran upon signing a deal with the US.

He said the potential deal is structured to ensure that economic benefits would flow to Tehran if it meets its obligations.

There was no immediate response from Iranian authorities to a Reuters request for comment on the move.

None of the sources cited by Reuters would agree to be identified due to the sensitivity of the matter.

The arrangement signals a striking pivot from the open animosity of UAE-Iran relations through much of the war, when Iranian attacks emptied Dubai’s hotels, ⁠drove some expatriates to flee and shook the reputation for safety that is central to the country’s position as a premier business hub.

One of the ⁠sources with knowledge of the arrangement said the move offered a way to help solve the conflict between the US and Iran without either side crossing its red line. Iran can claim it extracted compensation for war damages. Washington can insist it paid nothing.

Abu Dhabi, meanwhile, obtains its own security and protects Dubai’s hub status, while framing the move as an investment in rebuilding regional trust.

The other source with knowledge of the arrangement said that in return for the disbursement, Iran ⁠would halt missile and drone attacks on the UAE, and there would be a rebuilding of bilateral ties, including intelligence sharing and economic cooperation.

The source added that Iran had approached at least two other Gulf Arab countries to make a similar arrangement.

The last known direct attack by Iran on ⁠the UAE was more than a month ago – a May 4 strike on the Gulf state’s Fujairah port on the Gulf ⁠of Oman.

The first source with knowledge of the arrangement said talks had started several weeks ago but quickened pace when officials of Iran’s powerful Revolutionary Guard visited Abu Dhabi last week to meet Sheikh Tahnoun bin Zayed al Nahyan, the UAE’s national security adviser and deputy ruler of Abu Dhabi, and stayed at his guest house.

That trip was followed by a visit by UAE officials to Tehran to negotiate the details of the mechanism.

Frozen funds

Dubai’s banks have long held substantial Iranian-linked deposits, much of them now immobilised under US sanctions that police the global dollar-clearing system and expose any foreign bank dealing with blacklisted Iranian entities to being cut off from the US financial network.

On April 11, a senior Iranian source told Reuters that the ‌US had agreed to release Iranian frozen assets held in Qatar and other foreign banks, although a US official swiftly denied the assertion.

The source, who declined to be named due to the sensitivity of the matter, said that unfreezing the assets was “directly linked to ensuring safe passage through the Strait of Hormuz”, a key issue in talks aimed at ending the conflict.

Migration has been a central theme throughout Pope Leo’s weeklong tour of Spain.

Pope Leo has warned human traffickers that they will face God’s wrath if they continue to exploit desperate African people trying to reach Europe via Spain’s Canary Islands.

On Friday, his second day in the Canary Islands, the pontiff said that he wanted to directly address those who “take advantage of people’s desperation [or] organise death routes”.

Throughout his weeklong tour of Spain, the American pope has insisted on the inherent dignity and rights of migrants, urging global leaders to welcome and integrate them into society.

“Stop. Repent,” said Pope Leo. “For every life lost, every family deceived … you will have to appear before divine justice.”

“Repent while there is still time,” he said, invoking the Catholic belief that someone who committed evil acts in life can confess their sins and make amends or be sent to hell upon their death.

Leo was visiting the Canary Islands, a Spanish archipelago off the western coast of Africa, as the culmination of a three-stop tour of Spain.

The islands are one of the main gateways into Europe for migrants, who risk a deadly journey across the waters of the Atlantic Ocean, often in improvised and overcrowded small craft.

Earlier, the first man from the United States to lead the Roman Catholic Church, warned world leaders that history would condemn those who allowed people fleeing war or poverty to suffer.

Located more than 1,000km (620 miles) from mainland Spain, the Canaries saw migration peak in 2024, when the islands received 46,843 migrants, compared with fewer than 1,000 in 2015, according to official data.

More than 3,000 people died last year trying to reach the islands, according to the NGO Caminando Fronteras.

The pope also visited an interim housing centre in Tenerife, the largest of the Canary Islands, to hear testimonies from migrants. The facility has received some 70,000 people since it opened in 2021.

One woman, Bousso Diouf, told Pope Leo that migrants did not want special privileges but “respect, humanity and the opportunity to live with dignity.”

More than any other artist in the 20th century, David Hockney defined Los Angeles in the public imagination. When he first arrived in January 1964, age 26, his mental image of the city had been forged not by art but by Hollywood movies, which he had watched as a young boy in Yorkshire, England. In later life, he often recollected the sharp-edged shadows cast by the Californian sunlight in movies such as Laurel and Hardy’s “Big Business.

Before he ever went to L.A., Hockney — who died Thursday at 88 — knew that he would love it. Writing about his first descent into the city, he recalled how “as I flew over San Bernardino and looked down — and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I’ve ever been arriving at any other city, including New York.” By this time, the glamour of Hollywood had been compounded by other influences, including the homoerotic magazines that an American friend had given him at the Royal College of Art in London. Titles such as Physique Pictorial, published in L.A. by the pioneering “beefcake” photographer Bob Mizer, held out a promise of California as a paradise of rippling men and permanent sunshine. A darker, no less thrilling image of the city had arisen from Hockney’s reading of “City of Night,” the 1963 novel by John Rechy that tells the story of a hustler in the gay underworld of downtown L.A.

Los Angeles itself felt young to Hockney. He loved the light, the architecture, the sense of space and the sense of possibility — not least the possibility of greater sexual freedom. West Hollywood boasted a large gay bar, the Red Raven on Melrose Avenue, that was unlike anything he had found in London or New York. There was also the lure of the beach, with its pageant of sculpted physiques. Venice Beach struck him as a more body-beautiful version of London’s Portobello Road.

Before long, his work shifted from generic fantasies of the city (a young man showering in Beverly Hills, for instance) to vivid portrayals of its real-life pools, palm trees, architecture and people. American artists such as Edward Ruscha and Edward Kienholz were producing their own canonical images of L.A. in these years, but for Hockney, there were no artistic precedents — “no ghosts,” as he later put it — to live up to. “People then didn’t even know what it looked like,” he once said. “And when I was there, they were still finishing up some of the big freeways.… I suddenly thought: ‘My God, this place needs its Piranesi, Los Angeles could have a Piranesi, so here I am!’ ”

He was true to his word, even if his luminous, serene images of the city were a far cry from Giovanni Battista Piranesi’s feverish visions of Baroque Rome. “Beverly Hills Housewife” (1966), a portrait of a pink-dressed collector in her modernist home, marked the onset of a realist style that would define Hockney’s work for the next decade. This era gave rise to paintings that became icons of their time and place. Among them were “A Bigger Splash” (1967), which was based on a magazine cover that he came across on a newsstand, and “Christopher Isherwood and Don Bachardy” (1968, sold last year at Christie’s New York for $44.3 million). Inspired by Hans Holbein, this portrait of the English novelist and his artist partner was one of the first celebratory portrayals of a gay couple. Hockney would later recount how Isherwood proclaimed: “Oh David, we’ve so much in common; we love California, we love American boys, and we’re both from the north of England.” Hockney’s beloved American boy at this time was Peter Schlesinger, a young artist he had met while teaching at UCLA in the summer 1966 — and a recurring presence in the early L.A. pictures.

According to Norman Rosenthal, who curated a major survey of Hockney’s art at the Fondation Louis Vuitton in Paris last year: “It is astonishing that a boy from a poor family in Bradford became the person — partly because of his gayness, but also his talent — who defined what everybody now thinks of as California. L.A. had no real image in the world before then, unlike New York.”

Despite his enchantment with Los Angeles, Hockney didn’t settle there until 1978, after a decade of bouncing between America and Europe. In the summer of 1979 he moved into a house in the Hollywood Hills, and soon adorned its pool with swishing strokes of blue paint. In the early 1980s, he converted the paddle tennis court into a studio. The meandering routes and Mediterranean scenery of the Hills were a fresh source of amazement, giving rise to monumental depictions of Mulholland Drive and Nichols Canyon in a newly abstract style.

By this time, the city was deeply familiar — a second home — and he had a close circle of friends around him who included the patron Betty Freeman (subject of “Beverly Hills Housewife”), the designer Gregory Evans, the gallery owner Nicholas Wilder and the film producer Joe Simon. “L.A. had represented a whole new world for him,” says Simon, who remained in regular contact with the artist until his final days. “He just loved the light. He was like a kid in a candy store when he first came. But David was all about the work. Everything came back to that.”

In recent decades, Hockney’s name had become synonymous with the landscapes of his native Yorkshire, which he began painting prolifically in the early 2000s. But Los Angeles never lost its newness and promise. His house in the Hills remained a sanctuary until his final years, when he was too frail to travel. L.A. was where he had come of age, and it remained an indelible part of his life and psyche — not least in terms of its egalitarian spirit and its tendency toward the horizontal. “The great thing about Hockney was that he spoke to everybody,” says Rosenthal. “Few artists of his world and his generation could do that.”

James Cahill, a novelist and an art critic, is the author of, among other books, “David Hockney” and the forthcoming “The Beverly Hills Housewife: Hockney’s Californian Muse and the World Beyond the Pool.”

Watch the moment Danni Wyatt-Hodge reaches a century in the opening match of the ICC Women’s T20 World Cup as England reach a record-breaking 219 from their 20 overs against Sri Lanka at Edgbaston.

FOLLOW LIVE: Women’s T20 World Cup: Wyatt-Hodge adds stunning catch to century as England dominate

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June 12 (UPI) — Facebook and Instagram were back to normal Friday afternoon after a morning outage.

The online outage tracking website Downdetector.com showed that Facebook had 291 reports of outages, and Instagram showed 207 as of 3:35 p.m. EDT.

Instagram’s peak of users reporting outages at 9:30 a.m. was at 10,553, while Facebook peaked at 127,222 at 9:48 a.m.

Meta’s systems dashboard showed all green checks at 2:15 p.m. EDT, noting “no known issues” or “resolved.”

One person on X reported Friday morning:

“FACEBOOK IS DOWN

“INSTAGRAM IS DOWN

“META ADS MANAGER IS DOWN

“QUICK EVERYONE GO OUTSIDE AND TOUCH GRASS”

Earlier Friday, Downdetector showed more than 100,000 people were having problems logging in to Facebook as of 10 a.m. EDT. It also showed more than 9,000 users reporting problems with Instagram and nearly 20,000 with Facebook Messenger.

Some users confirmed in the comments on Downdetector that they were experiencing issues with these platforms, noting that they were “automatically logged out,” “Can’t log in,” or were receiving an “Unknown error.”

As Washington and Tehran move towards a long-term ceasefire agreement, Gulf states will likely look for new long-term security solutions when a war in their region – which they did not start – finally ends.

It comes as United States President Donald Trump cancelled new strikes on Iran saying that a deal with Tehran was imminent, and that a “time” and “place” for signing would soon be announced.

In Tehran, officials appeared more cautious with one senior Iranian official telling Al Jazeera that the government was still reviewing a proposed Memorandum of Understanding with Washington.

Subsequent comments by Pakistan Prime Minister Shehbaz Sharif point to a deal being made, and what follows in the coming days could have important implications for collective regional security.

Attacks on the Gulf

The United States operates military facilities in at least 19 locations across the MENA region, including permanent bases in Bahrain, Egypt, Iraq, Jordan, Kuwait, Qatar, Saudi Arabia and the United Arab Emirates, according to the Council on Foreign Relations. Between 40,000 and 50,000 US troops were stationed across the region before the war on Iran started.

This US-Gulf nexus appeared to insulate states from conflicts engulfing other parts of the region, but over the past four months, Gulf states hosting US military facilities have been targeted by Iran.

“If there is a way to describe the prevailing security model in the region since the 1980s, the concept of security partnerships best encapsulates it,” said Mahjoub Al-Zuwairi, an academic and expert on Middle East politics.

“The countries of the region have chosen to align their security with broad international alliances. For decades, this model has provided a reasonable deterrent and logistical and intelligence depth that is difficult to replace.”

A security umbrella with holes

The war on Iran has exposed a paradox – while Iranian officials have repeatedly referred to their Gulf neighbours as “brothers”, they have also repeatedly targeted them during the war.

Despite the protestations of Gulf states that no attacks on Iran were launched from their soil, they have been repeatedly targeted.

At least 28 people have been killed across the six Gulf Cooperation Council (GCC) states in suspected Iranian drone and rocket attacks, since the US and Israel launched their offensive on Iran on 28 February. This has led to questions about the US-Gulf security arrangement.

“Just the war itself has pierced that sense of security, the US security umbrella is moribund at worst, or ineffective at best,” Simon Mabon, professor of international relations at Lancaster University, told Al Jazeera.

“They’ve long relied on it for their own security. Yet the presence of US forces on their territory directly meant they became targets. They can’t escape their geography [and] despite the tensions, despite the hostilities, despite the attacks, Iran isn’t going away. They have to find a way of dealing with this reality.”

The economic cost of war

The closure of the Strait of Hormuz has proven be a setback for some Gulf states working to diversify their energy-reliant economies towards tourism, services and finance, but not all have been affected equally.

Saudi Arabia was able to redirect some oil exports through its East-West pipeline to the Red Sea, while Oman – whose main ports are outside the Strait of Hormuz – has also benefited from rising energy prices.

The UAE, Bahrain, Kuwait and Qatar have been more heavily affected due to their dependence on the waterway for their energy exports, but the war has encouraged new thinking on long-standing security and economic arrangements.

“There are new pipelines being set up, but the capacity of these alternatives is infinitely smaller than the Strait itself,” said Mabon. “It will take enormous investment and years of development before they can come close to replacing it.”

Moving closer to Iran?

One possible lesson from the conflict is that Gulf states may seek engagement with Iran rather than confrontation, something that Gulf states had already made some groundwork on before the US-Israel war began.

The UAE restored diplomatic ties with Tehran in 2022, and a year later, Saudi Arabia and Iran agreed to normalise relations in a deal brokered by China.

Al-Zuwairi says that the conflict could revive plans for MENA-led regional security arrangements, as envisioned in the 2019 Hormuz Peace Initiative, which proposed a Gulf security framework involving Iran, Iraq and the six GCC states.

But the distrust fostered since then – notably Tehran’s strikes on its Gulf neighbours – would make such a formation unlikely in the near future. 

“The recent war has opened the door wide to reconsidering the Gulf security system with its neighbours,” Al-Zuwairi said.

“How can Tehran propose a non-aggression pact while raining missiles on neighbouring cities? The initiative appears theoretically sound but practically bankrupt unless Iranian behaviour changes.”

Looking beyond Washington?

The solution for the Gulf could be a hybrid arrangement where ties with Washington are maintained, but other regional and domestic options are explored, including greater investment in local defence industries.

A possible blueprint for this could be the mutual defence agreement between Saudi Arabia and Pakistan last September, stating that an attack on one country would be considered an attack on both.

Yet previous instances when Gulf states felt abandoned by the US have led to divergent responses, with the UAE and Bahrain deepening ties with Israel, but a new paradigm means that a more collective action to the issue of security might be considered.

“The war has demonstrated that every guarantor, no matter how many banners it flies, primarily protects its own interests,” said Al-Zuwairi.

“The region ends up paying the price for a war it did not choose … The security of the Gulf will not be created in Washington … It will be created when Gulf countries recognise that they must build it themselves, because when fires start, it is always those closest to the flames who pay the price.”