World number one Jannick Sinner beaten by 56th-ranked Argentinian opponent Juan Manuel Cerundolo at Roland Garros.

Jannik ‌Sinner’s bid for a maiden French Open title and career Grand ⁠Slam went up ⁠in smoke as he experienced physical issues in his second-round match against Juan Manuel Cerundolo and fell to a 3-6 2-6 7-5 ⁠6-1 6-1 defeat.

Sinner arrived in Paris as the favourite for the title, having lifted claycourt titles in Monte Carlo, Madrid and ⁠Rome, with his main rival and defending champion Carlos Alcaraz ruled out with injury and Novak Djokovic searching for his best form.

But Cerundolo tore up the script in a dramatic clash on a scorching Thursday where he held his nerve even as last year’s runner-up ‌Sinner crumbled while on the verge of a big win, sending shockwaves through Roland Garros.

As the temperature climbed over the 30 degrees Celsius (86F) mark for the first time in the afternoon, Sinner had already breezed through the first set on the back of a solitary break, and the 24-year-old Italian looked to be in cruise mode.

Cerundolo offered resistance towards the end ⁠of the second set, but the 56th-ranked Argentinian was ⁠left with a mountain to climb after Sinner unleashed a huge forehand winner to double his lead in the match for the loss of only five games.

The four-time Grand Slam champion cooled ⁠off with an ice towel in the break and turned up the intensity on his unseeded opponent in the ⁠third set to go 5-1 ahead, before he ⁠began to struggle and halted play when serving at 5-4.

Sinner returned from an off-court medical timeout five minutes later and was immediately broken for 5-5, and dropped the next two games to hand ‌the set to his opponent, who sensed the chance to pull off a major upset.

Still not at his best, Sinner surrendered the fourth set ‌tamely ‌and was broken early in the decider, as Cerundolo took full advantage to leave the Grand Slam without its title favourite.

The United States has carried out strikes near Bandar Abbas, the second attack in less than a week on Iran’s strategically important port city, escalating tensions around the Strait of Hormuz despite a fragile ceasefire that has been in place between Washington and Tehran since April 8.

Reuters and The Associated Press, quoting unnamed US officials, reported that US forces shot down four Iranian drones and struck a ground control station for drones on Wednesday in Bandar Abbas.

The strikes followed explosions in Bandar Abbas on Tuesday. Iran’s Ministry of Foreign Affairs accused Washington of violating the ceasefire through “aggressive acts” in Hormozgan province, where the port city is located.

The semiofficial Iranian news agency Tasnim also reported that Iranian forces had fired on an “American airbase” in the region in response to a US attack near Bandar Abbas.

The escalation came after US President Donald Trump said during a cabinet meeting in Washington, DC, on Wednesday that “nobody’s going to control” the Strait of Hormuz as he spoke about ongoing negotiations between Tehran and Washington.

Bandar Abbas, home to key Iranian naval forces, occupies one of the most strategically sensitive positions in the Gulf. Its location on the Strait of Hormuz has made it central to both Iran’s military position and the wider confrontation with the US. Here is what we know:

Where is Bandar Abbas?

Bandar Abbas lies on Iran’s southern coast, on the northern side of the Strait of Hormuz, the narrow waterway linking the Gulf to the Gulf of Oman and Arabian Sea.

The city, which had a population of more than 526,000 people at the time of Iran’s 2016 census, sits roughly 60km to 70km (35 to 45 miles) north of the strait’s narrowest point.

Its position gives Iran oversight of one of the world’s most important shipping lanes. About one-fifth of global oil and gas supplies transit through the Strait of Hormuz during peacetime.

Since the ceasefire was announced on April 8, Iran has continued to control shipping through the Strait of Hormuz while US forces have imposed a blockade on Iranian ports.

What is the military significance of Bandar Abbas?

Bandar Abbas is the headquarters of both Iran’s conventional navy and the naval arm of the Islamic Revolutionary Guard Corps (IRGC).

The conventional navy has used it as its base since 1977 when Iran moved much of its fleet from Khorramshahr at the western edge of Iran’s Gulf coastline, to Bandar Abbas, transforming the city into the country’s main southern naval command centre.

According to the Middle East Institute, the IRGC navy later relocated its headquarters from Tehran to Bandar Abbas to improve operational control along the Strait of Hormuz.

Although Trump and Israeli officials claimed Iran’s naval capabilities have been heavily damaged in their recent attacks, Tehran still maintains a fleet of fast attack boats operated by the IRGC navy.

The vessels are designed for “swarm” tactics and are being used against commercial ships that do not have authorisation from Iran to sail through the narrow Strait of Hormuz. They were used recently against two Indian ships and two foreign container vessels, the Panama-flagged MSC Francesca and the Liberian-flagged Epaminondas, which Iran said had not been given approval to transit the waterway.

Why is Bandar Abbas important to Iran’s economy?

The Strait of Hormuz is not just a military chokepoint but also an economic lifeline.

Analysts estimated that more than 90 percent of Iranian crude shipments transit through the strait.

That makes Bandar Abbas and nearby Gulf infrastructure critical to government revenues, including the trade networks that help Iran circumvent sanctions, particularly by exporting oil to China.

Why are the US attacks significant?

Samir Puri, a visiting lecturer in war studies at King’s College London, told Al Jazeera the ceasefire has not yet formally collapsed despite these latest exchanges of fire.

He described those incidents as “limited” compared with strikes carried out before April 8. These attacks can be characterised as “tit-for-tat military-to-military engagements rather than attacks on infrastructure or widespread destruction en masse”, he said.

“What the US military is attempting to do is explore whether it can physically deny the IRGC and Iran the ability to control the Strait of Hormuz,” he said.

“Iran, of course, wants to show it cannot be denied that capability.”

What does this mean for peace negotiations?

Diplomatic and military operations are unfolding simultaneously as Iran and the US have exchanged a volley of proposals and counterproposals for peace since the ceasefire began.

“This is unfolding on parallel tracks. There is a military track and a negotiating track all unfolding at the same time,” Puri said. These limited strikes are, therefore, ultimately being launched as part of the negotiations, he said.

“The negotiators can only present the leverage they have from the field of battle. Is the US going to put itself into a position in which it can say to Iranian negotiators that they do not control the Strait of Hormuz? Because if you try to amass forces around Bandar Abbas and launch attacks from that coastal area, we can strike back.

“But Iran will not want to be pushed into that position and will want to say it retains the ability to strike shipping and US bases hosted by Gulf allies and partners. So that’s the duality that’s unfolding right now.”

Puri said both Washington and Tehran still appeared to have incentives to continue mediation but the two sides are approaching negotiations with very different objectives.

“Trump and the US administration want to impose a victor’s peace on Iran. Iran’s reading of the same script that they’re being handed is very different, and Iran probably wants to stretch out these negotiations for as long as possible without conceding.”

“So again, you end up in a situation that wars elsewhere have seen – negotiations without an endpoint or even the promise of an endpoint but still an incentive for both parties to participate, for now.”

Downton Abbey may be over, but these Netflix period dramas are giving fans plenty to enjoy

Downton Abbey may have drawn the curtain on the beloved ITV saga, however, Netflix offers a wealth of period dramas.

For viewers eager to fill that void, the streaming giant is renowned for its vast collection of original and licensed content spanning numerous genres, and boasts an impressive selection of costume and historical productions perfectly suited to Downton Abbey devotees, reports the Express.

Much like the beloved ITV period drama that became a worldwide phenomenon after American audiences became utterly captivated by every twist and turn in Julian Fellowes’ fast-paced series, Netflix has three spectacular costume dramas that could arguably surpass Downton Abbey itself.

Here’s a closer look at each one and what viewers have had to say about them.

1. The Crown

Netflix’s magnificent House of Windsor epic The Crown is unrivalled in its excellence, according to devoted fans since its debut in 2016.

The series, crafted by The Queen screenwriter Peter Morgan, chronicles the British monarchy from the beginning of Queen Elizabeth II’s reign through to the 2005 wedding of Prince Charles and Camilla Parker Bowles.

The Crown underwent several cast changes to reflect the passage of time, with Claire Foy, Olivia Colman and Imelda Staunton each taking on the role of Queen Elizabeth II. The Crown amassed a remarkable collection of awards, including 24 Emmys and two Golden Globes for best series, while Netflix disclosed back in 2020 that 73 million households had tuned in since its launch in 2016, according to BBC News.

Given that the series concluded in December 2023, considerably more viewers would have caught the show since that point.

Furthermore, a notable spike in viewership followed the passing of Queen Elizabeth II in 2022, as 17.6 million hours of The Crown were streamed on Netflix, the platform confirmed to CNN.

Viewers on Reddit have drawn comparisons between Downton Abbey and The Crown, weighing in on which they favoured.

One wrote: “I watched them both. I personally liked The Crown better although both are exceptionally well-done shows.”

A second chimed in: “The Crown. I could never fully get into Downton Abbey.”

A third Redditor observed: “Depends what you like. I prefer downton as The Crown is too slow sometimes. Downton also shows the life of all the staff in the Abbey as well as the rich people. The Crown has a way bigger budget, better cinematography and is about real historical characters [sic].”

2. Bridgerton

Regency bodice-ripper Bridgerton, adapted from the much-loved historical romance novels by American author Julia Quinn, stands as another hugely popular period drama on Netflix.

Each series centres on a different lead couple and explores various romantic storylines, amongst them friends-to-lovers, enemies-to-lovers and fake courtship blossoming into genuine romance. Bridgerton proved a runaway success following its arrival around Christmas 2020, transforming into a massive pop cultural sensation much like Downton Abbey.

The opening season accumulated 113,300,000 views within the initial 91 days of release, while the third season attracted 106,000,000 viewers upon its debut.

The programme stands as Netflix’s ninth most watched English-language series ever, Variety reported earlier this year.

Since its original launch and following subsequent seasons, it’s been viewed by hundreds of millions of devotees – and the figure continues climbing.

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Bridgerton.

The programme is set to return for a fifth and sixth season, meaning these viewing statistics will climb even higher.

Opinion remains divided on whether Bridgerton surpasses Downton; nevertheless, one Redditor commented: “Hard to say. Bridgerton is an alternative history romantic fantasy as compared to a period drama. I watch it, but to me it’s not nearly as good as Downton Abbey.”

Another stated: “I love both Downton Abbey and Bridgerton, but they are very different shows.

“I loved “Bridgerton,” but an attempt to draw similarities and differences to “Downton Abbey” is a proverbial apples-to-oranges comparison. I enjoy both for the space they occupy in entertainment,” a third observed.

3. The Empress

Lastly, sweeping German period drama The Empress has captivated audiences and draws from the actual life of Empress Elisabeth of Austria (Devrim Lingnau). The programme first launched in 2022 and charts the struggles and triumphs of a ruler navigating her romance with her husband, his conniving family, and the treacherous world of court politics.

The series ranks amongst the most watched non-English language programmes on Netflix, having amassed over 76 million views, according to What’s on Netflix.

One viewer took to IMDb to share their thoughts: “If you like The Crown, you’ll like this.”

They went on to say: “Just a couple of scenes at the first half. Romantic would be something like Pride and Prejudice or Bridgerton. This was more like Downton Abbey or The Crown, where in the drama is the focus.”

A second viewer enthused: “The acting is superb. I simply cannot believe how amazing this series is, and it easily rivals ‘The Crown’, ‘Downton Abbey’, ‘Outlander’, ‘Poldark’ and ‘Vikings’, and surpasses many others. It’s more serious than contemporary feeling shows like ‘Bridgerton’. In my opinion it is a contender with all the top historical dramas.”

The Crown, Bridgerton and The Empress are all available to stream on Netflix now

WASHINGTON — The Justice Department has opened an investigation into whether E. Jean Carroll, the longtime advice columnist who has said Donald Trump sexually assaulted her in a New York department store 30 years ago, lied during the course of civil litigation against the Republican president, according to a person familiar with the matter.

The person who confirmed the existence of the investigation was not authorized to publicly discuss an ongoing inquiry and spoke on the condition of anonymity. The perjury investigation is being led by the federal prosecutors’ office in Chicago, and acting Atty. Gen. Todd Blanche has had no involvement because of his prior work as Trump’s personal attorney, the person said.

Lawyers for Carroll did not immediately respond to requests for comment from the Associated Press on Thursday.

It’s the latest in a series of investigations the Trump administration Justice Department has opened into perceived adversaries of the president. The actions, including securing an indictment last month against former FBI Director James Comey, have raised alarm from Democrats and former officials that an institution meant to make prosecutorial decisions independent of the White House is being weaponized.

Carroll has said a flirtatious, chance encounter with Trump in 1996 at Bergdorf Goodman’s Fifth Avenue store in Manhattan ended violently. She said Trump slammed her against a dressing room wall, pulled down her tights and forced himself on her. Trump has called the allegations a “made-up scam,” and he has attacked her motivations, saying they were politically driven or arose from a desire to promote her memoir.

A jury in 2023 found Trump liable for sexually abusing Carroll, awarding her $5 million. The following year, another jury awarded Carroll $83.3 million in a defamation case related to Trump’s social media attacks on her.

The Justice Department is scrutinizing a statement Carroll made in the course of the civil litigation that no one else was paying her legal fees. It later became public that a Chicago-based organization backed by Reid Hoffman, the co-founder of LinkedIn, had helped fund Carroll’s case. Trump’s lawyers in the civil case accused Carroll of concealing that information, which they said called into question whether the case was politically motivated.

A court entry earlier this month said Trump won’t have to pay the award until the U.S. Supreme Court gets a chance to review the case or reject an appeal. The 2nd U.S. Circuit Court of Appeals agreed to a request by one of Trump’s lawyers that it let the president delay the payment to Carroll, though it required that he post a $7.4 million bond to cover any additional interest costs, a request Carroll’s attorney had made.

The Carroll investigation was first reported by CNN.

Richer and Tucker write for the Associated Press.

It is a bitterly disappointing way to exit the tournament for Sinner, whose favourite tag was enhanced further with defending champion and great rival Carlos Alcaraz missing with injury.

With 24-time Grand Slam-winner Novak Djokovic also nearing the end of his illustrious career, fitness was expected to be one of the biggest obstacles to Sinner’s bid for glory.

Paris has seen unseasonably hot weather, with temperatures topping 34C, and Sinner has struggled previously in extreme heat.

Sinner was also on a 30-match winning streak, having won five Masters 1000 titles in a row over the past three months on hard and clay courts.

He cramped badly in temperatures close to 40C at this year’s Australian Open, and admitted he “got lucky” when the heat rule was enforced in his third-round match against Eliot Spizzirri in Melbourne.

After opening his campaign against Clement Tabur in Tuesday’s cooler night session, Sinner was first on court against Cerundolo in a rare move by Roland Garros organisers.

The last time a men’s number one opened proceedings on Court Philippe Chatrier before the semi-final stage was 10 years ago, when Novak Djokovic beat Tomas Berdych in the quarter-finals.

Although Sinner seemed to benefit initially from the early start, the physical issues that have hampered his display in previous matches in extreme heat resurfaced.

EVERYBODY seems to flock to the same touristy towns for their seaside holiday, but the county I grew up in is an underrated gem.

You don’t have to brave crowded Cornwall or busy Blackpool for a trip to the seaside this summer.

Born and raised in North-West Norfolk, I’ve gotten to know some of the best hidden beaches and prettiest towns and villages to visit – and it’s time to lift the lid on the county’s best-kept secrets.

Norfolk is full of golden sand beaches, spectacular pink and orange sunsets, and far less crowds.

It’s a more affordable choice too, with the average cost of a night’s accommodation sitting at £27.45 and an alcoholic drink costing £5.10 according to North Norfolk News.

While there is a lot of fun to be had in Great Yarmouth, if you’re over the crowds and – let’s face it – tacky atmosphere, you should head further west along the coast.

SEA YA

Ditch Cornwall for my seaside county this summer with less rain and paradise beaches

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The charming village known as Norfolk’s ‘Chelsea-on-Sea’ with a railway hotel

Coastal villages like Blakeney and Brancaster are underrated spots where you can watch seals play in the water and fishermen haul in fresh mussels to be served in local restaurants the very same day.

Brancaster and neighbouring village Brancaster Staithe are the perfect mix of buzz and relaxation.

For a peaceful day out, spend the day walking the scenic Norfolk coast path, or even trying your hand at sailing or a round of beachside golf at the renowned Royal West Norfolk Golf Club.

The village is also home to Brancaster Boards, where you can rent a stand up paddleboard and float on down the flower-filled saltmarshes.

One of my favourite ways to spend a day here is with Wild Yoga Norfolk, where sessions combine activities like wild swimming, beachside yoga and sauna pod sessions into one blissful day.

When you fancy something more lively, head to The White Horse hotel and restaurant.

The vibe of the Marshside bar and restaurant here is unbeatable: house music blasting, the catch of the day served with a local Lucky Lobster beer, plus ice-cold drinks enjoyed in a buzzy atmosphere.

You can get three fresh oysters for £13, or snack on some delicious crispy squid with garlic mayo for £8.50 – not a bad price given the high-quality food and stunning sea views.

Plus they put on loads of events throughout the summer, like a Lobster & Fizz Fest, Oyster Festival and End of Summer BBQ.

For a less boujee and more family-friendly feel, check out The Jolly Sailors pub.

They do great stonebaked pizzas and tasty rum cocktails, plus there’s a massive beer garden with family fun days and an ice cream shack serving flavours from bubblegum to ‘Unicorn’.

Further along the country roads you’ll find more pretty villages like Thornham, Holme-next-the-Sea and Titchwell.

Titchwell Marsh Nature Reserve has amazing wildlife, where you can spot birds of prey dip down into freshwater lagoons – if you can, bring a pair of binoculars and a good camera!

Thornham Beach is one of my favourites, and is often called the most remote beach in North Norfolk.

It’s a quieter option as it takes a 1.5 mile walk to get there, but the views are absolutely worth it – and it will never be as packed as beaches like Sheringham or Cromer.

After a scenic stroll you’ll reach a vast stretch of soft golden sands backed by rolling dunes and shady pine forest.

The beach is dog-friendly and the surrounding marshes are a great spot to pick some fresh samphire if you’re visiting in season (from June – September).

Holme-next-the-Sea is the new place to be, with a gorgeous stretch of beach and a trendy pub and bakery doing the rounds on Instagram.

The White Horse at Holme is a Grade II-listed pub recently done-up with a fabulous beer garden with its own cosy fire pit, plus a charming rustic bakery serving up freshly-baked pastries and delicious coffee.

Inside the pub itself you can order everything from hearty, homemade pies to moules mariniere with homemade crusty ciabatta.

Plus it’s only a short walk from here to Holme Beach, which is much more peaceful than the flashy arcade lights and promenade of overpopulated Hunstanton.

If you’re visiting with kids, head to Holkham Estate where there’s an action-packed high ropes course plus activities like silent discos and outdoor theatre.

Another great spot is Snettisham, where you can go on a deer safari at Snettisham Park, which costs £13.50 per adult, £11.50 per child with under 3’s going free.

Plus I recommend popping into family-friendly pub The Rose and Crown, where there’s a walled beer garden with a kids play area.

Like many North Norfolk pubs, it’s dog-friendly and even has pet-friendly rooms – so feel free to bring your furry friend along on your trip to Norfolk this summer.

May 28 (UPI) — A former CIA agent is accused of stealing nearly $40 million worth of gold bars and about $2 million in cash from the agency, and lying to the agency about his education, military history and pilot license.

David J. Rush of Virginia, who is described in a criminal complaint as a former senior executive with a top secret clearance, was arrested last week and charged with theft of public funds, The Washington Post, USA Today and NBC News. He also claimed about $77,000 of paid military leave for which he wasn’t entitled.

The FBI searched Rush’s home last week and found 303 gold bars that weighed 2.2 pounds each and are estimated to be worth about $40 million, according to an affidavit written by Special Agent Matthew Johnson, USA Today reported.

The FBI seized the gold from the home along with about $2 million in cash and 35 luxury watches, many of which were Rolexes.

From November 2025 and March 2026, Rush requested and received “a significant quantity of foreign currency and tens of millions of dollars in gold bars for work-related expenses,” the affidavit said. When the government visited the storage facility where it was supposed to be stored, most of it was missing. The documents don’t list the reason he needed so much money and gold.

Rush had been in the Navy and was honorably discharged in 2015. But he allegedly told the agency that he was in the reserves for 10 years and took 744 hours of military leave during that time adding up to about $77,000, the affidavit said.

The affidavit alleges that Rush claimed to have a bachelor’s degree from Clemson University and a master’s degree from Rensselaer Polytechnic Institute. An FBI investigation found no record of him attending either school. He also claimed to have been a Navy pilot, but the investigation found no record of that, and the Federal Aviation Administration has no pilot’s license registered to Rush.

Rush is in the custody of the U.S. Marshals Service. He waived his right to a preliminary hearing, and a detention hearing is set for June 5.

In this week’s episode of The Envelope podcast, we kick off Emmy season with Carrie Preston, who plays an offbeat investigator in Robert and Michelle King’s “Columbo”-inspired comedy “Elsbeth.”

Kelvin Washington: Welcome back to The Envelope. I’m Kelvin Washington, alongside the usual suspects, Yvonne Villarreal, also Mark Olsen. It’s good to have you all here. Everybody doing well?

Mark Olsen: Yeah, I’m doing great.

Yvonne Villarreal: Good to see you.

Washington: Well, first of all, I didn’t get the green [wardrobe] memo. It’s OK. Leave me out.

Villarreal: I’m trying to blend in with the chair.

Olsen: That’s why you pop

Villarreal: You do pop.

Washington: Well, you took what I was going to say. You don’t blend in. You always stand out.

Villarreal: Thank you.

Washington: That’s true. All right, so we’re kicking off Emmy season in here. And there’s obviously a million different things to have seen. We’ll start it off with Yvonne — I’ll go to you. What have you seen? Give me a couple of things that stand out to you that you’re enjoying.

Villarreal: Look, I’m always gonna mention “The Pitt.” Season 2 really captivated me. Also, there’s “Pluribus.” Can never go wrong with Rhea Seehorn. Also, one that — surprisingly for me, just given the subject matter — I really enjoyed this season, is “The Testaments.” And I think it’s because of, you know, the young cast and feeling that sense of hope that these young teenage girls are gonna get us out of this. Those are my picks so far.

Washington: Did you say that we need that?

Villarreal: We do need that.

Washington: OK, I just wanted to make sure.

Villarreal: I won’t mention reality TV, because I know it makes Mark a little…

Washington: Let’s make him a little squirmy.

Olsen: Maybe one of these days, I’ll try!

Villarreal: “One of these days”?

Washington: Twenty-five years into it.

Villarreal: “Real Housewives of Rhode Island” is all I’m going to say. I’ll just leave it there.

Olsen: Rhode Island?

Villarreal: Rhode Island.

Washington: Mark, I’ll go to you next, but just to your point there, Yvonne, I haven’t seen much of it, but I did have some guests at the morning show that I anchor from “Love on the Spectrum.”

Villarreal: Oh yeah.

Washington: Folks love that show. I mean, when I tell you that we had a couple of the guests come in and they’re walking around, people were screaming, “Can I get their picture?” So you’re talking about reality TV, just that, that’s a big one there.

Villarreal: They’re stars. And hearing who’s broken up already. I won’t spoil it, because you should watch that one.

Olsen: Wait a minute, how do people on your morning show rate “The Morning Show”?

Washington: Oh, that’s a good question. Some of the [story] lines or the feel hits a little too real, too close to home at times, that’s for sure. But I think it’s run its course a little bit as far as the watercooler [chatter] around the job a little. You know, it’s had some seasons here. But there are some things that, you know, some us look at each other like, “Clearly someone in the business is on there writing that show because that was too close to home.”

Villarreal: Lots of conniving.

Washington: But that’s all sensationalized. We’re just an ordinary morning show. None of that going on.

Villarreal: There’s no Billy Crudups out there.

Washington: Watch how I turn over here to Mark and we switch subjects. What about you, Mark? What are you watching? What do you enjoy?

Olsen: You know, it’s funny, I find as we’re in sort of like post-peak TV, I definitely find that I’m liking my TV to just feel like TV. And so I definitely like the Bill Lawrence universe, [that] kind of comfort watch — the new show “Rooster” with Steve Carell and Danielle Deadwyler, who’s just like so charming, so good on that show. I have really grown to like that show. I really enjoy the week-to-week. Even as I’ve maybe fallen off with some of his other shows, it’s funny how he’s always giving you a new show, like, “Oh I like this one!” And again [with] the week-to-week, “Oh it’s my day to watch ‘Your Friends and Neighbors’! Let me see what my good friends Jon Hamm and Olivia Munn are all up to.”

Washington: Are your neighbors like that?

Olsen: I have not had any disputes over dogs with my neighbors, no.

Washington: By the way, have you been, you mentioned Steve Carell, like he’s in his ‘zaddy’ era. It’s amazing what a beard does for a lot of people. No one ever necessarily thought of him as a heartthrob and all of a sudden I’ve heard, I’ve seen some things on Threads or whatnot, and they’re like, “Oh girl, I didn’t know Steve Carell…”

Villarreal: Some of us have known all along, OK?

Washington: I digress.

You guys mentioned a couple for me. “The Pitt” is unexpected — I was going to say every episode, really every 10 minutes. So that’s always a wild ride. And in “Paradise,” the shift from the previous season for me, because, you know, it’s not that I’m spoiling it, but just the shift into the outside and prior to, that dynamic to me was interesting. Almost like two different shows between Season 1 and Season 2. That for me is interesting to see how folks do and Sterling K. Brown, where’s he in all of this? So those are the ones that I’m looking at there.

I swing to you, [Yvonne]. You had a chance to speak with Carrie Preston, of course, in “Elsbeth.” Kind of a “Columbo”-style of a show, if you will. Tell us a little bit more about that.

Villarreal: This is the thing. We should never discount what’s happening on broadcast TV.

Washington: Good point.

Villarreal: “Elsbeth” is one of those shows that is so compelling. It really expanded, Robert and Michelle King’s “Good Wife” universe. They’ve had the spin-off, “The Good Fight,” and “Elsbeth” is in that universe, but it feels totally different. It’s this comedy procedural that follows Elsbeth, who we were introduced to as this eccentric lawyer, and in “Elsbeth” she’s moved from Chicago to New York as this NYPD consultant and de facto detective. And she has these really unconventional, unorthodox, eccentric methods to solving cases. And it’s really fun to watch and it was really fun to have this conversation with her.

Washington: All right, well, let’s get into it. Here’s Yvonne and Carrie now.

Carrie Preston, star of CBS’ “Columbo”-esque hit “Elsbeth.”

(Christina House / Los Angeles Times)

Yvonne Villarreal: I’m always very eager to talk about this character that I’ve spent 15 years tracking. You made your debut as Elsbeth Tascioni in “The Good Wife,” and she leaves a memorable impression early on, with just three minutes [of screen time]. I did time it. What do you remember about the call about this character and what [creators Robert and Michelle King] told you about who she was?

Carrie Preston: They had offered me the role, and I was working on some other things and I had just dyed my hair red, but they didn’t know this yet. And so they all knew me as a blond and I thought, “Oh my gosh, I hope they’re going to be OK with this character being a redhead because in their minds I’m not that.”

But [Robert] called and he said, “We’re thinking about this character like a female Columbo.” I didn’t really watch a lot of “Columbo,” but I understood what he meant, which was, this is a person who is going to be coming at things in an unexpected and unorthodox way and people are going to underestimate her. I took that to heart. But nonetheless, I was going in as a guest. As a guest, you’re going into somebody else’s house, you wanna follow their rules, you don’t wanna jump in their pool and start swimming around without asking permission. So I was a little tentative with it, but I took myself to the set before we started shooting just to show them, “This is what I look like now, are we still good? Because I can’t change the hair right now ’cause I’m doing this other thing.” Luckily, they were like, “Oh I think that actually works really well for the character.” And little did I know, I was gonna then be the redheaded actor for a good 16 years now, or whatever it is. I look back at that time, I was just finding my way with this character and figuring out, “How can I make her something different but not too different that I don’t fit in with the world of the show and the landscape of that universe?” And so looking back, you can see how I was tiptoeing around and it took a little moment before they really let me just let what my instincts were telling me to do, fly.

Villarreal: Because you knew she would be coming back in some capacity.

Preston: I didn’t know. I did two episodes at the end of their first season. Did not get a call at all in Season 2. And I thought, “OK, well, I guess I was a little too weird or I wasn’t really what they were thinking.” You kind of start talking to yourself and then you go, “I can’t read their minds. I’m just gonna keep doing what I’m doing.” And that was a really fun time. Then they called in Season 3 and that was when they said, “OK, we’re gonna do a little arc; we want this to flesh this character out.”

Villarreal: She went on to appear in many episodes of “The Good Wife” and also [its spin-off] “The Good Fight.” Then they have the idea during the pandemic of, “We want to do a show centered around Elsbeth.” And I imagine that’s a thrilling call to get, just like that first call that you received. As an actor in this sort of fickle industry, where you’ve put in the time, when you get a call like that from these prolific TV producers that are really respected, and they say, “We see you as being able to lead a network series.” How do you wrap your brain around that?

Preston: It was kind of a slow buildup to that because even when I was doing “The Good Wife, “ at the end of that series they were talking about, “How can we spin off the show?” And some people like yourself and people who are in the industry, fans, et cetera, were saying, “Why don’t you spin it off with Elsbeth Tascioni?” And Robert King reached out and said, “Would you be interested in this?” And so I said, “Of course, I would do anything to be be doing that.” Then I heard they’re doing this spin-off and it’s starring Christine Baranski and Rose Leslie and Cush Jumbo — pretty much everybody but me. And I was like, “OK, well, I guess that’s what they’re gonna do.” But I did reach out again and said, “I’d love to be a part of this.” And they said, “Yes, we’re definitely gonna bring you on and have you continue as a guest.” I went and did other things. I did “Claws.” I had already been working on “True Blood.” So I was doing all these other shows and thinking, “OK, I guess this is their spin-off. I’ll just be a guest again, and that’ll be that.”

And again, people would keep calling and saying, “Hey, what if you did a spin-off of the spin-off?” And still I dared not dream. It really wasn’t until 2020 that it felt like it was more plausible, possible. They were coming to the end of “The Good Fight.” They had this idea. And it seemed like a good one, and it seemed like a good business model, frankly, to have Elsbeth Tascioni, maybe one or two other series regulars, and then bring in all these amazing guests. It still took another three years before we actually did a pilot that, then, got picked up. So it was just these many, many steps before we actually got to this. So each time, I tried not to hold on to that dream too much, but at the same time, treasure every moment, even treasuring just the thought that they pitched me as the center of a show to a network that hired them to write a script. Even that, I was like, “Wow, this is incredible.” When we finished the pilot, I looked at the crew and I said, “We need to really honor this moment because this might be it. This might be the last time [I’m] ever playing this character. And we came together, and we made something really special. Whether or not it’s going to go to series, we all know we did something really wonderful.” And I burst into tears. I was so grateful for that opportunity. So every moment is a moment of gratitude and humility, to be honest.

Villarreal: Was there any part of you that thought, “I don’t know if I can do this”? Or because you were reaching for it for that length of time, when it finally happened, you’re like, “I can do this.”

Preston: There is this sense of wanting to make sure that I am doing everything I can to make this situation collaborative, to lead in a way that is not overbearing, to be a part of an ensemble, not just with the cast but with the crew. All of these things that I’ve been meditating on for decades. And I direct as well, so I know what it’s like to lead, and I’ve learned from watching really great leads, and not-so-great ones that get caught up in certain things, that rob them of an opportunity of creating something in a collective way. So I was excited to take all of these things that I’ve learned along the way and funnel them and channel them into this opportunity. Every day is a blessing, every day is challenge, and every day I feel like I do something that I know I can do better the next day. I try to meditate on that, because I want this opportunity that I’m having to be as special for the 300 people that are around me who are doing this with me. That’s really my goal.

Villarreal: In the series, obviously, we’ve come to know Elsbeth as this Chicago lawyer; here she’s a New York City police consultant. I really want to know what Elsbeth would be like in Los Angeles. What do you think that looks like?

Preston: Elsbeth finds beauty wherever she goes. I think it would be tough for her because she so likes to be right in the middle of all of humanity and [in] L.A., you’re isolated a lot in your cars — having to kind of keep yourself sequestered from other people just because that’s how people get around. I bet she’d be on the subway, she’d be on transit, she’d be on buses, she‘d be out in the malls, she would be out on the beaches, meeting people, talking to people, learning about Venice Beach as compared to Sherman Oaks. She would be all about finding all the different vibes and how she fits in.

Villarreal: You’re known for being a scene-stealer supporting player. This role in particular sort of encapsulates that. Is playing a lead rather than a supporting player a particular kind of challenge? Do you have to learn how to have your character take up space differently?

Preston: I approach it the same way that I approach anything I do as a co-star, a supporting actor, a guest star, whatever. I’m there to serve the script and to work with the people who are around me to elevate a scene and make it work. And to make the the job of everyone around me easy. I really feel like when you come at it with that collaborative spirit, you don’t think about, “Oh, I’m the lead.” You don’t think about where you fall into that hierarchy. You’re just there to make the scene work. And I like that. Because then I don’t feel pressure to be something more than what that is. You’re building a house every day, and you’ve got to start with foundation and then move all the way up. You can’t just come in and the house is already built. That takes more than one person. And I like that, and I feel like Elsbeth is like that too. She’s very much about the other person. For me, if you’re ever stuck in an acting scene and you don’t know what you’re doing, you need to just focus on the other person, and then all of that other stuff starts taking care of itself. What does this person need? What am I giving this person? What am trying to get from this person? Just all the like the basic building blocks of acting and then you can get out of your own head and let the choices happen.

Villarreal: Something that’s so striking about the character is her physicality. She sort of darts into frame, or she’s crouching, even the movement of her hands as she’s reenacting what might have happened. What was that like, finding the movement of Elsbeth?

Preston: It started from the beginning. The scripts, at the beginning, would write in these pauses. They would just say “pause” in the middle of a sentence. And I was like, “Huh, what is that?” That became the most fascinating thing to me. “What’s happening there? What’s happening with this woman when she’s not speaking?” And, so, that’s where the physical stuff started coming. And in “The Good Wife” and “The Good Fight,” there was a little bit of an evolution of that. The tote bags were brought in very early on by Brooke Kennedy, who was the producing director and one of the main directors on “The Good Wife.” She said, “I want her to always have something going on.” And I was like, “Great, I love that.” That’s a gift for an actor. I’m someone who, if you give me a prop, I’m gonna do something with it. I just like that. It’s fun. I’ve trained for the theater. So I love that idea. There’s a term that sometimes we use — I don’t know if it’s OK to say it — but sometimes we call each other “props-titutes.” If you get a prop, you can’t help it; you’re gonna have to do a thing with a thing. And so the bags and all that stuff — I started thinking, “Oh, I guess [with] this woman, her mouth is saying one thing, her mind is thinking another and her body’s doing a third thing.” As soon as I came up with that little weird math equation, things started locking into place.

Robert King directed the pilot. He created the show with Michelle King. Robert loves any kind of physical comedy. Marx Brothers, Three Stooges, Lucille Ball, all of that stuff. He just loves it. He worships that stuff. We were doing a scene and he said, “I don’t want you to just walk up. Let’s have you like lean in like Charlie Chaplin or something.” And I was like, “Great!” So he had me lean into frame and wouldn’t you know, that just became then the signature thing for this new iteration of this character. And it became kind of a metaphor for the whole show. This woman is not ever gonna approach things straight. She’s always gonna approach things at an angle. That’s another fun, creative thing that you can run with. Then the writers and the directors and the other actors, we all just started playing with that. And I have to do these scenes where I sum up the entire crime. Sometimes it’s like a five-page monologue. Well, you don’t have that much time to memorize that stuff because you get the script and I’m learning 50 pages of dialogue every eight or 10 days. So the physicality helps me remember it. And I imagine it helps Elsbeth piece it together.

Villarreal: Are you like at home just [mimics exaggerated movements]?

Preston: Yes, I’m coming up with things.

Villarreal: Is Michael [Emerson, the actor], your husband, like, “What’s going on here?”

Preston: He lets me do my thing. What I’ll say to him is, “I’m gonna go close the door and talk to myself for a while.” And he’ll go, “OK.” I learn my lines by myself. I record my own cue lines. It all has to happen alone. Because I know I have to go back over and over and over again. And when somebody is running lines with me, I’m very concerned about how bored they must be. So I just have to do all that on my own. The funny thing is I learn my lines a lot when I’m on the train. I go back and forth between New York City and the Hudson Valley a lot. It’s like an hour and 20 minutes. So the people on those trains are seeing this crazy lady, because I’ve got my ear things in and I’m looking at my [script].

Villarreal: Do you have your own bags?

Preston: I’ve go my own bags, and I am sure if they don’t recognize me as Elsbeth, they just think I’m another insane person who lives in New York City and no one cares. The kooky redheaded lady on the train.

Villarreal: Let’s talk about that other element that’s so crucial to Elsbeth, which is the hair and the wardrobe. You talked earlier about how you dyed your hair for another role, and you didn’t know you’d be locked in for this long with it, but it’s such a feature of her. Obviously we’ve seen her wear wigs in the show.

Preston: Which was fun, to go back to my original blond look.

Villarreal: And you mentioned Lucy earlier, Elsbeth in the tutu this season was so, so good —

Preston: One of the best compliments that Jon Tolins, our showrunner, ever gave me was when he saw the dailies from that day of the tutu and dancing with the little 6-year-olds. Oh, my God, I was in heaven. He just wrote, “Lucy level.” And I was like [playfully belts a note], “This is a dream.” Because I decided this woman would really want to be trying to do her absolute best. She would really be wanting to try to dance the best way that she knew how, but her body doesn’t know how to do that. But her mind wants to. Plus, I like to entertain the crew. They often don’t laugh because the crew has seen everything and they’ve seen me do a million things. But if I can get them to laugh, that’s a win.

Villarreal: Her style is so intriguing — sometimes I’m like, this is what “And Just Like That” should have had, some of these wardrobe pieces.

Preston: Well, that’s Dan Lawson, our costume designer.

Villarreal: What does that do for you? And please tell me there is a bag closet. I’m obsessed with the bags.

Preston: Oh yes. If you were to walk into the costume shop and see my section, it’s like a circus had a party under a rainbow. There’s four or five racks of clothes, and they go on what seems like a mile. And then there’s [a] whole wall of the totes. And Dan finds special totes that he’ll shop for, but then he also has some of the totes made because he wants them — we decided early on it would be totes, of course, but like after the opera episode, she would then have an opera tote. We had to make very specific totes that would do callbacks to previous cases and things like that. Dan thinks about everything.

Villarreal: Do they put things in the totes?

Preston: They do, but early on there were a lot of things in the totes, and I was starting to have to go to physical therapy because people don’t understand when you’re working on a scene, it takes six hours to shoot a scene, and if I’m coming running in with totes on my shoulders a hundred times it’s gonna take a toll on my body.

Villarreal: But you also need things in them so they don’t fall down easily.

Preston: Carol [McLennan], who’s my on-set costumer, she’s constantly putting top sticks so that they’ll stay. She’s finding creative ways to safety-pin them on. The continuity of the bags, you have to make sure that they’re exactly the way they were for every take. It’s like I have a child — three children, my totes.

Villarreal: Such a feature of the show is obviously the sort of revolving door of guest stars. This season you’ve had Stephen Colbert, Griffin Dunne, Beanie Feldstein and Patti LuPone, who was in the finale. Are you ever just lost in the fact that you’re acting opposite these people? Is there a moment that stands out from that?

Preston: Dianne Wiest. I’m a huge, lifelong fan of Dianne Wiest, like top five. And when I found out she was gonna be in the episode where she plays a nun, a murderous nun, I just thought, “I’m not gonna be able to contain myself.” I usually reach out to everybody before to send them an email or a text or something and just tell them how thrilled I am that they’ve said yes. So I wrote her a thank-you for saying yes/stalker-level fan email. And she wrote back. And she’s like, “Oh, Carrie, I’m so happy to hear that.” It was just like, “Oh, my God, I could just hear her voice.” When she showed up — I mean, she’s Dianne Wiest. And she is wearing a nun’s habit, and I couldn’t stop staring at her face. She would catch me staring at her and then she would just smile, with that sweet gorgeous face of hers and I would say, “I’m sorry, I’m sorry. I know that it’s probably making you uncomfortable. I just am absolutely honored. I do not even understand how I got to be so lucky to have someone like you doing this.” And you could say that for every single person on the show. I fangirl on them in the way that the character fangirls on Diane Lockhart. You know what I mean? The same little spirit lives inside me that is Elsbeth. I have wonder and appreciation. And it’s become more infectious. She has become more infectious the more I play her.

Villarreal: There was the moment where, in the Griffin Dunne episode, where he’s threatening towards her. I’m trying to remember if there’s been a moment like that where I felt threatened for your character. What was that like filming with him?

Preston: It was wonderful. Robin Givens, who was our director, [and] who, as we know, is an actor as well, she was really directing us to reach a pretty scary place. I like it when our show gets scary like that because we have to remember that she’s hanging out one-on-one with murderers. She’s going into their space. And as unthreatening as she is, that in and of itself is threatening. And we need to remind the audience of that from time to time. She pushes buttons because she’s trying to get them to admit something, or she’s pinning the fly to the bulletin board and watching it squirm. And this one, I realized as I was playing it, I was like, “I’ve got to play up the flirtatious side because that’s what he gets really guarded about, the fact that he’s a womanizer. So if I play that up, it’s gonna infuriate him.” And so he backs me up, and then we realize there’s no way out. It’s great, but it’s scary. But she knows that he’s not gonna do anything to her because he still thinks he’s gonna get away with murder. But we added this one [look], and I wanted to make sure [it was kept]. I said, “Please, Robin, please don’t let them cut this.” I look back at him at the very end going, “Gotcha. I got you just where I wanted you. You fell into my trap.” And they kept that in the cut. I was very happy about that because we build these things together, and sometimes they just have to cut them for time. But they didn’t.

Villarreal: Because you’re also thinking with your director’s hat. And I know it must be hard to even think about whether you can direct an episode of “Elsbeth.” But is that something on your bucket list? Or would it just be too difficult to manage?

Preston: I love this job so much. This is the dream job, and I want to make sure that I am doing everything I can to do that in the best way that I can, every day. And I do feel like having directed myself before in the past, in things where I was just a part of the ensemble, the way I choose to direct, I found that I was shortchanging the acting a little bit. I don’t want to do that on this show. I do think it would cost the crew to have me do both things, and I care about them so much. I don’t have to prove that I can do both. The one thing I could do is direct the first episode of the season because I would be able to prep. Otherwise I wouldn’t be able to prepare. I feel like I trust our directors. I love our writers. I love our crew and I love how things are going.

Villarreal: We know Elsbeth as this person with a keen ability to read people, who can sniff out liars, murderers. What was so interesting this season was to see her vulnerable side in her personal life. And see that she has her blind spots too. Were you excited when you saw that they were going to explore this side of her? And what was that like to play?

Preston: I think it’s always a good thing to deepen the character as you go along because, you know, we’re a police procedural; we have to figure out how to put a crime each episode, just structurally. But we want texture to the character, and having that vulnerable side really gave us that. As an actor, if you can find the drama in the comedy, it makes the comedy stronger, and vice versa. It was a wonderful way to stretch myself as an actor. It’s important to always show the heart of a character that you’re playing. The more specific you are, the more universal it is. And I think people can relate to her in that way. Everybody has felt heartbreak or confusion or duped or confused or distrustful of their own intuition and all of that stuff. And so the complexity of that was, of course, great to play.

Villarreal: Are you, Carrie, as perceptive as Elsbeth?

Preston: I do have a little bit of an empath in me. I do feel like I can read a room really quickly and I can kind of tell what people are thinking or what people are feeling. A vibe. I don’t know what it is, but it’s an empathic kind of nature. I have way more boundaries than I think Elsbeth does, but I’m not nearly as brilliant as that woman. I don’t know how many people in the world are. That’s what makes her so special. But I key into that side of her and I can relate to it.

Villarreal: Final question for you. The show will return for a fourth season. What do you want to see from Elsbeth? Who’s your dream guest star? It must shift because you guys are getting everybody.

Preston: We’re getting wonderful people who are interested in the show and I’m so proud of that and I know Jon is too. Jon Tolins is our showrunner. We’ve really, both of us, made it our personal missions to create an environment — and he creates scripts — that people want to come and participate in, and a welcoming place where somebody gets to play a delicious character for eight or nine days and then go on with their busy careers. I never would have dreamed that, for example, Steve Buscemi would have wanted to be on a show like “Elsbeth,” but he did and he asked to be on it. That blew our minds and it still is blowing our minds. So I could not even dream of most of the people that have come on. That said, you know, I’ve said this before, I’m a huge Meryl Streep fan. I would love for her to come on. We think often about, maybe we should see a parent of Elsbeth, a mother maybe. So we play around with different ideas for that, and that would be nice to see because we’ve seen Elsbeth as a mother, but we haven’t seen her as a daughter. We’ve seen her as a friend but we haven’t seen deep into her her origin story. So I think that could be a fun thing to tap in Season 4. But I trust Jon and the writers.

Villarreal: I want Diane Lockhart to stop by.

Preston: I know, wouldn’t that be great? Or Alicia. But I don’t know. We got Sarah Steele who played Marissa [in “The Good Wife” and “The Good Fight.”] That was amazing. But like Michelle King was saying in an interview [for an L.A. Times’ Screen Gab event] yesterday, this show has kind of found its own place separate from that universe. It’s nice if we have people from that universe pop in, but it’s not required. And a lot of our fans never even watched those shows. So that speaks to what Jon and the writers are doing and what we’re, as a collective, bringing to the audience.

Villarreal: Thank you so much for being here. I, for one, can’t wait to see what the bag selection is like in Season 4.

Preston: Me too.

With just days left to cast your vote in California’s primary election on June 2, The Times has answers to your last-minute questions about the voting process.

Here’s what you need to know:

What are the key races to watch?

1. The California governor’s race is a tight battle between Democrats and Republicans who are vying to replace Democratic Gov. Gavin Newsom, who is serving his second term and cannot run again. Top candidates include a Riverside County Sheriff, a former senior advisor to British Prime Minister David Cameron, a former Los Angeles mayor, a billionaire hedge fund founder and a member of the U.S. House of Representatives. Your guide to the race for California governor can be found here.
2. In the Los Angeles city mayoral race, incumbent Karen Bass faces a reelection challenge from a field of candidates that include a reality TV personality, a tech entrepreneur, a City Council member and a progressive community leader. Your guide to the L.A. mayor’s race can be found here.

What is on the ballot?

There are several races, ballot measures, local district seats and statewide races that Southern Californians must decide on.

Most of the attention will be on the races for California governor and the mayor of Los Angeles.

City of Los Angeles residents have several other items to consider, including:

County of Los Angeles residents will be asked to vote on:

Voters will decide on six local congressional district seats and other statewide races including the:

A comprehensive breakdown of each race or proposed tax measure can be found here.

What is an open primary?

An open primary allows the top two candidates who garner the most votes to move on to the general election in November, no matter what party they belong to.

This system could allow two candidates from the same party to advance to the general election.

Is it too late to vote by mail?

No. You can return your vote-by-mail ballot by:

1. Dropping it off in the return envelope at a secure official drop box now through the close of polls on June 2.
2. Dropping it off in person at a polling place, vote center or county elections office by 8 p.m. on June 2.
3. Dropping it off at the post office. Mailed ballots must be postmarked on or before election day and received no later than 7 days after election day. To ensure your ballot is postmarked by election day, mail it at least five days before June 2. If mailing on election day, get a hand-stamped postmark from a postal employee at a United States Post Office.

What is the deadline to return a vote-by-mail ballot?

In order to be counted, vote-by-mail ballots must be postmarked on or before election day, June 2, and received by your county elections office by June 9.

How do I check if I’m registered to vote?

To find out if you’re registered to vote, visit the secretary of state’s website. You’ll need to enter a California driver’s license or identification number or the last four digits of your Social Security number.

You also can call the state’s voter hotline (available in 10 languages) at (800) 345-8683 to get a paper application mailed to you, or you can pick up one at a county election office, most California libraries and United States Post Office locations, as well as many federal, state and local government offices — including the Department of Motor Vehicles.

If you opted to register online, officials say you should wait at least 24 hours before checking your voter status.

How do I register to vote? Can I register on election day?

The deadline to register to vote was May 18.

If you’ve failed to meet the deadline, you can register as a conditional voter through the same-day voter registration process.

Eligible citizens who need to register or reregister to vote within 14 days of an election can complete this process to register and vote at county elections offices, polling places or vote centers.

To find an early voting location, use the secretary of state search tool here. You can find your local polling places here.

Your submitted ballot will be processed and counted once the county elections office has completed the voter registration verification process.

How do I check my voter status?

You can check your voter status from the California secretary of state website here. To find your record, you’ll need to provide your full name, date of birth, state driver’s license or identification card number and the last four digits of your Social Security number.

Where is my closest drop box?

Secure ballot drop-off locations opened May 5. You can visit the Los Angeles County Office of the Registrar-Recorder/County Clerk’s website here to find a ballot box near you.

How do I track my ballot?

Once cast your ballot, you can track it here.

Staff writers Seema Mehta, Phil Willon and David Zahnister contributed to this report.

So why have Barca moved for Gordon?

After all, the La Liga champions also had the option – and still do – of making Marcus Rashford’s loan move from Manchester United a permanent one for £26m.

However, Barca have so far prioritised a move for his international team-mate, who also offers versatility on the left and through the middle, but is three years younger and on a lower wage.

There is also a belief within the club that there is more to come from Gordon both with and without the ball.

When Barcelona manager Hansi Flick spoke about Newcastle being a “very intense” side, earlier this season, the 25-year-old will have been among those at the forefront of his thoughts with his speed and aggression.

Flick places as much importance on players’ work rate as their flair and Gordon ranks in the top 40 Premier League forwards for possession won in the final third, high pressures applied and high pressures in the opponent’s half this season.

Yet it is Gordon’s goal return in Europe which clearly caught the eye of Barca and, indeed, fellow suitors Bayern Munich.

Although there were a few penalties along the way, and he came up against some leaky defences, only Real Madrid forward Kylian Mbappe (15) and Bayern Munich striker Harry Kane (14) have scored more goals in the Champions League this season than Gordon (10).

It is a stage Gordon has relished, having sounded like someone who had grown a little jaded with how the Premier League had become “a lot slower and a lot more set-piece based”.

“Sometimes it’s about duels – who wins the duels wins the game – or moments,” he said of the top flight back in January.

“The Champions League is a bit more of an older style game. It’s a bit more football based. Teams come and try and play proper football.”

May 28 (UPI) — At least 16 students were killed and 74 were injured after fire tore through a girls’ boarding school in Kenya in the early hours of Thursday.

The blaze broke out as students were sleeping, engulfing the dorm block at the school in Gilgil, 77 miles northwest of the capital Nairobi, police and the Kenya Red Cross said.

A rescue and recovery operation was still underway amid efforts to account for all the students who were in the accommodation building — thought to be about 220.

“It is a sad and distressing situation. As we speak, our officers are combing the area because some students fled in shock and fear during the night,” said police commander Masoud Mwinyi.

Mwinyi said the police department had launched an investigation and that criminal investigators and forensics officers had been dispatched to the scene.

A parent told Kenya’s NTV News that most of the students in the hospital had been injured as they tried to escape by jumping from the upper level of the dorm block because one of the doors was closed.

President William Ruto and First Lady Rachel Ruto extended their condolences to the victims’ families and friends, as well as teachers and staff at the school.

“Our hearts and prayers are with the families who have lost their beloved daughters in the tragic fire at Utumishi Girls Academy in Gilgil. No words can truly ease the pain of losing young lives filled with promise, hope, and dreams for the future. As a nation, we mourn with the parents, guardians, teachers and fellow students who are enduring this unimaginable tragedy,” Ruto wrote on X.

Education Secretary Julius Ogamba ordered the immediate closure of the school but urged the public and media to refrain from speculating on the cause of the fire until the investigation was complete.

Ogamba said the Education Ministry was in the midst of a health and safety code audit of schools that had already seen the shuttering of almost 350 boarding schools that did not meet government standards.

The crackdown was launched 18 months ago in the wake of the deaths of 21 people in a blaze in a dorm of the Hillside Endarasha Academy, a boarding school in Nyeri, 100 miles north of Nairobi, in September 2024.

The country’s boarding schools have a poor safety record with a series of deadly blazes blamed on overcrowding and breaches of basic safety measures such as keeping exits clear and windows and exits unlocked.

Some have been deliberately set, with the finger pointed at students disaffected by tough discipline regimes and living conditions.

Responding to a parliamentary committee’s request in 2021 for school arson data, the Ministry of Education reported 126 arson attacks in the first 11 months of 2020 alone.

The war that Donald Trump declared won last month looks rather different from the inside of the Pentagon. The resulting stalemate has drained American military stockpiles, emboldened Iranian commanders, and left the US with far worse options than before the conflict began.

The administration’s triumphalist framing has struck a jarring note among those who have spent careers studying the Iranian military and the limits of American power projection. Declaring victory when the enemy is still standing, still armed, and still controlling the waterway you went to war over is not a strategy. It is a wish dressed up as a press release.

At the heart of the impasse are two demands that Tehran has consistently and categorically rejected. Iran will not surrender what it regards as its sovereign right to develop its uranium program, and it will not yield control of the Strait of Hormuz. Those two positions were Iran’s red lines before the fighting started. They remain Iran’s red lines now. Nothing in between has changed.

What has changed is the arithmetic of munitions. The United States entered this conflict with a military built around expensive, technologically sophisticated weapons systems, precision instruments that take years to design, years more to manufacture, and that have now been expended at a rate the American defense industrial base is poorly positioned to replenish. Iran, by contrast, relies on a dispersed network of robotic small boats, undersea mines, tactical ballistic missiles, and unmanned systems. These weapons are cheap, simple, and easy to produce at scale.

The United States essentially deployed a Ferrari into a demolition derby. The Iranians didn’t need high-end technology; they just needed a relentless volume of cheaper assets to overwhelm the defense.

Trump, for his part, has shown no appetite for nuance. “We have totally obliterated their military capacity, there’s nothing left, believe me, nothing,” he told supporters at a rally in Georgia. Pentagon planners reviewing the same battlefield data have reached a rather different conclusion.

The American strikes produced mixed results. Iran does not maintain a conventional naval fleet or a modern air force in the Western sense. Its control of the strait rests not on destroyers or fighter wings but on a distributed, resilient system of asymmetric capabilities. The Iranian systems that dispersed into the terrain absorbed the strikes and began reconstituting almost immediately. Defense analysts point out that the Iranians have adapted from what they observed, replenished their stocks, and may now be better positioned than when the conflict began.

The strategic picture is further complicated by the political pressures that shaped the original decision to go to war. Analysts describe a decision driven less by tactical opportunity than by commitments made to Israeli leadership and to influential pro-Israel donors whose support was central to Trump’s political coalition. The result was a military campaign calibrated to political timetables rather than operational logic.

READ: Israeli premier expresses concern over US handling of Iran nuclear file in call with Trump: Report

Senator Tim Kaine of Virginia, a member of the Armed Services Committee, called the conduct of the conflict “a case study in how not to use military force.” Representative Thomas Massie of Kentucky, before his defeat in his primary, was more pointed: “We went in without a declaration of war, without a clear objective, without an exit strategy, and now we’re supposed to celebrate because we used up half our missile inventory and the Iranians are still there.”

The regional picture adds further complexity. Saudi Arabia and the smaller Gulf monarchies are acutely aware of their own exposure. A major Iranian strike on above-ground oil and desalination plants could critically impede the GCC’s government’s ability to maintain economic prosperity. The GCC states have no appetite for an escalation that leaves their vital water infrastructure in ruins. While they favor the containment of Iran, preventing a regional war is a matter of sheer survival.

The broader strategic damage extends well beyond the Gulf.

The conflict has exposed, with uncomfortable clarity, the brittleness of an American military model that prioritized theoretical sophistication over the practical demands of sustained combat. The long-overlooked vulnerability of the missile supply chain has now emerged as the primary constraint on future American options. Restoring that capacity, according to officials, will require years of industrial retooling.

Washington has come to realize that Iran acutely recognized US vulnerabilities, designing asymmetric systems specifically to deplete America’s most expensive capabilities with its cheapest assets. This is not a temporary setback; it is a structural crisis.

For now, President Trump appears caught between the political cost of acknowledging stalemate and the military risk of a second round of strikes that the Pentagon itself doubts would achieve different results. The operational pause is not a logistical necessity. The forces are forward-deployed and ready. The pause is a search for a rationale, a way to resume the fight that does not require the White House to explain why the first attempt failed.

By most accounts, the search has not yet succeeded.

OPINION: The bell tolls in Beijing: Xi’s warning and the shadow of Thucydides

The views expressed in this article belong to the author and do not necessarily reflect the editorial policy of Middle East Monitor.

There she stands, in that iconic hot pink gown, arms thrown open wide as if to both offer herself to the world and embrace what the world offers — love, applause, admiration and diamonds, which are, as she sang from the body-hugging confines of that pink silk in “Gentlemen Prefer Blondes,” a girl’s best friend.

It isn’t her, of course, though it is the dress, designed by William Travilla and now a part of the new “Marilyn Monroe: Hollywood Icon” installation at the Academy Museum of Motion Pictures. Opening Sunday, it is just one of many exhibitions and events timed to celebrate the 100th anniversary of Monroe’s birth.

More than 60 years after her death, Monroe still glows brightly in the Hollywood firmament. Her career only lasted 17 years, but during that time she dazzled so brightly that her image, and all that has been projected onto it, remains burned into our collective line of vision, an unfading afterimage of a bursting star.

As the Academy Museum’s exhibit underlines, Marilyn Monroe was a pioneer in many ways.

(Emily Shur / Academy Museum Foundation)

Her death — at 36 by way of overdose — did much to cement her legacy, generating international headlines and then a multitude of conspiracy theories, many of them involving powerful men, including members of the equally mythic Kennedy family.

Tragedy and mystery are powerful binding agents, but they do not quite explain the tower of books that have been, and continue to be, written about her (including several out this year) or the many films made about her life or the art she has inspired, from Andy Warhol’s iconic silkscreen “Marilyn Diptych” (done a year after her death) to Seward Johnson’s massive statue “Forever Marilyn,” which, after some controversy, made its forever home in Palm Springs five years ago.

Marilyn Monroe’s personal items on display include parts of her makeup regimen.

(Emily Shur / Academy Museum Foundation)

As the Academy Museum’s exhibit underlines, Monroe was a pioneer in many ways. In the repressive ‘50s, she was sex positive and spoke openly about psychotherapy and the vagaries of fame. She often defied studio heads, was one of the first actresses to start her own production company and demanded approval of her many photo sessions.

She had multiple marriages, problems with drugs and alcohol and a reputation for being difficult on set, but she was unafraid to both call out the press and banter with them.

Still, she is not seen by the masses as a pioneer, a term that brings to mind scientists and suffragettes. No, Monroe remains a mesmerizing, radiant symbol — of beauty, glamour, sensuality, a life force so rare that it could not be expected to survive long in a world full of envy and petty demands.

In putting together “Marilyn Monroe: Hollywood Icon,” associate curator Sophia Serrano spoke with many devoted fans, including those whose collections helped build the exhibit, and they all said the same thing.

More than 60 years after her death, Marilyn Monroe still glows brightly in the Hollywood firmament.

(Emily Shur / Academy Museum Foundation)

“Even though she had a tragic ending,” Serrano said, “people would say she is a symbol of resilience. Her story is like a movie — an orphan who makes it big, then loses it all. They see her as battling the studio, wanting to get more nuanced roles and not getting the roles she wanted. … A lot of people latch onto her because she gives them hope.”

In many ways, Monroe is, and was, a piece of art herself, onto which we could project our own longings and adulation. But that art, Serrano says, was created by Monroe, with equal parts natural magnetism and a canny, rigorous sense of her own strengths.

In 1952, when she was a rising star, a journalist realized a nude pin-up being used in calendars and posters was Monroe; she had posed for what is now known as the “Golden Dream” series five years before. Monroe was filming 20th Century Fox’s “Gentlemen Prefer Blondes” at the time and studio head Darryl Zanuck pressured her to deny that the photos were of her.

Monroe did the exact opposite, shrugging it off in an interview, in which she said, “I was broke and I needed the money. … I’m not ashamed of it; I’ve done nothing wrong.”

“Marilyn Monroe: Hollywood Icon” opens Sunday at the Academy Museum.

(Emily Shur / Academy Museum Foundation)

Monroe’s unique, and, to a certain extent, self-constructed combination of vulnerability — the wide eyes, the half-open mouth, the child-like voice — and essential grit is what fuels her continued cultural resonance and what forms the guiding principal for the Academy Museum’s exhibit.

An exhibit on the life and legacy of Marilyn Monroe could fill an entire museum so for purposes of this exhibit, Serrano and her team chose objects that were relevant to her life. This being the Academy Museum, much of it focuses on her career in film. Costumes from her various movies (including the original exhibition copy of the famous white dress from “The Seven Year Itch”) occupy a big portion, in part, Serrano says, because Monroe was so often involved in their design.

“She was so smart, looking at these costumes,” Serrano says. “She was obviously Fox’s star for Cinemascope — she’s how they marketed the new technology and she didn’t like how certain silhouettes looked so she would not wear A-lines in Cinemascope because she thought the effect was unflattering. She really paid attention to how things worked and then knew how to control and edit and manage.”

Costumes from Marilyn Monroe’s various movies.

(Emily Shur / Academy Museum Foundation)

The pink gown from “Gentlemen Prefer Blondes” has its own story. Monroe’s character was originally to appear in bejeweled hot pants (also on display), but when the Golden Dream “scandal” broke, Zanuck demanded that she wear something less revealing.

Many personal items are on display as well, including the shoes she wore to her wedding to Joe DiMaggio, a rare apology from gossip columnist Hedda Hopper, marked-up scripts and parts of her makeup regimen (including a face-slimming mask she wore after being told she had a double chin). The love-hate relationship she had with the press is well represented by newspaper clippings and newsreels.

Marilyn Monroe’s famous white dress from “The Seven Year Itch.”

(Emily Shur / Academy Museum Foundation)

A whole room is devoted to scenes from her more famous films and an entire long wall to countless photographs. “She understood the camera better than anyone,” Serrano says, echoing observations made by photographers and actors who worked with her, including Laurence Olivier, who famously did not get along with Monroe during the filming of “The Prince and the Showgirl.”

Her reputation as being difficult on certain sets is also documented in a rather infuriating series of telegrams between director Billy Wilder complaining to her then-husband, playwright Arthur Miller, and Miller responding in defense of his wife.

It is a well-crafted glimpse at Monroe as a totality, including pieces from her Brentwood home and some of her own clothing, which Serrano says was far simpler than the gowns and suits she was photographed in. “Her persona was carefully constructed. She knew how to give just enough, to create the illusion of something.”

A whole room is devoted to scenes from her more famous films and an entire long wall to countless photographs.

(Emily Shur / Academy Museum Foundation)

And maybe that is the reason why Monroe continues to fascinate. Yes, she owned her beauty and sexuality with a boldness that stands out even now. Her relationship with the camera remains unparalleled — when she is in frame, it is almost impossible to look away. Her hip-swaying walk remains iconic and also, perhaps, revealing. It was achieved by putting one foot directly in front of the other, much like a tight-rope walker.

Which in many ways Monroe was, treading the line, invisible to the rest of us, between innocence and worldliness, between vulnerability and power.

The tension between the human need for both love and self-determination powers both art and madness, but never was it so tangibly brought to life than by Marilyn Monroe. Art and artist, creation and creator, she left behind a now-century-old mystery we’re still trying to unravel.

WASHINGTON — Former Atty. Gen. Pam Bondi is scheduled to meet with the House Oversight Committee on Friday to discuss the Justice Department’s investigations into deceased sex trafficker Jeffrey Epstein and its release of files related to that investigation.

But the circumstances surrounding her meeting with the committee raise questions about how much the committee will actually learn about either.

For one, the former attorney general will not be under oath in a sworn deposition but will provide a transcribed interview, which is voluntary. Bondi’s interview with the committee will happen behind closed doors with members of the committee and staff and will not be filmed. The committee says it plans to release a transcript soon after the hearing.

And Bondi will be represented at her interview by Assistant Atty. Gen. Harmeet Dhillon, which legal experts say raises the prospects that the Department of Justice could direct Bondi to not answer some questions posed by the committee.

Former Atty. Gen. William Barr, former President Clinton and former Secretary of State Hillary Clinton all gave sworn depositions.

Rep. James Comer (R-Ky.), the chair of the committee, rejected the Clintons’ offer to provide a transcribed interview, rather than sit for a deposition, out of concern that someone giving a transcribed interview could “refuse to answer whatever questions he wanted for whatever reasons he wanted.”

Comer’s spokesperson said Bondi was allowed to sit for a transcribed interview, rather than a deposition, because the former attorney general was “cooperative.”

“Unlike the Clintons who defied subpoenas for seven months, former Attorney General Pam Bondi voluntarily and quickly cooperated with the Committee to identify a mutually agreeable date,” spokesperson Austin Hacker said in a statement.

Bondi had, in fact, refused to comply with the committee’s subpoena while she was still in office, and the ranking Democrat on the committee, Rep. Robert Garcia (D-Long Beach), filed a resolution on April 29 to hold Bondi in contempt for not complying with the committee’s subpoena a month earlier. Bondi’s agreement to provide a transcribed interview was announced the same day.

The committee subpoenaed Bondi in March to learn more about the department’s long-running investigations into Epstein — the financier accused of abusing more than 1,000 women and girls and directing some of them to have sex with his high-powered friends — and the department’s release of files in response to the 2025 Epstein Files Transparency Act, which mandated disclosure of the investigative records.

Asked whether Dhillon’s participation indicated that the department planned to invoke privilege and bar Bondi from sharing some information, the department said in a statement that Dhillon and other agency officials would attend Bondi’s interview “solely to ensure accurate representation of Department processes, facilitate any necessary clarifications, and support a complete factual record for the Committee.”

The department added that it “routinely provides staff” to assist with “congressional engagement involving past Department staff actions.”

But a former DOJ ethics official, speaking on the condition of anonymity for fear of retribution, said that Dhillon’s participation in the proceedings was anything but routine.

Typically, this type of work would be handled by a less senior attorney at the department who had more direct involvement with the subject matter at hand, the former official said. Dhillon oversees the department’s civil rights division, while the investigations into Epstein were criminal matters.

“I don’t see where Harmeet Dhillon has the experience or the normal level of authority that this would be delegated to,” the official said. “Everything about this seems unusual.”

Bondi would also need to have submitted a formal request for representation from the department.

“It doesn’t just happen willy-nilly,” the former ethics official said.

The department didn’t say how Bondi came to be represented by the agency’s attorneys. Bondi, who said this week she is being treated for thyroid cancer, didn’t respond to a request for comment.

The presence of Dhillon — a San Francisco attorney and Republican party insider who has been talked about as a potential pick for attorney general — could also present a conflict of interest, experts said.

“It’s unclear if she is representing the interests of Bondi, the department, or herself,” said Dave Rapallo, a former staff director of the House Oversight Committee.

He said that Dhillon would not have been able to represent Bondi if her testimony was provided in a deposition because the committee’s rules prevent agency lawyers from attending depositions.

Bondi was fired by President Trump on April 2. She was dogged by questions about her handling of the Epstein investigation throughout her time in office.

Trump campaigned on the promise of releasing information about the government’s investigation into Epstein in 2024 and in February 2025, Bondi told Fox News that she had on her desk a list of clients of Epstein — who died in federal custody in 2019.

But months later, as questions swirled about Trump’s relationship with Epstein, the Justice Department announced that it was closing its investigation into Epstein and said that, in fact, no such client list existed.

Soon after, Rep. Ro Khanna (D-Fremont) and Rep. Thomas Massie (R-Ky.) introduced the bipartisan Epstein Files Transparency Act, requiring the Justice Department to release all of the records from its investigation into Epstein. Trump initially opposed the legislation but ultimately signed it into law.

The department has released millions of pages of records in response to the law. While Acting Atty. Gen. Todd Blanche said in January that there are millions of additional pages of records that are not yet public, the department has indicated that it doesn’t plan to release these additional files.

There are two doubles wildcards available for the tournament at Queen’s, and one is reserved for a team which includes a former world number one, a Grand Slam champion of the past 10 years or a current top-30 player.

WIlliams has never liked the word retirement, preferring instead to say she was “evolving away” from tennis in 2022.

She lost to Australia’s Ajla Tomljanovic in the third round of the 2022 US Open, in what the world thought would be her final match.

Williams had reached the semi-finals of the Australian Open earlier that year, and won her last Grand Slam singles title in Melbourne in 2017 at the age of 35.

The Lawn Tennis Association has consistently prioritised British players when determining who should receive wildcards at domestic grass court events.

All four available for the singles draw are very likely to go to British players, but the LTA are likely to feel differently about the doubles given the “exceptional circumstances” of a potential Williams return.

“Never say never, and not wanting to speak of any one individual player, but you will have seen over recent years that those wildcard opportunities are afforded to British players – that is absolutely my fundamental personal belief and philosophy,” LTA chief executive Scott Lloyd said at a briefing for journalists in April.

“There might be exceptional circumstances which might influence a unique wildcard, but otherwise those playing opportunities we want to afford to British players.”

The organisation’s performance director Michael Bourne also hinted commercial opportunities could be a factor.

“It’s also really important to remember that we in the performance team understand that players have to earn that right,” Bourne said.

“We don’t take them for granted. If we didn’t think we had a depth of player where it was right for them to take those opportunities, and there was something else that was good for the business, we would hold our hands up.”

The Foreign Office has updated its travel advice for Brits to a number of destinations as a new Ebola outbreak has been declared in the Democratic Republic of Congo

The Foreign Office has updated its travel advice for a number of countries after an Ebola outbreak earlier this month in the Democratic Republic of Congo (DRC).

On May 15, the country’s Ministry of Health confirmed an outbreak of Ebola Bundibugyo in the North-Eastern Ituri Province, while cases have also been confirmed in Uganda. The World Health Organisation (WHO) has since declared Ebola in the Democratic Republic of Congo and Uganda a Public Health Emergency of International Concern.

As a result, a number of destinations to introduce stricter measures for travellers from health screenings for foreign nationals to quarantine for residents in certain cases.

For example, Kenya has introduced enhanced health screenings for passengers arriving from Uganda, Ethiopia, and DRC, while Tanzania has also introduced increase public health measures for incoming travellers.

Now the Foreign Office has updated its travel advice for Uganda, Angola and the Central African Republic, with warnings around new health screenings and entry requirements for anyone travelling to those destinations.

In its Angola advice, it warns: “On 15 May the Democratic Republic of Congo Ministry of Health announced an outbreak of Ebola Bundibugyo in the North-Eastern Ituri Province. Read more about the Ebola outbreak on TravelHealth Pro and see information on Ebola and similar diseases. World Health Organisation (WHO) have declared this a Public Health Emergency of International Concern.

Due to the outbreak, you may experience heightened health screening at international borders in the region. Check entry requirements for the country you’re travelling to or transiting.”

The Foreign Office has already been advising “against all travel to parts of Central African Republic” before the Ebola outbreak in the DRC and Uganda, but has updated its advice due to the country sharing a border with the DRC.

Virginia Messina, Group CEO of African Travel and Tourism Association (ATTA), said: “Established protocols are in place within countries bordering the DRC and as a result tourism operations and business trips across the wider African continent continue normally. As of 27 May, no other cases have been detected outside of Uganda and DRC. The risk to travellers on standard itineraries outside affected areas remains very low, and it’s important to highlight that Ebola is not easily transmitted through casual contact.

“However, travel rules and screening measures may change quickly. The WHO (World Health Organisation) and the European Centre for Disease Prevention and Control (ECDC) are scaling up efforts to contain the virus but continue to advise against blanket travel restrictions and neither the UK, nor any European country has introduced entry bans.”

THE best beaches in Europe have been revealed and the number one spot is a beautiful escape with super cheap flights.

Dubbed one of Portugal’s ‘Sunset Beaches’, Monte Clérigo sits in the Algarve region, but is much quieter than other crowded resorts.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

The Algarve draws in millions of Brits every year wanting to explore its golden sand beaches and bask in its glorious sunshine.

It’s most popular resorts include Albufeira, Vilamoura and Alvor – but that’s not where you’ll find the best beach.

Tucked away on the western coast is Praia de Monte Clérigo which has just been declared the best beach in all of Europe by European Best Destinations.

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Beaches across Europe are assessed on aspects like natural beauty to water quality, family-friendliness, available activities, accommodation and overall atmosphere.

The 30 highest-rated beaches are then submitted to an international panel of travellers and tourism enthusiasts who vote to find the ‘Best Beaches in Europe 2026′.

Monte Clérigo Beach was described the beach as having ‘golden cliffs’ and ‘wild Atlantic landscapes’.

The ‘wildness’ of the coastal spot comes from the fact that it forms part of the Southwest Alentejo and Vicentine Coast Natural Park where there’s lots of greenery and plenty of hiking routes.

The beach also has fine sand, low-tide rock pools, is ideal for surfing, and its nearby town of Aljezur is filled with colourful cottages some of which sit up on the cliffside.

Monte Clérigo is considered one of Portugal’s best ‘Sunset Beaches’ too.

Thanks to its position on the western coast, beachgoers have a clear view of the sun as it sets looking like it sinks into the ocean.

One visitor wrote on Tripadvisor: “Stunning beach on rugged coastline. Visited several times. Away from hectic tourist resorts. This beach is beautiful. It’s well worth waiting for some sunset photos!”

Another added: “I discovered another beautiful beach on the southwest coast of Portugal. Pristine and unspoiled is how I’d describe the place.”

Right on the sands is Restaurant O Sargo which has live music every Friday night and is popular with locals and visitors who enjoy fresh seafood and watch the sunset in the evening.

Faro International Airport is an hour and a half drive away from the beach, so from the UK you could be sunbathing on the beach in under five hours.

One-way flights are as little as £13.99 in June flying from London Luton with Wizz Air.

Other beaches that secured a spot on the list were Voutoumi Beach in Antipaxos which came in second place.

Elafonisi Beach which is a rare pink beach in Crete came in fourth place.

One beach in Norway even made it onto the list, Kvalvika Beach has bright blue waters and is backed by enormous mountains – certainly making it one of the most beautiful.

The ‘Best Beaches in Europe’ for 2026…

These are the ‘best beaches in Europe’ as rated by European Best Destinations…

1. Monte Clerigo – the Algarve, Portugal
2. Voutoumi Beach – Antipaxos, Greece
3. Fteri Beach – Kefalonia, Greece
4. Elafonisi Beach – Crete
5. Bogliasco Beach – Italy
6. Cala Mesquida – Majorca, Spain
7. Kvalvika Beach – Moskenesoy, Norway
8. Rovinia Beach – Corfu, Greece
9. Kaputas Beach – Turkey
10. Paleokastritsa Beach – Corfu, Greece

May 28 (UPI) — South Korea overtook the United States in 2025 to become the world’s second-largest exporter of cosmetics, according to the Ministry of Food and Drug Safety (MFDS) earlier this month.

The ministry noted that the East Asian country’s cosmetics exports amounted to $11.4 billion in 2025, up 11.8% from a year before, trailing only runaway leader France with $24.3 billion.

The United States ranked third with $10.8 billion, followed by Germany with $9.9 billion, Spain with $9.2 billion, Italy with $9 billion, China with $7.3 billion, and Japan with $3.9 billion.

Meanwhile, South Korea’s 2025 cosmetics imports declined 2.3% year-on-year to $1.29 billion, resulting in a trade surplus of $10.1 billion. It marked the first time Asia’s fourth-largest economy topped $10 billion in the annual cosmetics trade surplus.

By destination, the United States has emerged as the largest overseas market for Korean cosmetics last year as exports jumped 15% year-over-year to $2.2 billion. In contrast, shipments to China plunged 19% to $2 billion.

Demand for Korean cosmetics, widely known as K-beauty products, also increased sharply in Europe and the Middle East. Exports to Poland, in particular, more than doubled from a year earlier to $282 million.

To further beef up the competitiveness of the K-beauty industry, the MFDS pledged to pursue a range of policy initiatives, including expanded regulatory support programs.

“As countries such as the United States and China have recently introduced cosmetic safety assessment systems, we are preparing to implement our own safety evaluation framework in phases,” the MFDS said in a statement.

“To help domestic companies comply smoothly with the new system, the government plans to establish guidelines, provide consulting services, and train professional evaluators,” it added.

New players fueling K-beauty boom

In the past, South Korea’s cosmetics giants relied heavily on China as their primary offshore market. Traditional behemoths, including AmorePacific and LG Household and Health Care, resorted to such a business model for years.

However, a new wave of entrepreneurs has come to the fore with a different approach, reducing dependence on China while tapping aggressively into the United States, Europe, and Southeast Asia.

Leading the shift is APR, which was founded in 2014 and built its growth around online sales channels and beauty devices aimed at international customers.

Last year, APR almost tripled its operating profit to $240 million, which is almost equivalent to that of AmorePacific and well above $113 million of LG Household & Health Care.

APR continued its strong momentum this year as its first-quarter operating profit stood at $101 million, up 173.7% from a year ago, based on robust performance in such major markets as the United States and Japan.

According to U.S. business tracker Navigo Marketing, APR came in third place in Amazon’s beauty category last year with a 7.1% market share. The firm doubled it to 14.1% in the first quarter to claim the top position.

APR has also strengthened its offline presence by entering more than 1,500 Target stores across the United States last month. It plans to expand further into about 3,000 Walmart stores in June.

Meanwhile, first-quarter operating incomes of AmorePacific and LG Household and Health Care fell short of APR with $84 million and $72 million, respectively.

The strong earnings have prompted investors to pile into APR shares on the Seoul bourse.

As a result, APR’s market capitalization jumped 73.59% this year to reach $10 billion as of Thursday. Those of AmorePacific and LG Household & Health Care were $4.49 billion and $2.52 billion, respectively.

“Considering the expansion of offline channels in the United States and accelerating sales growth in Europe, APR’s stock is likely to maintain a medium- to long-term upward trajectory,” Yuanta Securities Korea analyst Lee Seung-eun said in a report.

HMC Investment Securities analyst Ha Hee-ji shared a similar view.

“APR’s growing brand recognition in the United States appears to be spreading across global markets, thus creating a virtuous cycle,” Ha said. “Business-to-business sales in Europe, Latin America, and the Middle East are also showing steep growth trends.”

The Middle East has been a difficult region to deal with in oil markets. When it comes to energy geographies, the region has proven to be a disproportionately significant part of the world’s energy resources, with export facilities traversing a handful of maritime routes and political situations that have been tense, if not outright volatile, at times. The change in 2025 and into 2026 isn’t the nature of the forces but rather the confluence of overlapping pressures: ongoing sanctions enforcement, multiple theaters of conflict, OPEC+ tensions that are more public than ever in previous years, and disruptions to shipping in the Red Sea, which now seem to have become a semi-permanent part of the shipping route landscape.

There is no background information for commodity traders, market analysts, and energy investors. It’s a real-time, constantly evolving dynamic that can make all the difference in the day-to-day performance of prices, and it’s particularly important when prices are sliding around rapidly, and the stories behind them are changing just as fast.

The Behavior of Prices and the Risk of Middle East Supplies

Traders who follow crude oil price live data are the first ones to witness this. Real-time feeds are a reflection of more than just the fundamental supply-demand elements, but the market’s real-time assessment of the value of geopolitical risk and how much it “should” be worth at any given moment. A news event, which is a minor detail in a more stable environment, can cause future prices to move $5 or more in less than an hour. The consistent and tough question – and it is a tough one – is, which events actually have physical supply implications and which ones are sentiment-driven moves that die in a session or two?

The Strait of Hormuz

About 20-21 million barrels per day of crude oil and petroleum products go through the Strait of Hormuz, which is about 20% of the world’s oil consumption. No readily available bypasses can be found that can absorb that flow at a similar cost. There are partial alternatives, including the IPSA pipeline and Saudi Arabia’s East-West pipeline, but they would not even come close to filling the deficit should the Hormuz be closed en masse.

Source

It is a strait between Oman and Iran. Geography makes it so that any serious disruption in U.S.-Iran relations or of security conditions in the Gulf in general puts Hormuz back on the market’s agenda. Traders are all familiar with this: when there is a lot of Iranian tension, the futures positioning will always reflect the chokepoint risk, even if there is no incident per se.

Production Outages That Don’t Make the Front Page

Key Risk Factors Shaping Market Sentiment in 2026

Active Conflict Zones and Exposure to Infrastructure

The Persistent Iranian Supply Question

Infrastructure Concentration Risk

OPEC+ Internal Dynamics

Non-State Actor Activity and Shipping Friction

How the Market Prices Geopolitical Risk

Risk Premium in Practice

Geopolitical risk premiums in times of heightened Middle East tension have varied from around $4 to $10 per barrel, depending on the market participants’ views on the probability of actual physical supply disruptions in the case of Brent crude, according to S&P Global Commodity Insights. That’s a fairly broad window for economic trading, and it has a tendency to close up very fast when the tension subsides and without a supply event, which is the more common scenario.

The geopolitical risk premium factors analysts may consider are:

• The nearness to active conflict, producing fields, or the working export terminals.
• Production capacity that would be available to make up for the loss of production elsewhere.
• The availability and magnitude of the IEA’s strategic stockpiles to be tapped.
• Current tanker market conditions and the viability of an alternative route.
• Diplomatic messages sent by governments in the area, including the United States and other great powers
• Past examples of similar events, which have had identifiable supply impacts.

It is not easy to give exact weights to these inputs. Part of the reason for the price action to seemingly be different with comparable geopolitical events can be due to different analysts forming different conclusions from the same events.

Historical Supply Disruptions and Price Responses

The 2025-2026 entry is a more diffuse form of market pressure than those acute events listed above. It is not one particular incident, but rather sanctions enforcement and Iranian volumes kept low and shipping activity in the Red Sea continuing to cause friction in the transport system, which has kept transport costs elevated. The World Economic Outlook from the IMF pointed out that this type of persistent supply constraint is likely to have a longer-lasting impact on medium-term price expectations than acute supply shocks, which markets have historically been able to absorb and turn around in relatively short periods of time. Thus, a slow-burning risk premium can be more ‘sticky’ than a dramatic risk premium.

Broader Market Implications

Strategic Reserve Releases (SRRs) as a Counterweight

Geopolitical Risk Analysis: What It Does and Doesn’t Accomplish

Conclusion

Disclaimer

Opinions are divided on whether dog owners should allow their beloved pets to lick their faces or not – but Springwatch’s Chris Packham has some strong scientific backing for his take

It’s one of those questions that can divide even the closest friends: would you let a dog lick your face? Medical opinions vary.

Professor Graham Roberts, honorary consultant paediatrician in paediatric allergy and respiratory medicine, is quoted in medical journal The Hippocratic Post as saying that that babies brought up in homes with pets are far less likely to suffer from allergies than babies who grow up in pet-free homes. He states: “If you are born into a household where there is a pet, you are less likely to be allergic.”

But others, such as Professor John Oxford, emeritus professor of virology and bacteriology at Queen Mary University of London, is strongly opposed to excessively close contact with dogs.

He points out: “It is not just what is carried in saliva. Dogs spend half of their life with their noses in nasty corners or hovering over dog droppings so their muzzles are full of bacteria, viruses and germs of all sorts.”

But for BBC Springwatch’s Chris Packham, there’s no debate. Speaking on the Oh My Dog podcast, the naturalist told host Jack Dee: “When we cut our finger, what’s the first thing we do? We lick it. And you lick it because there are bacterial fauna in your saliva which have antiseptic and healing properties.”

Similarly, he says, there’s a health benefit to be gained from dogs’ saliva: “In days of old, when they were having medieval battles and doing unspeakable things to one another with swords, there were a lot of wounded people and they would allow the camp dogs to come and lick their wounds. They discovered that if the dog was licking the wound… it would be less less likely to get infected.”

All domestic dogs are ultimately descended from wolves, and Chris says that while a small amount of a dog’s saliva can be good for us, wolves’ saliva has even more healing power: “I’ve been licked by wolves, been kissed by wolves,” he says, “and they have even cleaner, or bacteriologically richer, saliva than than dogs.” They’ve never been treated with antibiotics or other medicines that might compromise their natural state, he says.

Chris adds that when wolves lick each other, it’s part of ensuring the survival of the pack: “When wolves go back to their their den, in order to carry the food which they may have caught many kilometres away, they eat it and swallow it, and partially digest it.

“So when they get back to the den, the pups lick their lips and that stimulates the adult wolves to regurgitate the food.”

“Now obviously,” Chris adds, “dogs have lost that habit – they don’t regurgitate for their young. But that licking is retained into adulthood in dogs because it’s a greeting.”

Similarly, he adds, when dogs eat each other’s poo, there is a valid reason for it. While it might seem disgusting to us – providing support for the opponents of face-licking – this also dates back to wolf behaviour.

“Research has been done recently in California,” Chris explains, “which shows that they will only eat faeces that are between one and two or three days old.”

Chris adds: “It was a relic to wolf behaviour. Because adult wolves will come back and eat all of the faeces in the den area when they’ve got cubs… because it’s a way of reducing parasite load because the eggs of those parasites are in the faeces, and they don’t want their young to get them.

“So that apparently appalling behaviour, because everyone’s nauseated by the fact that their dog eats other dogs’ faeces, that comes from the wolf and it’s about reducing parasites.”