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Departure to Mexico Amid Visa Hurdle The South African national team departed Johannesburg on Monday for their World Cup training base in Pachuca, Mexico, ahead of the opening match against co‑hosts on June 11. The charter flight left after a frantic 24‑hour scramble caused by visa delays. Assistant Coach Helman Mkhalele Remains Behind Assistant coach Helman Mkhalele, a former winger with 66 caps for Bafana Bafana, was not on the flight because his United States visa was initially denied. SAFA president Danny Jordaan blamed the US Consulate General in Johannesburg for the “administrative bungle” and said no reason was provided for the refusal. Squad Composition and Upcoming Fixtures Head coach: Hugo Broos Group A opponents: Mexico (opening match), Czechia (June 18, Atlanta), South Korea (June 24, Monterrey) Friendly match: Jamaica on Friday before the tournament World Cup appearances: Fourth tournament, first time aiming to progress beyond the group stage Potential Impact on South Africa’s Campaign The absence of Mkhalele could disrupt tactical preparations, especially given his experience and role in the coaching staff. Players and staff described the preceding days as “stressful,” but coach Broos emphasized that the team can now focus on the competition. Outlook for the Opening Game and Group Stage Broos expressed confidence that the squad will quickly settle in Pachuca and concentrate on the June 11 opener against Mexico. If the team can overcome the early logistical setbacks, analysts expect a competitive performance, though the missing assistant coach adds an element of uncertainty.

The Heatwave Prompt and a Glimpse into Everett’s PastDuring a scorching London heatwave, Rupert Everett—now 67—sits in a Bloomsbury café and admits the weather triggers memories of the summer of 1976, when he was a lanky teenager dreaming of stardom. The interview opens with his self‑deprecating humor about weight and age, setting the tone for a raw, introspective conversation. The 1997 Hollywood Resurgence: “My Best Friend’s Wedding”Everett’s most notable comeback arrived in 1997 when he played Julia Roberts’ gay best friend in My Best Friend’s Wedding. This role vaulted him into the position of the coveted “camp bestie” for leading ladies, briefly turning him into a box‑office draw.1997 – Cast as the gay confidant in My Best Friend’s Wedding1998‑2002 – Frequent supporting roles alongside A‑list actresses2006 – Publishes first memoir, Red Carpets and Other Banana Skins Memoir Revelations: Sex, Drugs, and Unflinching GossipEverett’s two memoirs—Red Carpets and Other Banana Skins (2006) and Vanished Years (2012)—expose a life of heroin use, cocaine experimentation, and selling himself for sex during lean periods. He spares no one: calling Madonna “vaguely sweaty,” describing Julia Roberts as “beautiful and tinged with madness,” and lampooning public figures like Alastair Campbell and Alan Sugar. The memoirs positioned Everett as a modern‑day Hedda Hopper, wielding ruthless, barbed gossip as a form of self‑critique. Personal Reckoning: Body, Identity, and the Weight of MemoryEverett confronts the physical and psychological toll of his past. He acknowledges his current “chubby” physique, the lingering “punk upper‑class attitude,” and the paradox of heroin as an “upper‑class version of punk.” The actor admits he often sabotaged his own performances—disrupting shows, sending bizarre gifts to critics, and indulging in drug‑induced escapism—behaviours he now finds “horrifying.” Looking Ahead: Redemption, Legacy, and the Role of Truth‑tellingDespite the self‑destructive legacy, Everett hints at a desire for redemption through honesty. By laying bare his flaws, he hopes to reshape public perception and perhaps inspire a new generation of actors to confront their own demons. The interview ends with a quiet acknowledgment that the heatwave, while uncomfortable, may finally force him to “smash his past up through sex” and move toward a more authentic future.

The Billionaire's Challenge to Women's FootballIt has been a bad week for Michele Kang, the billionaire women's football investor. On Wednesday the Uefa director of women's football, Nadine Kessler, was firm on the enforcement of rules prohibiting clubs with the same owner from playing each other in European competitions, dealing a blow to Kang, who has ambitions of taking London City Lionesses into Europe's premier competition, but also owns the tournament's most decorated side, OL Lyonnes.Then, across the weekend, Kang teams suffered two continental final defeats, with Lyonnes losing 4-0 to Barcelona in the Champions League final before her US outfit, Washington Spirit, fell short in the Concacaf W Champions Cup with a 5-3 reverse to the Mexican side Club América.Barcelona's Talent Pipeline vs. Financial MuscleSpeaking to the Catalan TV channel Esport3 in Oslo on Saturday evening, the Barcelona goalkeeper Cata Coll made some pointed remarks about money in football after their emphatic victory, and her words went viral. "There has been criticism but we have shown the team we are," she said. "Money isn't everything. We are privileged to have La Masia and all the girls that have come up to the first team: Aïcha Cámara, Carla [Julià Martínez], [Martine] Fenger, [Clara] Serrajordi, all of them. They are incredible. It says everything and that's why I say it."Many have assumed it was a jab at Kang and the use of her wealth to pursue glory in women's football, with Barcelona's talent pipeline apparently delivering an antidote to such an approach. There have been frustrations that Kang's teams have been sniffing at Barcelona's door in recent years, poaching the head coach Jonatan Giráldez, who led Barça to their second and third European titles, first planting him in post at Washington Spirit before switching him this season to Lyonnes, another of her Kynisca Sports International multi-club ownership group.The Financial Distortion in Women's FootballGiráldez isn't the only Barcelona employee to have been recruited by the big-spending Kang. The midfielder Ingrid Engen joined Lyonnes last summer and the defender Jana Fernández was acquired by London City from the Catalan club. Meanwhile, talk of potential rogue bids for Aitana Bonmatí have circulated in past seasons, while London City are believed to have made Alexia Putellas, soon to be out-of-contract, a large offer to play in the WSL.Clubs are seemingly irritated with Kang's spending because to entice superstars to fledgling projects she is offering fees and wages that are distorting the market, driving it beyond what many view as sustainable growth. Except, given the opportunity, every club would probably do it. Yes, huge men's clubs could do the same, given the large sums at their disposal, but often choose not to in the name of sustainability and gradual growth.Barcelona's Own Financial ChallengesHowever, while the constantly emerging talent from La Masia is both laudable and enviable, Barcelona are not a model women's football club, or a salve to the model being championed by Kang.Kang is one of many to have exploited the strict financial rules of La Liga, with the money trouble experienced by the men's side recently affecting every section of the club, from the women's team to the youth academy and basketball, handball and futsal teams. To lower the wage bill, players have been allowed to leave that may have been kept under different circumstances.The team that have powered Barça to four European titles contains several key players at the end of their contracts. Alongside Putellas, the quartet of Mapi León, Marta Torrejón, Salma Paralluelo and Caroline Graham Hansen are nearing the end of their deals. At some stage Barça will need to undergo their next evolution, but to what extent that is done on their terms, or forced by financial pressure, remains to be seen.The Future of Investment Models in Women's FootballSaturday's Champions League final was my eighth in nine years – the Covid-19 pandemic prevented me from attending the 2020 final between Lyon (now Lyonnes) and Wolfsburg in San Sebastián. The game has come a long way since my first, in Kyiv in 2018, when the host city was the same as the one for the men's Champions League final and the women's final cowered in its shadow.In Oslo the huge numbers pouring into Uefa's fan park, that featured a line of mini-pitches where girls' teams played all day, reflected the impact the final can now have on a city. Women's football has also changed a lot, but in some ways it is very similar. In 2018 Lyon lifted their fifth of what has become eight European titles, the efforts of the former club owner, men's and women's, Jean-Michel Aulas, repeatedly delivering for the French team. Aulas committed more resources to the women's team than most other European clubs and Kang is now doing the same sort of thing, but more aggressively, in a world where many of the top women's clubs are increasing investment.The problem is, there is no alternative model put forward by any of the biggest clubs. Each one walks the same path, in slightly different ways, perhaps getting annoyed at how others have gone the same route. Most men's Premier League clubs do not want an alternative funding model – because it might show fans there is another way of doing things. As it stands, those owners can take money out of clubs to boost their personal wealth.So, yes, Coll is right, but behaving like Barcelona are the morally superior club is misleading.

The Visa Delay CrisisThe South African squad's departure for the FIFA World Cup has been delayed due to a hold-up in the visas for Mexico, whom they face in the tournament's opening game in 11 days, the South African Football Association (SAFA) has confirmed. Bafana Bafana, as South Africa's national men's football team is known, were scheduled to depart on a chartered flight from Johannesburg to Mexico City on Sunday morning, but remained grounded as visas for the cohost nation for some squad members were delayed.World Cup Opening Match in JeopardyMexico will host South Africa in the World Cup's opening game at the Estadio Azteca on June 11, making this delay particularly concerning. "The South African senior men's national team has experienced challenges regarding visas for some players and officials, and as a result the group could not travel to North America this morning as originally planned," SAFA said in a media release. The association emphasized that they are "working around the clock to ensure that the team travels to Mexico City as soon as possible ahead of the opening match."Squad and Tournament ScheduleHugo Broos announced his 26-man squad on Wednesday, which included two uncapped players. South Africa will warm up for the World Cup with a friendly against Jamaica on June 5. After taking on the cohosts in their opening group clash, they meet Czechia on June 18 and South Korea on June 24. The squad was given a grand public sendoff in Johannesburg on Saturday before their first appearance in the tournament since hosting it in 2010, but the flight from OR Tambo airport to Mexico City was postponed.Official Response and CriticismSAFA said it had called an emergency committee meeting later on Sunday to discuss the issue following a vociferous condemnation from Sports Minister Gayton McKenzie, who termed it "embarrassing and grossly unfair." "We are being made to look like fools," McKenzie said on social media platform X. Amid speculation about the visa bungle, several social media users questioned why the team paraded in Johannesburg before their departure if team officials were aware that players had not been issued visas yet.Broader Visa Challenges at World CupSouth Africa are not the first team to run into visa-related logistical issues at the World Cup. Members of Iran's World Cup squad have also not been issued visas for the United States, where they play their opening game against New Zealand on June 15 and two other group matches thereafter. According to Iranian state media reports on Saturday, FIFA has informed the Football Federation Islamic Republic of Iran (FFIRI) vice president Mahdi Mohammadnabi that administrative work is in progress and the visas will be issued this week. Iran relocated its team's base camp from Arizona, US, to Mexico last week.

Outcry Over Shnaider’s Gazprom‑Backed AppearanceDuring a post‑match press conference after losing 7‑5, 6‑1 to a Russian opponent at the French Open, Oleksandra Oliynykova called for sanctions against fellow competitor Diana Shnaider. Oliynykova said Shnaider’s participation in a Gazprom‑sponsored exhibition in St Petersburg directly supports the Russian war effort in Ukraine. Oliynykova’s Accusations and EvidenceOliynykova presented journalists with photographs of Shnaider playing at the “Northern Palmyra Trophies” exhibition, an event funded by state‑owned oil giant Gazprom. She also shared screenshots suggesting Shnaider had “liked” pro‑Vladimir Putin posts on Instagram, linking the athlete to propaganda supporting the invasion. Absence of Financial Penalties and Sponsorship FiguresNo monetary fine or official sanction has yet been imposed on Shnaider for the exhibition.The article does not disclose the exact amount Gazprom contributed to the event, only that it was a corporate sponsor.Current tennis governing bodies have not publicly addressed the conflict between sponsorship and war‑related funding. Potential Ripple Effects on Tennis Governance and SponsorshipThe demand highlights a broader tension: athletes competing in events backed by entities linked to conflict may face moral scrutiny, while governing bodies claim limited enforcement mechanisms. If sanctions were applied, they could set a precedent for future vetting of tournament sponsors, especially in geopolitically sensitive regions. Future of Sanctions and Athlete ActivismOliynykova’s outspoken stance positions her as a leading Ukrainian voice on the war, suggesting that more players may use their platforms to pressure governing bodies. Should the International Tennis Federation or national federations act, we could see stricter sponsor vetting, possible bans on events tied to sanctioned companies, and a shift toward greater athlete‑led advocacy in sport politics.

A Lifelong Love Story Born in Apartheid South AfricaIn the white-and-black world of apartheid South Africa, where television was banned as communist propaganda, a small boy fell in love with Arsenal FC. This 65-year-old fan's devotion began in 1969 when he watched the Gunners lose to Swindon Town in a cinema newsreel, starting a 57-year journey that will culminate in the Champions League final in Budapest with his 25-year-old son.The Origins of an Unlikely Football RomanceIt was April 1969, at the author's eighth birthday party, where he first encountered Arsenal through a Pathé News bulletin showing the League Cup final between Arsenal and Swindon. Despite Arsenal losing 3-1 to Third Division Swindon, the young boy was smitten with the "mighty red machine." This initial encounter, despite the defeat, set the foundation for a lifelong allegiance that would span decades and continents.A Double Triumph That Cemented the BondThe author's adoration for Arsenal transformed into true devotion when the club won the league and FA Cup Double in May 1971. Another trip to the movies in downtown Johannesburg showed footage of Charlie George scoring the winning goal against Liverpool at Wembley. The image of the long-haired player spreadeagled on his back, arms stretched out in disbelief on the sun-kissed Wembley turf, entranced the young fan and his friends, who would later emulate the celebration in their suburban gardens.Navigating Football Fandom Under ApartheidLiving in apartheid South Africa, the author faced unique challenges in following his beloved Arsenal. With no live broadcasts and television banned, he relied on delayed news sources:Sunday morning runs to the corner shop to check English football resultsSecond-half commentaries on BBC World Service, with Peter Jones painting vivid pictures with wordsCopies of Shoot! magazine arriving six weeks late, providing detailed analysis and photographsFrom Cinema Screens to Champions League FinalWhen television finally arrived in South Africa in 1978, the author could watch Arsenal matches for the first time. Three successive FA Cup finals at Wembley - including a glorious 3-2 win over Manchester United sandwiched between defeats - solidified his connection to the club. Now, after 57 years of supporting Arsenal from afar, the author and his son will attend the Champions League final in Budapest, representing the culmination of an extraordinary transcontinental football journey.Football as a Refuge and ConnectionFor the author, Arsenal provided more than just entertainment - it was a connection to a world beyond apartheid's constraints. During his time teaching in Soweto in the 1980s, he witnessed how football offered relief from the oppressive regime for his students, some of whom had been tortured by security police. One student, Lucas Radebe, would later become captain of Leeds United as they reached the Champions League semi-finals, demonstrating how football could transcend geographical and political boundaries.A Legacy Passing Through GenerationsThe author's passion for Arsenal has now extended to his 25-year-old son, who shares his devotion to the Gunners. Their joint attendance at the Champions League final represents not just a culmination of the author's 57-year fandom, but also the continuation of a football legacy that has spanned generations and continents. This shared experience in Budapest symbolizes how football passion can bridge generational gaps and create lasting family bonds.

The Enduring Legacy of Doonesbury Garry Trudeau's Doonesbury cartoons have been a staple of American satire for 56 years, offering a unique perspective on the country's evolution. Unlike other popular cartoons, Doonesbury characters age, evolve, and even die, providing a realistic and relatable portrayal of American life. The Man Behind the Cartoons Garry Trudeau, the creator of Doonesbury, is a reclusive figure who has given only a handful of interviews over the past six decades. Despite this, his work has had a profound impact on American culture, earning him a Pulitzer Prize for editorial cartooning. The Biographer's Challenge Joshua Kendall, author of 'Trudeau & Doonesbury: The Cartoonist Who Turned the News into Art,' faced significant challenges in writing about Trudeau's life. With Trudeau's reputation for being elusive, Kendall had to rely on interviews with friends, colleagues, and archival documents to piece together the cartoonist's story. Trudeau's Formative Years Trudeau's life was marked by both privilege and trauma. Growing up in Saranac Lake, New York, a company town founded by his family, Trudeau experienced a childhood that was both idyllic and isolating. The sudden departure of his mother when he was 10 years old had a profound impact on his life, shaping his perspective and informing his art. The Power of Art Trudeau found solace in art, particularly cartoons, during his formative years. His experiences at Yale University, where he developed his skills as a cartoonist, laid the groundwork for his future success. Kendall's biography offers a fascinating glimpse into Trudeau's creative process and the ways in which his art has reflected and influenced American culture.

EU announced on May 29, 2026 that it will release a total of €16.4 bn (≈$19 bn) of previously frozen funds to Hungary, marking a major win for newly elected Prime Minister Peter Magyar. The disbursement follows a series of reforms aimed at addressing democratic backsliding concerns that led to the freeze under Viktor Orbán.EU Unfreezes €16.4 bn for Hungary Following New Reform AgendaCommission President Ursula von der Leyen stated that the bloc is ready to unlock the money that had been held back when Viktor Orbán governed. The release includes contributions from the Next Generation EU recovery fund, cohesion funds, and a conditional tranche tied to further reforms.Financial Breakdown of the Disbursement€10 bn from the Next Generation EU recovery fund€4.2 bn from EU cohesion funds€2.2 bn contingent on completion of additional reformsThe total represents roughly 13 % of Hungary’s annual budget, according to the prime minister.Political Significance for Budapest and the EUThe move signals a shift in EU‑Hungary relations, rewarding Magyar’s early steps such as dropping the plan to exit the International Criminal Court and allowing the upcoming Pride parade. It also demonstrates the EU’s willingness to use financial levers to encourage democratic standards.Outlook for Further Releases and Reform ImplementationEU officials indicated that if all reform milestones are met by the end of August, the first tranche could be transferred before the end of 2026. Continued compliance will be essential for unlocking the remaining €2.2 bn and restoring full access to EU recovery resources.

Sonny Rollins' Enduring Legacy: 10 Essential Recordings Sonny Rollins, a jazz icon, has left an indelible mark on the music world. With a career spanning over seven decades, Rollins has consistently pushed the boundaries of jazz, showcasing his mastery and innovation. Here are 10 of his greatest recordings: Tenor Madness (released on Craft/OJC, 1956) A 30-year-old Sonny Rollins had already made his unique mark with Miles Davis and Thelonious Monk by the time this 1956 session was cut. Hooking up with his contemporary and admirer John Coltrane happened by chance on the two-tenor blues chase of this album's title. Saxophone Colossus (Prestige, 1957) This writer's first connection with Sonny Rollins' music was occasioned not by music but words: poetic New Yorker writer Whitney Balliett's evocative review of Sonny Rollins' 1957 Saxophone Colossus. Rollins was partnered on this classic set by pianist Tommy Flanagan, bassist Doug Watkins, and bebop-pioneering drummer Max Roach. Way Out West (Contemporary, 1957) When UK jazz musician Courtney Pine was blossoming as a teenage saxophonist in the early 80s, he would recall that Sonny Rollins' 1957 recording Way Out West was a key inspiration. The format was a Rollins favourite in his own early years – the demanding setup of a sax improviser with just bass and drums in support. A Night at the Village Vanguard (Blue Note, 1957) Rollins' live recordings are not as abundant as his genius in open situations deserves, but this music from New York's Village Vanguard makes up a lot of the ground. Freed from the march of chords by the absence of a pianist, he's in storming form in the company of rock-solid bassist Wilbur Ware and soon to be legendary Coltrane drummer Elvin Jones. Freedom Suite (Riverside, 1958) Rollins was never a natural composer – like Miles Davis, he preferred tunes that could be sketched on the back of envelopes. But Freedom Suite was an interesting departure for him, occasioned by the political climate of US race relations and civil rights in the late 1950s. The Bridge (RCA, 1962) Rollins took a creative break between 1959 and 1961, and his return came with The Bridge, named after the eccentric refuge he found: practising alone on New York's Williamsburg Bridge with only passing trains for company. Live at Ronnie Scott's (Gearbox Records; recorded January 1965) Rollins' visits as a solo performer to London's Ronnie Scott's club in the late 50s and early 60s introduced his mesmerising magic to UK audiences, and also helped to galvanise the local scene's confidence at a time when European jazz became increasingly emancipated from the US. Sunny Days, Starry Nights (Milestone, 1984) From the 1980s onwards, Rollins settled into a concert groove that was predictable – by his exacting improvisational standards – and frequently dazzling for audiences new to him. Sunny Days, Starry Nights showcased him with partners who would regularly join him on stage for the rest of his life. This Is What I Do (Milestone, 2000) The best and most affectionately closeup manifestation of Sonny Rollins' genius as he hit his 70s. The saxophonist's later-life partners are present, and so is one of contemporary jazz's greatest drums pioneers in Jack DeJohnette. Without a Song: The 9/11 Concert (Milestone; recorded 2001) Sonny Rollins and his wife, Lucille, lived close to the World Trade Center, witnessed the buildings' collapse on 9/11, and had to evacuate their apartment shortly afterwards. Four days later, the saxophonist performed and recorded this evocative session with his regular sidemen at the Berklee School of Music in Boston.