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White House sources confirmed that the United States and Iran have reached a tentative memorandum of understanding to extend the current cease‑fire by 60 days, yet President Donald Trump has not granted his approval.Trump's Pending Signature on the 60‑Day Ceasefire MoUThe memorandum, described as a “framework for extending the truce,” is intended to buy time for formal diplomatic talks. Iran’s semi‑official Tasnim news agency reported that the text of the MoU has not been finalised, and the public will be notified once it is.Key Provisions of the Tentative AgreementExtension period: 60 days from the current cease‑fire deadline.Goal: Create a diplomatic window for “formal negotiations” on a longer‑term settlement.Status: Text still under negotiation; no official release.Strategic Implications for US‑Iran RelationsThe extension could reduce immediate hostilities in the region, but the lack of presidential sign‑off signals internal uncertainty within the U.S. administration. A signed MoU would signal a willingness to re‑engage, whereas continued delay may embolden hardliners on both sides.Potential Regional Ripple EffectsNeighboring states, especially Iraq and the Gulf Cooperation Council members, are watching the development closely. A stable cease‑fire could lower the risk of proxy clashes, but any reversal might reignite broader sectarian tensions.What Comes After the Extension?Analysts anticipate that the next 60‑day window will be used to negotiate a more comprehensive framework, possibly addressing nuclear talks, sanctions relief, and maritime security. The outcome will hinge on whether President Trump signs the MoU and how both delegations handle the ensuing diplomatic pressure.

The Escalation at Delaney Hall: Hunger Strikes and Police ClashesThe Delaney Hall detention facility has re-emerged as a critical flashpoint in President Donald Trump’s second-term immigration agenda. After reopening in February 2025, the center outside Newark, New Jersey, is now the epicenter of a volatile standoff involving detainees, protesters, and federal authorities. The immediate trigger for the unrest has been reports that detainees are staging a hunger strike, prompting local officials to demand answers.On Wednesday night, the situation turned physical as protesters attempted to block access to the facility. Demonstrators, some wearing gas masks, erected makeshift barriers and formed a human chain to prevent law enforcement entry. The Department of Homeland Security reported that six demonstrators were arrested for allegedly assaulting federal agents, a move the administration framed as a necessary response to criminal obstruction.The Human Cost and Political FalloutThe protests have exposed a widening rift between the federal government and local oversight bodies. New Jersey Governor Mikie Sherrill has been a vocal critic, stating that health authorities seeking to inspect the facility were denied full access. “Refusing to provide full access raises serious questions about what ICE is trying to hide from public view,” Sherrill said in a statement.Arrests and Charges: Six protesters were arrested for allegedly assaulting federal agents during the Wednesday night clash.Political Targeting: Mayor Ras Baraka was arrested last year for trespassing during a protest, while Congressmember LaMonica McIver faces assault charges she calls “purely political.”Detainee Conditions: Congressional inspections revealed moldy food and a lack of medical attention, with Representative Jerry Nadler describing the conditions as “dire.”The Erosion of Oversight and Private ContractingThe Delaney Hall crisis underscores the administration's strategy of bypassing local oversight through private contractors. The facility is run by the GEO Group under a contract with ICE, a model that allows the federal government to outsource detention operations while maintaining plausible deniability regarding conditions.Resistance to this model is intensifying. Not only are local officials like Sherrill and Baraka demanding closure, but members of Congress are also exercising their oversight duties despite being turned away at the gates. The administration's refusal to grant access to elected officials and health inspectors suggests a deliberate effort to conceal the realities of the detention network.A Flashpoint for the Second TermThe events at Delaney Hall are likely to become a recurring theme in the political landscape of the second term. With reports indicating that 50 immigrants have died in detention nationwide during this administration—the highest in at least two decades—the facility has become a symbol of the administration's hardline stance.As the hunger strike continues and legal battles over the facility's operation and the arrests of protesters unfold, Delaney Hall serves as a microcosm of the broader conflict over immigration policy. The clash between the administration's push for mass deportation and the constitutional rights of oversight and protest suggests that these flashpoints will continue to escalate in the coming months.

Ibrahima Konaté appears set to depart Liverpool FC after the club and his representatives failed to reach a new contract agreement, meaning the 27‑year‑old defender could leave on a free transfer at the end of his current deal.Contract Stalemate Sends Konaté Toward Free AgencyNegotiations over a fresh deal for Konaté, who has been at Anfield for five seasons, have broken down despite “extensive talks” between his camp and the club. The defender hinted in April that an agreement was close, but no formal offer materialised.Financial Implications of Losing a First‑Choice Centre‑BackAge: 27Contract length remaining: 0 (expires summer 2026)Potential fee: None – free transferRecent precedent: Trent Alexander‑Arnold left for £10 million after his contract ran downStrategic Blow to Liverpool’s Defensive RebuildingThe club’s sporting director Richard Hughes now faces a depleted back‑line, with new signing Jérémy Jacquet and Giovanni Leoni still recovering from injuries and uncertainty surrounding Joe Gomez. The loss compounds the departure of Mohamed Salah and Andy Robertson, marking a significant turnover from the Jürgen Klopp era.What Lies Ahead for Konaté and LiverpoolReports link the Paris‑born centre‑back with a possible move to Paris Saint‑Germain, while Chelsea are also mentioned as suitors. Liverpool will need to rely on emerging talents and the market to fill the void, and the free‑transfer exit could free up wage budget for new acquisitions.

Lead: NASA’s New Moon‑Base MilestoneNASA revealed that Blue Origin will conduct the first uncrewed lunar lander mission in a series of three scheduled for 2026, marking the agency’s initial move toward a $20 bn moon base. The decision, announced by NASA Administrator Jared Isaacman, places Bezos’s company ahead of SpaceX for this critical early contract.Blue Origin Secures First Uncrewed Moon Base MissionThe award designates Blue Origin’s Endurance cryogenic cargo lander to deliver scientific payloads to the Shackleton‑de Gerlache Ridge at the lunar south pole. The mission, targeted for launch as early as fall 2026, will be the first privately funded lunar lander flight in history.Contract awarded to Blue Origin over competing bids.Mission to test critical capabilities for future human‑landing systems.Part of a broader NASA roadmap that includes more than a dozen additional lunar missions through the decade.Financial Terms and Timeline of the 2026 Lunar MissionsNASA has allocated $230.4 million for each of the first two moon‑base missions, with the agency covering the majority of operational costs.Funding per mission: $230.4 million.2026 schedule: Three uncrewed missions, followed by “more than a dozen” missions in subsequent years.Related contracts: Smaller awards to Lunar Outpost, Firefly Aerospace, and other private firms supporting lunar‑to‑Mars projects.Strategic Implications for U.S. Lunar Ambitions and Private Space CompetitionThe selection underscores the Trump administration’s push to accelerate the Artemis program and establish a permanent lunar presence ahead of China. By leveraging private industry, NASA aims to lower taxpayer costs, stimulate a space‑economy job market, and maintain U.S. leadership in deep‑space exploration.Creates a direct competitive dynamic between Blue Origin and SpaceX for future crewed lander contracts (Artemis III, Artemis IV).Supports the “blueprint for an enduring lunar presence” with a target of operational capability by 2029‑2032.Aligns with national space policy goals of a “golden age of exploration” and a semi‑permanent lunar settlement.What Lies Ahead for NASA’s Moon Base and Commercial Lander DevelopmentFollowing the 2026 uncrewed flights, NASA will evaluate the performance of both Blue Origin’s Blue Moon lander and SpaceX’s Starship HLS during the Artemis III test mission in low‑Earth orbit. Successful demonstrations are expected to pave the way for crewed landings on Artemis IV (planned for 2028) and the eventual construction of Moon Base One.Industry observers anticipate that continued private‑sector involvement will accelerate technology maturation, reduce launch costs, and expand the commercial market for lunar payload services, setting the stage for a sustained human presence on the Moon.

The Rise of AI-generated History Influencers “I have just arrived in Tudor London, 1536,” a young woman in a green puffer jacket tells the camera. “I’m going to check in at my room in the inn, get into the market. Then, later I am meeting the actual king – yep, Henry VIII – in person.” On YouTube and other social platforms, users are flocking to watch AI-generated “history influencers”, characters that vlog their travels to historical settings. The Popularity of Chloe VS History One of the most popular channels is Chloe VS History, with more than 610,000 Instagram followers and 15m views on YouTube. Viewers can watch Chloe try eel pie at a Tudor market, explore the first-class suites on the Titanic and take a plunge in an ancient Roman bath. The format has been replicated by other channels, such as Janella Through Time, Nova VS History and Esmetimetravels. Popular destinations include ancient Rome, Pompeii, the wild west and England during the Black Death. The Creator's Vision The creator of Chloe VS History, 32-year-old Jonathan Laramy, said the goal was to “get younger people more interested” in different periods of history. “History is a very visual experience, but it’s just not taught that way,” he said. “It’s taught via a textbook. And that is not compatible with lots of students. So why not use the technology we have to bring that to life in a really visceral way? The Impact on History Education Adam Smith, a historian at Oxford University, believes the format could “massively enhance” how history is taught to young people. “What these AI [videos] are doing is connecting with that visceral, tangible sense of: ‘Oh my God, that could have been me, that was an earlier version of me.’ It’s quite a deep-seated psychological need in many people, to understand themselves in time.”

The Art of Provocation T Venkanna's paintings are like a sucker-punch. His first institutional solo show at London's Studio Voltaire features an overbearing altarpiece, modified by two squat side panels, depicting an orgasmic thicket of desire. The artwork is a commentary on the disparity between puritanical religious doctrine and licentious reality. The Intersection of Myth and Reality Venkanna's work is a way to consider many things, including the myth of religions. He draws inspiration from ancient Indian temples, where people touch the breasts of sculptures, making them smooth and shiny over time. His paintings are not about shocking, but about showing things around us. The Impact of Upbringing Venkanna's childhood in a small town in south-central India, where his father was a Hindu priest, had a significant impact on his work. He grew up in a one-room home with five other family members, and village people would come to ask about rituals and expectations of appropriate behavior. However, Venkanna discovered that these rules had a convenient degree of flexibility. The Evolution of Style Venkanna's artistic journey began with painting and drawing naked figures at home. He was sent to train as a drawing teacher and later enrolled in a fine art college, where he learned printmaking, miniature painting, and how to make and work with tempera. His early work was met with criticism, but he has since gained recognition, including a gold medal and support from teachers who donated their spare materials. The Future of Art Venkanna's work continues to push boundaries, exploring themes of intimacy, isolation, consent, and violation. His paintings are a counterpoint to gender inequality and prejudice, foregrounding women's experiences and depicting them as satiating their sexual appetite. As Venkanna says, 'I don't want to shock. What I'm showing are things around us.' T Venkanna: Sculpture Garden is at Studio Voltaire, London, until 23 August

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.

The Remix of a Classic Words, words, words. Can Hamlet retain its tragic force without using most of them? This hour-long dance-theatre remix by the late South African choreographer Dada Masilo preserves few speeches and its opening is not auspicious, crashing straight into “To be, or not to be” shorn of context and characterisation. The Dance of Ophelia and Hamlet There follows, as is customary, a meeting between the prince and Ophelia, but Masilo replaces the usual cruel encounter with stolen moments amid a ceremony, as if they are meeting anew like Romeo and Juliet at the Capulet ball. Matching each other’s movements, amid clapped hands, thrusting shoulders and rippling chests, they grow closer with a hint of tango footwork. From this flashback, Masilo practically fast-forwards their choreography with a sense of doom. The Emotional Depth of Gertrude Letting the pair share a tender duet reinforces their romance but also heightens the violence of the nunnery scene where they are traditionally first seen together. Masilo adds another new scene to show Gertrude’s despair upon receiving news of Old Hamlet’s death rather than introducing her as sanguinely remarried to his brother. We see her seek strength amid grief, supported by courtiers whose pulsing, grounded movement is a message of persistence. This is dancing felt in the gut. The Impact of Movement and Music Wooed offstage, Gertrude returns for a convivial ceremony where a young couple are ticked off for getting too raunchy on the dancefloor. Movement styles across generations and cultures are blended by Masilo, who drew attention for remoulding ballet’s classics. Her ensemble is often an industrious force, driven by relentless percussion, as each scene breaks like a wave against Thuthuka Sibisi’s compositions. The Tragic Conclusion The latter stages lose focus but the choreography’s omnipresent sense of returning to the earth foreshadows a climax where all are struck down by the kingdom’s collective sickness, stressed by the lighting of Suzette le Sueur (who also provides some of the elegant costumes). It’s a collection of often piercing scenes that never quite establish full collective power – a tragedy out of joint. At Sadler’s Wells, London, until 26 May

The Filmmaker's Foray into Documentary Lucrecia Martel, the celebrated director of films like La Ciénaga and The Headless Woman, has expanded her creative horizons with Landmarks, a documentary that scrutinizes a murder trial with far-reaching implications. The film navigates the intricate dynamics between Indigenous communities and the descendants of colonists, set against the backdrop of Argentina's Tucumán province. The Case at the Heart of the Story The documentary centers on the tragic killing of Javier Chocobar, a 68-year-old member of the Indigenous Chuchagasta people. Chocobar was fatally shot during a confrontation with men claiming rights to mine the land. Martel weaves the grainy, shaky footage of the incident into her narrative, juxtaposing it with breathtaking drone shots that capture the vast, poetic landscapes. Exploring Themes of Land and Legacy Martel's concerns extend beyond aesthetics; she places people at the core of her story. Through interviews and personal stories, the film sheds light on Chocobar's life, his family, and the struggles of the Chuchagasta community. A particularly chilling aspect of the documentary reveals how the state and local landowners have attempted to erase the Chuchagasta people, claiming they became extinct in the 19th century. A Quiet yet Powerful Testimony Martel allows the subjects of her film to present their case with quiet dignity, steering clear of strident rhetoric. The documentary is described as beautiful yet occasionally soporific, with a stately pace that allows for deep reflection on the issues presented. What's Next for Landmarks Landmarks is set to screen at Bertha DocHouse in London starting from May 29. This documentary promises to be a significant cultural and cinematic event, offering viewers a chance to engage with pressing social issues through Martel's unique lens.