DHS says 8% of Nicaragua's entire population illegally entered US under Biden









Updates from Pallekele International Stadium in Kandy
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1st over: Oman 4-1 (Jatinder 0, Sonavale 4) There some significant swing out there, the pitch has apparently been sweating under covers for a few hours but there’s also movement through the air too. Bartlett has it on a string! He beats Karan Sonavale three times in a row. The batter decides enough is enough, trots out of his crease and spanks through the covers for four.
DROP! A huge knick the next ball, Glenn Maxwell shells it in the slips! Such an easy chance, right in the bread basket – Maxwell cannot believe what he’s just done.
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© Photograph: Sameera Peiris-ICC/ICC/Getty Images

© Photograph: Sameera Peiris-ICC/ICC/Getty Images

© Photograph: Sameera Peiris-ICC/ICC/Getty Images














© Brendan Mcdermid/Reuters
The Guardian’s picture editors select photographs from around the world
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© Photograph: Chris J Ratcliffe/Reuters

© Photograph: Chris J Ratcliffe/Reuters

© Photograph: Chris J Ratcliffe/Reuters
American halfpipe competitor says he has no regrets
‘I’m not going to let controversy like that get in my way’
At the start of these Winter Olympics, Donald Trump called Hunter Hess a “real loser” after the US skiing star admitted he had mixed feelings about representing his country. As he swooped down the halfpipe in Livigno on Friday, Hess delivered his response, flashing an L-sign with his hand after qualifying for Friday night’s final.
“Apparently I am a loser,” Hess said when asked about his gesture. “I am leaning into it.” And asked whether he had any regrets, Hess was just as firm. “I stick with what I said,” he replied.
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© Photograph: Marko Đurica/Reuters

© Photograph: Marko Đurica/Reuters

© Photograph: Marko Đurica/Reuters
Class-action suit accused Epstein’s lawyer and accountant of aiding and abetting his sex trafficking, filing says
Jeffrey Epstein’s estate has agreed to pay as much as $35m to resolve a class-action lawsuit that accused two of the disgraced financier’s advisers of aiding and abetting his sex trafficking of young women and teenage girls, according to a court filing.
Boies Schiller Flexner, a law firm representing Epstein victims, announced the settlement in a brief filed in federal court in Manhattan on Thursday.
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© Photograph: Kent Nishimura/Reuters

© Photograph: Kent Nishimura/Reuters

© Photograph: Kent Nishimura/Reuters



The increasingly popular shade has appeared on fashion week catwalks and award season red carpets
On the fashion colour wheel, green has long carried a reputation for being “tricky” – a shade that clashes with others and flatters only certain skin tones. Yet this year, a particular apple green has been steadily gaining popularity. It has appeared on catwalks and even on the red carpet, defying the old adage that red and green should never be seen.
Arriving at the Berlin film festival, Pamela Anderson wore an apple-green wrap by Carolina Herrera over a dress in tonal pinks and greens. Amal Clooney chose a green gown by Versace for a Golden Globes afterparty, while Rose Byrne wore green Chanel for the ceremony itself. With award season in full swing, there is speculation the shade could make a strong showing at the Baftas this Sunday.
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© Photograph: Fabian Sommer/EPA

© Photograph: Fabian Sommer/EPA

© Photograph: Fabian Sommer/EPA
Taking inspiration from Chile’s traditional borgoña, this red-wine cocktail makes for a great aperitif
A Chilean twist on a wine cocktail: elegant, vibrant and built on the balance between the depth of pinot noir and the bright sweetness of cherries. It takes inspiration from Chile’s traditional borgoña, a drink where red wine meets fruit (usually strawberries), but layers in cherry liqueur and soda for a modern, effervescent edge. I sometimes add a few drops of fresh lime juice to sharpen the sweetness and make the fruit flavours really pop. It’s refreshing yet sophisticated, and a great aperitif.
Nico Einersen, head chef, Mareida, London W1
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© Photograph: Rob Lawson/The Guardian. Drink styling: Seb Davis.

© Photograph: Rob Lawson/The Guardian. Drink styling: Seb Davis.

© Photograph: Rob Lawson/The Guardian. Drink styling: Seb Davis.
In a university ecosystem that breeds hunger for status, Epstein made scholars feel like celebrities
The Jeffrey Epstein story is often told as the intersection of two obsessions: sexual abuse and money. The recently released emails certainly contain significant evidence of both. But after more than two decades as a professor at Harvard, Cornell, and Cambridge, I am most struck by the limitation of that frame – in part because it fails to explain why academics show up so consistently in these files.
Certainly, money played a role in Epstein’s university connections. A rich man using donations and access to burnish his ego and legitimacy is a well-worn script, from Andrew Carnegie’s libraries more than a century ago to Bill Gates’s more recent global health philanthropy. As a college drop-out, Epstein clearly craved “respect” from high-profile academics. Universities, meanwhile, are perpetually fundraising and institutions that rely on donations often avoid asking hard questions about where the money came from. As the Bard College president, Leon Botstein, put it when defending his Epstein connections: “Among the very rich is a higher percentage of unpleasant and not very attractive people.” Institutions sometimes learn to stop asking hard questions about where the money came from.
Christopher Marquis is the Sinyi professor of management at the University of Cambridge and author of The Profiteers: How Business Privatizes Profits and Socializes Costs
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© Photograph: N8K/Getty Images/iStockphoto

© Photograph: N8K/Getty Images/iStockphoto

© Photograph: N8K/Getty Images/iStockphoto
She might have the same producer as Graham Norton, but will Claudia Winkleman’s new series succeed? Seasoned pros from Esther Rantzen to Kirsty Wark for the tips and tricks of creating interview gold
Claudia Winkleman’s new chatshow will land next month, and its enthusiast army are already excited. Winkleman herself, who doesn’t come off at all breathy, said: “I can’t quite believe it and I’m incredibly grateful to the BBC for this amazing opportunity.” Kalpna Patel-Knight, who commissioned The Claudia Winkleman Show, observed: “Claudia is a true national treasure – warm, witty and endlessly entertaining.” Graham Stuart, long-term producer/buddy of Graham Norton, who runs So Television, which produces both, said of his new venture: “How can you possibly follow [Graham Norton]? By booking a host equally as brilliant. So we have.”
And if anything proves how hard it is to create great chat, it’s those quotes. If anyone was ever that bland and blow-hard on one of their chatshow sofas, most TV people would punch themselves in the head. No wonder so many chatshows struggle when they first come out – it’s not that the expectation is too high, exactly, so much as the fanfare is too boasty. Brilliant as she is, then, the success of Claudia’s new series is far from given. But how exactly do you go about creating chatshow magic?
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© Photograph: Ashley Coombes/Shutterstock

© Photograph: Ashley Coombes/Shutterstock

© Photograph: Ashley Coombes/Shutterstock
Yin Xiuzhen builds cities from donated clothing while Chiharu Shiota weaves found objects into vast webs of thread. Now the two are exhibiting their massive, moving installations in two parallel exhibitions
These clothes are not “secondhand”, says Yin Xiuzhen, the Beijing-born artist known for creating large-scale installations out of found garments and keepsakes. “I prefer to call them ‘used’ or ‘worn’,” she explains. “Clothes that have been ‘worn’ carry a lot of information … like a second skin, imprinted with social meaning.” In some of Yin’s works the clothes are her own, telling a personal story. In others, the clothes are collected, stained and stretched across towering steel frames resembling planes, trains or organic forms.
Yin is showing a selection of these works in Heart to Heart, an exhibition occupying the lower floor of London’s Hayward Gallery. “Worn clothing acts as a narrator in my work … the lived experience is embedded in the fabric,” she says.
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© Photograph: Douglas J Eng/Photo by Doug Eng © DACS, London, 2025 and Chiharu Shiota

© Photograph: Douglas J Eng/Photo by Doug Eng © DACS, London, 2025 and Chiharu Shiota

© Photograph: Douglas J Eng/Photo by Doug Eng © DACS, London, 2025 and Chiharu Shiota