AOC voices support for anti-ICE shutdown, declines to participate



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Be it The Night Manager’s Richard Roper or Blue Lights’s Gerry, classic TV characters are increasingly finding it hard to stay in the grave. Here are the 10 greatest televisual resurrections
On TV, you’re never really dead. When a beloved character is killed off on your favourite show, you can be forgiven some scepticism. Who’s to say they won’t be miraculously revived in future?
The BBC hit The Night Manager brought arms-dealing antagonist Richard Roper (Hugh Laurie) back to life mid-series to face off against his old adversary, MI6 agent Jonathan Pine (Tom Hiddleston). The action duly cranked up several gears, building temptingly towards Sunday’s finale. Will Roper be eliminated for good this time?
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© Photograph: HBO/2016 Home Box Office, Inc. All rights reserved. HBO® and all related programs are the property of Home Box Office, Inc.

© Photograph: HBO/2016 Home Box Office, Inc. All rights reserved. HBO® and all related programs are the property of Home Box Office, Inc.

© Photograph: HBO/2016 Home Box Office, Inc. All rights reserved. HBO® and all related programs are the property of Home Box Office, Inc.
Very few things are more daunting than a house move. But it doesn’t have to be hell. Here is how to transport everything without breakages – or injuries
Moving home can be incredibly stressful. How should you make sure you get everything from A to B without breakages or injuring yourself? Removal professionals share the secrets to a smash-free, smooth move.
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© Composite: Guardian Design; Rawpixel;Halfdark/Getty Images

© Composite: Guardian Design; Rawpixel;Halfdark/Getty Images

© Composite: Guardian Design; Rawpixel;Halfdark/Getty Images
The Sánchez government is under fire after two crashes. But politicians of all stripes have prioritised opening new lines over maintaining existing ones
Spain has the most extensive high-speed rail network in Europe and the second-largest in the world after China. A source of immense national pride, the train system has grown and become more affordable thanks to a boom in rail passengers and competition among train companies. Every few minutes, a train departs from Madrid for Barcelona and vice versa, linking the country’s two most populous cities. This 600km journey takes less than three hours for an average fare of €65.
Thirty-four years after the first high-speed train between Madrid and Seville, the network now connects more than 50 cities in Spain. Along with being a badge of pride for the country, it even commands a rare political consensus. At least that was the case until this month’s calamities. In the first accident, one train derailed and collided with another near the town of Adamuz in Andalucía, killing 45 people and leaving dozens more injured. A second accident in Catalonia, caused by the collapse of a wall in bad weather, killed the driver of a commuter train in Barcelona. The local network, which has suffered delays and malfunctions for years, was completely halted for days as a result.
María Ramírez is a journalist and deputy managing editor of elDiario.es, a news outlet in Spain
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© Photograph: Manu Fernández/AP

© Photograph: Manu Fernández/AP

© Photograph: Manu Fernández/AP
The Chronology of Water is a ‘punk rock ayahuasca trip’ of a film that takes no prisoners. Stewart and her star, Imogen Poots, talk about the passion and pain that fuelled it
‘The movie is to be eaten alive and re-metabolised and shat out differently, from everyone’s perspective,” says Kristen Stewart, bracingly. The actor’s directorial debut, The Chronology of Water, has been doing the rounds at film festivals, and when we meet in London the reviews are coming in. Stewart knows that this impressionistic, arthouse collage of a film – adapted from an experimental memoir about a woman’s pain and loss, the elusive nature of memory and the reclamation of desire – is not going to be for everyone. “My favourite Letterboxd review is: ‘The Chronology of what the fuck did I just watch?’” But it matters to her that people respond to it. “Whether it’s your least favourite movie or your most favourite, it’s not lying, it’s genuine. And I’m so fucking proud of that.”
Stewart is sitting next to the film’s star, a slightly more sanguine Imogen Poots. Watching Stewart talk, her leg bouncing, her vocabulary ferocious, feels a bit like being sandblasted. It is invigorating and strangely galvanising, but you don’t go into a conversation with her half asleep. The same can be said for the film itself. “Language is a metaphor for experience,” writes the author Lidia Yuknavitch, at the beginning of the book on which it is based. “It’s as arbitrary as this mass of chaotic images we call memory.”
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© Photograph: Justin Bettman/BAFTA2026/Contour by Getty Images

© Photograph: Justin Bettman/BAFTA2026/Contour by Getty Images

© Photograph: Justin Bettman/BAFTA2026/Contour by Getty Images
I heard this huff, then a stomp. A growl that sounded like a death warning
Last November, I’d been out for the evening with friends who were visiting Los Angeles. Afterwards, I checked the notifications on my phone. There was a motion alert from one of the cameras around my house. It had captured a big black bear nosing around my bins.
We get wildlife here: raccoons, skunks. But I’d never had a bear rummaging through my trash. I watched as it turned things over, then wandered off. I assumed he had left.
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© Photograph: Bradley Meinz/The Guardian

© Photograph: Bradley Meinz/The Guardian

© Photograph: Bradley Meinz/The Guardian