The award, named after Cuban poet and writer Emilia Bernal, honors the careers of figures in the Hispanic community involved in literature and culture.

According to the Miami-based newspaper, the award was given to Tertsch for his professional career and for his defense of freedom, democracy and Western values through journalism and politics.

The news was initially reported by Cuban writer Zoé Valdés, who shared a message from Emilio Bernal Labrada, a full member and honorary academician of the North American Academy of the Spanish Language.

"Dear Mr. Hermann: The 2026 Emilia Bernal Literary-Cultural Award is merely a recognition that you fully deserve for your prestige, courage and love for fundamental human and democratic principles," wrote Bernal Labrada.

Muchas gracias a la Fundación Emilia Bernal por este Premio Literario Cultural que lleva el nombre de la poetisa y escritora cubana. Me emociona mucho recibir un galardón que antes se otorgó a cubanos tan admirados por mí como Carlos Alberto Montaner y Zoé Valdés.
Seguiremos en… https://t.co/lJiILWwagz

Tertsch expresses gratitude for the recognition

The European Parliament member publicly thanked the Emilia Bernal Foundation and noted that the award has previously been received by Cuban figures such as Carlos Alberto Montaner and Zoé Valdés.

"Many thanks to the Emilia Bernal Foundation for this Literary-Cultural Award named after the Cuban poet and writer," Tertsch said in a message posted on social media.

The Spanish politician added that he was moved to receive an award previously given to Cuban figures whom he said he admires and expressed his hope that, in the future, the foundation's activities could be held in Cuba.

The official directive seeks to inform visitors about what the administration describes as "inaccurate information presented in the museum."

The executive order is based on the findings of a report prepared by the White House and released on July 4, which concluded that the institution "cannot be trusted to tell the story of America honestly and in a way that is inspiring, unifying, and worthy of our great republic."

The measure expands on the directive signed by the president in March 2025, aimed at reviewing federal funding for programs that promote gender ideology, revisionism, or divisive positions.

Criticism of the social justice agenda in exhibits

In the text of the order signed this Friday, the president argued that the Smithsonian's leadership has led the institution away from its original mission. According to the White House, Smithsonian officials have ceased to present the country's history as a shared heritage and have instead turned it into a political tool.

"The Smithsonian's leadership does not present American history as a shared national heritage to be taught and celebrated, but rather views American history as a 'key tool' to promote ideas of social justice and the radical transformation of our society," the president wrote, adding that the museum's administration "cannot be trusted to tell America's history with honesty and gratitude."

To implement the measure, the administration instructed Interior Secretary Doug Burgum to coordinate with the National Park Service to place "temporary signage along sidewalks and walkways maintained by the NPS that the public uses to access the museum."

These signs will direct visitors to sources and resources with "accurate information about U.S. history."

The museum authorities' response and the debate over public funding

Following the release of the executive order, the Smithsonian Institution declined to issue an official statement on Friday.

However, in a previous statement sent to NBC News, Smithsonian Secretary Lonnie Bunch defended the organization's work, arguing that the White House report "is not a fair characterization of the work and the entirety of the National Museum of American History."

Bunch stated that the institution's work remains focused on "accuracy and an unwavering commitment to telling the full history of America," guided by "independence, accuracy, and integrity."

Despite the museum's stance, the presidential order directs the Department of the Interior, the Office of Management and Budget (OMB), and the General Services Administration (GSA) to use "all available authorities" to ensure compliance with government policies and transparency in taxpayer-funded spaces.

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Military Organization

One of the aspects that most often goes unnoticed when analyzing the American Revolution is the profound impact it had on Western military organization and doctrine. After all, the victory over the British Empire demonstrated, for the first time in the modern era, that an army composed mainly of ordinary citizens—motivated by the defense of their territory, their rights, and their freedom—could defeat the most professional and powerful military machine in the world.

The “citizen-soldier” model and doctrine, inspired by the classical ideas of the Roman Republic, challenged the prevailing notion of standing, professional armies separated from society. Following the victory and eventual independence, a strong constitutional distrust of large standing armies emerged, embodied in the Bill of Rights and the Federalist Papers, an idea that would prove to be powerfully influential in Western strategic thought over the following decades and centuries.

Examples range from the militias of the nineteenth century to the very concept of a military reserve and citizen-based national defense. Even the doctrine of the “people in arms” has one of its most tangible roots in the American experience during its struggle for independence.

Sovereignty

Another legacy of the American Revolution that changed the world was the issue of sovereignty, to the point of radically transforming the Western conception of it. For while before 1776 political authority was justified primarily by the divine right of kings or by dynastic inheritance, the Declaration of Independence would break drastically with that tradition by asserting that “just” governments derive “their legitimate powers from the consent of the governed.”

Far from being a minor detail, this point in fact represented a profound philosophical shift, as it was the first time that sovereignty no longer resided in a single person or dynasty, but rather in the politically organized people. There was a shift from vertical sovereignty to horizontal sovereignty based on the social contract and reason, establishing a new political legitimacy grounded in contract rather than in blood or divine revelation, thereby permeating all subsequent Western political thought, even in systems that did not fully adopt the republican model.

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Commercial Republic

One of the contributions of the American Revolution that most profoundly shaped the world and deeply influenced both the West and other regions was the establishment of the commercial republic model as an alternative to the European territorial empire. Rather than seeking to expand through conquest and permanent colonies in the British or French style, the United States managed to establish itself on the international stage as a power based on free trade, navigation, and technological innovation.

From very early on, the United States strongly defended freedom of the seas and armed neutrality, thereby creating a doctrine that ended up profoundly influencing the development of modern international maritime law: that the open seas must be free trade routes and not the exclusive domains of naval powers.

Coupled with a diplomacy characterized by pragmatism, this commercial vision allowed a young nation to become a global superpower without the need to maintain a vast traditional colonial empire. In fact, this model would ultimately demonstrate that prosperity and power could be built on the foundation of voluntary exchange and innovation, rather than direct territorial domination.

Ideas Over Ethnicity

Without a doubt, one of the most subtle and powerful legacies of the American Revolution was demonstrating that building a nation as large as it was enduring, based on ideas and laws rather than ethnicity or religion, was possible and achievable.

While a great many states throughout history were defined by cultural or blood-based homogeneity, the American Founding Fathers embarked on a bold experiment: the unification of vast territories and diverse populations under a single legal framework and a set of political principles. This model—based on a commitment to ideas such as individual liberty, limited government, and the rule of law—ultimately became the benchmark for many modern countries, especially those formed through immigration or characterized by great internal diversity.

U.S. independence ultimately demonstrated that a nation could be consciously forged through shared institutions and values, rather than relying exclusively on historical heritage or ethnic identity, thereby creating a civic concept that remains one of the most original and enduring contributions to Western political thought.

Far from being merely the birth of a country, the American Revolution was a practical demonstration that a new order based on the rule of law, the protection of individual freedoms, and conducive to the creation of wealth was possible. Much of the contemporary world in which we live continues to be shaped by that momentous event, and this is evident not only in our economic and legal systems but also in our understanding of the relationship between citizen and state.

Why Not July 2?

The Continental Congress voted to officially sever ties with Great Britain on July 2, 1776, not the 4th. The motion had been introduced weeks earlier by Virginia delegate Richard Henry Lee, and it was that vote—not the date celebrated today—that legally sealed the independence of the United States of America. On July 4, only the already drafted text of the Declaration was adopted—the document intended to announce to the world what had already been decided two days earlier. The date became fixed in the collective memory because it was the one printed in the document’s header; its printing was ordered that very night, and the first copies distributed throughout the colonies bore July 4 at the top, not July 2. The internal vote, however, left no document for people to read or celebrate, remaining merely a procedural step without much substance. President John Adams was so convinced that July 2 would go down in history that for years he refused to congratulate anyone on the wrong date.

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A draft that addressed slavery

The original draft by Thomas Jefferson included a paragraph condemning slavery and directly accusing King George III of imposing it on the colonies—a claim that, at the time, was still controversial. Delegates from Georgia and South Carolina, whose economies depended on slave labor, demanded that the passage be removed before the text was put to a vote. Congress agreed, and the Declaration of Independence ultimately proclaimed that all men are created equal without mentioning the institution that contradicted that idea in half of the signatory colonies.

The mass signing came later

On July 4, 1776, there was no mass signing by the 56 delegates, as popular imagination suggests. On that day, only John Hancock, president of the Congress, signed the document—his enormous signature appears at the top of the page. The rest of the delegates signed in the following weeks, and the formal ceremony with most of the signatures did not take place until August 2, 1776—almost a month after the date that appears in textbooks today.

This is how one of the most iconic symbols of the U.S. was born

Uncle Sam, perhaps the symbol most closely associated with the United States around the world, was born out of a misunderstanding involving sacks of meat. Samuel Wilson, a packer from Troy, New York, was responsible for supplying the U.S. Army during the War of 1812 and marked the barrels with the initials “U.S.” Soldiers began joking that those initials stood for “Uncle Sam,” in reference to Wilson himself, and the joke eventually became the official personification of the country more than a century later.

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The Mockery That Became Patriotic Pride

Yankee Doodle, the tune that is heard today at parades and patriotic events, began as a British mockery of Americans. British officers sang it before the war to ridicule the colonial soldiers, whom they described as rustic, unkempt, and unsophisticated with the word doodly, at the time meant fool or simpleton. The Americans themselves adopted the tune during the War of Independence and turned it into a hymn of pride, reversing the original insult.

The Borrowed Melody

Nor is the music of The Star-Spangled Banner entirely American. The melody originally belonged to To Anacreon in Heaven, the song of a London gentlemen’s drinking club dedicated to the Greek poet Anacreon. Francis Scott Key wrote the lyrics in 1814 after witnessing the flag flying over Fort McHenry, but he set his poem to an English tune that had already been circulating for decades in taverns on both sides of the Atlantic.

The 4th of July is also celebrated in other parts of the world

Although the 4th of July is almost entirely associated with the U.S., in reality, the date does not belong exclusively to that country and, in fact, is celebrated in other parts of the world. The Philippines commemorates Republic Day on that day, in reference to Washington’s formal recognition of its independence in 1946, and Rwanda observes Liberation Day, which marks the end of the 1994 genocide. In other words, three countries and three completely different histories coexist on the same day of the calendar.

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A Symbol of Freedom

The Liberty Bell, which is now on display in Philadelphia as one of the most recognizable symbols of American independence, does not ring on July 4, as is often portrayed in movies. The original bell hung for decades in the tower of Independence Hall, the building where the Declaration was debated and signed, and over time it became an emblem of the struggle for freedom, in part because of a biblical inscription cast into its rim proclaiming the liberation of all the inhabitants of the earth. But since 1846, it has been unable to function as a normal bell, as a crack that worsened over the years rendered it inoperable; today, it is preserved, cracked and silent, inside a glass pavilion, having become a museum piece rather than an instrument. Every July 4, instead of ringing it, a group of descendants of the Declaration’s signers gently strikes it thirteen times with a wooden mallet—once for each of the thirteen original colonies—in a gesture that is more symbolic than functional. Nor did the first public reading of the Declaration take place on the day it was adopted: it was on July 8, 1776—four days later—in the courtyard of that same building.

However, between the lines of that founding text lies a detail that often goes unnoticed. The Declaration of Independence mentions God four times, whereas the Constitution, drafted just eleven years later by many of the same key figures, does not.

Far from being an anecdotal detail, the references to God were at the heart of the revolutionary argument. To understand why they appear in the Declaration and why they are absent from the Constitution, it is necessary to explore the nature of each document.

​A text to justify a revolution

In June 1776, the Second Continental Congress tasked a committee of five delegates with drafting a declaration explaining why the thirteen colonies were breaking away from Great Britain for good. The group consisted of Thomas Jefferson, John Adams, Benjamin Franklin, Roger Sherman, and Robert Livingston, although it was Jefferson who wrote the first draft in a rented room in downtown Philadelphia.

Before it reached the full Congress, the text was reviewed by Adams and Franklin. Later, the delegates made further changes before adopting it on July 4, 1776.

By its very nature, the Declaration of Independence was a defense of the revolution, an explanation of the grounds that led the thirteen colonies to separate from the British Crown. It was not designed as a government program. It was crafted as an argument to convince both the colonists and foreign powers that the revolution against King George III was legitimate.

The four references to God in the Declaration of Independence

In this context, the references to God played a central role in strengthening the moral argument. There are four references, each with a specific purpose.

The first appears in the opening paragraph, when the text invokes “the Laws of Nature and of Nature’s God” to assert that people may dissolve the political bonds that bind them to another state.

The second is probably the best-known, the most widely cited passage in the document. The text asserts that all men are created equal and are “endowed by their Creator with certain unalienable rights.”

The Continental Congress itself incorporated the other two references. Before concluding the document, the delegates appeal to the “Supreme Judge of the world” as a witness to the righteousness of their intentions and, finally, express their “firm confidence in the protection of Divine Providence.”

What do the references to God mean?

The references combine deistic elements, such as the first two, with some more Christian references, which presuppose an active God who intervenes in the course of History. This is particularly evident in the reference to divine providence, which implies the belief that God guides, protects, and directs the destiny of individuals and nations.

Brenda Hafera, deputy director and research associate at the Simon Center for American Studies at the Heritage Foundation, spoke with VOZ about the nature of the Declaration of Independence.

As she explained, the Founding Fathers were primarily influenced by the tradition of natural law, the Scottish Enlightenment, ancient philosophy, and Christianity.

"The Great Awakening swept through America in the 1730s and 1740s, the most referenced work of the Founding generation was the Bible, and about 70-80% of American colonists attended service on a regular basis," she added, citing the book We Still Hold These Truths: Rediscovering Our Principles, Reclaiming Our Future, by Matthew Spalding.

Regarding the Great Awakening, it was a movement of religious renewal that transformed the spiritual life of the colonies decades before independence.

Hafera noted that the document appeals to both "reason and Revelation, to Nature and Nature's God, to eternal laws and immutable truths." For the founding generation, he argued, these traditions were not incompatible but complementary.

“Endowed by their Creator”

Regarding the famous passage from the Declaration, Hafera emphasized that, for its time, the concept was revolutionary.

Until then, many European monarchies held that rights ultimately depended on the authority of the sovereign. The authors of the Declaration reversed that logic: rights existed prior to any government because they belonged to human nature itself. Therefore, if those rights had been granted by God, no king or Parliament could override them.

“The government recognizes, rather than grants, inalienable rights and has limited, enumerated powers. That understanding is a reflection on what it means to be human and calls for a system of government that is respectful of human dignity and conducive to human flourishing,” Hafera noted.

“In stating that people’s rights were given to them by their creator, the Continental Congress endowed those rights with a legitimacy that knows no parallel in mortal sources. What God has given to man is not enjoyed at the sufferance of any monarch or government. Liberty is the inviolable birthright of all,” lawyer and historian Anthony J. Minna wrote in an article published on the Journal of the American Revolution website.

Why doesn’t the Constitution mention God?

The absence of similar references in the Constitution often comes as a surprise, but it stems from a simple reason: the two documents pursued entirely different objectives.

One of the most famous metaphors in this regard was popularized by Abraham Lincoln. In December 1860, he compared the Declaration of Independence to an “apple of gold” and the Constitution to a silver frame. For Lincoln, the principle that all men are created equal was the true heart of the American project; the Constitution, on the other hand, was the instrument designed to protect and preserve that ideal. In his own words, the frame was made for the apple, not the apple for the frame.

Along these same lines, Hafera emphasized that "the Declaration lays out America's principles, and the Constitution protects those principles through practical mechanisms."

“All men are men and not beasts”

More than 250 years later, those four references to God continue to spark interpretations and debates. For Hafera, their importance lies in the fact that they express the conviction that there are fundamental and immutable truths about human nature: “They are an indication that there are fundamental and unchangeable truths and that there is order to the universe.” That idea, she argued, was the starting point upon which the Founding Fathers built their conception of liberty, rights, and self-government.

That vision was summarized years later by President John Adams, who wrote the following reflection on the concept of equality in the Declaration:

“Really means little more than that We are all of the same Species: made by the same God: possessed of Minds and Bodies alike in Essence: having all the same Reason, Passions, Affections and appetites. All Men are Men and not Beasts…. All these are Men and not Angels.”

Celebrities invited to New York's most important annual social event were asked to dress under the slogan "Fashion is Art," which ties in with the Metropolitan Museum of Art's (Met) Costume Institute's "The Art of Costume" exhibition.

Tennis legend Venus Williams and Oscar-winning actress Nicole Kidman, who are co-chairing the event, were among the first to arrive.

American model Sunday Rose Kidman Urban and Australian-American actress Nicole Kidman.AFP

Kidman dazzled in a bright red Chanel gown with long sleeves and wide feathered cuffs, while Williams sparkled in a black Swarovski crystal gown with an elaborate neck plaque.

Williams, 45, told Vogue that her outfit was inspired by a portrait of her at the National Portrait Gallery.

Beyoncé, another of the event's co-chairs, arrived at her first gala in a decade and stole the spotlight in a dress by French designer Olivier Rousteing.

"Queen B" attended accompanied by her husband, rapper Jay-Z, and their eldest daughter, 14-year-old Blue Ivy.

The parade of megastars did not stop. Madonna, Cher and Stevie Nicks were joined by the next generation of music stars—Sabrina Carpenter, Doja Cat and Tyla.

Rihanna and A$AP Rocky arrived several hours late, as usual, making a grand entrance.

Bad Bunny, who has had a sweeping 2026 with major awards, a Grammy, and a Super Bowl halftime show, wore prosthetics and a white wig to explore what he would look like as an old man, according to Vogue.

Former model Heidi Klum transformed herself into a living Roman statue.

Rapper Doja Cat, one of several members of the gala's "host committee," wore a draped latex Saint Laurent gown with a demure neckline but a slit to the waist.

U.S. singer Beyoncé arrives at the 2026 Met Gala.AFP.

Donatella Versace, Tom Ford, Stella McCartney, Anthony Vaccarello and Haider Ackermann were among the many fashion designers present during the evening.

Of course, it's all overseen by Vogue global editorial director Anna Wintour, the ultimate prescriber of fashion in the United States, who has been at the helm of the event for 30 years.

Record-breaking fundraiser

The gala is a fundraiser for the Met's Costume Institute, and this year it raised a record $42 million, the museum's CEO Max Hollein told reporters Monday. In 2025, it raised $31 million.

But it is also a spectacle on social media as stars compete to stand out in spectacular outfits.

Last year's event showcased the subversive style of black dandyism and was an unusual Met Gala focused on men and men's fashion.

This year's show juxtaposes elegant fashion offerings with painting and sculpture: for example, a Saint Laurent design next to Van Gogh's "Lilies" or a John Galliano dress for Maison Margiela paired with an antique statue.

"When I think about the show, if there was one word to describe it, I guess it would be 'equity' or 'equivalence,' equivalence between works of art," Costume Institute curator Andrew Bolton told AFP.

Controversy over Bezos

This year's edition has generated controversy following the announcement that Amazon chief Jeff Bezos and his wife Lauren Sanchez Bezos would be its lead sponsors and honorary co-chairs.

In recent days, a campaign opposing the billionaire couple's participation appeared on the streets and subways of New York, with calls even to boycott an event that some consider an ostentatious display of immense wealth.

Behind the campaign is a group founded in the United Kingdom called "Everyone Hates Elon" that, a spokesman stressed, "also targets other billionaires" besides Elon Musk, the world's richest person.

Wintour said Monday that the couple "have shown with this event that they really, really care about giving back to society."

The Met Gala was first organized in 1948. For decades the party was reserved for New York high society until the 1990s when Wintour transformed it into a high-profile catwalk for the rich and famous.

The film will be released in theaters on July 10, 2026 and features Catherine Lagaʻaia, a film debutant, as Moana. The young Australian actress, born in 2006 with Samoan roots, comes from a family with a strong artistic tradition and promises to bring freshness and emotional strength to the character who won over audiences in the the 2016 animated film.

Maui in the flesh

The trailer shows Johnson reprising the role that helped define the original film. His physical appearance and characterization respect the animated design: abundant hair, tattoos and charisma that capture the essence of the demigod. The film recreates iconic moments, such as Moana's interaction with Maui, the crab Tamatoa, the chick Heihei and the lava creature Te Kā. In addition, several of the original songs return, including "I Am Moana" ("Song of the Ancestors"), with music by Lin-Manuel Miranda, Opetaia Foaʻi and Mark Mancina.

The story: Faithful to the original

The plot remains the story of young Moana, chosen by the ocean to save her island of Motunui. The film maintains the essential elements: the journey of self-discovery, the bond with her grandmother Tala and the need to face challenges that only the ocean can present. Maui, initially reluctant, accompanies Moana on this mission, displaying both his strength and characteristic humor.

Music and legacy

The soundtrack, as noted by Variety, combines classics from the animated film with new interpretations, keeping Lin-Manuel Miranda, Opetaia Foaʻi and Mark Mancina responsible for the music. This ensures that the musical magic that accompanied Moana in 2016 will still be present in the live-action version.

With a promising cast, a more charismatic Maui than ever and the magic of the ocean as a backdrop, the live-action adaptation of "Moana" looks to maintain the spirit of the original film while appealing to a new generation of viewers. All that remains is to wait until July to find out if the adventure meets fans' expectations and cements itself as another hit in Disney's long line of remakes.

The sculpture placed is a replica of the original statue that was toppled and thrown into the Baltimore harbor in July 2020, in the context of national protests following the death of George Floyd. That wave of demonstrations brought numerous historical monuments linked in some way to colonization, slavery and structural racism to the center of public debate.

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From destroyed statue to political symbol

The current piece was reconstructed by sculptor Will Hemsley, who worked for months from fragments recovered from the bottom of the harbor. The reconstruction combined 3-D scanning techniques and molds to recreate the original figure at an estimated cost of about 75,000 euros, largely funded by private donations.

The owner of the statue is Italian American Organizations United, which decided to give it to the federal government. Its president, John Pica, celebrated the new location noting that it will allow the work to "shine in peace and be protected."

According to journalist David Alandete of ABC newspaper, the statue has been placed in a visible area of the presidential complex, next to historical elements such as cannons linked to the war between the United States and Spain over Cuba, which adds an additional symbolic dimension to the location.

Como adelantamos en ABC, la estatua de Colón que fue derribada y arrojada al agua en Baltimore se encuentra ya a las puertas del Edificio Ejecutivo, dentro del complejo de la Casa Blanca. Está colocada junto a dos cañones utilizados en la guerra de Estados Unidos contra España… pic.twitter.com/ud7KAbOOuh

An ideologically charged gesture

Trump's decision is part of his repeated defense of the figure of Columbus as a foundational symbol of American history. From the White House it was stated that the explorer will be honored "as a hero for generations," in line with the president's speech, who has harshly criticized what he considers an "ideologized" reinterpretation of the past.

In recent years, however, the figure of Columbus has been the subject of a critical review. For many historians and social movements, he represents not only the beginning of European expansion in America in 1492, but also the beginning of processes of colonization, exploitation and violence against indigenous peoples.

That change in perspective has been reflected in institutional decisions: in 2021, then President Joe Biden became the first to officially recognize Indigenous Peoples Day, in parallel to or substituting the traditional Columbus Day in several jurisdictions.

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In October, Swift released her twelfth album, The Life Of A Showgirl, which recorded the best release week of the year, as well as the best of her entire career, according to AFP. The association also noted the success of her latest tour documentary, The End of an Era.

"Taylor Swift’s sixth IFPI Global Artist of the Year award is a truly historic achievement," noted Victoria Oakley, executive director of the organization behind the distinction. "The IFPI Global Artist Chart is comprised of remarkable artists across the globe and also represents the teams and long-term commitment behind each release, ensuring fans around the world can connect with music in meaningful ways."

The 36-year-old Shake It Off performer beat out K-pop group Stray Kids on the list, which achieved its best position to date and made it into the global top five for the third consecutive year. In third place is Canadian rapper Drake.

Puerto Rican singer Bad Bunny, who performed at the Super Bowl halftime show and recently triumphed at the Grammy Awards, ranked fifth, ahead of U.S. rapper Kendrick Lamar.

With her first-place finish last year, Swift won the award as many times as all other artists combined in the last ten years. Tyler The Creator marked his first appearance in the top 20.

Bad Bunny marked his sixth consecutive year on the list, joining Swift, Drake, SEVENTEEN, The Weeknd and Eminem in an exclusive group of consecutive appearances the past five years. In addition, it is worth noting that Bad Bunny managed to cut 15 spots in just one year:

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All-Time Sales Leaders

Here is the complete list of artists who sold the most music year by year according to the International Federation of the Phonographic Industry:

Cobain, a native of Aberdeen, Washington, died on April 5, 1994, at age 27, after a shotgun blast at his Seattle home. At the time, the King County medical examiner determined his case to be a suicide. However, the new analysis—prepared by a private group of specialists—reviewed both the autopsy and the crime scene materials and came to conclusions opposite to the official version.

One of the central names in the study is Brian Burnett, an analyst with decades of experience in scene reconstruction and evaluation of complex evidence in similar cases. According to the report cited by the Daily Mail, Burnett has been involved in other controversial investigations, including the death of the US Navy James Sabow and the case of Billy Joe Johnson Jr., where his forensic findings challenged official versions.

Independent investigator Michelle Wilkins was also part of the task force. After examining the material for several days, she said specialist Burnett was categorical: "This is a homicide. We've got to do something about this."

The investigation, which went through an academic review process before being accepted in a journal specializing in forensic science, lists a series of elements from the crime scene and autopsy that, according to the authors, do not fit with an immediate death by firearm.

Among the discrepancy elements they mention organic damage associated with oxygen deprivation, findings that usually appear in cases of overdose.

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The hypothesis put forward is that a group of people on heroin may have previously incapacitated the musician and that the shooting would have occurred after that potential event. Wilkins stated that some signs do not correspond with someone who died very quickly from a shotgun blast and that the necrosis detected in organs such as the brain and liver is more compatible with an overdose than an instantaneous gunshot.

The report also questions the organization of the crime scene. The heroin kit, according to the report, was found tidy, with capped syringes, and the singer's left hand, which was allegedly near the gun with which he officially committed suicide, appeared unusually clean, something investigators consider rare in shotgun suicides. They also analyzed the position of the cartridge and the mechanics of the gun, concluding that certain details did not match the original narrative.

The rocker's suicide note also came under scrutiny. According to Wilkins, the top portion appears to have been written by Cobain and focuses on his intention to quit music, while the final lines exhibit differences in the stroke.

Despite the repercussions of the report, the authorities maintain their official stance. A spokesman for the King County Medical Examiner's Office indicated to the Daily Mail that the agency worked alongside law enforcement, conducted a full autopsy, and followed all procedures before determining the death was a suicide. While the office claims to be open to revising conclusions if new evidence emerges, it stated that so far, there is nothing to warrant reopening the case.

In the same vein, the Seattle Police Department reiterated that it does not plan to reopen the investigation and that the official conclusion remains the same.

Wilkins stressed that the team's goal is not to promote immediate arrests but to achieve greater transparency and have the evidence reconsidered. "If we're wrong, just prove it to us,” she said.

The Puerto Rican artist's performance, which combined high-impact staging with Latino cultural references, quickly became a new front in the U.S. cultural battle. One of the most forceful voices was Meghan McCain, who wrote, "I’m sorry, but I just genuinely question your taste level if you didn’t enjoy the Bad Bunny halftime show. And everything in life doesn’t have to be ruined with politics."

Along the same lines, Republican strategist Brittany Martínez —CEO of Principles First—rejected the criticism over the show’s supposed lack of “Americanness”: “My two biggest takeaways from Bad Bunny's halftime show: he said God bless America, and when all the flags came out, the first one was the US flag. So to all the clowns saying this wasn't American enough—spare me with the faux outrage and worry about actual important things.”

In the same vein, conservative commentator Vish Burra downplayed the controversy: "The hysteria over the Bad Bunny Super Bowl Halftime Show is unfounded. Bad Bunny makes bangers. Titi Me Pregunto is one of my favorite songs. The New Yorker in me loves to dance to his music. It was a good halftime show with minimal controversy."

From Florida, Christina Pushaw, an activist and member of the governor's team, Ron DeSantis, spoke about what she sees as a cultural double standard: "I don't understand people who look up translations of explicit Bad Bunny lyrics to get mad about it, but have no problem with Nicki Minaj, whose songs are just as explicit... in English."

Sports

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PragerU analyst Xaviaer DuRousseau offered a similar reading from an openly conservative stance: "I’m pro-ICE & MAGA and was nervous about Bad Bunny’s Super Bowl Halftime Show. I must say, I respected his performance. Rather than focusing on immigration, he instead highlighted Hispanic/Latino culture and how it’s a part of AMERICAN culture. If it’s pro-America, I’m for it."

Even to the surprise of many, controversial figures with identity nationalist stances agreed in appreciating the Puerto Rican artist's show. Nick Fuentes was brief: “I liked the halftime show; I thought it was fun.” The influencer Jake Paul, who had initially called for a boycott of the performance, later posted a strange and puzzling message: "Guys i love bad bunny idk what happened on my Twitter last night."

Entertainment

More than five million people watched TPUSA's Super Bowl halftime show live

Williams Perdomo

There were also several reactions from conservative profiles, but not linked to politics. Luis Medina, a U.S. Navy veteran, wrote in a viral post: "No gay propaganda / No leftist propaganda / Brings out an American flag / Promotes traditional marriage between a woman and a man / It went better than I expected."

Outside the U.S., British journalist Piers Morgan publicly disagreed with President Donald Trump: "Couldn’t disagree more, Mr President. I absolutely loved Bad Bunny’s halftime show. Amazing (best in Super Bowl history?) theatre/choreography, great energy, superbly confident performance, and a very welcome unifying message. Oh, and Spanish is 1st language for 50m+ Americans!"

For her part, singer and political commentator Alexis Wilkins highlighted the show's communicational impact: "Unpopular: Republicans need to unite and get on better messaging because this branding is fantastic and allows all Dems to get behind it. Also—super aesthetic." Meanwhile, Caroline Sunshine, who worked in the White House during the first Trump Administration, noted a different angle to the culturel debate: "Unpopular but interesting take: there was only one Super Bowl halftime show this year that highlighted the institution of marriage. And it wasn’t the Turning Point halftime show."

While conservative reactions to the halftime show were initially sharply critical, Bad Bunny ended up exposing certain cracks within the American right regarding how to interpret major cultural events in the country. The Puerto Rican —who had previously generated controversy for his statements against ICE— signed a performance entirely in Spanish that provoked debate, praise and questioning, consolidating himself as one of the most influential artists of the moment and evidencing the growing weight of Hispanic culture in the U.S. public conversation.

The three music giants are battling it out for the most coveted award of the night: the Grammy for Album of the Year, which none of them has been able to conquer so far.

Lamar opened the televised ceremony by taking the first trophy of the ceremony with his "GNX," which emerged as the best rap album.

"I'm not good at talking about myself, but I express myself through music. It's an honor to be here," Lamar said upon receiving the statuette.

The 38-year-old musician, who last year dominated the ceremony with his viral "Not Like Us", arrived at Crypto.com leading the ceremony with nine nominations, mostly for "GNX" and his single "Luther," which features SZA.

The Pulitzer Prize-winning star, who arrived Sunday with 22 statuettes to his credit, captured the gramophones for best rap performance, best rap song and best melodic rap performance.

The 68th edition of the Recording Academy Awards was also a triumphant day for Puerto Rican reggaeton artist Bad Bunny, who made history by placing a work entirely in Spanish in the three most important categories of the evening: album, recording and song of the year.

Benito Antonio Martínez Ocasio triumphed in best global music performance thanks to "EoO", a single from his acclaimed "DeBÍ TiRAR MáS FOToS", which also won best urban music album.

In his most outspoken pronouncement against the anti-immigration campaign being pushed by Donald Trump in the United States, the bad bunny used his entire thank-you speech to praise the Latino community.

"Fuera ICE", he blurted out as soon as he took the stage, referring to the acronym that identifies the U.S. immigration police. The audience gave him a standing ovation.

"We are not savages, we are not animals, we are not aliens. We are humans and we are Americans," said the artist who has globalized reggaeton.

A week away from performing at halftime of the American Football League finals, one of the most prestigious musical stages with an audience of millions of viewers, Bad Bunny was not scheduled to sing at the gala.

- Political Tinge -.

In Song of the Year, "Wildflower," the ballad composed by Billie Eilish and her brother Finneas O'Connell, surprisingly prevailed, leaving "Golden," from the hit Netflix animated movie "The K-pop Warriors," which took the recognition for best song written for visual media, in the way.

In tune with the mood of the night, usually free of political overtones but this time not indifferent to tensions over immigration raids being executed by the federal government, Eilish, 24, received the 10th Grammy of her career by calling for protest.

"I feel very hopeful in this room, and I feel like we need to keep fighting, speaking out and protesting, and our voices really matter," said the songwriter wearing a "ICE Out" pin, highly visible on the red carpet preceding the gala.

Meanwhile, Lady Gaga won the awards for best dance/pop recording for her "Abracadabra" and best vocal pop album with her "Mayhem", which marked the successful return to the scene of the chameleonic artist.

Unsurprisingly, Olivia Dean triumphed as best new artist, one of the most important categories of the night, and one that in the past helped catapult the careers of stars like Olivia Rodrigo and Billie Eilish, among others.

- Electrifying performances -.

Music's biggest party has offered a top-notch lineup, with most of its televised gala dedicated to performances.

Rosé and Bruno Mars opened with an energizing rock version of their viral "APT."

Sabrina Carpenter soon took the stage to sing her summery "Mainchild," while Justin Bieber offered an intimate version of "Yukon" wearing just shorts and tights.

Post Malone joined Chad Smith, Duff McKagan, Slash and Andrew Watt to pay an emotional tribute to the prince of darkness, Ozzy Osbourne, who passed away last year.

Lauryn Hill commanded the traditional In Memoriam segment with an ensemble that included John Legend and his partner in The Fugees, Wycleaf Jean, among other figures.

-

With information from AFP

In the autobiographical book, which had already been published in Hebrew, Shajar recounts that he was born into an environment where hatred of Jews was inculcated from the earliest childhood. In schools, the media, the streets and even in the home, the message was: the enemy was to be destroyed. His own father brutally tortured him for refusing to hate, for rejecting the idea of murdering Jews and for dreaming of a life of peace and tranquility.

Everything changed when Dor began working in Israel. There he met real Israeli Jews: people without horns or three legs, as he had been taught in Gaza, but ordinary human beings, many of them extraordinary, kind and welcoming. That encounter broke down the wall of lies in which he had grown up and opened a crack of light in his life.

A series of profound experiences led him to feel a spiritual connection with the Jewish people. Convinced that this was his true place, he made the bravest decision of his life: converting to Judaism and settling in Israel, the home he had always felt was his in the depths of his soul.

The road was not easy. He faced obstacles, injustice, rejection and suffering. But, as he himself conveys in his book, when the goal is light, freedom and life - leaving hatred and destruction behind - every effort and pain is worth it.

World

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Dor Shajar has been raising his voice with painful clarity for years: the Palestinian society, as he experienced it, has not genuinely longed for peace. It has been educated for death, martyrdom and hatred, and responds only to the language of force. After the terrible events of October 7, 2023, his message became even more urgent. Today more people are listening to him, but - he insists - it is still not enough.

His autobiographical testimony has been translated and edited by David Suarez and Leandro Fleischer, with a foreword by the latter. The book is available on Amazon in both physical and digital (Kindle) formats.

The digital version can be downloaded for free until January 24 (2026). https://www.amazon.com/dp/B0GFXSBPQS/ref=tmm_kin_swatch_0

This is a story of personal transformation, of breaking chains of indoctrination and choosing life over hate. A courageous and necessary tale in times where lies are the order of the day.

And that's a complicated question to answer, since the spirit of the season no longer lives exclusively in traditional films, and the major studios hardly ever bet on new Christmas movies (even though they are sorely needed). In the modern world, on the other hand, series, event premieres and stories are being built that, without being strictly Christmas, fulfill the function of the ritual.

A clear example is the highly anticipated Stranger Things, whose second part of the new season premieres on December 25. It is not at all a Christmas series, but a cultural phenomenon that Netflix deliberately placed on that date, so families can binge-watch on a day to relax, meditate, and enjoy a great production at home. It would, without a doubt, be completely illogical not to recommend it.

Netflix's message, perhaps, is that contemporary Christmas is also about sitting in front of the TV, but with a different logic and language.

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Now, for those who prefer cinema but are looking for something different and, in turn, Christmasy, there are still films that try to catch the atmosphere without falling into the classic mold. "The Holdovers," for example, masterfully uses the end-of-year break to tell an intimate story about loneliness, unthinkable bonds and second chances.

It's a beautifully made film, without excessive frills or forced moralizing, but with a deeply wintry and, especially, human atmosphere. It is worth it.

Another option, more classic, is "Eyes Wide Shut," by Stanley Kubrick. It may not be a film explicitly about Christmas, but it is set on the date and proposes an uncomfortable look at desire, fidelity and modern alienation. It is not a festive film in the traditional sense, but its contrast between Christmas lights and emotional emptiness makes it an excellent choice for these dates.

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Another worthwhile one is "Little Women," whose sensibility connects with Christmas from a more sober and reflective point of view.

The point, in the end, is that Christmas doesn't necessarily mean always following the same classic narrative. There can be a pause, meaning, reflection and a bit of willingness to look with other eyes. That's why a great Christmas movie - and a true masterpiece of cinema - is "The Bishop's Wife."

Far from the classic tale, the film proposes a profoundly Christian look at faith lived in the everyday. It talks about marriage, vocation, service and the temptation of ego even within the Church.

And, if you're not looking for something novel and simply want to have a few laughs with "Home Alone" or thrill to Bruce Willis in "Die Hard" (yes, a Christmas movie), don't worry, you can always go back to our selection from last year.

At 09.00 am local time, the museum's usual opening time, visitors began to enter the art gallery again for the first time since the robbery. The Apollo gallery, where the robbery took place, remains closed, the museum told AFP.

A hit in just 7 minutes

The theft took place last Sunday. According to Gérald Darmanin, Minister of Justice of the Gallic country, speaking to a national radio, the thieves were "able to place a forklift on the public road, quickly get on their equipment to extract priceless jewelry and give a deplorable image of France."

The group smashed the display cases using a small chainsaw, and needed just seven minutes to complete the heist.

Celia Cruz— as she would go down in the annals of history — became not only the queen of salsa, but also a symbol of identity, resistance, and hope. Her music — a blend of boundless joy and indomitable strength — became a homeland when her own was denied to her.

From exile, every song became an act of rebellion, every cry of “¡Azúcar!” a defiance of imposed silence — and a celebration of freedom.

From Havana to the world

Her path began before the microphones of the radio program Mil Diez, and she soon shone in shows such as La Corte Suprema del Arte and La Hora del Té. She won contests, collected prizes, and stood out for her naturalness, discipline, and talent. In 1948, she joined Las Mulatas de Fuego, touring Mexico and Venezuela, and in 1950 she became part of La Sonora Matancera, the most important orchestra in Cuba at the time.

With them, she toured across Latin America, earning the title La Guarachera de Cuba, and popularized songs that have since become timeless classics: “Caramelos,” “El yerbero moderno,” “Burundanga,” and “Cao cao, maní picao.” Her first gold record came in New York in 1957, marking the beginning of a career that would transcend oceans and borders.

Exile and resistance: Celia's great sorrow

The 1960s brought a defining choice: not to return to Cuba — a decision that marked the beginning of her forced exile. Her music was censored and banned on the island, yet her voice never faded. Every performance, every song, became a reminder that joy can be an act of resistance, and that love for one’s homeland can be sung from anywhere in the world.

World

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But the reality is that Celia Cruz could not return to her beloved island -through the big door- not even to bury and say her last goodbye to her mother. Nor did she ever set foot on her stages, although she never stopped singing for her.

She married Pedro Knight, the trumpeter from La Sonora Matancera who became her inseparable companion and manager, and collaborated with great legends such as Tito Puente and Willie Colón — among many others — recording eight albums that cemented her influence in Latin music.

The eternal legacy

When she returned to Cuba in 1990 —to the Guantánamo Naval Base-, — she took a handful of earth, asking that it be placed in her coffin, a symbolic gesture that spoke of love and memory. Her last public appearance, in 2003, singing “I Will Live,” made it clear that her voice would transcend death.

She passed away a few months later, leaving a legacy that lives on in every chord, every hip movement, and every “¡Azúcar!” that echoes around the world.

Today, one hundred years later, Celia Cruz remains the voice that celebrates life, joy, and freedom. Her story reminds us that music can be an act of resistance, that identity is sung, and that even far from home, hope can endure.

"The Keaton family are very grateful for the extraordinary messages of love and support they have received these past few days on behalf of their beloved Diane, who passed away from pneumonia on October 11," those close to her informed.

Culture

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The text also highlighted Keaton's personal commitment to social causes: "She loved her animals and she was steadfast in her support of the unhoused community, so any donations in her memory to a local food bank or an animal shelter would be a wonderful and much appreciated tribute to her."

An iconic figure in American cinema, Diane Keaton has left an indelible mark with memorable performances in such classics as "The Godfather" and "Annie Hall," for which she received the Academy Award for Best Actress.

Further details about the circumstances of her death were not immediately disclosed, the magazine explained.

Keaton made her Hollywood debut with "Lovers and Other Strangers" in 1970.

Her extensive filmography includes a role in "The Godfather," where she played Al Pacino's wife, and numerous hits for Woody Allen, with whom she maintained a close friendship after having long been his partner, muse and favorite actress.

Her starring role in the New York director's romantic comedy "Annie Hall" eared her the Academy Award for Best Actress in 1978.

She received three more nominations: for "Reds," a film released in 1981, "Marvin's Room" (1996) and "Something's Gotta Give."

The actress continued acting well into her 70s.

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She starred in "Book Club" in 2018, where she played a retired woman, as well as in "Poms" in 2019.

In an interview with the AFP after the premiere of "Poms," Keaton stated that she didn't think about old age or retirement..

"And if no one calls me back [to film], I have a lot of hobbies that I'm passionate about and that occupy my time," she declared.

A single mother of two adopted children, she also claimed to have no regrets about anything, including her personal life.

"I think I'm one of the few single women my age who has made movies without getting married. Maybe I'm an anomaly?" joked the actress, who has had long-term romances with stars such as Warren Beatty and Al Pacino.

"I'm not unhappy!" she concluded.

As sexual harassment scandals in Hollywood detonated in late 2017 and reached from producer Harvey Weinstein to heavyweight actors such as Kevin Spacey, old allegations of child molestation against Allen by his adopted daughter Dylan resurfaced.

"Woody Allen is my friend and I still believe in him," Keaton posted in January 2018.

The actress was born Diane Hall in 1946 in Los Angeles on Jan. 5.

She is survived by her two sons, Dexter and Duke.

In her last film role, in 2024, Diane Keaton co-starred in "Summer Camp," with Kathy Bates and Alfre Woodard.

The author was awarded "for his fascinating and visionary work which, in the midst of apocalyptic terror, reaffirms the power of art," the committee said.

Krasznahorkai, born in Gyula, in southeastern Hungary, is "a great epic writer in the Central European tradition stretching from Kafka to Thomas Bernhard, characterized by absurdity and grotesque excess," it added.

"But he has more resources, and also looks to the East by adopting a more contemplative and finely calibrated tone," the Swedish Academy continued.

His first novel, Satanic Tango, written in 1985 and published in Spanish by Acantilado, explores the themes of postmodern dystopia and melancholy, and brought him to prominence in Hungary. It remains his most famous work.

The novel recounts life in a declining village in communist Hungary through 12 chapters, each consisting of a single, lengthy paragraph.

Krasznahorkai, who grew up in a middle-class Jewish family, was among the favorites for the Literature prize, the fourth of the Nobel week.

"I am very happy, calm, and very nervous at the same time," he said on Swedish radio SR after receiving the award.