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President Trump has said he'll sue the BBC for up to five billion dollars, despite the broadcaster's apology for misrepresenting the speech he gave before his supporters attacked the Capitol building.
Also in the programme: settler violence in the West bank; and 25 years of Daft Punk.
(Picture: The BBC logo outside the BBC Broadcasting House. Credit: REUTERS)
After a predictably unpredictable set of detours through Latin grammar, parenthing philosophies, and 90s video games, we catch up on the latest shadow (interim?) docket activity and recap the oral argument in the tariffs cases.
We speak to a woman who saved the life of a kayaker, after spotting him floating face down in Idaho's Snake River. Rachelle Ruffing says knowing CPR allowed her to 'make a miracle' which has changed her, and everyone should learn how to do it. She says she still finds it hard to believe that the man made a full recovery and that attending his recent wedding was a privilege.
Also: the Afghan women's football team returns to the international stage, four years after the players fled the Taliban. FIFA changed the venue of the tournament to allow them to take part. Conservationists find a way to save a rare albatross by getting birds from another species to act as foster parents for their eggs. We hear how old home movies are being rescued so people can relive precious family moments decades later. Plus, after the fat bears of Alaska, we find out about the squirrels bulking up for winter in Texas; and we meet the man who can charm animals with his music, even stopping a herd of rhinos in their tracks.
Our weekly collection of inspiring, uplifting and happy news from around the world.
What beefy problems were Tyson and vegan alternative Beyond Meat dealing with this week? And what sent tech stocks sliding this week? Plus, how did two media giants fare while a potential deal for some or all of Warner Bros. Discovery continues to unfold? Host Francesca Fontana discusses the biggest stock moves of the week and the news that drove them.
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What beefy problems were Tyson and vegan alternative Beyond Meat dealing with this week? And what sent tech stocks sliding this week? Plus, how did two media giants fare while a potential deal for some or all of Warner Bros. Discovery continues to unfold? Host Francesca Fontana discusses the biggest stock moves of the week and the news that drove them.
Sign up for the WSJ's free Markets A.M. newsletter.
Learn more about your ad choices. Visit megaphone.fm/adchoices
The longtime editor and chronicler of the elite says she’s liberated and is letting it rip.
Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.
Sometime around the year 1450, a monk living just outside of Venice created one of the greatest maps of the medieval world.
It was an enormous map, even by modern standards, and it had a level of detail that had never been seen before.
It took years to make and was a major advancement in cartography.
Perhaps most importantly, it contained many details that no one had yet verified firsthand.
Learn more about the Fra Mauro map, how it was created, and its significance on this episode of Everything Everywhere Daily.
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Recently, musicologists and others have started writing about Black participation in opera. Lucy Caplan’s Dreaming in Ensemble: How Black Artists Transformed American Opera (Harvard UP, 2025) is a major new publication on this topic. Caplan examines what she calls a Black operatic counterculture in the US dating from the performance of H. Lawrence Freeman’s first opera, The Martyr, in 1893 until the 1950s. Rather than centering her analysis on opera as a symbol of uplift or on the ways that the operatic establishment excluded Black participation, Caplan thinks about how opera was part of a project of self-fashioning in Black communities. She argues that opera could be one way to answer the question, in the words of Black librettist Karen Chilton, “How do we become ourselves?” Focusing on institutions and networks, while also not ignoring influential figures, Caplan delves into the rich history of Black opera through numerous points of entry. This is not a strictly chronological retelling of a few, already well-known operatic “firsts.” Instead, Caplan writes about everything from critics to short-lived opera companies, from celebrities to supernumeraries, and recreates this previously untold complex and multifaceted operatic legacy.
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