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Politics

‘After the Whales Spoke’ brings COVID-conscious theater to Western Massachusetts

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‘After the Whales Spoke’ brings COVID-conscious theater to Western Massachusetts

A mask-required reading of After the Whales Spoke, a new play written and directed by Molly Brennan, will be performed Saturday 6 June 2026, from 7 to 9 p.m. at The LAVA Center in Greenfield, Massachusetts, as part of LAVA’s fourth annual On the Boards New Play Fest. The story is described as follows:

Street medics have found a solution to the problem of anti-abortion, anti-trans legislators in a post-plague world where some people received instructions from whales.

The reading will star Ash Richardson-White, Foster Finch Schrader, Birdy Elliot, Drum Fernandez, Asa Rowan, Soe Noire and Nancy Brennan. It will be masks-required, with masks provided. Accessibility measures include captioning, audio description, space description and content description.

The reading takes place during the transnational expansion of COVID-conscious theater as its own genre.

Inspire: A Performing Arts Festival by and for the Airborne Aware

In April 2026, Inspire: A Performing Arts Festival by and for the Airborne Aware ran as a free, fully virtual Zoom festival featuring music, theater and comedy by COVID-conscious artists for COVID-conscious audiences. Its program included scenes from The Left by COVID-conscious playwright Caridad Svich, Ron Placone’s comedy special, the Long COVID Kids Choir and an open mic for emerging talent.

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Recent COVID-conscious theater projects include Wake Up and Smell the C*VID, a hybrid monologue performance by Holy Erotic Propaganda Arson (HEPA), which premiered in New York and on Zoom on 24 April 2025 as a fundraiser for artists living with Long COVID.

Premiering the same evening was Anna RG’s AIR CHANGE PER HOUR, a Brooklyn performance structured around air purifiers and testimony from members of the arts community living with Long COVID.

COVID-conscious comedian Guiness Pig’s A Covid Christmas Carol, an audio play satirizing the Charles Dickens classic, was performed in December 2025.

Serina Estrada’s A Pan***ic Play, a 50-minute one-person show featuring stories from people whose lives have been impacted by COVID, was performed 21–22 January 2026, at The Art School in Glasgow as part of the Royal Conservatoire of Scotland’s Emergence Festival.

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From Home Fest

Also in January 2026, From Home Fest, a virtual theater festival, included Equity, a COVID-conscious play by Stephen Fruchtman performed as:

a Private Equity take on the La Ronde formula.

Fruchtman is founder of Ongoing Pandemic Theater, which describes itself as:

championing and producing art that endeavors to keep the people making it safe amid an ongoing pandemic.

Theater and advocacy

COVID-conscious theater has also developed alongside advocacy for clean air as an access issue in the arts.

Performer and advocate Ezra Tozian has written for HowlRound about COVID protections in theater and the impact of the industry’s removal of precautions on disabled theatermakers. Tozian’s 2025 essay, “How to Negotiate COVID Protections“, is a practical guide for theater workers negotiating protections such as HEPA filtration, N95 and KN95 masking, remote auditions and on-site testing. Tozian also published “Challenging the COVID Status Quo“, about disabled theatermakers pushing back against the normalization of unprotected theater spaces.

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In the UK, Dr. Sally Witcher OBE, founder of INN the Arts, has published Indoor Safety in the Arts, a framework for best practices aimed at reducing airborne infection risk in theaters and venues. Witcher’s work has been part of a wider push for clean air in live performance.

Protect the Heart of the Arts, a grassroots advocacy group sounding the alarm on the devastating impact COVID and Long COVID are having on the performing arts, has also organized public actions around arts events. In February 2024, the group coordinated a Long COVID awareness ribbon giveaway on the BAFTA red carpet, offering ribbons and masks to attendees and calling for solidarity with performers living with Long COVID. In December 2024, after a series of illness-related cancellations during David Tennant and Cush Jumbo’s Macbeth at the Harold Pinter Theatre, the group organized a festive mask and test handout outside the theater during the production’s closing weekend. The run saw four cancellations and reliance on six understudies.

There are also organizations hosting and providing infrastructure for clean air events. Clean Air Club in Chicago provides free air purifiers to artists, touring musicians and organizers. Positive Deviance in New York uses portable HEPA air purifiers, testing and respirators for COVID-safer events.

COVID-conscious performance

COVID-conscious performance has also developed through music, comedy and community events.

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In comedy, Judah Friedlander continues to perform Zoom livestream stand-up shows.

In music, artists including Purity Ring perform in masks and work with volunteers to distribute masks at shows. Other musicians and performers have built COVID precautions into live performance, including Drew Empire, who performed at Positive Deviance’s debut COVID-safer hip-hop event in Brooklyn. phytocene, a Paris-based musician, has organized mask-required concerts in France. Car Seat Headrest frontman Will Toledo has asked audiences to wear N95 masks and has spoken publicly about Long COVID. Other artists including Jensen McRae, Deerhoof and Zoe Boekbinder have also requested or organized mask wearing and other airborne safety precautions for their performances.

There are also celebrities who continue to wear masks and advocate for mask wearing, including Nancy Sinatra, Stevie Nicks, Wil Wheaton, Morgan Fairchild, Serj Tankian and Matt McGorry.

Amidst this flourishing of COVID conscious theater, we’ve asked playwright and director Molly Brennan about the play, its inspiration and development process, and Brennan’s vision for COVID-conscious theater.

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What was the initial question that made you know this had to become a play?

The initial question that led to After the Whales Spoke was:

Where is the pandemic leading us?

I wrote the first scene in 2020. I was living in Chicago. Two plays I had been cast in were cancelled: Be More Chill and American Idiot. I had no idea what I was going to do for money.

I had been a professional stage actor for 25 years, and a Clown and Acting teacher. I was reading about the 1918 Flu and the rise of fascism and nazism. I was observing, even in those first months, there were people in my life not social distancing or following COVID-safer protocols.

When George Floyd was murdered in May, I joined the folks protesting. There was a high level of care: people wearing masks, people providing water, medical aid, etc. I was moved by the show-up. As a person who has done a lot of direct action and demonstrations and protests, it was great to see a robust population of participants. Additionally, the networks of everyday care that were happening: sharing food and resources and medicine.

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As tough as many things were, there was such a bright light of solidarity and care that was happening. The play started there, but got more cynical as the pandemic wore on, and the question changed:

What will happen to those of us who are refusing to be bought back by capitalism?

And:

What will happen to those of us who don’t ever go back to brunch?

The play is set in a post-plague future. What did that future allow you to explore that a present-day setting would not? How does the play understand the word “post-plague”?

The post-plague future of After The Whales Spoke allows a setting in which “The Virus” is no longer infecting people, and what those who did not stop wearing masks or following shared air practice feel about those who gave in.

A spoiler plot point, written before my current understanding of Long Covid, was that those who never got “The Virus” became victims of organ harvesting by billionaires.

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I often wonder what my relationships will be to people if there ever is proper prevention and cure for SARS-CoV-2 infection and other airborne pathogens. What will it be like for me to not wear a respirator around people who haven’t worn a mask since 2021? Will my feelings of resentment ease?

How did your own COVID consciousness shape the writing of the play? Not only its content, but its form and maybe awareness of theatrical space?

My COVID-consciousness is the newest addition to my practice of disability access and community care, and so becomes integral to my creative process.

Before 2020, I was making projects that integrated ASL, captions, audio description, and sensory-friendly adjustments at the beginning of the creative process, making them part of production, rather than being an addition taken on by front of house/audience services.

The add-on of imagining actors in respirators, having productions mask-required, with Far-UVC, HEPA filtration and ventilation with CO2 monitoring wasn’t a stretch.

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There was previously a staged reading of the play. What did you learn from hearing it with actors and an audience? Did anything change?

I did a Zoom reading of Whales, presented by MaskedNH and Breathe Free or Die, last year. I learned from feedback I was on the right track, in terms of making work for actors who have a strong shared-air practice and a decent amount of rage.

I also observed a disconnect between some “CC” [COVID-conscious] people and the suggestion of action against tyranny the play makes. I learned that some “CC” people are motivated by their self-preservation instead of shared care, and do not have a vested interest in other kinds of action.

Some “CC” people are single-issue, and it’s important to me to work with artists and collaborators who have a unified approach to justice. This idea of having a holistic approach to liberation is spoken aloud by Caspian in Whales. It challenges liberal check-boxing and encourages solidarity across oppressed groups.

What has it meant to develop this work in western Massachusetts, e.g., the mutual aid and COVID-conscious communities, the arts scene, general COVID awareness and receptivity to safety precautions?

The Franklin County region of Western Massachusetts has a relatively robust shared-air awareness crew. There are a decent amount of mask-required events, and it’s common to see people in public wearing respirators.

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My wife and I actually chose to move here because of Last Ditch: a mask-required lesbian bar. We source & distribute masks and other public health items, crossing paths and working sometimes with local mask blocs.

The artistic spirit is quite unique in this area. There’s a lot of “art without permission”. People just doing things. Like making statues on their property of found items, doing decorated tractor parades, having a town scarecrow contest, disco bean shelling, stuff like that. Very art-for-the-people. Lots of farms and lots of farm-based art! The show-up for auditions of queer people who mask was awesome! Also, my “CC” mom is in the show, doing a drag version of Mitch McConnell.

What COVID safety measures will be in place for the performance?

After the Whales Spoke at LAVA Center’s On the Boards Festival will have HEPA filtration CO2 monitoring, and Far-UVC tech. Actors will be masked, and audiences will be required to mask as well. I will provide a variety of n95s and kn95s at the door.

There will also be captioning and audio description, and we are working on streaming the event. The building is ADA compliant, but the front door can be a bit tricky for mobility devices, so I’ll make sure to have someone posted out there to assist.

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Two of the cast members use wheelchairs and have been helpful in figuring out what needs to happen to welcome the larger disabled community.

What role can playwrights play in keeping public memory alive when institutions are often eager to move on?

It’s important to name that my shared-air practice, which is wearing an N95 everywhere except at home and in specific outdoor situations, is only one element of my commitment to community care. And C19 is only one pathogen that is floating around and killing and disabling people.

I think there are different ways for playwrights, and other artists and writers, to communicate what is broken about our society, and I don’t hold playwrights responsible for “keeping public memory alive” about COVID. The problems we face are intersectional. If a theater piece focuses on racial disparity, gender, disability, poverty, it tells the story of struggle, oppression, and maybe how to fight it or grow out of it.

I believe it is the responsibility of all of us to do our best to make sure everyone has a path to life, liberty and pursuit of happiness. That includes wearing a respirator in public spaces, but not every play has to be about that specifically.

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What would you hope a COVID-conscious audience member feels when they encounter this production? What would you hope someone who has not thought much about COVID in recent years takes away from it?

I would hope that a “CC” audience member feels safer to exist in the room without a looming threat of illness, in terms of being in the physical space. I hope that they would see themselves in the play.

Someone who has not thought about COVID recently, I hope they engage in the post-reading discussion, and take some free masks and wear them.

How do you imagine the future of COVID-conscious theater?

The future of “CC” theater relies on a complete restructuring of the structure. The LAVA center is a small, community art space, so this does not apply to them. They’re doing a good job. Large, professional theaters need to be worker-owned, and center the art and the audience instead of Boeing, Chase, Excellon, and the other earth-destroying funders.

The future of “CC” theatre is the future of theatre. If the structure is a people-based structure, community care of all kinds is a militant and inextricable element.

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Tickets and Zoom stream info can be found at after-the-whales.mmm.page.

More info about Molly Brennan and After the Whales Spoke can be found at monsterclowngirl.mmm.page.

Featured image via…

By Protect the Heart of the Arts

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What FIFA calls 'New York New Jersey'

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What FIFA calls 'New York New Jersey'

Where is the World Cup being played again?

In the northeastern United States, eight World Cup games, including the final, will be played in what FIFA calls “New York New Jersey.” But elected leaders from this portmanteau place are jostling over where exactly it is.

The state of New Jersey and New York City bid for and won the right to be a host city, but New York state officials have become increasingly involved. So politicians on both sides of the river are just bursting with border-state rivalry that can be lighthearted and serious all at once.

The matches, for the record, are at MetLife Stadium in East Rutherford, New Jersey. But that hasn’t stopped New York Gov. Kathy Hochul from repeatedly declaring that “New York is not just hosting the World Cup, New York is the World Cup.”

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There’s some truth to it — most of the fans are expected to stay in and visit New York between matches. But New Jersey doesn’t shrug off such slights because they reinforce long-running dynamics of New York as the bigger sibling and the Garden State’s struggle for recognition.

Rep. Josh Gottheimer (D-N.J.) made avenging this wrong a dayslong cause célèbre and taunted Hochul with social media posts such as: “If you’re planning to watch a FIFA match in New York, you’ll be SOL.”

New Jersey Gov. Mikie Sherrill pushed to get one of the temporary signs hung at MetLife changed to read “New Jersey New York” instead of “New York New Jersey.” On Friday, she posted a six-second video from outside the sign. “For those keeping score at home, the World Cup is in New Jersey. And now the sign reflects that.”

The New York-New Jersey combo isn’t new.

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“I never liked it,” said former U.S. national team goalkeeper Tony Meola, a native of nearby Kearny, New Jersey, who was subjected to the indignity of playing under a neighboring state’s banner during his years with the New York/New Jersey Metrostars, since renamed Red Bull New York.

“I grew up there, I played there — it’s New Jersey,” said Meola. “That’s just my opinion.”

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FIFA's encounter with North America's messy democracy

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FIFA's encounter with North America's messy democracy

FIFA President Gianni Infantino is working on his third World Cup, which spreads across North America this weekend. His first tournaments were held in autocratic countries with governments willing to splash cash and use the games to sportswash their tarnished image on the global stage.

In America, where 78 of the 104 matches will be played, he’s dealing with something dramatically different — democratically elected leaders spread across 11 host communities.

Infantino at first seemed to approach North America largely the same way he did Russia and Qatar: Win over the head of state and go from there. He went so far as to court President Donald Trump by giving him a peace prize before he started a war with Iran.

State and local politicians, however, had their own priorities.

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In America, Infantino has found himself foiled not only by democracy but the country’s federalism — the separation of national and state power that gives local officials unique power. He can blame Thomas Jefferson for that.

“I think that’s just a big difference, even compared to other western democracies, our federalism is a huge difference,” said Alex Lasry, the CEO of the New York New Jersey Host Committee.

As a result, FIFA’s national partners in Mexico and Canada have more say over how the World Cup is playing out in their countries than the White House does in America, a country that does not even have a sports minister.

In practice, this has meant that even as FIFA presented itself as the world government of the globe’s most beloved sport, local officials in America started standing in its way.

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A senior FIFA official earlier this year said it was exaggerated to say one person in Qatar or Russia snapped their fingers and things got done, but the official did describe America as more decentralized.

Back in 2023, one of Infantino’s longtime advisers spoke at length about the FIFA president’s public image. “This whole idea of shoulder-rubbing with dictators? It’s not real. Sometimes the U.S. president is Joe Biden, sometimes it’s Donald Trump. Gianni can’t change that,” the adviser told Tim Röhn of the Axel Springer Global Reporters Network, which includes POLITICO. “He’s not interested in politics — only in football.”

But those politics have been creating roadblocks for months, leading up to the first American game on Friday in Los Angeles.

There was a five-member special board in Massachusetts that had to sign off on a license to allow FIFA to play seven matches there, a power it used to extract concessions from the local host committee.

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New Jersey Gov. Mikie Sherrill — one of the newly elected politicians who didn’t bid for the World Cup but now has to pay to put it on, despite having other priorities — got in a public scrape with FIFA over transportation costs. FIFA didn’t budge, but the fight was ugly.

When it tried to ban water bottles from stadiums, New York City Mayor Zohran Mamdani attacked and FIFA backed down.

On the legal front, a quartet of attorneys general — three from blue states and one from red Texas — are now investigating the soccer body’s ticketing practices.

Alas, there isn’t one person Infantino can call to smooth things over. He isn’t the first European to puzzle over America’s decentralized governance, but this 21st-century Alexis de Tocqueville seems to be learning the hard way.

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Trump’s name purged from Kennedy Center

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A worker removes a letter from President Donald Trump's name from the wall of the John F. Kennedy Center for the Performing Arts in Washington, June 13, 2026.

President Donald Trump’s name was removed from the facade of the Kennedy Center on Saturday, capping off the president’s longtime effort to assert control over the institution, one of Washington’s most iconic cultural landmarks.

In a Saturday court filing to the U.S. District Court for the District of Columbia, Matthew Floca, the Kennedy Center’s chief operating officer and executive director, confirmed work crews had removed “all physical signage” from the building and grounds “that purports to rename the Kennedy Center after President Trump or any individual besides President Kennedy.”

Workers, hidden behind a large white tarp, removed Trump’s name from the building’s white exterior early Saturday morning, after blowing past a Friday deadline due to what Floca cited as “weather-related delays.” The tarp remained in place on Saturday afternoon.

The removal comes after U.S. District Judge Christopher Cooper ruled in late May that Trump’s rebranding of the performing arts center in his own name was illegal, contravening federal law that the center could only honor Kennedy and usurping authority from Congress.

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In the weeks since, officials have removed references to Trump on the Kennedy Center’s website, issued new identification cards, edited employee email signatures and rescinded any trademark applications adding Trump to the institution’s name, Floca wrote in his filing. The restoration of the building’s original name followed denials Friday by both Cooper and an appeals court of last-ditch attempts by the administration and Department of Justice to stay Cooper’s May ruling.

A worker removes a letter from President Donald Trump's name from the wall of the John F. Kennedy Center for the Performing Arts in Washington, June 13, 2026.

It’s a stinging blow to the president, whose ambitious plans for the Kennedy Center included packing its board with loyalists and shutting it down for two years to conduct major renovations.

Cooper, an appointee of former President Barack Obama, also nixed the Kennedy Center’s closure in his May ruling, prompting Trump to angrily announce plans to transfer the institution back to Congress in a Truth Social post shortly after.

“Judge Cooper should be ashamed of himself!” he wrote. “Unless I am free to do what I do better than anyone else, bring this Institution back, physically, financially, and artistically, I have no interest in continuing what could only be a hopeless journey into “NEVER NEVER LAND.”

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England squad’s boots, equipment, and balls stolen before start of 2026 World Cup

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England

England

The England national team suffered an unexpected setback before the start of their 2026 World Cup campaign after a portion of their training equipment was stolen following the squad’s arrival in Kansas City, USA.

According to a report by The Guardian, special boots belonging to several players, along with official balls and other training equipment, were lost during the transport of the team’s gear to their designated headquarters in the city.

Kansas City police have launched an investigation into the incident, while the authorities supervising England’s national team have initiated urgent measures to provide replacements for the missing equipment and ensure the team’s preparatory schedule is not affected before the start of the tournament.

Kansas City police opened an investigation into the incident, and the newspaper reported that authorities detained two individuals suspected of involvement in the event, with investigations continuing to determine the full circumstances of the case and the extent of the losses.

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The incident occurs at a time when the area surrounding the team’s training camp is experiencing heightened security attention, following a shooting incident near the team’s residence a few days prior. Authorities confirmed at the time that the shooting did not target the England delegation and did not result in injuries among its members, as reported by Reuters.

Although there are no indications linking the two incidents, the repetition of security events during the first few days of the team’s stay in Kansas City highlights the challenges faced by participating teams off the field, coinciding with the kick-off of the 2026 World Cup.

Featured image via Richard Pelham/Getty Images

By Alaa Shamali

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Canada denies Ghana star entry visa as FIFA says it cannot intervene

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Ghana

Ghana

Ghana have suffered a major setback ahead of their 2026 World Cup campaign after it was confirmed that midfielder Thomas Partey will miss their opening match against Panama in Toronto following a decision by Canadian authorities to deny him entry to the country.

According to Reuters, the ruling will deprive Ghana of one of their most influential players for their first fixture of the tournament.

FIFA confirmed that Partey, who is currently with the Ghana squad in the United States, will not be permitted to travel to Canada for the match against Panama. The governing body stressed that visa decisions fall solely within the jurisdiction of the Canadian government and that FIFA has no authority to intervene or overturn the decision.

The organisation added that Partey will remain available for Ghana’s other group-stage matches taking place in the United States, including upcoming fixtures against England and Croatia.

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The issue comes at a crucial moment for Ghana, who were expected to rely heavily on Partey’s experience during the tournament. The decision has also renewed questions about the impact of immigration and visa policies on a World Cup being jointly hosted by the United States, Canada and Mexico.

Reuters reported that the visa refusal is linked to legal proceedings involving the player in the United Kingdom, where he is awaiting trial over criminal allegations that he has categorically denied.

Featured image via Ryan Hiscott/Getty Images

By Alaa Shamali

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Visa chaos frustrates soccer fans

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Visa chaos frustrates soccer fans

BRUSSELS — A growing number of soccer supporters say chaotic visa procedures are keeping them from attending World Cup matches in the United States.

One Belgian-Moroccan soccer fan, who was granted anonymity to discuss the issue without fear of repercussions, told POLITICO he thought he had secured tickets to Saturday’s Morocco vs. Brazil match through FIFA’s lottery system, booked flights to New York and applied for entry to the U.S.

That’s when things began to go wrong.

The fan, who had previously traveled with an Electronic System for Travel Authorization (ESTA) — the online authorization system used by travelers from countries that don’t need visas for short visits to the U.S. — said his application was approved on May 27, but abruptly revoked one week later.

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“There was nothing mentioned except for travel not authorized,” he said. “That’s the whole frustrating situation — the opacity of the whole thing.”

His attempts to apply for a non-immigrant visa were fruitless. Ahead of the World Cup, the State Department launched an expedited process for some fans seeking visas to attend matches in the U.S., but the Belgian-Moroccan national said he was never able to access it because an initial appointment platform failed to register his payments.

That, in turn, made it impossible to book the mandatory interview at the U.S. Embassy in Brussels required before requesting an expedited appointment. He added that calls to the embassy went unanswered because they were automatically forwarded to an inactive Belgian number.

Other World Cup attendees have reported similar problems. Scottish musician Kenny Smith said his ESTA was revoked despite recent travel to the United States. Meanwhile, Somali referee Omar Abdulkadir Artan was recently denied entry to the country despite being selected to officiate at the tournament.

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FIFA President Gianni Infantino on Wednesday acknowledged that the special World Cup visa system was “not working always, and with everyone.” Homeland Security Secretary Markwayne Mullin defended visa denials Thursday, citing security concerns.

A spokesperson for the Department of Homeland Security declined to say if dual nationals were more likely to have their applications revoked, but said ESTA applications are continuously vetted and approval “does not guarantee admission” to the U.S.

For the Belgian-Moroccan fan missing Saturday’s match, the visa ordeal undermined the point of the tournament. “The whole experience of a World Cup is intended to bring people together,” he said. “Now actually being rejected for no reason, it actually has the opposite effect.”

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Can free speech survive Britain’s mass-migration experiment?

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Can free speech survive Britain’s mass-migration experiment?

spiked is funded by readers like you. Only 0.1% of regular readers currently support us. If just 1% did, we could grow our team and step up the fight for free speech and democracy.

Become a spiked supporter and enjoy unlimited, ad-free access, bonus content and exclusive events – while helping to keep independent journalism alive.

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Belfast pogroms show loyalism is ideal vanguard of a future brownshirt Britain

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Belfast

Belfast

By now, there has been extensive coverage of the fact that the Belfast pogroms took place almost entirely in loyalist areas. This should surprise no one. Loyalism has always been an exclusivist ideology, predicated on the notion that one population deserves to dominate another that is dismissed as less deserving. Historically of course, this viewpoint dictated that Protestants must be allowed to lord it over Catholics.

However, violent sectarianism has largely faded in the north of Ireland, following 1998’s Good Friday Agreement. Instead, loyalism has now applied to immigrants, people of colour and Muslims the bigoted mindset it incubated over centuries.

It’s hard to dominate another group of people without justifying it in some way. Humans, like many other mammals, have an in-built notion of fairness. Seeing others get less without good cause cannot be easily sustained psychologically. Hence many Protestants developed prejudices giving grounds for their superior position. Catholics were said to be lazy, feckless and practicing a heretical religious doctrine.

Belfast loyalists pivot from sectarianism to racism

Years of indulging in this act of self-deceit have easily enabled the switch to applying new fictions to new target populations. Muslims are heathens, satanic even. Immigrants have sparked an unprecedented crime wave, never mind evidence to the contrary. Even children aren’t safe in playgrounds from sinister foreign men.

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Combined with this capacity for a supremacist mentality has been the means for exercising the violence necessary to make dominance concrete. In prior decades, it has meant loyalists carrying out ethnic cleansing of Catholics. This was most notable in the 1920s, during the birth pangs of what became known as ‘Northern Ireland’. Loyalist mobs burned Catholics out of their homes, murdered others, and caused an estimated 23,000 to flee. So-called ‘Rotten Prods’ — Protestant trade unionists who stood alongside Catholics in workplaces — were also killed.

Another outbreak of barbarism occurred in 1969, when again loyalist thugs chased large numbers of Catholic families out of their homes, deploying widespread arson again. Belfast politicians have described how the loyalist pogroms of this week mirror those previous horrors. During the ‘Troubles’, loyalist paramilitaries carried out 713 sectarian murders of Catholics.

In its capacity to inspire reactionaries, loyalism is similar to its bedfellow, Zionism. The latter is a racist doctrine of Jewish supremacy that has always permitted extreme violence against the indigenous Palestinian population that stands in the way of their ethnostate.

As it has now reached the inevitable exterminationist phase of its trajectory, it has been celebrated by chauvinists the world over looking to subjugate their own troublesome populations. ‘Israeli’ and Israeli Occupation Forces (IOF) flags can be found in loyalist areas across the north of Ireland. Loyalist politicians wined and dined by the terror regime of Tel Aviv came back singing its praises.

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The longstanding links between loyalism and the British far-right

The twin primary sicknesses of these ideologies — a deeply inculcated supremacist mentality, and the willingness to use violence to suppress those deemed inferior — have obvious appeal to far-right actors everywhere. There have long been links between loyalist thugs and like-minded British neo-Nazis.

The Ulster Defence Association was known to have links to the vile racists of Combat 18. One of the latter’s founders, Eddie Whicker, helped arm the murderous loyalist terror gang. Combat 18 members were present at the notorious loyalist disorder at Drumcree.

Daniel Grundle (also known as Daniel Douglas) is the leader of current racist group Our Northern Ireland Voice. He described his founding of the group as a “calling”. Grundle reminisced about how in the 1980s his uncle Jimmy Grundle helped set up a version of Britain’s National Front in the north of Ireland.

The links extend to this day. Before Ben Habib’s recent decision to dissolve it, far-right agitator Richard Inman operated as a link between the racist Advance UK and the north of Ireland. Inman obviously thought so highly of the embedded bigotry within loyalism, that he made the Six Counties his permanent base. From there, he has lauded the Islamophobic hate displays of Concerned Parents Newtownabbey and spoken at far-right rallies.

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Others, such as former Ulster Volunteer Force member Mark Sinclair and ex-Democratic Unionist Party councillor William Walker have linked up with their ideological peers at far-right rallies. Areas of Scotland still have strong loyalist elements, and they have clearly been inspired by the ethnic cleansing in Belfast. Racists there engaged in copycat crimes against people of colour.

Racist politicians embrace street violence

It isn’t just street thugs who seem enthused by loyalist violence. Those looking to take over the British state have been content to carry on stirring up emotions, even as houses burn. Reform’s Zia Yusuf screeched that:

Some cultures are MUCH better than others.

Restore Britain’s official account vomited out:

Restore Britain will reverse the third-worldification of our country.

Farage obviously delights in the prospect of reactionary rioting. In the wake of the Henry Novak murder, Farage exacerbated an already febrile atmosphere by calling for “pure cold rage“. Neither Nigel Farage nor Yusuf of Reform have used their X accounts to offer any condemnation of the Belfast violence. Likewise the even more vile Rupert Lowe of Restore Britain.

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Reform have made no secret of their intent to hurtle towards authoritarianism if they occupy 10 Downing Street. Owen Jones recently enumerated their plans in this regard. As he points out, Farage has spoken of his intent to bring in a:

…British version of Immigration and Customs Enforcement (ICE), the US deportation force that seizes migrants from homes, workplaces and the streets.

Under Reform:

The government would be granted direct powers over the police and would attack the independence of the judiciary, dressed up as a war on “activist judges”.

The parallels with the fascists of the 1930s are clear. The likes of Mussolini and Hitler used street thugs to help them seize power, then implemented an authoritarian state.

Street violence has many useful traits for budding despots. It makes the state look weak, as it struggles to handle the chaos. Far-right parties project an image of strength, and proclaim they will restore order.

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It can be a tool for intimidating left-wing activists. Additionally, rioting thugs can be integrated into the state’s own security forces once power has been seized.

Belfast — A return to the fascism of the 1930s

The left’s best analysts, like Yanis Varoufakis, have long been warning that we are heading for a repeat of that uniquely dark era. Racist riots and mass mobilisations are becoming increasingly common in Britain, and authoritarian policies are already being implemented by British prime minister Keir Starmer.

Reform are happy to let other street thugs pick up the baton handed to them by loyalists. Once in power, they’ll gleefully receive another gift from Labour. By that point, it’ll be too late, and Britain will pay devastating consequences for inviting its own particular variant of loyalism into government.

Featured image via Charles McQuillan/Getty Images

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By Robert Freeman

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Iran war may be ending but humiliated Trump could hit Cuba next

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Cuba

Cuba

The disastrous Iran war may be ending. But a humiliated US may look to Cuba as the next victim with Trump’s crony Marco Rubio applying heavier sanctions. The Americans have been making their aggressive intentions clear for months.

US outlet The Hill reported on 11 June that the US State Department:

announced that it will sanction Cuba’s state-owned oil and gas company Unión Cuba-Petróleo (CUPET) amid escalating tensions between the U.S. and the island country.

At the centre of the move was Trump’s Cuban-American henchman and secretary of state Marco Rubio. Rubio said:

the latest sanctions are pursuant of President Trump’s May 1 executive order expanding sanctions on government officials, agents “or material supporters of the Cuban government,”.

The sanctions concern Cuba’s oil and gas company Unión Cuba-Petróleo (CUPET).

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Defence secretary Pete Hegseth was at the US military colony Guantanamo Bay on 10 June. As the Canary reported, Hegseth:

told a captive audience of American soldiers that Cuba had better not try and get long-range weapons. The US has been ramping up threats against the island state.

Rubio accused the Cuban government of:

diverting its energy resources “to line their own pockets: reselling countless barrels of scarce energy on the secondary market, hoarding energy supplies for its military, intelligence and repressive forces, and rationing energy as a tool of social control.”

Which is a bit rich coming from an openly far-right government committed to denying its citizens even basic healthcare while spending billions on a failed war in Iran.

An Iran deal could mean US move on Cuba

Meanwhile, a Pakistan-brokered deal to end the US attack on Iran looks close. Al Jazeera reported on 12 June that Pakistan’s PM Shehbaz Sharif had said:

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Pakistan is now working closely with both sides to finalize the next steps. Peace has never been this close as it is now.

As the Canary has reported, the US was looking to bring the Americas to heel before it blundered into the Iran war.

Trump’s 2025 national security strategy said as much. The US wants to ensure:

the Western Hemisphere remains reasonably stable and well-governed enough to prevent and discourage mass migration to the United States.

And that those pliable governments:

cooperate with us against narco-terrorists, cartels, and other transnational criminal organizations.

Trump and his cronies want:

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a Hemisphere that remains free of hostile foreign incursion or ownership of key assets, and that supports critical supply chains.

Cuba is the closest dissenting nation to the US in the Americas. And for Trump’s generation it is an unresolved problem. He would return to it to the status of a mafia-run US vassal state. It will be a happy day when the war against Iran ends. But a humiliated US empire is still a dangerous beast. And the people of Cuba may be the first to feel Trump’s post-Iran wrath.

Featured image via Chip Somodevilla/Getty Images

By Joe Glenton

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It's hot. Maybe too hot.

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It's hot. Maybe too hot.

High-stakes geopolitics aren’t the only external factor threatening to hijack the tournament.

Perhaps ironically for a competition hosted by a U.S. president who is highly skeptical about climate change and says assertions about rising temperatures have been made “by stupid people,” the heat is very likely to be a problem.

Heat waves have become a persistent part of Northern Hemisphere summers — each one made hotter, longer and more likely to occur as a result of man-made global warming. The locations of several stadiums across the U.S. and Mexico, as well as the peak-summer timing of the World Cup, are expected to put players and fans at risk of overheating.

The problem isn’t just heat, but also humidity. The combination of the two feels far hotter and is measured with wet-bulb temperature, which mimics how the human body cools off through sweating. A wet-bulb temperature of 95 degrees Fahrenheit can be fatal even to healthy people; the football players’ union FIFPRO says wet-bulb temperatures above 79 degrees — which can be reached through a combination of 86-degree heat and 50 percent humidity, for example — will affect performance and health, and 82-degree heat should prompt the postponement of a match.

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When scientists last month ran the numbers, they found that 26 of 104 matches are expected to take place in conditions of at least 79-degree wet-bulb temperature. Five matches are estimated to breach the 82-degree wet-bulb barrier. And a peer-reviewed study found that during last year’s FIFA Club World Cup in the U.S., average wet-bulb temperature exceeded 82 degrees in 31 of 57 matches analyzed by scientists.

That study also found that high temperatures were associated with players covering less ground, forcing a change of tactics. Exhaustion sets in faster under high temperatures — at the Club World Cup, 10 players asked to be substituted in a single match. But heat doesn’t just affect gameplay. At the 2024 Copa America, an assistant referee collapsed in the heat and, last month, two people died during sports events held amid a heat wave in France.

As climate change continues to heat the planet, FIFA will have to grapple with the growing threat at every subsequent tournament. The 2030 men’s World Cup in Spain, Portugal and Morocco takes place in a global warming hotspot. The women’s World Cup next year will be in Brazil during a warming El Niño event, expected to supercharge the heating effect of climate change.

And that’s not even counting the other growing climate risks — from wildfire smoke to extreme rain — that threaten to disrupt future events.

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