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🚨 Han quitado a Pierce de los brawlers maxeados gratis de rankeds y han puesto a Amber en su lugar ​Brawl Stars no ha dicho nada al respecto, pero podemos teorizar que se debe a que Amber es una de las brawlers que tienen los buffies más nuevos y quieren que los jugadores los usen #BrawlStars #Amber #Pierce

"FOGGIA SERA": FROM SAN SEVERO TO STANFORD UNIVERSITY: THE "SIX-SEAT REVOLUTION" OF THE TEATRO EDICOLA SOURCE: https://foggiasera.it/2026/09/19/da-san-severo-alla-stanford-university-la-rivoluzione-a-sei-posti-del-teatro-edicola-by-luciano-magaldi-sardella/ SAN SEVERO (FG) - The Stanford Social Innovation Review (SSIR), the scholarly journal published by the Stanford Center on Philanthropy and Civil Society of the prestigious Stanford University - ranked second in the world in the Shanghai Ranking of World Universities - and recognised as the pre-eminent global reference for researchers, policy-makers, and practitioners of innovative entrepreneurship and philanthropy, hath published the reportage "The Six-Seat Revolution" upon the Teatro Edicola of San Severo, the smallest theatre in the world by dimension and capacity, born of the intuition of Francesco Gravino, Artistic Director of the Foyer '97 company. Its author is Luciano Magaldi Sardella, independent researcher and international journalist, native of Orta Nova and of maternal Sanseverese extraction, hitherto author of studies published in international academic journals. The piece appeared in the September (Fall 2026) edition of the academic review, within the section devoted to Arts & Culture. A presence that projects San Severo, and more broadly the Capitanata, into the international élite of research upon cultural and urban innovation. The Theatre Is Born of a Disused Newsstand It all commenced on 27 March 2026, World Theatre Day, in Piazza Municipio at San Severo. A news-kiosk, disused for years in Via Matteo Tondi, raised its shutter to reveal, in lieu of newspapers and cigarettes, an actor upon the stage. Within: six chairs. At intervals of fifteen minutes, a new audience took its place. Drawing inspiration from the televisual format of Edicola Fiore by the noted Sicilian presenter of radio and television, there was born the Teatro Edicola, a structure now recognised in the media as the smallest theatre in the world for dimensions and capacity: four square metres in aggregate, with a scenic space of less than two metres. Gravino hath led Foyer '97 for nigh on thirty years, forging a most exacting artistic trajectory in a context - that of southern Italy - historically penalised in respect of public financing for culture. And yet, upon beholding that vacant kiosk, he elected the path of provocation: to transfigure the bare minimum into a manifesto concerning the very meaning of theatre. The Model and its Measurable Effects The inaugural season endured for three days. All performances were sold out. In a single afternoon, upwards of sixty persons attended the representations. The cost of the entire pilot operation was less than three thousand dollars. The formula is radical in its constitutive elements: performances of five to twelve minutes' duration, conceived expressly for the space; rotation of the audience every fifteen minutes; direct and inescapable visual contact betwixt actor and spectator; no architectural or psychological distance betwixt stage and auditorium; ticket proposed at five euros per person, within a hybrid economic model comprising municipal support, local sponsorship, and box-office receipts. According to the analysis published in the Stanford Social Innovation Review, the Teatro Edicola represents a replicable model of low-cost, high-impact urban regeneration, capable of reactivating abandoned commercial spaces (newsstands, tobacconists, telephone kiosks) without recourse to large infrastructural investment. The Voice of Him who Built it All Francesco Gravino entertaineth no doubt as to the import of the enterprise: "Grand theatres are not requisite to transform a fragment of a city. What is requisite is a sound idea and the courage to restore to the collectivity a space that hath lost its function." And upon the import of international recognition: "Teatro Edicola was born to demonstrate that a place of encounter and culture may arise wheresoever, even within two square metres. That this work should today be studied at an international level and that enquiries should arrive from cities such as Lucca and Rome is confirmation that the path pursued is the right one." The director hath further explicated the symbolic choice of place: the newsstand was the locus wherein each morn one paused, informed oneself, and recognised oneself as a community. Its disappearance rent a precise social fabric. To restore unto it a cultural function is to re-stitch that tissue at the very point wherefrom it was torn. The Challenges: Scalability, Institutional Recognition, Entrenchment The SSIR reportage doth not confine itself to celebration of the project but analyseth also the critical junctures. The first is sustainability over time: an activation of three days, howsoever successful, doth not yet constitute a stable programme, a veritable seasonal repertory (weekends from spring to autumn) with a rotating roster of local and regional companies. The second juncture concerneth replicability without loss of identity: the Teatro Edicola functioneth also by virtue of the profound roots of Foyer '97 in the Sanseverese territory. To transplant the model elsewhere requireth not merely a physical kit, but an entire process of community-building. The third obstacle is institutional: in a system of public funding that rewardeth organisations with consolidated premises and predictable output metrics, a project deliberately experimental, hyperlocalist, and by its very nature impermanent strugglest to gain access to the ordinary channels of the Fondo Nazionale per lo Spettacolo dal Vivo (FNSV) of the Ministry of Culture. A Lesson that Travels beyond Puglia In the Stanford Social Innovation Review the author concludeth that the intuitions of the Teatro Edicola transcend the Sanseverese context: in any community wherein cultural institutions struggle to reach youthful, diverse, or economically marginal publics, the principle of proximity proveth disruptive: to encounter people where they already find themselves, in the spaces they inhabit quotidianly. From the populous centre of Daunia to the pages of Stanford University: San Severo and its kiosk demonstrate that six chairs, four square metres, and a vision suffice to alter the manner in which a city conceiveth of itself. And to offer unto the world a model that costeth less than one might credit, yet is worth far more than one might imagine.

"PUGLIA IN": FROM SAN SEVERO TO STANFORD UNIVERSITY: THE 'SIX-SEAT REVOLUTION' OF TEATRO EDICOLA SOURCE: https://www.pugliain.net/301723-san-severo-teatro-edicola/ SAN SEVERO (FG) - The "Stanford Social Innovation Review (SSIR)", the scholarly quarterly published by the "Stanford Center on Philanthropy and Civil Society" at the prestigious Stanford University — ranked second in the world in the Shanghai Ranking of World Universities — and universally regarded as the pre-eminent global point of reference for scholars, policy-makers and practitioners in the fields of innovative enterprise and philanthropy, hath published the reportage “The Six-Seat Revolution” concerning the Teatro Edicola of San Severo, the smallest theatre in the world, born of the intuition of Francesco Gravino, Artistic Director of the Foyer ’97 company. Its author is Luciano Magaldi Sardella, independent researcher and international journalist, a native of Orta Nova with maternal lineage rooted in San Severo, and erstwhile contributor of studies published in international academic journals. The piece appeared in the Septembertide (Fall 2026) edition of the academic review, within the section consecrated to Arts and Culture. A presence which projecteth San Severo, and more broadly the entirety of Capitanata, into the international élite of research on cultural and urban innovation. The theatre is born from a disused newsstand It all commenceth upon 27 March 2026, World Theatre Day, in the Piazza Municipio at San Severo. A newsstand long disused in Via Matteo Tondi raiseth its shutter to reveal, in lieu of newspapers and cigarettes, an actor upon the stage. Within: six chairs. At intervals of fifteen minutes, a new audience taketh its place. Drawing inspiration from the televisual format of "Edicola Fiore" of the celebrated Sicilian radio and television presenter, there was born Teatro Edicola, a structure now recognised in the media as the smallest theatre in the world by both dimension and capacity: four square metres in total, with a scenic space of less than two metres. Gravino hath led Foyer ’97 for nigh on thirty years, forging an exacting artistic trajectory in a context — that of Southern Italy — historically penalised with respect to public funding for culture. And yet, when he beheld that vacant kiosk, he chose the path of provocation: to transmute the bare minimum into a manifesto concerning the very signification of theatre. The model and its measurable effects The inaugural season endured for three days. All performances were sold out. In a single afternoon, upwards of sixty persons attended the representations. The cost of the entire pilot operation was less than three thousand dollars. The formula is radical in its constitutive elements: performances of five to twelve minutes' duration, conceived expressly for the space rotation of the audience every fifteen minutes direct and ineluctable visual contact betwixt actor and spectator no architectural or psychological distance betwixt stage and stalls ticket proffered at five euros per person, with a hybrid economic model envisaging municipal support, local sponsors and box-office receipts According to the analysis published in the "Stanford Social Innovation Review", Teatro Edicola representeth a replicable paradigm of low-cost, high-impact urban regeneration, capable of reactivating abandoned commercial spaces — newsstands, tobacconists, telephone kiosks — without the necessity of substantial infrastructural investment. The voice of him who built it all Francesco Gravino entertaineth no doubt as to the significance of the undertaking: “One doth not require grand theatres to transform a portion of a city. One requireth a sound idea and the courage to restore to the collectivity a space that hath lost its function.” And concerning the import of international recognition: “Teatro Edicola was born to demonstrate that a locus of encounter and culture may arise wheresoever, even within two square metres. That today this labour should be studied at an international level and that enquiries should arrive from cities such as Lucca and Rome is confirmation that the path is the right one.” The director hath also explicated the symbolic choice of place: the newsstand was the point at which, each morn, one paused, one apprised oneself, one recognised oneself as a community. Its disappearance lacerated a precise social fabric. To restore unto it a cultural function signifieth to re-stitch that fabric from the very point at which it was rent. Challenges: scalability, institutional recognition, rootedness The SSIR reportage doth not merely celebrate the project but analyseth also its critical nodes. The first is sustainability over time: an activation of three days, howsoever successful, doth not yet constitute a stable programme, a veritable seasonal programmation (weekends from springtide to autumn) with a rotating roster of local and regional companies. The second node concerneth replicability without loss of identity: Teatro Edicola functioneth also by virtue of the profound roots of Foyer ’97 within the San Severo territory. To transplant the model elsewhere requireth not merely a physical kit, but an entire process of community building. The third obstacle is institutional: in a system of public funding which rewardeth organisations possessed of consolidated premises and predictable output metrics, a project deliberately experimental, hyper-localist and by its very nature impermanent struggleth to gain access to the ordinary channels of the Fondo Nazionale per lo Spettacolo dal Vivo (FNSV) of the Ministry of Culture. A lesson which travelled beyond Puglia In the Stanford Social Innovation Review the author concludeth that the intuitions of Teatro Edicola transcend the San Severo context: in any community wherein cultural institutions struggle to reach youthful, diverse, or economically marginal publics, the principle of proximity proveth disruptive: to meet people where they already are, in the spaces they inhabit quotidianly. From the populous centre of Daunia to the pages of Stanford University: San Severo and its diminutive kiosk demonstrate that six chairs, four square metres, and a vision sufficeth to alter the manner in which a city conceiveth itself. And to proffer unto the world a model which costeth less than one might suppose yet is worth far more than one might imagine.

"CIVICO 93": FROM SAN SEVERO TO STANFORD UNIVERSITY: THE 'SIX-SEAT REVOLUTION' OF TEATRO EDICOLA" SOURCE: https://www.civico93.it/da-san-severo-alla-stanford-university-la-rivoluzione-a-sei-posti-del-teatro-edicola/ SAN SEVERO (FG) - The scholarly reportage by Luciano Magaldi Sardella on the micro-theatre of Francesco Gravino has appeared in the most authoritative journal in the world in the field of social innovation: six chairs and four square metres that are transforming the manner in which we conceive theatre and the city. The "Stanford Social Innovation Review (SSIR)", the academic review published by the Stanford Center on Philanthropy and Civil Society of the prestigious Stanford University, ranked second in the world in the Shanghai Ranking of World Universities, constitutes the global point of reference for researchers, policy-makers and practitioners of innovative enterprise and philanthropy. It has published the reportage "The Six-Seat Revolution" on the Teatro Edicola of San Severo, the smallest theatre in the world by dimension and capacity, born from the intuition of Francesco Gravino, artistic director of the company Foyer '97. Its author is Luciano Magaldi Sardella, an independent researcher and international journalist, a native of Orta Nova with maternal roots in San Severo, already the author of studies published in international academic journals. The piece appeared in the autumnal edition [Fall 2026] of the academic review, within the section dedicated to Arts and Culture. A presence that projects San Severo, and more generally the Capitanata, into the international élite of research on cultural and urban innovation. The theatre originates from a disused newsstand It all began on 27th March 2026, World Theatre Day, in the Piazza Municipio in San Severo. A newsstand disused for years in Via Matteo Tondi raised its shutter to reveal, in place of newspapers and cigarettes, an actor upon the stage. Within: six chairs. Every fifteen minutes, a new audience takes its place. Taking inspiration from the televisual format of Edicola Fiore by the well-known Sicilian radio and television presenter, there was born the Teatro Edicola, a structure now recognised in the media as the smallest theatre in the world by dimension and capacity: four square metres in total, with a stage area of less than two metres. Gravino has led Foyer '97 for almost thirty years, constructing a rigorous artistic trajectory within a context, that of southern Italy, historically penalised from the standpoint of public funding for culture. And yet, when he beheld that empty newsstand, he chose the path of provocation: to transform the bare minimum into a manifesto on the very meaning of theatre. Gravino has led Foyer '97 for almost thirty years, constructing a rigorous artistic trajectory within a context, that of southern Italy, historically penalised from the standpoint of public funding for culture. And yet, when he beheld that empty newsstand, he chose the path of provocation: to transform the bare minimum into a manifesto on the very meaning of theatre. The model and its measurable effects The inaugural season lasted three days. All performances were sold out. In a single afternoon, more than sixty persons attended the representations. The cost of the entire pilot operation was less than three thousand dollars. The formula is radical in its constitutive elements: ● performances of five to twelve minutes' duration, conceived expressly for the space ● rotation of the audience every fifteen minutes ● direct and ineluctable visual contact between actor and spectator ● no architectural or psychological distance between stage and auditorium ● ticket offered at five euros per person, with a hybrid economic model providing for municipal support, local sponsors, and box-office receipts. According to the analysis published in the "Stanford Social Innovation Review", the Teatro Edicola represents a replicable model of urban regeneration at low cost and high impact, capable of reactivating abandoned commercial spaces [newsstands, tobacconists, telephone boxes] without the necessity for major infrastructural investment. The voice of him who built it all Francesco Gravino has no doubt as to the meaning of the undertaking: "One does not need grand theatres to change a fragment of a city. What is needed is a good idea and the courage to restore to the community a space that has lost its function." And on the import of the international recognition: "Teatro Edicola was born to demonstrate that a place of encounter and culture may come into being anywhere, even in two square metres. That today this work should be studied at an international level and that requests for information should arrive from cities such as Lucca and Rome is confirmation that we are upon the right path." The director has also explicated the symbolic choice of the site: the newsstand was the point at which each morning one would pause, catch up on news, recognise oneself as a community. Its disappearance lacerated a precise social fabric. To restore to it a cultural function is to mend that tissue at the very point where it was torn. The challenges: scalability, institutional recognition, rootedness The SSIR reportage does not confine itself to celebrating the project but analyses also the critical nodes. The first is sustainability over time: an activation of three days, however successful, does not yet constitute a stable programme, a veritable seasonal programme (at weekends from spring to autumn) with a rotating roster of local and regional companies. The second node concerns replicability without loss of identity: the Teatro Edicola functions also by virtue of the profound roots of Foyer '97 in the territory of San Severo. To transplant the model elsewhere requires not merely a physical kit, but an entire process of community building. The third obstacle is institutional: in a system of public funding that rewards organisations with consolidated premises and predictable output metrics, a project deliberately experimental, hyper-localist and by its very nature impermanent struggles to gain access to the ordinary channels of the National Fund for Live Performance (Fondo Nazionale per lo Spettacolo dal Vivo - FNSV) of the Ministry of Culture. A lesson that travels beyond Puglia In the Stanford Social Innovation Review the author concludes that the intuitions of the Teatro Edicola transcend the context of San Severo: in any community wherein cultural institutions struggle to reach youthful, diverse, or economically marginal publics, the principle of proximity proves disruptive: to meet people where they already are, in the spaces they inhabit daily. From the populous centre of Daunia to the pages of Stanford University: San Severo and its newsstand demonstrate that six chairs, four square metres, and a vision are sufficient to alter the way in which a city conceives itself. And to offer the world a model that costs less than one might suppose but is worth a great deal more than one might imagine.

LOUD ASSUME O TOP 1 MUNDIAL EM PONTOS NA SOLOQ. 🥇 LOUD 🇧🇷 🥈 Galions 🇫🇷 🥉 Kaufland Hangry Knights 🇩🇪 Voando no CBLOL e também nas filas ranqueadas! https://t.co/mhf3mc3PQ3 #CBLOL #Esports #Ranked

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From Yale University to Foggia: World Staging Premiere of Umberto Giordano's “Marina” at Foggia's Teatro Umberto Giordano SOURCE: https://www.linkedin.com/pulse/from-yale-university-foggia-world-premi%C3%A8re-scenic-sardella-ph-d--id9de/ SOURCE: https://www.foggiareporter.it/dalla-yale-university-a-foggia-la-prima-mondiale-in-forma-scenica-di-marina-al-teatro-giordano.html (With heartfelt thanks to the distinguished journalist, Dr Christiana Lenoci…) From the Frederick R. Koch Collection of the Beinecke Rare Book and Manuscript Library at Yale University to Foggia. Such is the extraordinary journey of Marina, Umberto Giordano’s first opera, which—after 138 years of oblivion—received its World Première in scenic form on 5 June 2026 at the Umberto Giordano Theatre in Foggia, inaugurating the GIO Festival – Giordano International Opera Festival. This remarkable rediscovery is recalled by Luciano Magaldi Sardella, Contributing Review of Books Critic at the London School of Economics (LSE). The project, conceived by Gianna Fratta and the artistic direction of the GIO Festival, seeks to transform Foggia, the Tavoliere plain, the Monti Dauni and the Gargano into a widespread stage dedicated to the city’s native composer, following the model of the great festivals devoted to Verdi, Rossini and Bellini. The vanished score At the age of twenty‑one, Umberto Giordano entered the Sonzogno Competition in Milan with Marina, a one‑act melodrama. Among seventy‑two competitors, he ranked within the top twelve. The prize was awarded to Pietro Mascagni’s Cavalleria rusticana. Giordano received an honourable mention, withdrew the score, and recycled part of its music in his later Mala Vita (1892). After his death in 1948, the manuscript disappeared and—entirely legally—ended up catalogued and forgotten within Yale’s collection. It was brought back to light by the musicologist and conductor Andreas Gies who, while studying the works of Leoncavallo, identified the autograph score in Yale’s online catalogue. Together with his colleague from San Severo, Emanuele d’Angelo, Gies prepared a rigorous critical edition that restored the work’s readability. Following its absolute première in concert form at the Teatro Dal Verme in Milan in February 2026—the very theatre that witnessed the early steps of Puccini and Leoncavallo—recorded live by Decca Classics with Eleonora Buratto in the title role and Freddie De Tommaso as Giorgio, praised by Gramophone and The Times of London, Marina finally returned home. Foggia reclaims it On 5 June 2026, the Umberto Giordano Theatre hosted the World Première in scenic form. The production was directed by Giandomenico Vaccari, who transposed the action to the era of the First World War; conducted by Matteo Dal Maso, winner of the Donatella Flick LSO Conducting Competition; and featured Valeria Sepe as Marina. A historic event for a city that lends its name to both its Theatre and its Conservatoire, yet until now had been the only among the cities of Italy’s great opera composers without a festival entirely dedicated to its own. The GIO Festival, from 5 to 20 June, unfolded across sixteen days and more than twenty events in seven municipalities of the Capitanata—Foggia, Manfredonia, Peschici, Vieste, Biccari, Roseto Valfortore and Torremaggiore—uniting opera, jazz, cinema and dance. The finale: opera as urban intervention On the evening of 20 June 2026, thirteen lorries arrived in Piazza Cavour in Foggia from Milan. They carried the entire production apparatus of Teatro alla Scala. The square was transformed into an open‑air theatre for Giordano’s Andrea Chénier, conducted by Gianna Fratta and featuring Maria Agresta and Jorge de León, before thousands of citizens. The opera of a revolutionary, erupting into the summer air of the city where Giordano was born. A gesture of proximity theatre demonstrating what a manuscript can achieve: turning a forgotten archive into a driver of economic and touristic development for the region, with Confcommercio’s puzzle‑based itineraries, Giordano‑themed menus, and QR codes featuring a digital avatar of the composer. Marina was lost for 138 years. To bring it back, six months, a library card, and a festival were enough.

We built @DreamGroupAI so nations can use AI to protect themselves and their most critical infrastructure  advanced cyber attacks. It is deeply humbling to see that today, DREAM’s cyber-defense platform was ranked as the most powerful cyber defense AI in the world on the https://t.co/2k3hP2PVxe #CyberDefense #AI #DreamGroupAI #Nospecificcountrycodesarementionedinthetweet.

Ranked: The World’s Largest Companies by Revenue (2020-2026) 💰 Amazon rose from ninth place in 2020 to become the world’s largest company by revenue in 2026. 💰 Walmart fell to second place after a 15-year run atop the Fortune Global 500. 💰 UnitedHealth Group climbed from 10th https://t.co/yhgBBIJzjq #Amazon #FortuneGlobal500 #Revenue #US

Me banearon la cuenta main de LAS y me sacaron más de 500 puntos. Vivo apareciendo en casas de apuestas, me wintradean 2 o 3 partidas por stream mínimo, me tuve que fumar 1 mes sin poder divertirme jugando al juego porque habían 10 tipos en brasil que se dedicaban a trollearme las rankeds para apostar y ganar plata entre ellos. No juego NUNCA al valorant offstream, así que hay transparencia de todo lo que hago Y me vienen a banear la cuenta main por ser cómplice de "smurfing" y la cuenta que banearon fue la main de primme que terminó en el top 10 con más de 700rr en radiant en todas las seasons xD. Todo bien @VALORANT @VALORANTLATAM, los puntos no me importan, el ban de 3 días tampoco, pero es increíble que el juego cada vez está más injugable y a la única gente que le rompen las pelotas es a la que le pone onda para revivir su juego. Hago el tweet para darle difusión porque sé que no me van a contestar ninguno de los tickets que les abro, y si me contestan va a ser diciendome que no pueden hacer nada al respecto. #Valorant #Gaming #Ban

| JULY 2026 | The Guard State How the largest Arab nation became a security contractor at the gates of its own people By Adham Hasanin Egyptian journalist and political writer, based in the Netherlands In June 2025, hundreds of activists from forty countries landed at Cairo airport. Doctors from France, lawyers from Australia, students from the United States, pensioners from the Netherlands. They carried no weapons and no banned slogans; they carried backpacks, walking shoes, and a single intention: to march from Arish to the Rafah crossing — entirely on Egyptian soil — to demand that food be allowed through to a people starving behind the gate. Not one of them reached Rafah. More than two hundred were detained before the march could begin. Around five hundred foreign nationals were deported from airports, hotels, and checkpoints. Passports were confiscated, activists were pulled out of downtown Cairo cafés, and the Global March to Gaza was cancelled on 16 June without taking its first step. And the world watched. This was no secret operation in a dark basement; it happened in the open, documented by the deportees’ own phone cameras, carried by every international news agency. The world watched an Arab state arrest Europeans, Americans, and Africans for wanting to walk towards Palestine. A state guarding the gate of a siege — from the side that was supposed to be the side of rescue. Hold that image, because it is the key to everything that follows. This was not an aberration in Egyptian policy, nor an isolated security decision. It is the function — the complete function around which the Egyptian state has been redefined over the past decade, and which it is time to call by its proper name: the Guard State. I. The Name — What Do We Mean by the Guard State? Political economy has long described states that live off the rent of their location rather than the production of their people. But what has crystallised in Egypt over the past decade goes beyond traditional geographic rent — the Suez Canal, say — into something far graver: the conversion of sovereignty itself into a commodity for hire. The Guard State does not sell its location; it sells its function. It collects its wages not for what it produces, but for what it prevents: it prevents the refugee from reaching Europe, the activist from reaching Gaza, its own people from reaching politics, and the resistance’s weapons from reaching their destination. Four gates, guarded by a single machine, whose wages are paid in loans, deposits, and perpetually renewed rescue packages. This is not a rhetorical metaphor; it is an economic structure with numbers attached. When the Egyptian economy collapsed in 2024, it was rescued not by productive reform but by a single deal whose subject was location: Ras el-Hekma — thirty-five billion dollars for a stretch of coastline. And whenever negotiations with the IMF stall, the tranches are unlocked by explicit European pressure whose subject is migration: nine billion euros from the European Union in the 2024 “Strategic Partnership,” whose own documents place “migration management” at its core. Europe does not pay Egypt to prosper. It pays Egypt to guard. Thus the model is complete: income in exchange for prevention, external legitimacy in exchange for guarding, and international silence about domestic tyranny in exchange for keeping the gates controlled. To see how the model works on the ground, consider the bloodiest gate of all: the gate of Gaza. II. The Gaza Gate — The Guard Who Is Himself Searched The first paradox must be nailed down with facts: Egypt is not a sovereign guard of its own crossing; it is a searched guard. Egyptian relief trucks — ninety-two thousand food parcels in a single convoy this month — are subject to Israeli inspection before entering the Strip: from Egyptian soil, through a crossing that bears an Egyptian name. The state that guards the gate does not hold its key. It owns the threshold, but not the door. Then the October 2025 truce added a new layer to the function. Under the fifteen-point roadmap sponsored by the international envoy together with the “guarantor states” — Egypt foremost among them — Cairo is to train the civilian police force that will replace Hamas in administering the Strip, under the slogan of “one authority, one law, one weapon.” Let us call things by their names: the state that could not — or would not — deliver a loaf of bread without Israeli permission is now qualifying to graduate the security apparatus that will oversee the disarming of the resistance. From guarding the siege to administering what comes after the siege — a promotion within the same project. And meanwhile, what is happening behind the guarded gate? Since the truce, more than one thousand one hundred Palestinians have been killed by Israeli fire — the latest, just two days ago, a ten-year-old boy named Motaz Abu Shaar, carried to his grave in Khan Younis by his mother, Warda. A United Nations commission of inquiry has concluded that Israel is “deliberately targeting children in an ongoing genocide.” This is what the guarantors’ official language calls a “ceasefire.” What meaning is left in the word “guarantor”? A guarantor that the gate stays firmly shut — however high the dead pile up behind it. III. The Mediterranean Gate — The Guard Europe Pays For The second gate faces north. Since 2016, Cairo has boasted — through its officials at every European forum — that “not a single irregular migration boat has departed from Egyptian shores.” This is very nearly true. But the forbidden question is: at what political price has this “efficiency” become an instrument of mutual blackmail? Europe — which condemns Egypt’s human rights record in its parliamentary resolutions — is the same Europe that signed the nine-billion-euro partnership, and the same Europe that stays silent about sixty thousand political prisoners because the alternative, in its calculations, is boats that never stop. And Cairo understands the game and has mastered it: whenever human rights pressure intensifies, the official discourse turns up the volume on “Egypt hosts millions of refugees” and “the last line of defence.” The result is a perfect structure of mutual blackmail: Europe buys its conscience’s silence, the regime sells its location, and the people — Egyptian and refugee alike — are the commodity in the transaction. The democracies that lecture on values are financing the guard who keeps the victims from knocking on their doors. This is not passing hypocrisy; it is a structural partnership in the Guard State model — one that makes Brussels and Berlin shareholders in everything this state produces, from domestic repression to external siege. IV. The Interior Gate — Guarding the People Against Politics But the most dangerous gate is not on any border; it is inside. The Guard State cannot perform its external function unless it first guards an internal gate: the people’s gate to politics. The function requires a people that does not ask: why are we guarding the siege of our brothers? Why are our trucks searched on our own soil? Why are guests deported for coming to walk in peace? To guarantee the question is never asked, the largest silencing machine in the country’s history was built: sixty thousand prisoners of opinion, a press ranked 166th out of 180 worldwide, and a state security case number waiting for anyone who writes. I write these lines from experience, not from reading reports. When I continued writing from my Dutch exile, the machine reached me across continents: accounts shut down by coordinated mass-reporting campaigns, documented threats, a family harassed inside Egypt as leverage — and my name entered into Case 1282 of 2024, not for any act I committed, but for opinions written from free European soil. This is not a personal complaint; it is a job description: the Guard State guards even beyond its borders, because the free word — wherever it is written — threatens the entire contract of guardianship. The logic is perfectly self-consistent: a regime that sells “stability” abroad cannot tolerate a voice revealing that the stability on offer is the stillness of graveyards. This is why the arrest of the foreign activists in June 2025 was inevitable, not incidental: a peaceful march reaching Rafah would have revealed, before the world’s cameras, that the gate opens when it is wanted open — and that the one keeping it shut is a partner, not a mediator. V. What Has Egypt Lost? — The Guard’s Bill An apologist might argue: what is the harm? A state monetising its location as Norway monetises its oil. The answer lies in the essential difference: Norway sells a resource; Egypt leases its will. And the difference between the two is the difference between trade and bondage. Let us tally what Egypt has paid for this model, in bare facts. It lost its water sovereignty: the Renaissance Dam was completed and filled without the state — owner of “the largest defence headquarters in the world” — daring anything beyond statements of concern; for the guard does not make trouble for the international order that employs him. It lost its regional standing: in the Iran–America war halted just weeks ago, Cairo was neither party nor mediator nor even consultant — Pakistan brokered the deal, while Egypt absorbed the economic shrapnel of Hormuz’s closure like a bystander caught in a battle whose parties it does not know. It lost its place in the conscience of its nation: the state that liberated its land in 1973 and led the Arab world for a century has become, in the eyes of the Arab street from the Atlantic to the Gulf, the gatekeeper of the siege. This loss, specifically, no loan or deposit can repay — because it is the only capital that cannot be printed. And it lost — here is the crux — the very national security in whose name the guarding is justified. The model proved its fragility at the moment of testing: when Israel feared an Iranian response last year, it cut off Egypt’s gas by unilateral decision within hours. The guard who believed himself a partner discovered he was merely a hireling whose wages stop the moment danger arrives. VI. The Alternative Is Not a Slogan — It Is the Recovery of the Original Function I will not close with an essay on “the solution lies in Arab unity”; worn-out words kill more surely than silence. The alternative is specific, and it begins with redefining the function. The state is not a guard; the state is the agent of its people’s will. Every foreign policy not derived from that will is — by definition — functional servitude, however it is wrapped in the language of wisdom and moderation. And the Egyptian will is known and needs no referendum: no people in this region accepts that its country serve as warden of the siege of Gaza, or as Europe’s border post. Practically, the recovery begins with three measurable steps. Open the Rafah crossing fully and sovereignly, by purely Egyptian decision — that alone would overturn the equation of the siege. Break the negotiating bondage by linking any cooperation on migration to concrete European positions on Palestine, not statements of concern. And open the interior gate — release the prisoners and lift the hand from the written word — because a state that fears an article will never dare face an occupier. I know the current regime will do none of this; guarding is its founding contract and its financial artery. But this article is not written for the regime. It is written for memory, and for the generation that will inherit the gates — so that it knows that what is presented to it today as “the fate of geography” is no fate at all. It is an employment contract, signed by a regime without a mandate from its people. And contracts, however long they run, end when one of their parties does. And the world — I return to where I began — is a witness that requires no further proof. It watched the deportees at Cairo airport; it watched the searched trucks; it watched Warda Abu Shaar carry her son to his grave behind a firmly guarded gate. The question is no longer: what is happening? The only question left is: who dares to name it? This article is a naming. Adham Hasanin is an Egyptian journalist and political writer based in the Netherlands, covering Arab and European political affairs.

Il y a deux semaines, j’ai été opéré d’un panaris. À ce moment-là, je ne pensais plus pouvoir jouer le LCQ… mais j’avais tellement envie d’aider l’équipe. Le club était réticent à l’idée que je joue, et je le comprends totalement. Finalement, grâce à la confiance de mon GOAT @TonY_Valorant, qui m’a donné son accord sous certaines conditions (moins de ranked, gestion de la charge, etc.), j’ai pu tenir ma place. La suite, vous la connaissez…#VCTEMEA Je voulais remercier du fond du cœur le club : @EintrachtValo @ChristianLenz @Max_Broemel @TonY_Valorant @CoachSebe Merci de m’avoir encore fait confiance. Vous avez cru en moi dès mon arrivée, alors que je n’avais aucune expérience à ce niveau pour ma première saison. Je suis tellement fier de faire partie de cette équipe. On a traversé des moments compliqués, mais on n’a jamais abandonné. On n’a jamais choisi la facilité en mettant un joueur sur le banc. On est restés soudés et résilients, et aujourd’hui, on mérite pleinement notre place pour aller affronter les meilleures équipes d’Europe. Un immense merci à tous les fans. Vous avez été incroyables du début à la fin. On l’a fait aussi pour vous 🦅 @MHN_Eagles Maintenant, place au VCT. On va tout donner, les frères ❤️ @musashival @azuryVAL @aMONSTEERR @FizzyxDDD #VCT #Valorant #Esports

“Pra mim, vai ser a melhor oportunidade de todas. Ainda mais agora que o Sato e o Spike foram campeões [do Masters Londres], e o lukxo está vindo de uma fase individual muito boa na LOUD também.” “São jogadores jovens com quem eu jogava ranked quando eles tinham 14/15 anos de idade. Então, ver a evolução deles de longe, já que a gente não teve a oportunidade [de jogar junto ou contra], e agora poder jogar ao lado deles é muito gratificante.” “Ter essa oportunidade de jogar com a nova geração vai ser muito gratificante pra mim, e eu espero conseguir passar um pouco da minha experiência, um pouco do que eu sei, não que eles precisem, mas, pra mim, vai ser bem legal”. 🗣️ @gustavosacy sobre a oportunidade de jogar com a nova geração de jogadores brasileiros na Copa do Mundo #Gamers #Evolução #CopaDoMundo

Feliz demais de ver a rapaziada que amassava nas rankeds com 14/15 anos, levantando a taça do Masters Parabens a todos, historia linda, foi um privilegio acompanhar a trajetoria de Londres!! Salve pro Onur e King, finalmente levantaram o primeiro titulo internacional, merecido demais Blowzin na minha opiniao, mvp da final, e Neon, o MESSI do valorant, mvp do campeonato. Spike/Sato, orgulho de ver vocês conquistando o mundo. Aproveitem o momento! A vida passa rapido, no fim a unica coisa que nos resta são as histórias que construimos nesse meio tempo, e essa é uma memória eterna na vida de vocês, acreditem. GG LEVIATAN! 💙 #Valorant #Masters #Gaming

LEVIATAN É A GRANDE CAMPEÃ DO MASTERS LONDRES! Blow, Spike e Sato, foi uma honra ser amassado por vocês em todos camps de vp e ranked, vocês são insanos e hoje são os melhores do mundo! Parabéns também pro King, Neon, Onur, Jhein e toda comissão da LEV! VAMOS LEVIANETA! https://t.co/9Eiwt2qVO6 #Masters #Esports #LeagueOfLegends