Shaath, 54, said in a video statement released on May 14 that French officials had initiated deportation proceedings against him on the basis that he posed a threat to public security. He said the measures formed part of what he described as a broader effort to silence Palestinian voices and supporters of the Palestinian cause in France.

France’s Interior Ministry did not immediately respond to requests for comment on the allegations or the legal basis for the proposed deportation.
Shaath said the move followed administrative difficulties related to renewing his French residency permit despite longstanding family ties in France.

He also alleged that French authorities or associated institutions had closed his bank account and suspended his health insurance coverage, affecting his ability to travel, work and access medical care.
He said he and his family planned to challenge the proceedings in French and European courts.

Shaath helped establish the pro-Palestinian organization Urgence Palestine after the outbreak of the Israel-Hamas war. He has been a prominent advocate of the Boycott, Divestment and Sanctions movement targeting Israel and has linked Palestinian activism with broader opposition to authoritarian governance in the Arab world.

Born to Egyptian and Palestinian parents, Shaath founded the Egyptian branch of the BDS movement in 2014. Egyptian authorities arrested him in 2019, and he remained in detention for more than two years before being released in January 2022.

Following his release, Shaath told The Associated Press that Egyptian authorities had never formally charged him. He said he was initially held in overcrowded conditions before later being isolated in a windowless detention cell.

French President Emmanuel Macron publicly welcomed Shaath’s release from Egyptian custody in 2022.

Shaath is married to a French citizen and has a French-Palestinian daughter. His case emerges as European governments face mounting tensions over balancing domestic security concerns with protections for political activism tied to the conflict in Gaza.

France’s Louvre Museum, the world’s largest and most visited museum, is entering a period of uncertainty after the resignation of its president, Laurence des Cars, following a year marked by infrastructure failures, labor unrest, financial scrutiny and one of the country’s most significant museum thefts in decades.

Des Cars, who had led the institution since 2021 and became the first woman to head the Louvre, stepped down this week after months of mounting pressure over the museum’s management and the future of an ambitious €1 billion renovation project backed by President Emmanuel Macron.Her departure comes little more than a year after she formally warned France’s culture ministry that the Louvre’s condition had become increasingly unsustainable.

In a note to Culture Minister Rachida Dati, des Cars described overcrowded galleries, outdated technology, water leaks, damaging temperature fluctuations and deteriorating visitor facilities, saying the museum had reached a “worrying level of obsolescence.”The warning laid the foundation for “Louvre: New Renaissance,” a large-scale modernization plan unveiled by Macron shortly afterward in front of the museum’s most famous attraction, Leonardo da Vinci’s Mona Lisa.

The proposal includes major repairs, new visitor infrastructure, a separate exhibition room for the Mona Lisa with independent access, and a new grand entrance on the museum’s eastern side near the Colonnade de Perrault.The redesign would also require excavation beneath the Cour Carrée, creating new underground exhibition spaces. Officials estimate the total cost at more than €1.1 billion.The Louvre occupies a 360,000-square-meter complex that began as a 12th-century fortress before becoming a royal palace and later a public museum during the French Revolution in 1793.

It contains more than 400 rooms, roughly nine miles of corridors and over 600,000 objects in its collection, with around 35,000 on permanent display.Originally designed to receive about 4 million visitors annually, the museum welcomed 9 million visitors last year, driven largely by attractions such as the Mona Lisa, the Venus de Milo and the Winged Victory of Samothrace.Supporters of the renovation argue the scale of visitor pressure makes major intervention unavoidable. Critics, however, question both the necessity and timing of the project, particularly as the museum faces immediate operational challenges.

Didier Rykner, editorial director of La Tribune de l’Art, said essential repairs and modernization were needed, but described the broader plan as unnecessary and financially risky.“It’s unnecessary, and it’s harmful,” Rykner said, arguing that Macron viewed the project as a presidential legacy initiative similar to earlier landmark cultural projects commissioned by former French presidents.

France has a long tradition of large museum projects linked to presidential terms, including François Mitterrand’s Grand Louvre project in the 1980s, which created the museum’s glass pyramid entrance designed by Chinese-American architect I.M. Pei. Georges Pompidou oversaw the Pompidou Centre, while Jacques Chirac backed the Musée du Quai Branly.Macron has maintained a close symbolic connection to the Louvre, choosing its courtyard as the setting for his 2017 presidential victory speech.

With his term ending next spring, the renovation plan has become closely associated with his cultural legacy.At the same time, the museum’s immediate problems have deepened.This month alone, two water pipes burst inside the building, including one in the Denon wing, where the Mona Lisa is displayed. In November, flooding damaged more than 300 documents in the Library of Egyptian Antiquities.

Late last year, the Campana gallery, known for its Greek ceramics collection, was closed due to structural weakness in supporting beams. Elsewhere in the Sully wing, offices were relocated because of concerns over floor collapse.Staff morale has also deteriorated sharply. The Louvre employs about 2,300 people, and unions have described working conditions as “untenable,” citing understaffing, poor pay and management decisions they called irresponsible.

Since last summer, repeated strikes have forced the museum to close fully or partially more than a dozen times.In a joint statement, employee unions said staff felt they were “the last bastion before collapse,” reflecting broader frustration over daily operations and resource shortages.This month, police arrested nine people, including two museum employees and two tour guides, over an alleged long-running ticket fraud scheme targeting Chinese tourist groups.

Investigators believe the operation may have cost the museum more than €10 million over the past decade.The most serious reputational blow came in October, when four men carried out a daylight theft from the Apollo Gallery, stealing diamond-studded Napoleonic crown jewels valued at €88 million.Investigators said the gang used a stolen truck fitted with an extendable ladder to reach an unsecured first-floor window, entered the gallery, smashed display cases and escaped on motorbikes within seven minutes.

Four suspects have since been arrested and remain under investigation, but the jewels have not been recovered.The theft intensified criticism of museum security and placed des Cars under further political pressure. Alexandre Portier, the conservative chair of a parliamentary inquiry on museum security, said the list of institutional failures would have triggered leadership change much earlier in many comparable institutions.

Des Cars acknowledged responsibility for part of the security failure but argued she was also facing consequences for earlier warnings about the museum’s structural decline. In comments to Le Figaro, she said she had faced “an unprecedented media and political storm” and believed conditions no longer existed for her to continue implementing reforms.Her successor, Christophe Leribault, takes over after leading the Palace of Versailles and previously directing the Musée d’Orsay and Paris’s Petit Palais.

The culture ministry said his priorities would include strengthening security for the building, collections and staff, while restoring trust inside the institution and advancing necessary modernization.The future of the New Renaissance project remains uncertain. Staff unions have described it as disconnected from the museum’s actual needs, while France’s state auditor, the Cour des Comptes, has warned it presents significant financial risk and argued urgent repairs should take precedence.Funding remains unresolved.

The Louvre expects €200 million to €300 million from licensing fees linked to its Abu Dhabi franchise, with the remainder expected largely from international donors. According to critics, donor support, particularly from the United States, has been slower than anticipated.The architectural competition tied to the project, expected to advance earlier this year, was suspended in February, adding further uncertainty to Macron’s timetable before he leaves office.

Rykner said the museum’s existing revenues from ticket sales, reserves, state subsidies and Abu Dhabi income were sufficient for repairs and a more limited modernization without committing to a large expansion project.He argued that pressure around the Pyramid entrance and the Denon wing could be eased through smaller additional entrances and alternative display arrangements for the Mona Lisa rather than a major underground redevelopment.

There are places where travel feels less like movement and more like slipping into a dream. France’s Loire Valley is one of them a landscape of grand châteaux, endless vineyards, sunflower fields glowing under summer light, and medieval villages that seem untouched by time.

And perhaps the best way to experience it all is not from the window of a speeding train or the seat of a tour bus, but slowly, gently, on an electric bicycle.For travelers seeking beauty without exhaustion, an ebike tour through the Loire offers the perfect rhythm: enough movement to feel immersed in the countryside, but with enough ease to stop often for long lunches, local wine, and the occasional riverside beer.

The journey begins with a quick Eurostar ride to Paris, followed by a short TGV trip south to Saint-Pierre-des-Corps, the gateway to one of France’s most celebrated regions. From there, the Loire unfolds like a living canvas golden vineyards stretching into the horizon, villages built from warm honey-colored stone, and Renaissance castles rising unexpectedly from the countryside.

The first stop is Château du Rivau, a beautifully restored Renaissance château in the village of Lémeré. Legend says Joan of Arc once came here to collect horses before the Siege of Orléans in 1429, and the place still carries a quiet sense of history. Its gardens are lush and theatrical, while the château itself blends medieval grandeur with contemporary art exhibitions hidden inside ancient towers.

It is here that the cycling journey properly begins. Equipped with ebikes arranged through the company Cycling for Softies, the route covers nearly 100 miles over three days, winding through vineyards, riverside paths, and historic towns including Langeais, Azay-le-Rideau, and Fontevraud-l’Abbaye.

The beauty of the ebike is simple: it removes struggle without removing experience. Hills flatten, distances shrink, and the focus shifts from endurance to enjoyment. Within minutes of leaving Château du Rivau, the route passes through quiet vineyards, farmhouses wrapped in honeysuckle, and lanes lined with wildflowers.

Soon, cyclists join La Loire à Vélo, the famous 560-mile cycle trail following the Loire River from Nevers to the Atlantic coast. Opened in stages since 2005, it is one of Europe’s most scenic long-distance cycling routes, designed for leisure rather than speed.Along the way, every stop feels like a reward.

In Candes-Saint-Martin, an ancient river port town where the Loire and Vienne rivers meet, travelers can pause at a riverside café, watching sunlight shimmer on the water while local wine quietly extends lunch into late afternoon. The charm of the Loire lies precisely in these unplanned moments a second glass of rosé, an unexpected bakery, a village market too inviting to ignore.

The route then continues toward Fontevraud-l’Abbaye, one of France’s officially recognized “Most Beautiful Villages.” At its heart stands Fontevraud Abbey, a UNESCO World Heritage site and the burial place of Henry II, Eleanor of Aquitaine, and Richard the Lionheart.Staying beside the abbey at L’Hôtel de Fontevraud L’Ermitage offers a rare quiet elegance.

Modern and minimalist, the hotel feels almost monastic in spirit, especially at night when guests are allowed to walk through the abbey grounds after dark. The silence, broken only by footsteps and distant bells, gives the place an almost sacred stillness.By the second day, the journey settles into a delightful pattern: cycle for an hour, stop for a drink; cycle again, then pause for a long lunch.

There is no rush here. The countryside encourages slowness.The road toward Château d’Ussé offers one of the route’s most magical moments. With its towering turrets and fairy-tale silhouette, the castle is said to have inspired Charles Perrault’s Sleeping Beauty.

Nearby, quiet country roads pass ancient wine cellars carved into limestone cliffs, their doors half-hidden by ivy and time.The next overnight stop is Château de Rochecotte near Langeais, an elegant château hotel with sweeping valley views and the kind of dining that turns dinner into an event.

Fresh langoustine, locally raised pork, and classic French desserts arrive with the same care as the wines poured beside them.The final day leads through medieval towns and orchards heavy with apples and cherries, ending at Château de Villandry, one of the Loire’s most celebrated Renaissance castles.

Its geometric gardens are among the finest in Europe precise, ornamental, and almost impossibly beautiful. Box hedges shaped like harps, maze gardens, reflective pools, and floral symmetry create the feeling of walking through living architecture.Unlike traditional adventure cycling, this is travel built on pleasure rather than challenge.

It is not about conquering distance, but about surrendering to place. The ebike simply makes that surrender easier.The Loire Valley rewards those willing to slow down. It asks travelers not to rush past its beauty, but to sit with it beside a river, beneath a château wall, or in the middle of a vineyard road where sunflowers lean toward the fading light.

And by the end, it becomes easy to understand why artists like Leonardo da Vinci once chose this valley as home. Some landscapes are meant to be admired. Others are meant to be lived in, if only for a few golden days.

Macron made the remarks at the start of a defense meeting with advisers and cabinet members, according to official statements.While endorsing the ceasefire as a step toward de-escalation, Macron emphasized that broader regional stability would require addressing tensions affecting Lebanon.

The French president did not provide further details on how Lebanon could be incorporated into the agreement, but underscored the urgency of the situation there in the context of ongoing regional developments.

France has been actively engaged in diplomatic efforts in the Middle East, and Macron’s comments reflect Paris’s continued focus on preventing spillover effects from wider conflicts.

The agency said governments, businesses and households could take immediate steps to reduce fuel demand and mitigate the impact of rising costs, following its decision earlier this month to release record volumes of oil from emergency reserves.

In its latest guidance, the IEA said practical actions such as increased remote work, lower highway speed limits and reduced reliance on air travel could help curb fuel consumption in the short term. The proposals are aimed at softening the burden on consumers facing higher energy bills.

The agency framed the recommendations as part of a broader strategy to complement supply-side interventions, emphasizing coordinated action across sectors to stabilize markets.

The IEA earlier agreed to release 400 million barrels of oil from strategic reserves, marking the largest such move in its history. The United States is contributing the majority of the supply, reflecting its central role in global energy coordination efforts.

IEA Executive Director Fatih Birol said the agency remains in close contact with key governments, including major producers and consumers, as part of ongoing energy diplomacy efforts.

“We have recently launched the largest ever release of IEA emergency oil stocks,” Birol said in a statement, adding that discussions with governments are continuing to address market volatility.

The spike in oil prices linked to the conflict has intensified concerns over inflation worldwide, as higher energy costs ripple through transport, manufacturing and household expenses.

Birol said the latest report provides “a menu of immediate and concrete measures” that can be implemented quickly to shield consumers, highlighting the importance of reducing demand alongside boosting supply in times of crisis.

The discussions marked a significant step in strengthening international cultural exchange and fostering creative partnerships between the two nations.

The Royal Commission for AlUla announced a landmark agreement to establish a Saudi section within the Center Pompidou in Paris, which is currently undergoing refurbishment.

The renovated museum is expected to reopen to the public in 2030, providing a dynamic platform to showcase Saudi contemporary art and culture alongside international works.

Under this partnership, the RCU will contribute 50 million euros to support the renovation of the Center Pompidou, highlighting Saudi Arabia’s commitment to promoting global art and culture.

This collaboration is part of a broader Saudi-French initiative to develop the Museum of Contemporary Art in AlUla, located in the western Hejaz region of Saudi Arabia.

The new museum will serve as a hub for artistic innovation, providing a space where local, regional, and international artists can showcase their work, exchange ideas, and collaborate on projects.

By creating this bridge between Paris and AlUla, the initiative strengthens cultural ties and encourages dialogue across borders.

The partnership will also establish a multi-year cultural and artistic program running until 2030, focusing on modern and contemporary Saudi artists.

By using resources from the Center Pompidou, the program will facilitate professional exchanges between Saudi and French cultural experts, offering opportunities for skill development, mentorship, and creative collaboration.

This initiative aims to highlight Saudi Arabia’s vibrant contemporary art scene while promoting sustainable cultural development.

RCU emphasized that culture serves as a bridge for international dialogue and plays a key role in advancing sustainable development.

By investing in global artistic institutions and fostering cross-cultural initiatives, Saudi Arabia is positioning AlUla as a leading destination for creativity and innovation.

The collaboration also underlines the importance of sharing knowledge, celebrating heritage, and promoting arts education, both locally and internationally.

In addition to the Center Pompidou partnership, RCU announced the Arduna exhibition, which will take place during the AlUla Arts Festival in January 2026.

Organized in collaboration with Arts AlUla, the Center Pompidou, and the French Agency for AlUla Development, the exhibition will feature workshops, live performances, and programs designed to support emerging talent.

Arduna will showcase contemporary Saudi artistic expression while providing an immersive cultural experience for visitors.

Prince Bader highlighted the importance of building AlUla’s reputation as a global hub for creativity, where heritage, innovation, and knowledge intersect.

The city has been rapidly developing its cultural and artistic infrastructure, hosting world-class events and exhibitions, and nurturing emerging talent.

Through initiatives such as the Pompidou partnership and the Arduna exhibition, AlUla is emerging as a center for inspiration, attracting artists, scholars, and cultural enthusiasts from around the world.

The collaboration also reflects a shared commitment between Saudi Arabia and France to promote culture as a tool for dialogue, understanding, and peace.

By fostering international artistic exchanges, both countries are demonstrating that art can transcend borders and create opportunities for mutual learning and inspiration.

Through this landmark agreement, Saudi Arabia is not only supporting the global arts community but also enriching its own cultural landscape.

AlUla’s transformation into a vibrant center for contemporary art is a testament to the Kingdom’s vision of blending heritage with modern creativity.

The initiative promises to inspire future generations of artists, strengthen international partnerships, and solidify Saudi Arabia’s role on the world stage as a leader in cultural innovation.

With the reopening of the Center Pompidou in Paris and the development of AlUla’s contemporary art museum, this partnership signals a bright future for artistic collaboration, cross-cultural exchange, and global creative growth.

Paris’ last newspaper hawker keeps the spirit of the Latin Quarter alive, blending tradition, humor, and community in the heart of the city.

In the heart of Paris’ Latin Quarter, a slim, round-spectacled man zigzags between cafés and bustling streets, newspapers under his arm, bringing laughter and curiosity to everyone he meets. Ali Akbar, 73, has earned a reputation as the last newspaper hawker in the French capital, a living link to the city’s vibrant cultural past.

Every afternoon, Akbar invents humorous headlines to sell his newspapers, turning ordinary street corners into moments of joy. “France is getting better!” he cries. “(Eric) Zemmour has converted to Islam!” he shouts, drawing smiles from passersby who stop to engage with his playful banter.

Ali Akbar’s story is one of courage and perseverance. Born in Pakistan, he arrived in France at the age of 20, seeking to escape poverty and provide for his family back home. He worked as a sailor and a dishwasher before finding his calling as a newspaper hawker in Paris. Through hardships, including homelessness and moments of danger, Akbar has never given up.

His journey into Parisian streets began in the 1970s, when he first started selling newspapers in the university neighborhoods along the Left Bank. It was here, in front of prestigious institutions like Sciences Po, that he learned French, interacted with students, and connected with future French leaders, including former Prime Minister Édouard Philippe.

It was also here that Akbar met Georges Bernier, the famed humorist known as Professeur Choron, who introduced him to the satirical publications Hara-Kiri and Charlie Hebdo. The chance encounter set him on a path that would make him a beloved cultural icon.

“I want people to live happily. I do it to create a good mood, that’s all,” Akbar explains, encapsulating the essence of his work. His invention of playful, sensational headlines in the 1980s made him stand out among Paris’ street vendors. While the city once hosted around 40 newspaper hawkers, Akbar chose to walk, embracing the freedom of the Latin Quarter and making himself a fixture of the area.

Akbar’s dedication has not gone unnoticed. French President Emmanuel Macron has announced plans to make him a knight in the National Order of Merit, recognizing his decades of service and contribution to the cultural life of Paris. “At first I didn’t believe it,” Akbar said with a smile. “I think it’s related to my courage because I’ve worked hard all my life.”

Despite the decline in physical newspaper sales, Akbar continues his routine, working daily from 3 p.m. until 10 p.m., selling copies of Le Monde and sharing laughter with locals and tourists alike. On average, he now sells around 30 newspapers a day, a significant drop from the 150–200 he sold when he started. Yet, his spirit remains unshaken. “As long as I’ve got the energy, I’ll keep going. I’ll work until I die,” he jokes.

For many, Ali Akbar is more than a newspaper hawker. He is a symbol of resilience and human connection in a digital age. Café owners, tourists, and Parisians alike stop to greet him, inspired by his energy and warmth. Amel Ghali, a regular at one of the terraces, said, “It’s good to see it in the digital age. Unfortunately, our children won’t experience the pleasure of reading a newspaper with a coffee. Ali Akbar keeps that tradition alive.”

His legacy is a testament to the enduring charm of Paris’ streets, where culture, humor, and human spirit converge. Even after decades of challenges, Ali Akbar remains a reminder that dedication and joy can create a life of lasting impact, bringing smiles to those who stop and listen to his imaginative headlines.

Ali Akbar, the last newspaper hawker in Paris, continues to embody a rare blend of perseverance, charm, and optimism. His story transcends borders, offering an inspiring glimpse of how one individual can enrich an entire city through simple acts of dedication and humor.