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Climate campaigner Greta Thunberg and 11 other activists set sail for the Gaza Strip on Sunday afternoon, aboard a ship carrying aid. The mission is aimed at “breaking Israel’s siege” of the devastated territory, organizers said.
“Game of Thrones” actor Liam Cunningham and Rima Hassan, a French member of the European Parliament who is of Palestinian descent, are also among the crew. Hassan has been barred from entering Israel due to her active opposition to the Israeli assault on Gaza.
The sailing boat Madleen — operated by activist group Freedom Flotilla Coalition — departed from the Sicilian port of Catania, in southern Italy.
“‘Madleen’ sails to Gaza today with twelve humanitarians and as much life-saving aid as she can carry, including baby formula, medical supplies, and more. She departs from European territorial waters, sailing entirely through international waters into Palestinian waters off Gaza,” the coalition wrote in a social media post Sunday. “Unarmed and nonviolent, ‘Madleen’ poses no threat. She sails in full accordance with international law. Any attack or interference will be a deliberate, unlawful assault on civilians.”
As the crew tries to reach the shores of Gaza, they hope their trip will raise “international awareness” over the ongoing humanitarian crisis, the activists said at a press conference on Sunday, ahead of departure.
“We are doing this because, no matter what odds we are against, we have to keep trying,” Thunberg said, bursting into tears during her speech.
“Because the moment we stop trying is when we lose our humanity. And no matter how dangerous this mission is, it’s not even near as dangerous as the silence of the entire world in the face of the live-streamed genocide,” she added.
Salvatore Cavalli / AP
Israel, which was founded in the aftermath of the Holocaust, has adamantly rejected genocide allegations against it as an antisemitic “blood libel.”
In mid-May, Israel slightly eased its blockade of Gaza after nearly three months, allowing a limited amount of humanitarian aid into the territory.
Experts have warned that Gaza is at risk of famine if more aid is not brought in.
U.N. agencies and major aid groups say Israeli restrictions, the breakdown of law and order, and widespread looting make it extremely difficult to deliver aid to Gaza’s roughly 2 million Palestinians.
The activists expect to take seven days to get to their destination, if they are not stopped.
Thunberg, who became an internationally famous climate activist after organizing massive teen protests in her native Sweden, had been due to board a previous Freedom Flotilla ship last month.
Salvatore Cavalli / AP
That attempt to reach Gaza by sea, in early May, failed after another of the group’s vessels, the “Conscience,” was attacked by two alleged drones while sailing in international waters off the coast of Malta.
The group blamed Israel for the attack, which damaged the front section of the ship, in the latest confrontation over efforts to send assistance to the Palestinian territory devastated by nearly 19 months of war.
The Israeli government says the blockade is an attempt to pressure Hamas to release hostages it took during the Oct. 7, 2023, attack that triggered the conflict. Hamas-led militants assaulted southern Israel that day, killing some 1,200 people, mostly civilians, and abducting 251. Hamas is still holding 58 hostages, 23 of whom are believed to be alive.
In response, Israel launched an offensive that has killed over 52,000 Palestinians, mostly women and children, according to Gaza’s Health Ministry, which does not distinguish between fighters and civilians. Israel’s bombardment and ground operations have destroyed vast areas of the territory and left most of its population homeless.
The Flotilla group was only the latest among a growing number of critics to accuse Israel of genocidal acts in its war in Gaza. Israel vehemently denies the allegations, saying its war is directed at Hamas militants, not Gaza’s civilians.
“We are breaking the siege of Gaza by sea, but that’s part of a broader strategy of mobilizations that will also attempt to break the siege by land,” said activist Thiago Avila.
Avila cited the upcoming Global March to Gaza — an international initiative also open to doctors, lawyers and media — which is set to leave Egypt and reach the Rafah crossing in mid-June to stage a protest there, asking Israel to stop the Gaza offensive and reopen the border.
The 61st edition of the Venice Biennale will proceed as planned, despite the sudden passing of curator Koyo Kouoh. More importantly, it will still be guided by Kouoh’s vision, Cristiana Costanzo, the Biennale’s lead press officer, announced today (May 27) at a press conference at the historic Sala delle Colonne in Ca’ Giustinian. Titled “In Minor Keys,” the 2026 Venice Biennale will be realized thanks in part to the efforts of a multicultural team of advisors with whom Kouoh was already working closely: curators Gabe Beckhurst Feijoo, Marie Helena Pereira and Rasha Salti, critic and editor-in-chief Siddhartha Mitter, and assistant Rory Tsapayi.
The Biennale chose to move ahead with Kouoh’s curatorial concept based on a comprehensive proposal she submitted on April 8 that included theoretical texts, artist selections, spatial design, visual identity and catalogue contributions—with the “full support of Koyo Kouoh’s family,” Costanzo said. “We are realizing her exhibition as she designed it, as she imagined it, as she gave it to me personally,” added Pietrangelo Buttafuoco, the Biennale’s president. “La Biennale is doing today what it has been doing for 100 years.”
As the musically inspired title suggests, the artistic framework for the upcoming edition promises to showcase intimate and introspective forms of listening, contemplation, exchange and understanding that can counter the overwhelming and disorienting oversaturation of our turbulent times. In Kouoh’s words, the exhibition will be “a polyphonous assembly of art… convening and communing in convivial collectivity, beaming across the void of alienation and the crackle of conflict.”
According to Rasha Salti, Kouoh envisioned a biennial that “refuses orchestral bombast,” rejecting both the grandiosity of today’s major global art events and society’s performative behaviors. She imagined the Biennale as a call to decelerate—to “take a deep breath. Exhale. Drop your shoulders. And close your eyes.”
SEE ALSO: Guglielmo Castelli Explores Longing and Theatricality in His São Paulo Debut
“I am tired. People are tired. We are all tired. The world is tired. Even art itself is tired,” wrote Kouoh in a 2022 text read by Rory Tsapayi near the end of the press conference. It’s evidence that the curator had long been aware of the need for a shift in how art is produced, circulated and experienced for it to retain impact in today’s world. “Perhaps the time has come. We need something else,” she wrote. “We need to heal. We need to laugh. We need to be with beauty, and lots of it. We need to play, we need to be with poetry. We need to be with love again. We need to dance. We need to rest and restore. We need to breathe. We need the radicality of joy. The time has come.”
Kouoh’s presence was acutely felt at the press conference, which opened with a video of the curator smiling and continued with tributes and readings that echoed her remarkable personality and vision. The tone grew emotional when Buttafuoco recalled Kouoh asking whether she could tell her mother upon learning she had been selected to curate the 2026 Biennale.
In a speech following her appointment last December, Kouoh expressed her desire to shape an exhibition that would “carry meaning for the world we currently live in and, most importantly, for the world we want to make.” For her, artists were visionaries and social scientists—figures capable of helping us reflect on and imagine alternative solutions for a better future.
True to her curatorial approach, she conceived the Biennale as an invitation to listen to minor voices and tonalities, a metaphor for attending to microrealities, alternative forms of knowledge and wisdom, ancestral memories and overlooked geographies, often revealed through personal stories eclipsed by dominant historical narratives to rediscover the essence of being human. With an emphasis on “the sensory, the affective and the subjective,” as Beckhurst Feijoo explained, the upcoming Biennale will spotlight artists whose practices “seamlessly bleed into society,” standing in opposition to the “spectacle of horror” and global chaos. This curatorial proposition turns the exhibition itself into an exercise in listening to the minor keys (“the sotto voce” signals of potential change) and to artists as agents of that change. The minor keys are sonic, social and spatial metaphors for attuning to faint but enduring voices of resistance, to frequencies of care and beauty—an invitation “to find the oases, the islands, where the dignity of all living beings is regarded.”
Today’s conference indicated that the curatorial ethos of the 2026 Venice Biennale will likely align with that of other recent biennials, including the Sharjah Biennial (“to carry”) and the Boston Triennial (“Exchange”), which have increasingly embraced a polyphonous exhibition model as a platform to gather, preserve and amplify alternative forms of knowledge, more intimate modes of sense-making, ancestral memory and decentered micro-geographical and micronarrative realities.
All details of the Biennale—including the list of artists invited to the international exhibition, the graphic identity, the exhibition design and the list of participating countries—will be announced on Wednesday, February 25, 2026. In the meantime, several nations have already announced the artists taking over their national pavilions: Henrike Naumann and Sung Tieu for Germany, curated by Kathleen Reinhardt; Yto Barrada (an artist of Moroccan descent who recently exhibited a sculpture in MoMA PS1’s open-air atrium) for France, and 2017 Turner Prize winner Lubaina Himid for Great Britain. The U.S. has yet to reveal its pick, and concerns have been raised over how the cultural agenda of the Trump administration might shape the decision—particularly what kind of narrative the country might choose to present at one of the world’s largest, most influential and most political international art exhibitions.
We love a sweet treat as much as anyone, but that picture-perfect gelato display might be more style than substance. According to seasoned gelato experts, there are a handful of telltale signs that can reveal whether you’re about to enjoy the real deal or a disappointing scoop.
From what’s in the ingredients list to how it’s stored and displayed, these six expert-backed tips will help you spot authentic gelato, whether you’re in Italy this summer or treating yourself closer to home.
If the gelato is piled high above the rim in towering, fluffy peaks, beware. Authentic gelato is dense and creamy, not sculptable.
“The dramatic mounds you often see in gelato cases usually require added gums, stabilizers and fillers to hold their shape,” said Noah Dan, owner of Pitango Gelato (with locations in the Mid-Atlantic region), who spent his childhood in Trieste, in northeastern Italy. “That fluffy, overflowing appearance often comes from high air content — sometimes from over-churning, other times from using vegetable fats and emulsifiers to trap more air.”
While the extra air helps cut costs for the producer, it also dilutes the flavor and texture. “Authentic gelato has lower air content and is churned slowly, making it denser, creamier and far more satisfying,” Dan said.
If the pistachio is a neon green instead of a soft beige and the hazelnut a dark brown instead of taupe, experts agree it’s another clue that the gelato may not be authentic. True artisanal gelato tends to come in subtle, muted tones, like soft, earthy green, pale yellow and white. While some might call these colors boring, that understated palette is actually a good sign, indicating the gelato gets its hue from real, fresh ingredients.
“Brightly colored gelato often signals the use of synthetic food dyes, artificial flavorings and powdered mixes. These colors may look eye-catching, but they usually indicate that the gelato was made for visual impact — not for flavor or quality,” Dan explained.
“Another red flag to watch out for is the gelato being overly decorated with non-edible ingredients,” added Stephanie Tucci, a chef who studied at The Italian Culinary Institute in northern Italy. She points to examples like nuts still in their shells or cut fruit with peels, such as halved coconuts or lemons with the rind left on. “Loud marketing is always helpful to get people in the door, but when the gelato is displayed as tall mountains, excessive bright colors and excess gelato decoration, that is a flashing red flag.”
Visually, gelato looks smoother and denser, with a silky texture, while ice cream tends to appear fluffier, and holds a more structured scoop and a slightly crystallized finish, especially when it’s just out of the freezer. This is despite both being made from the same core ingredients of cream, milk and sugar.
“What sets them apart is the ratio and percentages of these ingredients that yield two different products,” said Tucci, adding that gelato typically contains less fat than ice cream, using more milk than cream. And because gelato is churned at a slower speed, it forms smaller ice crystals, giving it that signature dense, velvety feel on the palate.
Alexander Spatari via Getty Images
Vincenzo Tettamanti, owner and gelato maestro at Gemelli Artisanal Gelato in Pennsylvania, grew up in Ferrara, Italy, and says it’s worth paying attention to the texture and consistency of all the flavors across the display case. If one looks soft while the one next to it is noticeably firmer, it’s a sign the recipes may not be well-balanced. “All flavors are stored in the case at the same temperature, but all the ingredients behave differently when frozen, as some tend to harden more, like nuts, and some tend to stay softer, like caramel. The chef should be able to adapt each recipe so that they all have a very similar consistency.”
As part of the European Union’s strict food labeling and consumer protection laws, gelaterias in Italy are legally required to display their ingredients, so you’ll always know exactly what’s in your scoop.
According to Francesco Cataldo, co-founder of Gelateria Gentile New York and a fifth-generation member of the Gentile family, which has been making artisanal gelato since 1880, that list should be short and simple. “If it has more than five or six ingredients, you should question it. Real gelato doesn’t need to be masked,” he said, noting that the essentials are usually just fresh milk, cream, sugar, sometimes eggs, like in eggnog, and real fruits or nuts.
By contrast, mass-produced gelato tends to rely on shortcuts. “In low-quality or industrial gelato, you’ll often find artificial flavors, colorants and preservatives. Many producers rely on powdered bases or premade mixes filled with emulsifiers and stabilizers, which simplify production but sacrifice both taste and quality,” Cataldo explained. He added that it’s not uncommon to see things like freeze-dried fruit, synthesized flavors or artificial vanilla in place of real vanilla bean.
Authentic gelato isn’t on flashy display, but hidden in lidded metal canisters called pozzetti. These recessed tubs are designed to keep temperatures cold and consistent, which is key to preserving both texture and taste.
“If you’ve ever let a tub of ice cream from your freezer melt and then refrozen it, you know it comes back grainy and icy, often with a weird melted rim around the edges. It’s edible, but not nearly as enjoyable,” Dan said. “There’s also far less risk of cross-contamination between flavors, unlike open display cases, where your hazelnut gelato might start to taste like peppermint if it’s sitting next to mint chip.”
If the flavor board is stacked with options like Snickers, Oreo, marshmallow or gummy bear, it’s worth raising an eyebrow. According to Cataldo, these novelty flavors are often more about gimmicks than true gelato craftsmanship, as a proper artisanal gelateria takes its cues from the seasons. “Authentic gelato isn’t about consistency all year round — it’s about respecting what’s naturally available and at its peak. That’s what gives gelato its soul,” he said.
What’s in season depends on geography, but generally, spring and summer highlight fresh fruits like strawberries, apricots, peaches and figs. Fall and winter, on the other hand, bring richer, more comforting flavors like different types of chocolate, coffee and rum and raisin.
Another red flag is a dizzying number of choices. “When I see more than 24 flavors on display, I start to wonder if it’s truly artisanal,” Cataldo added. “As we say in my family: good things take time.”
The United States and Italy signed a pact to bolster efforts to recover the remains of American soldiers who went missing in action during World War II, officials announced Tuesday.
The Defense POW/MIA Accounting Agency (DPAA) — the U.S. agency tasked with identifying fallen service members — and Italy’s culture ministry signed a deal to improve operations to locate and recover the remains of fallen military members who were never accounted for in Italy. The memorandum also establishes the protection of archaeological sites involved in the search efforts, Italian officials said in a statement.
The Italian peninsula was the site of intense battles from 1943 to 1945, following the Allied invasion of Sicily and the campaign to liberate Italy from Nazi forces.
It’s difficult to pinpoint how many missing U.S. soldiers were killed in Italy during World War II, but roughly 72,000 American servicemembers remain unaccounted for from the war around the world, according to DPAA. The remains of nearly 1,000 Americans who died in World War II have been identified since recovery efforts were renewed in the 1970s.
STF/AFP via Getty Images
Forensic experts at DPAA spend years using DNA, dental records, sinus records and chest X-rays to identify the remains of service members killed in combat.
Earlier this year, a 23-year-old U.S. soldier who went missing in action during an aquatic mission in Italy during World War II was accounted for.
The new agreement to recover remains of fallen soldiers in Italy was signed Tuesday by Luigi La Rocca, the head of Italy’s Department for Heritage Protection, and Kelly McKeague, the director of DPAA.
“The right to research and remember those dead during the war is now combined with the protection of the archaeological heritage for which the ministry of culture is responsible,” Culture Minister Alessandro Giuli said Tuesday.
Giuli said the agreement was a further step in “our decade-long cooperation with the U.S. agency for prisoners of war and missing in action, as a tribute to those who sacrificed their lives to contribute to our freedom.”
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A convicted murderer permitted to work outside prison threw himself from Milan’s famed Duomo cathedral on Sunday, killing himself, after allegedly stabbing a colleague, local news reports said.
ANSA news agency and other outlets reported said the Italian man, whom they identified as Emanuele De Maria, 35, fell “dozens of meters” after reportedly throwing himself from the Gothic cathedral into the square below.
The area surrounding the Duomo, Milan’s most famed landmark, is usually teeming with people but news reports did not cite any injuries among passersby.
Television images showed police blocking off the area surrounding one of the sides of the cathedral.
Authorities identified De Maria — who went on television last year to describe his life — from an ID in his pocket and his tattoos, according to several reports, including Milan’s Corriere della Sera daily.
One witness, a bar owner named Emanuele Sanità, told the outlet that De Maria landed right next to a boy who was holding a stuffed animal.
“He fell next to him. He was in shock. He sat there for twenty minutes without speaking,” Sanità said.
De Maria had been serving a 14-year sentence after being convicted for the 2016 murder of a woman, according to reports. He was arrested in Germany in 2018 after hiding as a fugitive in the Netherlands, Milano Today reported.
But for nearly two years he had been working part-time at a hotel near Milan’s central train station.
Police had been searching for him since Friday, when he allegedly stabbed a work colleague. The condition of that man, identified as a 50-year-old Italian-Egyptian, was improving Sunday after emergency surgery on his neck and chest, Milano Today reported.
JC MILHET/Hans Lucas/AFP via Getty Images