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Shortly before hard-right Republicans made history by ousting Kevin McCarthy, the speaker of the House of Representatives, Ukraine’s western allies, including the UK, the European Union and Nato, received a phone call from President Joe Biden. Congress may be frozen but support for Ukraine is “ongoing”, Mr Biden told those on the line. It was intended as a message of reassurance but, devoid of any detail, it spoke to an impending issue largely outside of the president’s control. Hardline Republicans in the US, the powerhoue of the West, are threatening to demonstratively derail US aid to Ukraine for the first time since last February. Mr McCarthy was removed as head of the lower chamber of the United States Congress, on Tuesday evening following a dispute over how best to allocate government funds for the next fiscal year. The campaign was spearheaded by a group of eight Republicans – a number of them supporters of Donald Trump – angry the domestic issue of securing the border was not being prioritised over supporting Ukraine. The move has plunged the House into chaos and frozen its ability to allocate money completely, including to Ukraine. Until a new speaker is elected and a new financing agreement is approved for next year – a temporary funding bill takes them to 17 November – those reliant on these funds are living on borrowed time. The US is currently operating a policy of taking equipment from its military stocks and sending them straight to Ukraine under the agreed “President Drawdown Authority”. This circumvents the need to buy new equipment from defence companies, which would inevitably delay military aid to a nation that needs it immediately. Congress last year raised the ceiling on the amount the president can take from these military stockpiles from $100 million (£82.4 million) to $14.5 billion (£11.9 billion) to ensure continued support for Ukraine. The Pentagon subsequently sought to get the most out of its funds. But when the fiscal year ended on 1 October without an agreement in the House over how to finance next year, that drawdown authority went back to $100m. Given the burn rate per month for Ukraine of military aid, including artillery and heavier equipment lost in battle, is about $2.5bn, the lowered ceiling of $100m is “basically nothing”, according to Max Bergmann, director of the Europe, Russia and Asia programme at the Center for Strategic and International Studies, a Washington-based think tank. US aid to Ukraine has nearly three months worth of funds (up to $6 billion) to keep feeding its military needs but after that, without a resolution in the House, the stockpiles will run dry. The ousting of Mr McCarthy has made hopes of a resolution evermore difficult. Without a speaker, no decisions can be made. “There is no way to sugarcoat how bad it would be if US security assistance [to Ukraine] stops,” Mr Bergmann said. “A lot of Ukrainians will die and their ability to fight on will be severely compromised.” Russian strikes on critical infrastructure across Ukraine has already begun ramping up, making Kyiv’s need for more air defence systems to protect its civilians more acute. If US funding slows or stops this task beomes far more difficult. Along the frontline, a winter Ukrainian offensive, or the continuation of the current summer counteroffensive, will become exponentially harder the more foreign military aid dwindles. Ukraine’s Armed Forces have become used to attritional warfare, which involves bombing enemy positions before advancing in small groups, retaking small chunks of territory in the process. This requires a continual supply of artillery and shells. Without this, not only are advances more difficult but the threat of a Russian counterattack is heightened. There is also the geopolitical implication of reduced support: it would prove correct the Russian belief that their deep military and personnel resources can outlast Western resolve. “Such a lapse in support will make [Russian President Vladimir] Putin believe that he can wait us out,” US national security council spokesman, John Kirby, said on Tuesday, describing this issue as “just as critical” as the impact on the frontline. European aid will go some way to slowing a potential dilution of US support but they have their own long-term problems regarding arming Ukraine. “The continent collectively has underinvested in defence,” Mr Bergmann said. “There is not as much in the warehouses; there is less ammunition and less mortar rounds.” The House of Representatives, ruled by a razor-thin Republican majority, will now have to vote for a new speaker. Representative Steve Scalise, the number two House Republican, has long been favoured to take over as speaker and enjoys wide support from across his party, but he is currently undergoing chemotherapy for blood cancer. The House, then, must elect a new speaker from a pool of options that are either in the middle of treatment or will struggle to earn enough support to secure any form of sustainable leadership in the House. While they debate and jostle, Ukraine will get closer to losing its most significant military supporter. Read More Kevin McCarthy ousted as US House speaker by Trump supporters – everything you need to know White House says ‘time not our friend’ on Ukraine funding as all eyes on next House speaker Ukraine-Russia war – live: Kyiv launches 31 drones on Putin’s territory as offensive gains momentum

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As a child of the South, actor Cailee Spaeny grew up steeped in Graceland mythology, memorabilia and Elvis Presley tunes. Her mother loved Elvis and it wasn’t unusual for a trip to that famous house in Memphis, Tennessee, to count as a family vacation. Priscilla Presley was of course part of that. But Spaeny would find there was much more than she’d ever known when she got the opportunity to play her in Sofia Coppola ’s new film, “Priscilla,” now in theaters nationwide. “I had no idea about her side of the story and what her experience was growing up in Graceland,” Spaeny said in a recent interview. The film is based on Presley’s 1985 memoir “Elvis and Me,” a diary-like account of her years with the King. She recounts meeting him at 14 in Wiesbaden, Germany, and moving to Graceland not too long after, where she finished high school. She talks about her unconventional hours, staying up all night with Elvis and trying to stay awake in school the next day. She details how he dictated her look including her hair (black and big!), eye makeup (more!) and clothing choices (no prints!), their passion for one another, his volatility and her isolation. And perhaps most importantly how she, and everyone around him, just wanted to make him happy— even after she chose to leave. Spaeny got to spend some time with Presley before filming began, though she wasn’t entirely prepared to be as star-struck as she was. “I remember when I first met her, I had all these questions ready to go. I was so prepared. And then I just see her sort of walking my way and they all just leave you because she has such a presence about her,” Spaeny said. “The way she carries herself is really like no one else. I mean, she really is American royalty.” She was equally grateful that Presley did not hang around set during the shoot where she and Jacob Elordi, the rising Australian actor cast as Elvis, had only 30 days to tell this expansive but intimate story with hundreds of costume changes and quite a few wigs too. “You just don’t know what you’re getting into when someone is cast as your co-star,” Spaeny said. “And when you have that little time, you’re shooting massive scenes every single day. You don’t get a light day. So to be able to go into this project with someone who took it as seriously as he did and really took the time to find those nuances and to do the prep beforehand was such a relief.” Elordi said they quickly developed an “unspoken language” that helped carry them through. As an actor, he loved going deep into why Elvis behaved the way he did. “You have to establish a base where you can just fall into this immediate love,” he said. “We would sort of look each other in the eyes and it would just say, ‘You’re going to do this? I’m going to do this.’” The beehive hairdo, Spaeny laughed, took more getting used to. She found herself having to walk “like a doll” and sometimes she'd forget its height when getting into a car. But the wigs would be a grounding factor in a shoot that often had her playing very different ages in the same day. “You just got to do what you got to do,” Spaeny said. “It was just one of the many fun little challenges along the way. The hair, makeup and costumes were really essential in knowing what age she is and where she is emotionally. That was the thing that I held on to.” And it wasn't just a dress up extravaganza for Spaeny either. Elordi got to wear custom looks throughout. “It was kind of as cool as it sounds,” he said. "You know, for me personally, it was like, ‘Do you want to be Elvis Presley for 30 days and wear Valentino clothes that are tailored to your body?’ Yes. That’s awesome.” Though Spaeny might have less dialogue than Elordi, her performance has been making waves since its debut — a breakout that has already been recognized by the Venice Film Festival and is sure to garner more nominations as awards season picks up. “She can convey so much emotion with just her face,” Coppola said. “It’s mysterious but the camera can pick up on it. She’s so photogenic and some people just jump off the screen, but you can connect to them in an emotional way.” In one scene, where Elvis tells a very pregnant Priscilla that he wants her to move out and she calls his bluff, Coppola debated using narration. She’d loved what Presley had written about that moment and wanted to capture that, but she also wanted to have the film stay in the present. And Spaeny was up to the challenge. “I talked to Cailee and we did another take and she did some little shift,” Coppola said. “You see halfway down the hall, her face changes with resolution. It was so subtle. I don’t know how she did it. It’s a talent that some actresses can really just convey so much without saying anything.” And though things went quickly and sometimes it felt like Spaeny couldn’t feel her feet on the ground, she was grateful that her director kept a calm, focused set. It was, she said, the opposite of chaos. “I’ve never really worked with someone quite like her, and the way she handles herself on the set,” Spaeny said. “She knows when to take things seriously and when to have fun. Everyone just brings their A-game because of her. She just leads with kindness. She wants to be collaborative and she has a clear vision.” Though both Spaeny and Elordi have trouble watching themselves on screen, they are proud of “Priscilla.” Elordi said he felt honored to be “part of the way that she wants her story to be told." And both walked away with something tangible from whirlwind too. Elordi said he has a few "secret things.” Spaeny got something too, but it might be a bit much even for someone who grew up surrounded by Elvis stuff. “I have this really strange mural of myself as Priscilla. It was a beautiful painting, but it’s me as Priscilla that was hanging on the walls of Graceland. I just am like, what do I do with this? I can’t put it anywhere,” she laughed. “I think I’ve got to, like, ship it to my grandma. I think she’d love it.” Read More Jimmy Kimmel to host the Oscars for the fourth time The Israeli military has set its sights on southern Gaza. 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