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Defense Secretary Ash Carter says that Iraqi forces lack the "will to fight" the self-declared Islamic State and that they lost western Anbar province to the extremist group despite outnumbering their opponents.

Speaking on CNN's State of the Union, Carter said that although Iraqi forces, or ISF, "vastly outnumber" ISIS in western Anbar, and in their loss of the provincial capital, Ramadi, last week, "What apparently happened is the Iraqi forces just showed no will to fight. They were not outnumbered. In fact, they vastly outnumbered the opposing force."

The capture of Ramadi was followed quickly by the fall of the ancient city of Palmyra to ISIS.

"We can give them training, we can give them equipment — we obviously can't give them the will to fight," Carter tells CNN.

As The Associated Press notes: "The harsh assessment [raises] new questions about the Obama administration's strategy to defeat the extremist group that has seized a strategically important swath of the Middle East."

The defense secretary's remarks echoed those made by Gen. Martin Dempsey, chairman of the Joint Chiefs of Staff, who said last week that "The ISF was not driven out of Ramadi ... They drove out of Ramadi."

But Iraqi lawmaker Hakim al-Zamili, the head of the parliamentary defense and security committee, fired back at Carter's comments. He was quoted by the AP as calling them "unrealistic and baseless."

"The Iraqi army and police did have the will to fight IS group in Ramadi, but these forces lack good equipment, weapons and aerial support," he told the AP.

The BBC reports that the Iraqi government has deployed Shiite militias to the area and that on Saturday those forces had retaken Husayba, east of Ramadi and that heavy fighting was continuing in the area.

Secretary of Defense Ash Carter

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Islamic State

Gen. Martin Dempsey

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In what is being described as an embarrassing release of a confidential email, the Bank of England has inadvertently revealed that it is making financial plans for the United Kingdom's exit from the European Union, should that ever come to pass.

Earlier this month, the newly reelected British Prime Minister David Cameron reiterated his party's commitment to hold a referendum by the end of 2017 on continued membership in the EU.

According to The Guardian, on Friday, the Bank of England, the U.K.'s central bank, "accidentally emailed details" the newspaper details of a contingency plan in the works on how to extricated the U.K. from the EU, "including how the bank intended to fend off any inquiries about its work."

The plan has been dubbed "Operation Bookend," according to the newspaper.

The Guardian reports that "The email, from [Deputy Governor for Financial Stability Sir Jon] Cunliffe's private secretary to four senior executives, was written on 21 May and forwarded by mistake to a Guardian editor by the Bank's head of press, Jeremy Harrison.

"It says: 'Jon's proposal, which he has asked me to highlight to you, is that no email is sent to James's team or more broadly around the Bank about the project.'

"It continues: 'James can tell his team that he is working on a short-term project on European economics in International [division] which will last a couple of months. This will be in-depth work on a broad range of European economic issues. Ideally he would then say no more.'"

While the United Kingdom is one of 28 EU member states, it maintains its own currency and is not part of the Eurozone.

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United Kingdom

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On why he leaves in brand names and clothing labels

Why take it out, would be the real question? The brands that people wear are a serious business. I remember growing up as a kid in South Central Los Angeles, back in the 1980s, when people were being killed for Jordan sneakers. Branding says a lot about luxury, and about exclusion, and about the choices that manufacturers make, but I think that what society does with it after it's produced is something else. And the African-American community has always been expert at taking things and repurposing them toward their own ends. This code-switching that exists between luxury and urban is something that was invented in the streets of America, not Sixth Avenue.

On the painting "Mugshot Study"

Wiley: Well, what this painting is is a portrait of a young black man, possibly between the ages of 18 and 26, I can't really say. He has these beaded necklaces around his neck; nothing more than a wife-beater. It's a painting that's cropped, and in fact, the way that I found this image was, I was walking down the street in Harlem, and I found this crumpled piece of paper. And on it as a mug shot. Presumably it fell out of a police car, and it got me thinking about portraiture, about the choices that one has to make in order to be in a portrait of this type.

"It's a rebuke of the mug shot, it's an ability to say 'I will be seen the way I choose to be seen.'"

- Kehinde Wiley

Cornish: It's also the antithesis of the work people may recognize ... if anything, your work, for a lot of people, has been a rebuke of the mug shot when it comes to black men.

Wiley: It's a rebuke of the mug shot, it's an ability to say "I will be seen the way I choose to be seen." All of the models are going through our history books and deciding, out of all the great portraits of the past, which ones do they feel most comfortable, which ones resonate with them. And so I go through the studios with individuals who go through art history books and choose how they want to perform themselves.

On why he chooses to work in traditional forms rather than create something new

My love affair with painting is bittersweet. I love the history of art — you asked me about that moment that I first looked at the stuff and when I first fell in love with it. It was only later that I understood that a lot of destruction and domination had to occur in order for all of this grand reality to exist. So what happens next? What happens is the artist grows up and tries to fashion a world that's imperfect. Tries to say yes to the parts that he loves, and to say yes to the parts that he wants to see in the world, such as black and brown bodies — like my own — in the same vocabulary as that tradition that I had learned so many years before.

It's an uncomfortable fit, but I don't think that it's something that I'm shying away from at all. In fact, I think what we're arriving at is the meat of my project, which is that discomfort is where the work shines best. These inconvenient bedfellows that you're seeing all over this museum are my life's work.

On the gut feeling of vulnerability that informs his work

What I wanted to do was to look at the powerlessness that I felt as — and continue to feel at times — as a black man in the American streets. I know what it feels like to walk through the streets, knowing what it is to be in this body, and how certain people respond to that body. This dissonance between the world that you know, and then what you mean as a symbol in public, that strange, uncanny feeling of having to adjust for ... this double consciousness.

Much of Brad Bird's Disney sci-fi adventure Tomorrowland is terrific fun, but it's one of the strangest family movies I've seen: Bird's not just making a case for hope, he's making a furious, near-hysterical case against anti-hope.

After a perplexing prologue in which George Clooney in a futuristic suit addresses an unseen audience, Bird flashes back to perhaps the 20th century's most enduring symbol of technological optimism: The 1964 New York World's Fair. Clooney's character, Frank Walker, is a pre-teen science nerd who's demonstrating his semi-functional homemade jetpack to a British scientist called Nix played by Hugh Laurie. Nix belittles Frank, but a young girl named Athena, who appears to be Nix's daughter, secretly slips the boy a World's Fair pin that transports him somewhere fabulous.

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Hugh Laurie is British scientist David Nix in Tomorrowland. Disney hide caption

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Hugh Laurie is British scientist David Nix in Tomorrowland.

Disney

I can't describe where that is because the fun in Tomorrowland comes from being constantly upended. What I can say is that for Bird the '64 fair is utopia. This was an era when kids made rockets in garages out of vacuum cleaner parts; when a clean, cheerful "city of the future" inspired awe instead of cynicism. For Frank, anything seems possible.

Frank is not the movie's protagonist, but it's someone cut from the same cloth. Casey Newton is a present-day Florida teen (played by Britt Robertson) whose dad works for NASA overseeing the dismantling of rockets that will never be used. A budding rocket scientist, she's so outraged by the failure to support the space program, she sends homemade drones to sabotage the equipment —and gets caught. Sprung from jail, she finds in her belongings the same kind of pin that sent Frank on the ride of his life. Every time she touches it, she's in what I'm tempted to call a field of dreams.

It's obvious why both Casey and Frank got that pin: They have imaginations that can't be dampened. Casey's dad poses a riddle that becomes the cornerstone of her worldview, which is, in fact, the film's worldview: You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? Casey knows the answer: "The one you feed."

After Casey joins forces with the middle-aged Frank, much of Tomorrowland is time-and-space jumping plus blast-'em-up battles with human-looking robots. But the most vivid thing is the message: a critique of films, books and TV shows in which floods, plagues, robots, or nukes wipe out civilization. It's not that Bird is disparaging climate change or other dangers. He's saying our society has become so comfortable with the vision of apocalypse that we're not dreaming up solutions.

Maybe Bird's right and we are too comfortable — even turned on — by plague/flood/road-warrior/kids-killing-kids movies. But Tomorrowland has a weird side, too. Bird has acknowledged the influence of Ayn Rand's militant individualism, and so the enemies he identifies aren't, say, the people causing climate change. They're the doomsaying collective, like the science teacher who drones on about temperature rise and looks dumbly at Casey when she interrupts to ask, "Can we fix it?" Nihilistic groupthink rules our culture, says Bird, and Casey's positivity makes her a pariah.

Apart from that — a big "apart" — I loved the movie. I had to dry my tears and let the buzz wear off before I could argue with it. The creator of The Incredibles, Ratatouille and the last Mission: Impossible film, Ghost Protocol, Bird straddles two worlds, his animation grounded by love of classic cinema, his live-action films liberated by an animator's sense of possibilities.

The cast is fun, too. Though Clooney mugs as much as acts, his comic timing remains superb and his young female co-stars are marvelous. Britt Robertson's jumpy Casey pairs beautifully with Raffey Cassidy's crisp underplaying as the enigmatic Athena. I hope neither actress follows Tomorrowland with a plague or Mad Max film — though we all know that in Hollywood, movies with no future are the future.