Iran’s Supreme Leader Mojtaba Khamenei has spent nearly three months in hiding as tensions with the U.S. escalate — a disappearance that counterterrorism analysts say mirrors the final years of al Qaeda mastermind Osama bin Laden.

The comparison comes amid a critical standoff between Washington and Tehran that prompted President Donald Trump to pause a planned strike on May 19. On Wednesday, Trump told reporters he was in “no hurry.”

Khamenei, meanwhile, appeared to share three posts on his official X account on May 18 but remains out of public view.

“For the first time in the history of the Islamic Republic, the United States has done to Tehran what it spent two decades doing to al-Qaeda and ISIS,” counterterrorism expert Dr. Omar Mohammed told Fox News Digital.

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“The U.S. has driven its leader into the same kind of operational invisibility that bin Laden lived in for 10 years in Abbottabad,” he added.

“Both Mojtaba Khamenei and bin Laden inherited their status on the back of an American operation, and both responded the same way: by ceasing to exist publicly,” Mohammed said before adding that bin Laden “stopped releasing dated videos around 2007 and confined himself to audio messages carried by hand.”

Bin Laden founded al-Qaeda in the late 1980s and masterminded the Sept. 11, 2001, terrorist attacks against the United States.

After the U.S. invasion of Afghanistan, bin Laden evaded capture for a decade by hiding inside a fortified compound in Abbottabad, Pakistan.

To avoid Western electronic surveillance, he severed his digital footprint and relied exclusively on a network of physical couriers, said Mohammed, an expert with the Antisemitism Research Initiative at George Washington University’s Program on Extremism.

U.S. intelligence eventually tracked one of those couriers to the compound, culminating in the 2011 Navy SEAL raid that killed the al Qaeda leader.

OPERATION EPIC FURY: HOW AMERICA’S AIR POWER IS CRUSHING IRAN’S TERROR REGIME

“Bin Laden survived with no cables out of the Abbottabad compound. Communications were carried by hand by two trusted couriers, the Kuwaiti brothers,” Mohammed said.

“Bin Laden stayed hidden for the rest of his life because the moment he surfaced was the moment he died. Mojtaba’s incentives point the same way. Mojtaba Khamenei won’t emerge,” he said.

“The Abbottabad lesson, which Tehran will have studied closely, is that the safest hiding place is not a cave in Tora Bora but a walled compound in a garrison town,” Mohammed added, recalling how U.S. forces targeted bin Laden in the cave complex before he escaped.

Bin Laden also lived roughly a mile from Pakistan’s top military academy, hiding in plain sight behind high concrete walls and barbed wire, Mohammed noted.

“The logical Iranian equivalents are hardened sites under or alongside IRGC facilities,” Mohammed added, referring to the Islamic Revolutionary Guard Corps and possible locations where Khamenei could be.

As previously reported by Fox News Digital, one of Khamenei’s few recent communications was an X post declaring a “holy war,” framing the geopolitical clash as a mandatory religious obligation.

INSIDE IRAN’S RULING IDEOLOGY: HOW A ‘HOLY MISSION’ AND MESSIANIC DOCTRINE FUEL REGIME EXTREMISM

“This is a religious leader calling for sacred war against America and the Jews from an undisclosed location because his enemies have publicly vowed to kill him on sight,” Mohammed said, describing the narrative as “the bin Laden template, almost line for line.”

Mohammed also suggested Khamenei’s retreat into the shadows marks a watershed moment for Washington and the future of the Iranian regime.

His predecessor and father, Supreme Leader, Ayatollah Ali Khamenei, was killed Feb. 28 in a targeted U.S.-Israeli airstrike in Tehran during Operation Epic Fury.

“This regime that for 47 years projected its power through a single visible Supreme Leader at the Friday prayer pulpit can no longer produce that figure on demand,” he said, calling it a “strategic milestone.”

“Predecessors killed by U.S. strikes and successors who cannot show their faces. Real power exercised by a security apparatus rather than by the nominal figurehead.”

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“Now one side is announcing operations on three continents through its president; the other is governed on paper by a man whose own population is uncertain where he is or what state he is in,” Mohammed said.

“The contrast is also about the optics of leadership during this war,” he added.

Fifty years ago, a young woman named Hannah pleasured herself in a erotic magazine photo spread. This week, thanks to generative AI, she did it again – this time with a voiceover.

The first volume of “Sh(AI)ved” — a collection of AI-generated short films drawn from erotic magazine photo spreads published 50 years ago — made its debut on the sidelines of the Cannes Film Festival, and is now streaming on Cultpix.

Thomas Meier, of the Norwegian firm Multiformat, deployed the latest generative AI tools to convert still images from 1976 magazine photo spreads into fully animated video, complete with color, synchronized sound, dialogue and voiceover.

Variety took a deep dive into the films to see what the fuss is all about.

The first short in the collection, the titular “Sh(AI)ved,” begins with the usual montage of naked women pleasuring themselves that mid-70s adult films normally commenced with. It’s all set to a soundtrack known variously as “wah-wah music” or “porn funk” – the latter referring to the strutting, bass-heavy funk grooves that became synonymous with the era. The genre is also sometimes called “sexploitation music” or, more colloquially, “bow-chicka-wow-wow,” heavy on electric guitar riffs.

The film itself begins with a tight close-up of the shaved pudenda of a young woman named Hannah (as a voiceover informs us), who is engaged in self stimulation. At the same time, the VO reminisces about a “tender time” with a young female friend, but how “something was missing.” The VO continues in a philosophical manner as the self stimulation advances. Hannah then makes a phone call to a male friend and in his absence, makes do with a vibro-massager.

This is followed by what the VO describes as “a randy orgy with best friends,” where three women have arrived with clean-shaven pudenda (you can see there’s a theme emerging here). “Gone were the annoying and wearisome little hairs that used to get in their way, often completely destroying the frail, sensuous atmosphere,” we are informed. The women then proceed to enjoy acrobatic sex in a number of positions, permutations and combinations, sometimes involving dildos and strap-ons, with plenty of loud moaning and the aforementioned bow-chicka-wow-wow music. All of these result in “splendid, volcanic orgasms” for all.

The final short in the first volume is titled “After-Movie Party,” where two male-female couples (who we are told swap partners) get amorous after a late-night movie and begin having sex. One of the men isn’t enjoying himself while performing cunnilingus on his partner, as her pubic hair gets in the way. The men proceed to shave the women’s pudenda — you may have noticed this theme by now — and much energetic sex is had by all.

For aficionados of 1970s adult films, “Sh(AI)ved” — and others that will surely follow it its wake — will be of much interest. For those who are not, and might only be interested in the march of AI, the films should still be fascinating. In terms of how it looks, the decor is authentic 1970s and the humans are amazingly photo-realistic, especially in their faces and bodies. Its only when it comes to extreme close ups of genitals do the plasticky nature of AI, aspiring to be photo-realistic, become evident.

“Sh(AI)ved” is, depending on your perspective, a novelty, a provocation, or a genuine milestone in the long, complicated history of moving images. Probably all three. The technology is not yet seamless – AI, it turns out, handles faces and mid-shots with remarkable aplomb but loses its nerve in extreme close-up, where flesh turns to plastic and the illusion slips. But as a proof of concept for what generative AI can do with archival still photography, and as a time capsule that captures both the aesthetic and the philosophical innocence of 1970s erotica, it is hard to look away. Future volumes will presumably iron out the technical wrinkles. For now, the most arresting thing about “Sh(AI)ved” may be how quaint it all feels – which, one suspects, is precisely the point.