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When Elle Middlemas turned 18, she began wondering whether she owned a Child Trust Fund (CTF) – a government‑backed savings account created for children born between 1 September 2002 and 2 January 2011. Her search hit a dead end; she could not confirm if she was entitled to any money and an email to HMRC yielded no response.Middlemas, a Whitby college student, explained that the loss of her mother at age 11 left her with little guidance. “My sister is 21 and spent three years looking for a fund and found nothing, so we assumed we didn’t have one,” she said, expressing the frustration felt by many of her peers.She and her sister are part of an estimated 758,000 people aged 18‑23 who have unclaimed CTFs. Collectively, these dormant accounts hold roughly £1.5 bn, a substantial sum that disproportionately belongs to low‑income families who are often unaware of its existence.Advocates are now pressing the government to automatically release CTFs when holders reach 21 years of age. Experts estimate that such a policy could inject up to £286 m directly into the pockets of young people who need it most.Middlemas finally learned of her entitlement after a conversation with a friend’s parent six months after her birthday. She discovered the Share Foundation, a charity that helps reconnect youths with their funds, and located a NatWest account bearing her name.“I had £700 sitting in my bank and thought, ‘What is going on?’ My sister also had one but never knew how to access it,” she recalled. The sisters plan to use the money to support university expenses and repay debts, underscoring the tangible impact of the scheme.The CTF programme was launched by the Labour government in 2005 to encourage parental savings. Every child received a £250 government contribution, with an additional £250 for those from low‑income families or in local authority care. Parents could add up to £9,000 per year, and any investment gains accrued until the child turned 18.If a parent failed to open an account within 12 months of birth, HMRC would create one on the child’s behalf. Today, the average value of a CTF stands at about £2,200.More than two‑thirds of the six million original recipients are now over 18 and eligible to claim their funds, with HMRC‑allocated accounts representing 28 % of all CTFs.Geographically, the North‑East of England has the highest concentration of HMRC‑allocated accounts, totalling £48 m. Across the UK, youths from the most disadvantaged 15 % of families hold accounts averaging £2,900 in value.Gavin Oldham, chief executive of the Share Foundation, warned that the scheme is hampered by poor communication, limited financial education, and “policy neglect”. He indicated the charity is considering a judicial review to compel the government to release the unclaimed assets.Oldham noted that the charity has already linked “well over 100,000 accounts to young adults”, yet the “sheer quantum of these unclaimed accounts remains a major problem”.“It is strange to find a government which expresses concern over youth poverty while doing so little to deliver on a groundbreaking scheme,” Oldham added.The charity’s proposal to release HMRC‑allocated funds automatically at 21 would free roughly £500 m, including £350 mOldham cautioned that a legal challenge, while potentially successful, could delay payouts for years, leaving vulnerable youths “denied their birthright for far too long”.Beyond immediate release, the Share Foundation is urging the creation of a new, targeted scheme for low‑income youths that embeds a financial‑awareness component, allowing participants to top up their funds through education‑linked incentives.Labour MP Laura Kyrke‑Smith echoed these concerns, describing the CTF system as “confusing and opaque” and calling for proactive tracing of account holders and clearer public information.HMRC responded that it is “directly sending every eligible young person information to help them find their child trust fund”, while also raising awareness via social media, broadcast interviews, and an online tracing tool. The agency added that banks, building societies, and investment firms managing the funds share responsibility for communicating with account holders.

Monica Barbaro, known for her Oscar-nominated portrayal of activist Joan Baez in James Mangold's A Complete Unknown, is now preparing for her stage debut in the National Theatre's revival of Les Liaisons Dangereuses. Barbaro, 35, will play Madame de Tourvel, a role previously taken on by notable actresses such as Juliet Stevenson and Michelle Pfeiffer.During an interview, Barbaro joked about her accent, saying, "I feel like I'm imitating an American accent, but it really is mine." She switches to an English accent for rehearsals, where she is working on the play's 18th-century French aristocracy setting. "I feel it's best to use my own voice," she explained.Barbaro expressed apprehension about speaking aloud in a theater for a large audience, a significant departure from her previous work in film. "Speaking aloud in a theatre for this big of an audience is new for me," she said.Her preparation for A Complete Unknown was intense, involving months of studying Baez's voice and music, learning guitar, and wearing prosthetic teeth to capture the singer's distinctive look. "We filmed it only a year and a half ago, and it was put out within months," she reflected. "It was really intense. It took a long time for me to land afterwards and feel more like myself again."Barbaro also discussed her connection to Baez, citing their shared mixed identity (Barbaro is a quarter Mexican) and Baez's activism. "I'm just like: 'Then she marched with Martin Luther King, are we clear on that? Do people know that?' It was really nice to hear from a lot of people who watched the movie that they were intrigued to find out more about her."She met Baez in person last year and described the experience as "so trippy." "It was so strange to hear in person the voice I'd been obsessing over for so long. There's a worship quality to it; I felt in complete awe of her," Barbaro said.Regarding her Oscar nomination, Barbaro called it "totally surreal" but something she tried to process in advance. "It seemed embarrassing to want it, or celebrate it, and I needed to confront that it was something I'd love to have. Then, when it happened – unbridled joy. It was a big shift for an actor who went into the film fangirling over the rest of the cast and the director."Barbaro is currently rehearsing for Les Liaisons Dangereuses at the National Theatre, where she will work with director Marianne Elliott. The play explores themes of power, corruption, and manipulation among the aristocracy, resonating with modern issues such as the Epstein files. "It was about the corruption of a certain class who could operate with impunity, and fuck over anyone they wanted," she said.Barbaro reflected on the enduring power of the play, saying, "As a modern woman with autonomy and independence, the thing I fear most in the world is dying of heartbreak." She emphasized the relevance of the play's themes, particularly systemic abuse and corruption.

The author's poignant essay explores the intricacies of family relationships, particularly the painful silence that can accompany estrangement. Years of strained relations between two sisters ultimately led to a difficult decision: not to inform the estranged sister about their terminally ill sister's condition.The author recounts a meeting with her two sisters, V, who had been living with cancer for 15 years, to discuss her wishes for a peaceful death at home. The absent sister, who lived abroad, was not invited. The author chose not to disclose V's condition to their estranged sister, citing the potential for additional pain.As the author navigated the complex web of family dynamics, she communicated with the estranged sister about their mother's illness, but kept V's condition private. This decision, though made out of love and respect for V's wishes, left the author with a profound sense of sadness.The essay is a thought-provoking exploration of the challenges of family estrangement and the difficult choices that can arise during times of loss. The author's reflections on her own experiences serve as a backdrop for a broader discussion on the complexities of human relationships.Circle of Wonders, by Kathryn Heyman, is a novel that likely delves deeper into these themes.

Nick Candy, who serves as the honorary treasurer of Reform UK and is among its top financial backers, has completed the sale of his Chelsea residence for an estimated £275 million. The transaction, first reported by Bloomberg, is believed to set a new benchmark for residential sales in London and ranks among the world’s most valuable property deals. Known as Providence House, the Grade II‑listed estate sits within the grounds of the Royal Chelsea Hospital and features a private lake and swimming pool. The identity of the purchaser has not been disclosed. Land Registry records list the current owner as Providence House LLP, a partnership controlled by Candy, with his estranged wife, former pop star Holly Valance, also named as a partner. A mortgage charge from First Abu Dhabi Bank is registered against the title. Candy’s involvement with Reform extends beyond his treasurer role; he contributed roughly £1 million to the party last year and has been instrumental in high‑profile fundraising events, including a 2024 gathering for Donald Trump Jr. at the estate. He has previously been seen alongside Nigel Farage as the party promoted a “billionaires’ bonanza” scheme offering wealthy individuals a £250,000 fee for ten‑year residency and a special tax regime. Candy also attended a meeting between Farage and billionaire Elon Musk at Mar‑a‑Lago in December 2024. Alongside his brother Christian, Candy amassed his fortune through global property ventures. He continues to market other high‑value assets, including a £175 million penthouse at One Hyde Park and a Los Angeles mansion, while maintaining office space in Mayfair that also houses Farage’s company, Thorn in the Side. Originally purchased by Christian Candy in 2012, the Chelsea mansion was later transferred to Nick Candy, underscoring the family’s long‑standing presence in the UK’s luxury property market.

The Life Is Strange series, which debuted in 2015, has been praised for its unique storytelling and character development. The final chapter, Reunion, reunites protagonists Max Caulfield and Chloe Price as adults, concluding their decade-long story. The game follows Max, now a photography professor at Caledon University in Vermont, as she attempts to prevent a deadly fire from destroying the campus. Her time-traveling powers allow her to rewind time and interrogate students and faculty to unmask the future arsonist. This is when Chloe reappears, sparking a rekindled love story between the two characters. The game's narrative explores themes of first love, relationships, and the impossibility of avoiding the pain of loss. While the deduction aspect of the game is light, the plot is simple and free of narrative lacunae. The characters, particularly Chloe, are well-developed and likable, making the game's conclusion emotionally impactful. Reunion zeroes in on the best aspects of the Life Is Strange series, including its focus on character relationships and emotional storytelling. The game's ability to evoke feelings in players is a testament to its success, making it a memorable conclusion to the series.

The author spent a month testing Meta's smartglasses, which feature an integrated AI assistant voiced by Judi Dench. The glasses can take photos, provide directions, and answer questions, but the author found them to be unreliable and frustrating to use.The glasses raise significant privacy concerns, with the author noting that they can be used for covert recording and that people may not be aware when they are being filmed. The author also experienced creepy feelings while wearing the glasses, particularly when they were used to record strangers without their consent.The author concludes that while smartglasses have the potential to be useful assistive technology for people with disabilities, they are not yet reliable or functional enough to be widely adopted. The author also notes that Meta's plans for facial recognition and data collection raise significant concerns about privacy and surveillance.Experts warn that smartglasses may become a flashpoint in a bigger, existential discussion about how much integration we want with technology, and that regulation is needed to protect bystanders' privacy. The author ultimately decides that the glasses are not worth the risks and drawbacks, and that people should think carefully before adopting this technology.

The resurgence of existentialist cinema is marked by François Ozon's adaptation of Albert Camus's 'The Stranger'. This 2026 film breathes new life into the classic novel, exploring themes of absurdity and individual morality. Camus's 'The Stranger' has been adapted before, notably by Luchino Visconti in 1967. However, Ozon's version stands out with its political focus on colonial power relations and a fresh perspective on the protagonist, Meursault. Existentialism, a philosophy that questions life's purpose without divine guidance, influenced 20th-century thought through figures like Jean-Paul Sartre, Simone de Beauvoir, and Camus. The movement briefly influenced cinema, particularly through the French New Wave. The connection between existentialism and film noir is also explored, with the genre reflecting nihilistic undercurrents of the interwar period. Existentialist themes continue to permeate modern cinema, influencing films like 'Taxi Driver', 'Blade Runner', and 'The Truman Show'. Ozon's adaptation shifts the focus to colonialism, making it a more politically charged interpretation. This shift raises questions about whether the film remains strictly existentialist or if it incorporates moralizing overtones. The article concludes by suggesting that existentialism's core ideas remain relevant, especially in today's chaotic world. Films like Olivier Laxe's 'Sirāt' capture the existentialist spirit by portraying characters navigating absurd and precarious situations.

The latest production of Romeo and Juliet brings a modern twist to Shakespeare's timeless tale, with Sadie Sink and Noah Jupe stepping into the iconic roles of Juliet and Romeo, respectively. This adaptation, directed by Robert Icke, presents a hipsterishly modern-dress interpretation that sometimes feels overburdened by its directorial flourishes. Sink, known for her role as Max Mayfield in Stranger Things, makes her West End debut as Juliet, bringing an intense and quirky neurotic energy to the character. Her performance is complemented by Jupe's portrayal of Romeo, showcasing a sweet and pure chemistry that captures the essence of first love. Their on-stage presence is undeniable, making their characters' tragic fate all the more poignant. The production features a range of inventive elements, including a digital clock that ticks down the hours leading to the tragic conclusion and alternative scenes that explore a universe where the couple's fate is averted. While these choices are ambitious, they sometimes feel like overthinking. Nonetheless, the central performances by Sink and Jupe anchor the production, elevating it above its directorial excesses. Supporting performances, including Clare Perkins as the cocky and endearing Nurse and Kasper Hilton-Hille as the mischievous Mercutio, add depth and humor to the production. The stage design, featuring a central bed and minimalist set, effectively underscores the themes of passion and tragedy. Despite some missteps, the production ultimately succeeds due to the compelling performances of its leads. With its blend of traditional and modern elements, this Romeo and Juliet offers a fresh perspective on a classic tale, making it a must-see for both Shakespeare enthusiasts and newcomers alike.

Ethiopian women's rights activists are facing a rising tide of digital violence, including online threats, doxing, and deepfake abuse, forcing some to flee the country. Yordanos Bezabih, an Ethiopian women's rights activist, had faced online threats for years, including acid attacks, gang-rape, and death. However, in 2025, the threats became more menacing, with an anonymous Telegram group organizing an effort to track down her location.The group shared deepfakes of her – nude images and videos. A stranger started filming her in the streets, calling her by her social media handle. Thieves broke into her house and stole her laptop. Soon after, her Telegram account was hacked, and her private photos and messages were circulated on social media. The perpetrators later circulated her address, demanding she be found and “executed”.In August, Bezabih left Ethiopia on a fellowship for human rights defenders. She has not returned since; it is too dangerous. “I have been forced to remain outside the country in order to protect my safety and continue my work,” she says.Bezabih is one of a small but growing number of feminists and women’s rights defenders who have left Ethiopia over the past two years, as online violence has become all-pervasive and uncontrolled. Three years after Facebook was accused of allowing hate speech to spread unchecked in Ethiopia, amid genocidal violence against ethnic Tigrayans during the civil war – claims rejected by Meta – social media inciters in Ethiopia have found a new target: women online.Research by the Centre for Information Resilience (CIR) bears out the scale of online gendered abuse in Ethiopia. Its 2024 report, Silence, Shamed and Threatened, found that technology-facilitated gender-based violence (TFGBV) has become “normalized to the point of invisibility” and is a daily occurrence with severe offline impacts, including psychological harm, physical assault, and arrests.Activists say the government and social media platforms are not doing enough to protect them. “I don’t think the government is much concerned about online harassment. It is barely a government agenda,” says Befekadu Hailu, an Ethiopian civil society leader and former director of Ethiopia’s Centre for the Advancement of Rights and Democracy.Bezabih says the online platforms that enable the violence also do little about it. “Even though they claim to have all these community guidelines, tech platforms never respond to reports, claims or even appeals.”