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The Policy Initiative Andy Burnham has said he would consider cutting some employers’ national insurance contributions, and proposed a cut to business rates for pubs and small, family-run enterprises, in his first significant policy initiative during the Makerfield byelection. The Business Rates Proposal Burnham’s plans amount to a notable criticism of Keir Starmer’s policies in these areas. In his announcement on business rates, the Greater Manchester mayor said: “Labour have got it wrong on small businesses.” Pubs, clubs and music venues would receive a 20% cut next year. Smaller, independent hospitality, leisure and retail companies would have the threshold for paying business rates raised for the first time since 2017. The Funding Plan The cuts would be paid for, according to the proposal, by higher levies on giant warehouses operated by online firms such as Amazon, and targeting the owners of empty high street properties. The Impact Analysis Burnham's proposals go further than a Treasury plan announced in January for a 15% cut to business rates for pubs in England from 1 April, with bills then frozen in real terms for a further two years. The Prediction Burnham is hoping to return to Westminster in the byelection on 18 June, a contest triggered after the sitting MP, Josh Simons, stepped aside in the hope that the Greater Manchester mayor would take his place and go on to challenge Starmer for the Labour leadership.

Executive Summary of the NAO FindingsNational Audit Office investigation reveals that several senior royals receive highly subsidised or rent‑free accommodation, with private income generated from sub‑letting crown estate properties.Detailed Property Arrangements Across the Royal FamilyPrincess Beatrice & Princess Eugenie: live rent‑free in royal palaces; rent set at 68% and 64% of open‑market value respectively; funded by King Charles from the Duchy of Lancaster.Duke and Duchess of Edinburgh (Edward & Sophie): pay a pepper‑corn rent for Bagshot Park after a £5 million upfront lease payment; generated private income by sub‑letting the stable complex.Prince and Princess of Wales (William & Catherine): pay £307,200 annually for Forest Lodge plus £19,800 for Staff Lodge 1; crown estate covered £396,993 of refurbishment.Prince and Princess Michael of Kent: rent of an apartment now 63% of 2026 market value, a 34% increase since 2020; historically a pepper‑corn £69‑per‑week lease.Princess Alexandra & Marina Ogilvy: ground rent £1,500 for Thatched House Lodge after a £670,000 premium; Marina pays £17,436 annual rent for a Windsor cottage.Financial Scale of the ArrangementsKing Charles covers accommodation costs for non‑working royals, sourced from private Duchy of Lancaster income.Up‑front lease payment for Bagshot Park: £5 million; restoration spend: £1.38 million.Annual rent for Forest Lodge: £307,200; crown‑funded repairs: £396,993.Rent‑free palace apartments are maintained by the sovereign grant, offset by the above private rents.Implications for Public Accountability and Royal FinancesThe report highlights a blend of private income and public funding that blurs the line between personal benefit and taxpayer support, prompting calls for clearer reporting and potential reform of crown estate leasing practices.Looking Ahead: Potential Reforms and Ongoing ScrutinyParliamentary committees may demand tighter oversight of crown estate leases, and future NAO audits are likely to focus on ensuring that any rent‑free or subsidised arrangements are fully transparent and justified against public interest.

The Lucrative Trade in Children England's children in care have become a highly profitable commodity, with private providers charging up to £1m per child per year. This trade has led to a system where children are being moved far from their local authorities, often to unregistered and unregulated 'homes', increasing their vulnerability to exploitation. The Financial Incentives Driving the Trade The average charge to the state by a private provider for a child in 'care' is now £384,020 a year, six times what Eton charges. Some providers levy more than £1m per child per year, rising to over £3m for children with complex needs. This has attracted a range of investors, from big companies to individuals with no experience in care, including plumbers, hairdressers, and Airbnb landlords. The Consequences for Children The system has led to children being moved far from their local authorities, often to areas with cheaper property, such as the north-west of England. This can result in greater disruption and instability for the children, making them more vulnerable to exploitation and grooming. The article cites a study that finds a consistent association between profit-making and the placing of children outside their local authority area. The Role of Unregistered 'Homes' The article reveals that many children are being placed in unregistered 'homes', which are often illegal and unregulated. An investigation by LBC and the Bureau of Investigative Journalism found that in one of these illegal 'homes', two of the 'care' workers had seven convictions between them, including four for violent offences. They were accused of sexually assaulting a 15-year-old girl in their care. The Need for Reform The article argues that the system needs to be reformed, with a move away from private profit and towards public ownership of children's care services. The author suggests that the government's ideological commitment to the private sector is driving the current system, which prioritizes profit over the needs of children. In contrast, Wales has stopped profit-making in this sector, and the practice is being phased out altogether.

The Leadership Change at Liverpool Liverpool's decision to replace Arne Slot with Andoni Iraola as their new manager has raised eyebrows. While Slot won the Premier League last year, there was a sense that his relationship with the fans and squad had deteriorated. Iraola, on the other hand, has never managed a club in Europe, but his dynamic football style at Bournemouth has impressed. Iraola's Football Philosophy Iraola's approach to the game is characterized by progressive and dynamic football, with a focus on attacking play. At Bournemouth, he implemented a 4-2-3-1 shape, which allowed for creative freedom and high-intensity pressing. This style could be a good fit for Liverpool, particularly with the signing of Florian Wirtz, who could thrive in the central creative role. The Challenges Ahead Despite Iraola's successes at Bournemouth, there are concerns about his ability to adapt to the increased exposure and pressure at Liverpool. The club's high expectations and intense scrutiny could pose significant challenges for the young manager. Additionally, Liverpool's squad dynamics and player personalities will require careful management. The Data Analysis Bournemouth drew 18 league games in the 2025-26 season, which would draw intense scrutiny at Liverpool. Newcastle dropped more points from winning positions than Bournemouth in the 2025-26 season. Bournemouth had the 17th-highest wage bill in the league last season, yet still finished sixth. The Impact Analysis Iraola's appointment could mark a significant shift in Liverpool's playing style, potentially returning to a more energetic and pressing-based approach. This could have a positive impact on the team's performance and fan engagement. However, it also poses risks, particularly if Iraola struggles to adapt to the pressure and expectations at Liverpool. The Prediction While there are no guarantees of success, Iraola's dynamic football style and experience at Bournemouth make him an intriguing appointment for Liverpool. If he can adapt to the challenges of the job, he could lead the team to significant improvements and a return to their former glory.

The M2B Connection: A Century of SpeedMcLaren’s journey began in 1966 with the M2B, a car that qualified 10th but retired early due to an oil leak. Yet, this humble start marked the genesis of a powerhouse. This weekend, the team honors this legacy by driving the original M2B around the streets of Monte Carlo, driven by double world champion Mika Häkkinen.1966: Team debut in Monaco.1968: First win at Spa.1,000 Grand Prix races contested.From Shed to Supremacy: The Data Behind the DynastyThe numbers speak to a legacy of excellence. McLaren is the second-most successful team in F1 history, trailing only Ferrari. However, the data also highlights a period of near-extinction. Between 2015 and 2017, the team struggled at the back of the grid, a nadir that tested the team's resolve.13 Drivers' Championships.10 Constructors' Championships.203 total Grand Prix victories.The 'Family' Culture: A Competitive MoatWhat separates McLaren from competitors is not just engineering, but culture. Current drivers and staff emphasize a 'family' dynamic that fosters loyalty and high performance. Mark Temple, a 20-year veteran, noted that pride remained even during low points. This mutual respect creates a cycle of dedication where employees look after the team, and the team looks after them.Future Outlook: The Norris EraWith Lando Norris now the most experienced driver on the grid for the team (156 races), the torch is being passed. The combination of the 'family' ethos and the recent technical resurgence under Zak Brown and Andrea Stella suggests a bright future for the Woking-based squad.

The Face That Doesn't Move: Hollywood's Cosmetic DilemmaA few years ago, a Hollywood director contacted New York dermatologist Dr. David A Colbert, frustrated that one of his actors had "plumped his face with so much filler it wouldn't move." This incident highlights a growing crisis in Hollywood: the increasing prevalence of cosmetic procedures that enhance appearance but potentially limit the facial expressiveness essential for compelling performances.The Rise of the "Enhanced" Celebrity FaceToday's celebrities are increasingly turning to cosmetic procedures rather than traditional beauty products. The "it" item among stars is no longer a luxury concealer or moisturizer, but an entirely new face characterized by "pillowy lips, stretched-out skin and a stationary forehead." This trend is visible across Hollywood productions, from Christopher Nolan's The Odyssey, where Anne Hathaway's limited forehead movement drew criticism, to the Wicked franchise featuring Ariana Grande's "airbrushed lack of expression."The Industry's Changing Beauty StandardsThe pressure to maintain a youthful appearance has intensified with modern technology. Dr. Anthony Brissett, president of the American Academy of Facial Plastic and Reconstructive Surgery, notes that high-definition cameras reveal details invisible to the naked eye, creating unprecedented scrutiny for actors' appearances. This has led to an estimated 1.6 million Americans receiving facial procedures last year, with neurotoxins and fillers being the most popular.Threat to the Craft of ActingSome of the most memorable performances in film history have come from actors willing to abandon conventional beauty standards, whether it's Lucille Ball's comedic physicality or Charlize Theron's transformative role as Aileen Wuornos in Monster. As Dr. Colbert observes, "It's almost become standard that the face doesn't move as much as it used to." This presents an existential threat to acting, as facial expressiveness has always been crucial to conveying emotion and creating connection with audiences.The Future of Hollywood FacesThe industry faces a critical juncture where beauty standards may increasingly conflict with artistic expression. While some actors like Kate Hudson are choosing to forego procedures to better embody their characters, the pressure to maintain a certain appearance remains intense, particularly for women in an industry that still struggles with ageism. As viewing shifts from movie theaters to smaller screens, the demand for faces that appear perfect up close may continue to grow, potentially creating a new generation of performers whose greatest asset is also their greatest limitation.

Opening: AI’s Role in the Arts ReexaminedAmid widespread alarm that artificial intelligence might decimate creative fields, the Royal Opera’s associate director Netia Jones argues for a more nuanced view: AI should be interrogated, regulated, and ultimately partnered with, rather than feared.RBO/SHIFT Festival Puts AI at the Heart of OperaThe upcoming RBO/SHIFT festival (4‑7 June, Linbury Theatre, London) is designed to explore every facet of AI in the performing arts. By bringing together composers, coders, scholars and performers, the festival asks two core questions: what can AI do for creatives, and what can creatives do for the world in the age of AI.Quantifying AI’s Operational Benefits in Opera ProductionAI‑driven scheduling and workforce planning streamline rehearsal timetables.Machine‑learning analysis of scenery loads improves safety on stage.AI‑enhanced pre‑visualisation reduces waste in set‑building and costume design, allowing 3‑D fitting of costume sketches.Voice‑synthesis tools, such as those used in the piece “Transference,” expand vocal possibilities without replacing singers.How AI Could Reshape Creative Practice and Ethical StandardsBeyond efficiency, AI raises profound questions about ownership, consent, and the use of performers’ likenesses. While the technology can generate works “in the style of” historic playwrights like Molière, the article stresses that true artistic disruption comes from new forms of collaboration, not mere imitation. Ethical safeguards, legislation, and transparent attribution are deemed essential to protect creators.Future Outlook: Collaboration as the New Norm for AI in the ArtsAs AI becomes embedded in every stage of opera production, the expectation is not a replacement of human talent but an augmentation that deepens artistic inquiry. The article concludes that, rather than eroding cultural value, AI may compel audiences and institutions to cherish, protect, and innovate within the arts more vigorously than ever before.

The Concept of Breathe More than 2 billion years ago, during the Paleoproterozoic era, the Earth's atmosphere began to fill with free oxygen, enabling the rise of aerobic life and, ultimately, humans. This event is known as the Great Oxidation Event. Deep in the subterranean belly of the Museum of Old and New Art (Mona) in Tasmania, a new artwork offers visitors the chance to inhale oxygen that's been trapped in iron ore since then. The Art Installation French-Swiss conceptual artist Julian Charrière came up with the idea for Breathe, and Mona's owner David Walsh not only said yes but created a bespoke space for it. The installation is designed as a solitary experience, where one by one, visitors are given access to a vault-like corridor reminiscent of a huge mining drift. The Oxygen Extraction Process Charrière sourced ancient iron ore from Australia's Pilbara region, which is put through machinery in an on-site lab each day to have water extracted. The water is then put through a Hofmann apparatus – a piece of scientific equipment that electrolyses water – to pull oxygen out. That oxygen is then released into the room to be breathed in by visitors for the very first time. The Experience Walking over tiles made of polished ancient tiger ore, visitors circle a floor-to-ceiling clear glass tube that houses the Hofmann apparatus. Sitting in front, visitors see a small opening, providing their closest access to Charrière's pure, ancient oxygen. In inhaling, "you are connected to the beginning of life on Earth but you are also – and that is the crazy thing about this space – you are also the first person to inhale that oxygen," Charrière says. The Impact Breathe runs alongside Charrière's major new exhibition, Hard Core, which showcases both the ambition and the scientific curiosity of the Berlin-based artist. The installation is a permanent addition to Mona, offering a unique experience that connects visitors to the Earth's history.

Uncovering the Forgotten Genocide Visiting the Namibian port town of Lüderitz in late 2024, I came across a small museum run by descendants of German settlers. Alongside imperial German flags and memorabilia, it displayed artefacts of the Herero tribe that had been recovered from nearby Shark Island. What went unmentioned is that, from 1905 to 1907, Shark Island was the site of a concentration camp where Herero and Nama prisoners were subjected to forced labour, starvation and systematic abuse. At least 3,000 people are estimated to have died there. The Event Details Fractured Lifeworlds, a new exhibition opening in Berlin this week, is built around questions of memory, geography and accountability. The show presents four years of research by Forensic Architecture, a multidisciplinary research agency that uses visual reconstructions to investigate human rights abuses from Syria and Palestine to Greece and Germany. The Data Analysis The show’s centrepiece is a series of films that combine oral testimony from descendants of genocide victims with meticulous geological research. An eerie 30-minute film on Shark Island reconstructs the concentration camp, showing how German authorities weaponised the island’s harsh environment against prisoners – and shipped their skulls back to Germany for pseudoscientific research. The Impact Analysis Many descendants also fear that the Hyphen project could undermine efforts to preserve Namibia’s sites of the genocide as places of remembrance. Sima Luipert, adviser to the Nama Traditional Leaders Association (NTLA) and a collaborator on the exhibition, fears the port expansion could disturb burial grounds. “When they dredge, they don’t seem to realise that they are not simply moving dirt. They are disturbing the dead,” she says. “The water is the burial site.” The Prediction Mark Mushiba, the lead curator of Fractured Lifeworlds and a researcher at Forensis, explains that historians have largely relied on colonial documents. Forensic Architecture and Forensis instead sought to “read the landscape”. In Hornkranz – which is now used as a private farm – that meant locating old bullet cartridges, identifying former homesteads through distinctive vegetation patterns and treating plants as historical evidence.