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Lead: Two High‑Stakes Matchdays ConvergeWest Ham host Arsenal in a Premier League clash that could shape the top‑half scramble, while Kylian Mbappé is confirmed out of Real Madrid's squad for the El Clásico against Barcelona. Simultaneously, the Czech title decider between Slavia Prague and Sparta Prague was abandoned after a fan‑instigated pitch invasion.Team News: West Ham v Arsenal Line‑ups and Tactical AnglesWest Ham are expected to line up with a 4‑2‑3‑1, relying on Jarrod Bowen and Michail Antonio for attacking thrust.Arsenal will likely field a 4‑3‑3, with Martin Ødegaard orchestrating play and Gabriel Jesus leading the line.Both managers have hinted at late‑game substitutions to preserve stamina for upcoming European fixtures.Mbappé Out: Real Madrid’s Forward Options for the El ClásicoReal Madrid announced that Kylian Mbappé will not be named in the squad for the match against Barcelona, citing ongoing recovery from a hamstring injury. The French forward trained on Friday but remains unavailable.Vinícius Júnior, Gonzalo García, Brahim Díaz and Franco Mastantuono are named among the forwards.The absence forces Carlo Ancelotti to adjust his attacking shape, potentially shifting to a more fluid front three.Czech Derby Chaos: What the Abandoned Match Means for the Title RaceThe derby at Fortuna Stadium was halted when Slavia led 3‑2 and fans stormed the pitch, igniting flares and targeting Sparta goalkeeper Jakub Surovcik. Police intervened, and criminal proceedings for rioting have been launched.Slavia were seconds away from clinching the league; the abandonment could trigger disciplinary points and venue restrictions.Sparta’s safety concerns may lead to a replay or forfeiture, reshaping the championship outlook.Impact Analysis: Ripple Effects Across EuropeWest Ham’s result will influence their mid‑table positioning, while Arsenal’s performance could tighten the race for European spots. In Spain, Mbappé’s sidelining may give Barcelona a tactical edge, potentially affecting La Liga standings and Champions League seeding.In the Czech Republic, the incident raises questions about fan security protocols and could see UEFA impose sanctions that affect future continental qualifications.Outlook: What to Watch in the Coming DaysWatch for post‑match reactions from David Moyes and Mikel Arteta on squad rotation ahead of upcoming cup ties.Real Madrid’s next training session will reveal whether any further forwards are being considered to replace Mbappé.The Czech Football Association is expected to issue a formal decision on the abandoned match within 48 hours, which could alter the league table dramatically.

At the 2026 Venice Biennale, the presence of Russian and Israeli pavilions sparked visible anger, protests, and a debate over the festival’s claim of neutrality, highlighting how cultural events are being weaponised in the Russia‑Ukraine and Israel‑Gaza conflicts. Russia’s Prosecco‑Laced Return to the Biennale The Russian pavilion opened with a flamboyant display of prosecco crates and English gin, while the ensemble Ensemble Toloka performed traditional music. Observers on the ground dismissed the spectacle as "ethnic shit to cover up their war crimes", underscoring the dissonance between cultural celebration and ongoing warfare in eastern Ukraine. Political Tensions Surface in Pavilion Selections Biennale president Pietrangelo Buttafuoco, appointed by Italy’s Giorgia Meloni government, defended the inclusion of both Russia and Israel despite open letters demanding the exclusion of the United States and calls for a ban on nations accused of crimes against humanity. The international jury later resigned after pressure to retract a statement that would have barred Russia and Israel from award consideration. Financial and Diplomatic Stakes of the Biennale’s Neutrality Claim European Commission is probing whether the biennale’s visa assistance for Russian participants breaches sanctions. Italian cultural ministries have faced criticism for appearing to "yield to the aggressor". Protests such as Pussy Riot’s intervention forced a temporary closure of the Russian pavilion. How the Controversy Reshapes Cultural Diplomacy Culture ministers from Ukraine, Poland, Moldova and the Baltic states used the platform to condemn the biennale’s perceived neutrality, framing the event as a propaganda tool. The clash illustrates a broader shift where art festivals become arenas for soft power battles, granting legitimacy to contested regimes. What Lies Ahead for the Biennale’s Governance With the artistic director’s death and the jury’s resignation, the biennale faces a leadership vacuum. Observers predict tighter scrutiny from EU bodies and possible reforms to its pavilion‑selection process, aiming to balance artistic freedom with ethical responsibility.

The Lead: Personal Artworks Reveal Hidden Keith HaringThe story of how Keith Haring came to paint a crib began on a quiet, ordinary afternoon in 1986. His best friend's wife was pregnant, and the couple didn't have the money to buy a new crib for their home in New York City's Greenpoint neighborhood. "I called my parents to ask if my old crib was still in the attic," says artist Kermit Oswald, Haring's friend since childhood. "I got it and I painted it yellow, then Keith came over, we had a few beers and he painted the rest of it."The Exhibition: Haring's House at Sotheby'sOswald's collection of Haring's work is now on display in Haring's House: Works From the Collection of Kermit Oswald, a public exhibition at Sotheby's New York this month, with the works going to auction in two sales on 14 and 15 May. The most surprising item is the crib. It's taxi-cab yellow with paintings of dachshunds (the Oswald family dog) and two figures representing Oswald and his wife, Lisa.The Auction Valuation: Market Value of Personal ConnectionsIt's one of 20 Haring works going to auction. The marquee lot is a 1985 self-portrait, one of only six the artist ever painted on canvas. The auction estimates are $3m-$5m, with the crib alone estimated at $250,000 to $350,000. With many items never seen publicly, it shows a personal side to one of the most iconic gay artists in history.The Friendship: Childhood Bond to New York Art SceneOswald knew Haring since they were five years old. They met by passing notes at church in their home town of Kutztown, Pennsylvania. As boys, they shared a passion for "creating things" and started drawing together. "We rode bicycles and played baseball, though on different teams, and were always in each other's homes," he says. They delivered their paper routes together; the loser of the morning race had to buy ice-cream.The Artistic Process: Influences and TechniquesHaring's early untitled works on paper from the late 1970s and early 1980s often used cut-up newspapers and Xeroxed clippings, a practice influenced by William Burroughs' cut-up technique. The two met in 1983 and collaborated on Apocalypse, a series of silkscreen prints with text by Burroughs, in 1988, the year Haring tested positive for HIV.The Legacy: Beyond Public PersonaWhen asked what Haring would be like now, Oswald says: "It was a more analog world then. If you wanted to comment on the news, you had to put ink on paper. In today's lexicon, Keith would be a blogger and definitely a news junkie." They both moved to New York in 1978 to study at the School of Visual Arts. Oswald built the workshop in Haring's studio, every frame Haring used and installed Haring's exhibitions.The Future: Auction and Art Market ImpactBy 1985, Haring was famous and painted his self-portrait from a Polaroid, his face on the body of a sphinx. He invited Oswald to the studio and told him to take any work he wanted. Oswald chose that one. The pair called Haring's mounting fame "the tiger." "You work and work and work thinking you can finally climb on the tiger and ride it," Oswald says. "But once it actually happens, you just have to hold on for dear life, and the best you can do is hope to steer it a bit."

The Lead: A Biennale on the BrinkThe 2026 Venice Biennale opened amid a cascade of cancellations, protests and a sudden death of its visionary curator Koyo Kouoh. From jurors resigning days before the launch to Iran and the European Commission pulling out, the event was framed by turmoil before any artwork was seen. The Curatorial Crisis: "In Minor Keys" Meets Global TurmoilKouoh’s intended theme, In Minor Keys, promised "spiritual and physical rest" through quiet, contemplative works. In practice, the five‑person curatorial committee produced a disjointed mix of ceramics, textiles and serene videos that felt detached from the raging geopolitical climate – wars, fascist surges and climate emergencies. Artists from the Global South were featured but without contextual framing, echoing past biennale attempts by Okwui Enwezor in 2015.Performance moments – a naked body ringing a bell while another artist jet‑skied on urine – highlighted the absurdity of the exhibition’s calm aesthetic. The Cultural Fallout: Why the Biennale Missed Its MarkCritics note that the exhibition’s lack of overt political content makes it appear oblivious to the world outside the Giardini. The curatorial vacuum resulted in: Chaotic room layouts where unrelated works sit side‑by‑side, leaving visitors unable to discern a narrative.Over‑hung, safe‑looking displays that resemble an art fair rather than a groundbreaking biennale.Moments of genuine artistic merit – such as Seyni Awa Camara's hybrid terracotta figures and Mohammed Z Rahman's matchbox miniatures – being lost in the overall mess. The Outlook: Lessons for Future BiennalesGoing forward, the Biennale will need to reconcile its lofty artistic ambitions with the urgent political realities that audiences expect. Potential paths include: Re‑establishing a clear curatorial leadership, perhaps by appointing a successor who can honour Kouoh’s vision while integrating contemporary crises.Providing contextual frameworks for Global South artists to ensure their work resonates beyond aesthetic appreciation.Balancing contemplative spaces with overt political commentary to reflect the world’s “low notes” without ignoring its “high stakes.”li> Only by addressing these challenges can the Venice Biennale reclaim its role as the premier platform for global contemporary art.

The LeadLike the rest of the western world, our household is currently binging medical drama The Pitt, revelling in its visceral depiction of life in a modern emergency department. So far the series has yet to inspire a video game tie-in (though there has been an amusing parody), but fans wishing to try their hand at tense medical (mal)practice, should not despair. Here are eight of the best hospital games spanning more than 40 years of gruesome interactive surgery. Microsurgeon (1982, Mattel Intellivision) Created by lone developer Rick Levine, this early oddity shrank players down and put them into the bloodstream of a sick patient where they had to blast diseased cells and unclog arteries. Clearly inspired by the movie Fantastic Voyage, the title features strange, colourful, almost psychedelic depictions of human anatomy. Life & Death (1988, PC, Mac, Atari ST, Amiga etc) This point-and-click abdominal surgery simulation was groundbreaking in its realism. Players had to diagnose a variety of conditions (kidney stones! aortic aneurysm!), before ordering tests and scans and finally operating while an ECG display showed your victim’s – sorry, patient’s – heart rate. Sanitarium (1998, PC, smartphones from 2015) The asylum has always been a popular trope for horror games, from the imaginatively titled 1981 adventure Asylum to the Silent Hill series. I’m going for this disturbing psychological thriller in which a patient wakes up in a seemingly abandoned sanatorium, his memory gone, his face completely bandaged. Emergency Call Ambulance (1999, arcade) You’ve no doubt heard of Crazy Taxi, Sega’s hectic arcade game about careering around a city picking up annoying passengers. But did you ever play its stablemate, Emergency Call Ambulance, about driving around a city picking up desperately ill passengers? Trauma Center: Under the Knife (2005, Nintendo DS) If you thought the Nintendo DS was all about cosy puzzle games, you were wrong. Developed by veteran publisher Atlus, this fascinating game was part surgery sim, using the handheld’s touchscreen and stylus for realistic operations, and part visual novel as lead character Dr Derek Stiles navigated life in a futuristic hospital. Surgeon Simulator (2013, PC, PlayStation, Switch, Xbox) Surgeon Simulator is a game where you play as a surgeon with a goal to perform operations. The game became famous for its challenging gameplay and realistic physics.

The Intersection of Cultures Rostam Batmanglij, the 42-year-old superproducer and former Vampire Weekend member, sat down with The Guardian to discuss his latest solo album 'American Stories'. Born to Iranian parents and raised in America, Batmanglij's music often reflects his diverse cultural background. Musical Beginnings and Influences The first song Rostam learned to play on guitar was Chuck Berry's 'Johnny B Goode', a quintessentially American rock'n'roll hit. This early influence set the tone for his future work, which often blends American and Middle Eastern musical elements. American Stories: A Reflection of Identity 'American Stories', Batmanglij's third solo album, is a beautiful blend of pop, rock, and Middle Eastern music. The album's songs reflect on love, songwriting, and the fast-unspooling political landscape. Batmanglij's experiences as an Iranian-American and his observations of the world around him have shaped the album's themes and sound. Politics and Social Commentary Batmanglij's music often touches on politics and social issues. He was inspired by the 2025 election of New York mayor Zohran Mamdani, a Muslim Indian democratic socialist, and has written songs that seem to reference Israel's bombardment of Gaza. His music is a call to action, encouraging listeners to think critically about the world around them. The Power of Protest and Younger Generations Batmanglij believes that younger people have more clarity about what's going on in the world, while many people in his generation and older have 'deluded themselves'. He sees his music as a way to inspire and empower listeners, particularly younger generations, to take action and make a difference. Creative Freedom and Future Plans As a solo artist, Batmanglij has the freedom to pursue any idea he wants, no matter how weird or unconventional. He has worked with a range of artists, from Frank Ocean to Clairo, and is always looking for new ways to push the boundaries of his music. With 'American Stories', he has created a truly unique and captivating album that showcases his talents as a producer, songwriter, and performer.

The Lead: Perry's Raw Return to Center Stage Linda Perry, the iconic singer-songwriter behind 4 Non Blondes and hitmaker for stars like Christina Aguilera and Pink, is stepping back into the spotlight after years working behind the scenes. Her new documentary "Linda Perry: Let It Die Here" and accompanying album capture her journey through breast cancer, the death of her abusive mother, and her complex emotional landscape as she reclaims her artistic identity. The Event Details: Cancer, Loss, and Creative Resilience The documentary, directed by Don Hardy who had been filming Perry at work, captures her just over a week after a double mastectomy, walking gingerly into her studio while carrying surgical drains she calls "blood grenades." As Perry recovered from surgery, her elderly mother—who had physically and mentally abused her as a child—became ill and died three months later. Perry took her mother into her home for her final months, setting up a bed next to hers, reflecting that "the best gift my mom gave me was a peaceful death." The Creative Process: From Personal Pain to Artistic Expression Perry's new solo album, her first in 27 years, is a visceral, propulsive work about her mother's death and the complex feelings it unearthed. Songs include "I Am Daughter," "Now That She's Gone," "Liberation," and "What Lies With You," in which she calls her mother "the villain and the muse." The documentary shows Perry's songwriting prowess in action as she jams with Dolly Parton and Kate Hudson, while also capturing her hosting an event at South By Southwest for EqualizeHer, an organization she co-founded to promote gender equality in the music industry. The Industry Impact: A Voice for Gender Equality Perry has long been an advocate for gender equity in music. Early in her career, she was famously denied a producer credit on "What's Up," the track that sent 4 Non Blondes stratospheric. She let it go at the time but vowed it would never happen again. Through EqualizeHer and her own experiences, Perry continues to challenge the industry's gender disparities. The documentary also captures her re-formed 4 Non Blondes performing at the BottleRock festival, where she insisted on performing new material rather than just their old hits, stating "I want to play something new." The Personal Journey: Confronting Trauma and Finding Strength The documentary offers intimate glimpses into Perry's personal struggles, including a scene where she's captured dancing goofily in her closet to Supertramp's "Take the Long Way Home," which triggers deep emotional release. Another powerful moment shows her ripping open her shirt during a photoshoot in the desert to reveal her surgical scars, describing it as "ad-lib, a kind of a 'fuck-it' moment" that felt powerful afterward. Perry admits she's a workaholic who finds safety in creating: "Like most people who are in trauma, I am afraid to be left alone. Creating, working and music is where I feel safe." The Future Outlook: New Music and Continued Advocacy Perry's re-formed 4 Non Blondes are working on a new album due out early next year, based on material she wrote specifically for festival performances. She continues to collaborate with other artists, including Paris Jackson and Mike Campbell of Tom Petty's Heartbreakers. While the documentary was difficult for Perry to watch—"It was like watching a horror movie"—she recognizes its therapeutic value: "I think maybe the film helped me process and see something I didn't know I was doing." As she walks into the distance at the end of the documentary, Perry reflects: "Everything I've just experienced is going to change my life drastically. Life and death happened just now, so let's see what happens from here."

The Unseen Robin Hood: Director John Irvin on His Anti-Thatcher Film Thirty-five years ago, two films about the legend of Robin Hood – stealer from the rich, giver to the poor – met and duelled in cinemas; we all know who won, Kevin Costner’s big-budget blockbuster, Robin Hood: Prince of Thieves. But what about the other one? It was titled simply Robin Hood, directed by John Irvin and starring Patrick Bergin in the title role alongside a pre-Pulp Fiction Uma Thurman as Maid Marian. The Aim Was to Give Kevin Costner's Version a Good Kicking “It was very much a stand-alone film with the aim of giving Kevin Costner’s version a good kicking if we could,” says Irvin, now 85. “The studio wanted to go immediately because they wanted to pre-empt Costner.” The Data Analysis: A Modest Budget and Box Office Return The film had a modest budget and was released internationally, but in the US it premiered as a three-hour TV film in May 1991. Costner’s film took just short of $400m in worldwide receipts and became the year’s summer blockbuster. The Impact Analysis: Anti-Thatcherism and Social Commentary Irvin admitted: “The production was tricky. It was cold and wet. It was winter, so Robin Hood couldn’t be in ‘Merry England’. All the trees were bare, so nobody could hide and ambush people. “Quite serendipitously, we found in Cheshire, near the castle, a whole warren of salt mines. I thought it was perfect because it was underground. It was my attempt to give a more honest version of Robin Hood during the middle ages. Around the time of the film there were poll tax [protests] in England. There is a sort of underlying current of anti-Thatcherism in the movie, which was picked up by one or two critics. We tried, without being too on-the-nose, to make it relevant to Thatcher’s England. It was subversive, but in a very, I hope, subtle and nuanced way.” The Prediction: A Legacy Reevaluated “I think it holds up well. The story of Robin Hood seems to be woven into our national psyche. When there’s a sense of oppression, it’s good to have a saviour like Robin Hood, who’s going to give two fingers to the establishment.”

The Accusation Against Rebel Wilson Rebel Wilson has been accused in court of being a liar who made up terrible claims about her colleagues and completely rewrote history. The Pitch Perfect star copped the blunt assessment in the dying hours of a fiery defamation battle where she is being sued by Charlotte MacInnes, the lead actor in musical comedy The Deb which Wilson directed, co-produced and starred in. The Defamation Claims MacInnes claims Wilson defamed her in a series of social media posts that suggested she is a liar and a sellout who walked back a sexual misconduct complaint to further her career. The posts claimed MacInnes confided to the older actor – and later recanted – she felt uncomfortable when the film’s co-producer Amanda Ghost asked to have a shower and a bath together. The Inconsistencies in Wilson's Evidence MacInnes’ barrister Sue Chrysanthou SC accused Wilson of a “complete revision of history” littered with dishonesty during her emphatic closing address in the Federal Court on Friday. She noted the Bridesmaids actor testified she told local producer Greer Simpkin about the alleged complaint on the day it was made to her, but that had been contradicted in court. Simpkin gave evidence she had not heard that Wilson claimed her co-star felt uncomfortable about the incident until it was relayed by Ghost a week later. Wilson's own witnesses have discredited her, Chrysanthou told the court. The Impact on MacInnes MacInnes has suffered devastating harm as a result of the social media posts and hasn’t worked since she starred in a stage production – a role which she had previously secured, her barrister said. “My client has been unable to eat, unable to sleep, has been distressed … (she) fears what Rebel Wilson is going to do to her next,” Chrysanthou said. “No young woman dreams of being pulled into the spotlight by a celebrity and maligned”. Wilson's Response But Wilson testified the young star doesn’t appear to have sustained any damage to her reputation or career, pointing to the lead role and a six-figure record deal MacInnes has secured. “She’s changed her story, she’s flip-flopped and she’s been given huge benefits,” she said.