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Atlético Madrid pulled off a remarkable 2-0 victory over Barcelona at the Camp Nou, dealing a significant blow to the home team's Champions League aspirations. The match's turning point came just before halftime when Barcelona's Pau Cubarsí received a red card for tripping Giuliano Simeone, and Julián Alvarez curled in a spectacular free-kick from the resulting spot, giving Atlético a crucial lead.The visitors doubled their advantage in the second half through Alexander Sørloth's header, which was set up by a beautifully worked move initiated by Antoine Griezmann. Despite being a man down, Barcelona pressed hard for a goal but were thwarted by Atlético's defense and the impressive form of goalkeeper Juan Musso.This win puts Atlético in a strong position ahead of the second leg at the Metropolitano, where they will look to secure a spot in the Champions League semifinals. For Barcelona, the defeat leaves them with a difficult task to overturn the deficit in six days' time.

In the heart of Buxton lies a remarkable wood, a self-willed and entangled haven of willows and birch, teeming with life. This site, boasting a species list of 870, primarily composed of insects, has become a beacon of biodiversity. The wood's diversity is largely attributed to the presence of willows and birch, two pioneer trees known for their invertebrate-friendly nature.The connection between insect abundance and birdsong is well-established, as the music of birds is fueled largely by invertebrate protein. A recent dawn-chorus walk in the area revealed 20 early spring vocalists, including song and mistle thrushes, dunnocks, wrens, bullfinches, and greenfinches, many of which are red- or amber-listed by the British Trust for Ornithology.However, the term 'dawn chorus' can be misleading, as the songs begin as early as 3:40 am and reach their peak around 4:30 am, long before the first light of dawn. The birds sing to proclaim territories and entice partners, leading to a complex harmony of competing voices. This phenomenon is beautifully described by Bernie Krause in his book The Great Animal Orchestra, which explores how the soundscape of any place reflects a kind of collective harmonizing among its inhabitants.It is disheartening, therefore, that High Peak borough council's plans threaten to disrupt this harmony. Despite declaring a nature emergency, the council appears unwilling to protect Hogshaw wood, instead considering it for a 'land bank' for development. This decision is particularly concerning given that the site is largely owned by the council and is one of the richest in nature in the area. The question remains: what is the meaning of declaring a nature emergency if it is not backed by concrete actions to protect and preserve our natural treasures?

François Ozon's The Stranger is a lustrously beautiful and superbly realised modern take on Albert Camus's classic novella L'Etranger. Set in 1940s French Algeria, the film follows the story of Meursault, a sensitive white European who commits a racist act under the unbearable noonday sun.The film, shot in Morocco, boasts an almost supernaturally detailed sense of period and place. Ozon's adaptation brings a contemporary perspective to the book's themes of empire and race, making changes that include a critique of the original text. This approach perhaps loses some of the source material's brutal, heartless power and arguably some of the title's meaning.Meursault, played by Benjamin Voisin, is portrayed as a character with an unreadable expression of listless unconcern. His story unfolds through flashbacks, showing his dull office job in Algiers, his blank reaction to his mother's death, and his relationship with Marie, played by Rebecca Marder.The film's climax features Meursault's fatal encounter with the vengeful brother of Raymond's girlfriend, Djemila. When asked for a motive, Meursault simply says: “C’était à cause du soleil” – “It was because of the sun”. This response highlights the absurdity of the situation and the racist undertones of the act.Ozon's adaptation softens the argument presented in Camus's original work, and Meursault is ultimately condemned to death. The film emerges as a passionate act of ancestor worship in honour of a renowned French artwork, while also critiquing the original text and its representation of imperialism.

Warschau's neon signs, once symbols of hope and creativity during the communist era, have experienced a remarkable revival. The Neon Museum in Warsaw, founded in 2012 by Ilona Karwińska and David Hill, has been at the forefront of this movement, attracting over 100,000 visitors annually.During the cold war, neon signs were used as a form of Soviet propaganda, but they eventually became a creative outlet for Polish designers. After communism ended, many signs were discarded or destroyed. However, the Neon Museum has helped to revive interest in these iconic signs, with many historic signs being restored and new ones being created.The museum's founders, Karwińska and Hill, began their interest in neon signs in 2006, and their efforts have led to the preservation of many historic signs. The museum features neon signs from the former eastern bloc, and the founders plan to open a second museum in Budapest.The revival of neon signs has also inspired a new generation of architects and designers to work with neon. One notable example is the 4-meter-tall red cockerel sign, which was restored and returned to its original site. The neon signs have become beautiful symbols of Warsaw's history and culture, with many people from older generations remembering them fondly.

Arsenal's FA Cup quarter-final hopes were dashed in a stunning upset by second-tier Southampton, with Shea Charles scoring an 85th-minute winner at St Mary's. The defeat comes on the heels of Arsenal's loss in the Carabao Cup final against Manchester City.Mikel Arteta, Arsenal's head coach, vowed to defend his players despite the loss, emphasizing their efforts and dedication. He made seven changes to the lineup from the previous match against City, with only Kepa Arrizabalaga, Ben White, Gabriel Magalhães, and Kai Havertz retaining their spots.Arteta called for his team to 'look in the mirror' and accept responsibility for the defeat, urging them to regroup and focus on their upcoming Champions League quarter-final match against Sporting. The team's next match is on Tuesday, and Arteta expressed optimism about the 'most beautiful period of the season' ahead.The defeat also raised concerns about Gabriel's fitness, as the Brazil centre-back was forced off in the second half due to an unspecified issue. Arteta confirmed that Gabriel would be assessed before their next match.Meanwhile, Southampton's head coach, Ralph Hasenhüttl (referred to as Tonda Eckert in the original article, likely an error), emphasized that their focus would quickly shift to their Championship match against Wrexham on Tuesday. The win marked Southampton's 15th consecutive unbeaten match in all competitions and secured their spot in the FA Cup semi-finals for the first time since 2021.

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

Rising fortunes among the ultra‑rich under the Trump administration have ignited a wave of tax‑reform campaigns across the United States. In California, volunteers like Karen Sanchez are gathering signatures for a one‑time 5% wealth tax targeting the state’s 200‑plus billionaires to offset federal cuts to hospitals, education and food‑assistance programs.At least ten states are exploring similar measures. Washington recently enacted its first income‑tax aimed at roughly 20,000 millionaire households, while Massachusetts and Minnesota already channel wealth‑tax proceeds into preschool, K‑12 meals and transportation infrastructure.On the federal front, Senators Bernie Sanders and Representative Ro Khanna have introduced the “Make Billionaires Pay Their Fair Share Act,” proposing an annual 5% levy on billionaire net worth. Khanna argues that the ultra‑wealthy fund private health insurers, defense contractors and political campaigns, creating a stark fairness gap.Data from Oxfam shows that in the twelve months after Trump’s re‑election, billionaire fortunes grew at a rate three times faster than the average annual growth of the previous five years. Meanwhile, the federal minimum wage has remained stagnant at $7.25 for fifteen years, underscoring the widening economic divide.A Data for Progress poll released last fall found that 70% of Americans believe the economic system favours corporations and the wealthy. “People are angry and want change,” says Amy Hanauer of the Institute on Taxation and Economic Policy (ITEP), noting that activists are leveraging every level of government to seek relief.The movement draws on a two‑decade history of class‑based activism, from the Occupy Wall Street protests to Senator Sanders’ 2016 campaign that foregrounded wealth‑tax proposals. Yet inequality has deepened: CEOs of the five largest U.S. firms now earn, on average, **$52 million** annually—over a thousand times the typical worker’s salary.Political spending by billionaires has also exploded. A recent New York Times analysis reveals that billionaire contributions rose from **0.3% of campaign funds in 2008** to **19% in 2024**, amounting to more than **$3 billion** from roughly 300 ultra‑rich donors, many of whom supported candidates opposing wealth taxes, including former President Donald Trump.The war in Iran has further inflamed resentment, with the United States spending **$11.3 billion** in the first week of bombardment—far exceeding the annual budgets of agencies such as the CDC, EPA and the National Cancer Institute.Local victories are feeding the momentum. New York City’s mayoral race saw Zohran Mamdani win on a platform that includes taxing the rich to fund affordable housing, groceries and transit. Councilmember Chi Ossé led a 1,500‑person march to the state capitol, urging Governor Kathy Hochul to permit a city‑level millionaire tax, a move that now has backing from some state Democrats.Beyond New York, states like Rhode Island, Hawaii, Pennsylvania, Virginia, Illinois and New Mexico are debating various wealth‑tax mechanisms, including the popular “mansion tax” on high‑value home sales. Currently, **17 localities** have adopted such taxes, most passed between 2018 and 2023.California’s gubernatorial race has become a flashpoint. Billionaire‑backed candidates Matt Mahan and Tom Steyer are vying to replace Governor Gavin Newsom, with the tech elite—such as Sergey Brin and Joe Lonsdale—pouring money into campaigns opposing the billionaire tax. Of the 30 billionaires who have contributed to the race, **25 supported Mahan**, who has positioned himself as a staunch anti‑tax candidate.For Sanchez, the stakes are personal. The proposed tax seeks to replace **$100 billion** in federal health‑care funding cut by Trump’s “One Big Beautiful Bill Act,” which threatens hospital closures and layoffs in the nation’s fourth‑largest economy. She aims to collect **875,000 signatures** by late June to secure the initiative on the November ballot.“It’s creating a network of groups all working toward a common good,” Sanchez says, reflecting a broader sentiment that collective action could finally translate the public’s demand for fiscal fairness into concrete policy.

Millwall secured a vital win over Middlesbrough in the Championship, with Josh Coburn scoring twice to propel his team into second place in the promotion race. The victory, marked by a 2-1 scoreline, sees Millwall just one point ahead of Middlesbrough, with Coventry currently leading the table. The match was characterized by Middlesbrough's possession dominance, but their inability to convert chances into goals. Dael Fry's 26th-minute header gave Boro an early lead, but Millwall equalized in the 58th minute when Coburn's powerful volley found the net after a corner was poorly defended. Coburn, a 23-year-old striker and former Middlesbrough academy graduate, doubled Millwall's lead in the 86th minute with a beautifully angled shot, securing the win. This performance underscores Coburn's impressive form, having scored five goals in his last five games. Alex Neil's Millwall demonstrated resilience and composure, particularly in the second half, to outmaneuver Kim Hellberg's Middlesbrough. Neil praised his team's performance, highlighting their defensive solidity and clinical finishing. In contrast, Hellberg expressed disappointment, noting that his team's possession-heavy approach failed to yield results in critical areas. This win boosts Millwall's prospects for Premier League promotion, although fourth-placed Ipswich still has two games in hand and remains a strong contender. The result marks a significant setback for Middlesbrough, who are now under pressure to regain their position in the promotion race.

Peter Whelan and the Irish Baroque Orchestra have returned Handel’s Messiah to Dublin, the city of its 1742 debut, with a landmark recording that is the first period‑instrument rendition by an Irish ensemble. The project seeks to echo the original performance at the Fishamble Street music hall, where audience etiquette was so strict that women were asked to forgo hoop skirts and men to leave their swords at home.The album features a cast of historically informed singers. Helen Charlston delivers the contralto arias once associated with the scandal‑ridden Susannah Cibber, her voice described as firm, slightly metallic and unflaggingly expressive. A rare duet‑and‑chorus version of “How Beautiful Are the Feet,” originally written for two Dublin cathedral countertenors, showcases Alexander Chance in buoyant form, while soprano Hilary Cronin provides a sweet‑sounding contrast.Whelan draws a fleet‑footed performance from a modest 13‑member choir and the orchestra, resulting in vocal lines that are light, precise, and at times almost conversational. Formerly a bassoonist with the orchestra, Whelan is poised to succeed Nicholas McGegan as music director of San Francisco’s Philharmonia Baroque, cementing his status as a rising star in the baroque world.Listeners can stream the recording on Apple Music or Spotify.