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When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

The UK government's new employment rights watchdog, the Fair Work Agency (FWA), is set to launch on Tuesday, but its priorities have already faced criticism from worker advocates. The agency, a cornerstone of Labour's Employment Rights Act, will bring together several existing labour enforcement bodies and focus on policing the minimum wage, holiday pay, and modern slavery. However, the government's priorities for the FWA's first year have been criticized for focusing on reducing regulatory burdens on businesses, rather than taking a more robust approach to protecting workers' rights. The priorities, listed by Matthew Taylor, the incoming chair of the FWA, include 'thought leadership' and 'reducing regulatory burdens'. Worker advocates argue that this approach risks turning the agency into 'a dead duck' before it even begins. Sharon Graham, the general secretary of Unite, which represents over 1 million workers, said that the priorities showed the agency was 'in danger of being a dead duck before it even begins'. She added that the government needs to urgently ensure that the FWA focuses on bringing rogue bosses to heel, rather than seeking ways to allow dodgy companies to continue bad behaviour. The UK has among the fewest labour inspectors per worker within Organisation for Economic Co-operation and Development countries, with different estimates putting the scale of unpaid wages in the billions of pounds. This means employers face 'no credible threat of inspection, investigation or enforcement', according to Prof David Whyte of Queen Mary University. A report to be published on Monday by the Institute of Employment Rights will recommend adequate funding, unannounced inspections, and prosecutions for wrongdoing. The government has yet to announce the budget it will allocate to the FWA. A government spokesperson said: 'The new Fair Work Agency will end the current fragmented system of enforcing employment rights, making it easier for workers and victims of exploitation to get the rights they're entitled to. The agency will take tough action against businesses that deliberately flout the law while supporting employers who want to do the right thing and strengthen workers' rights.'

Duncan James from Blue has opened up about his favorite songs, sharing a personal playlist that reveals a lot about his musical tastes and experiences. The song he inexplicably knows all the lyrics to is Can't Help Falling in Love by Elvis, which he even sent as his audition tape to join Blue.James also shared his go-to karaoke song, It's Raining Men by Geri Halliwell, which he sang at his 30th birthday party. Interestingly, Geri Halliwell herself walked in during the performance and joined James' mum on stage.Other notable songs on his playlist include Sadeness (Part I) by Enigma, his first single purchase, which his friend bought for him at Woolworths. James also confessed that Fantasy Island by Tight Fit was the first song he fell in love with, likely due to his crush on a guy in a zebra print headband from the music video.James also talked about the song that makes him cry, My Life Is Going On by Cecilia Krull, from the Spanish Netflix series La Casa De Papel (Money Heist). On a lighter note, he shared his least favorite song to have sex to, One Love by Blue, which he found creepy.The song that changed James' life was All Rise, which became a worldwide hit and started Bluemania. He also revealed his favorite song to play at a party, Defying Gravity from Wicked, which gets him dancing on tables.On a more sentimental note, James shared the song he can no longer listen to, Meu Abrigo (My Shelter) by Melim, which reminds him of his ex. He also confessed to secretly liking Doctor Jones by Aqua, despite pretending to hate it. Finally, the song he'd like played at his funeral is Bohemian Rhapsody by Queen, which he believes is one of the greatest songs ever written.

Les Kiss is set to take over the Wallabies in July, inheriting a side desperate to climb back to the top of world rugby. He faces a tight schedule – 14 months and 19 Tests – before the 2027 Rugby World Cup that Australia will host. Describing his mandate, Kiss stresses that he is not aiming for a radical overhaul. "It's not a revolution, it's evolution," he told the Guardian. "Core values like discipline, accountability and strategic planning stay firmly in place." What makes Kiss an outlier is his background: a former rugby league international who never played union at senior level. He says this forced him to "earn his stripes" in the union code, learning that culture and standards in the locker room drive performance on the field. His personal story is rooted in a family that escaped the Hungarian Revolution and settled in Bundaberg, and a playing career that saw him sprint down the wing before a knee injury sidelined him for four years. Those experiences, he believes, forged the resilience he now brings to coaching. After a stint in marketing and junior coaching, Kiss transitioned to union coaching, first as a defence coach for the Springboks (2001‑02), then as an assistant with Ireland (2009‑15), director of Ulster Rugby, and finally a three‑year spell with London Irish in the Premiership. Returning to Australia in 2024 to lead the Queensland Reds, he guided the franchise to its most prolific try‑scoring season in three decades, back‑to‑back quarter‑final appearances and record crowd numbers. The Reds sit 4‑2 in the 2026 Super Rugby Pacific season and are eyeing a top‑four finish. Kiss’s coaching philosophy centres on connection. "Coaching is about rapport and building something strong together," he says, adding that he is fully invested and treats every team like family. His transition to the Wallabies will be smoothed by a close partnership with current head coach Joe Schmidt. The two have shared roughly 40 Tests, developing a strong rapport that Kiss believes will help him "understand the breakdown" and set the right structures for success. The emerging "Kiss army" already includes former All Blacks staffer Scott McLeod as defence coach, analyst Eoin Toolan, set‑piece specialist Tom Donnelly, scrum guru Mike Cron, and consultant Laurie Fisher. Skills coach Mick Byrne and U20s boss Chris Whitaker also remain on board. While his new responsibilities grow, Kiss assures fans he remains 100% committed to the Reds, vowing not to let the franchise down despite his expanding duties. On the player front, Kiss highlights a blend of seasoned talent and fresh faces that could power Australia’s World Cup campaign. The likes of Mark Nawaqanitawase, Max Jorgensen, former winger Dylan Pietsch, and NRL convert Zac Lomax are poised to add dynamism, while 18‑year‑old prodigy Treyvan Pritachard offers a glimpse of the future. Ultimately, Kiss believes the Wallabies embody a uniquely Australian style – inventive, physical, and expressive – forged in backyard games and a culture of resilience. "The Australian way isn’t formulaic; it’s about solving problems on the field in our own special way," he concludes.

On a cobbled lane in Belfast’s Cathedral Quarter, the Kindred of Ireland boutique draws shoppers with oversized butter‑yellow linen blouses and Donegal mulberry tweed jackets accented by rose‑pink linen bows, signalling a fresh commercial pulse for a fabric that once defined the city.Linen earned Belfast the nickname “Linenopolis” when, at its height, the industry employed about 40% of Northern Ireland’s workforce. After a post‑war collapse, the trade faded, but today it is re‑emerging as a marker of local identity and sustainable fashion.Designer Amy Anderson, whose grandmother worked as a mill‑hand in Moygashel, says the fibre remains deeply personal for many families. Her modern, Japanese‑inspired silhouettes rely on linen’s natural structure to balance avant‑garde volume with comfort.Reviving a near‑extinct industry is daunting, yet Belfast’s history of turning adversity into opportunity—exemplified by the Titanic Quarter’s tourism boom—has attracted an eclectic coalition of supporters. Among them are former blacksmith Charlie Mallon, who has converted his 150‑year‑old Magherafelt farm into a regenerative flax operation, and fashion heavyweight Sarah Burton, former creative director of Alexander McQueen.Mallon’s restoration of heritage machinery aims to keep flax “field‑to‑fibre” in Ireland, preserving the long fibre length that makes linen less prone to creasing. He contrasts this with most modern linen, which is “cottonised” in China, shortening fibres and increasing wrinkles.Burton’s two‑day field trip to Northern Ireland inspired the spring 2020 Alexander McQueen collection, featuring a beetled linen gown with a pearl‑like sheen that debuted on the Paris runway.In autumn, the Prince and Princess of Wales visited Mallon Farm, expressing a rare interest in sustainable fashion and regenerative agriculture. The Princess, who usually avoids media focus on her wardrobe, asked detailed questions about the Andersons’ brand, underscoring the royal endorsement of Belfast’s textile renaissance.The city’s fashion resurgence is also celebrated at the Ulster Museum’s “Ashes to Fashion” exhibition, which juxtaposes historic silk ballgowns with contemporary pieces by Irish designers, including Kindred of Ireland.Looking ahead, Kindred of Ireland plans a temporary boutique in central London, building on a successful six‑week Mayfair pop‑up that the brand describes as “commercial rocket fuel.” The Andersons note that Northern Irish firms benefit from full access to the UK market while still aligning with certain EU single‑market rules under the Windsor framework, offering a strategic advantage for product‑focused businesses.

Johannes Radebe, also known as Jojo from Strictly, is a natural performer who shines brightly as Lola in the musical Kinky Boots. His stage presence is magnetic, and his dancing is mesmerizing. Radebe's portrayal of the drag queen Lola is captivating, with impressive entrances and a strong performance.The musical, based on the 2005 film, tells the story of a Northampton shoe factory that switches to making boots for drag queens. The show features a riot of colors and sparkle, with impressive costumes designed by Robert Jones and Tom Rogers. The story follows Charlie Price, who returns to his hometown to take over the family business and, along with Lola and her friends, devises a plan to save the factory.Radebe's performance is supported by a talented cast, including Courtney Bowman as Lauren and Scott Paige as George. While Radebe's singing voice may not be as strong as his dancing, he brings a unique energy to the role. The show's direction by Nikolai Foster ensures that the cast delivers the right tone, but the musical may lack depth in its storytelling.Overall, Kinky Boots offers an enjoyable night out, with a blend of music, dance, and comedy. The show runs at the London Coliseum until July 11.

Tamm Reynolds, a non-binary trans drag queen with dwarfism, is on a mission to challenge societal norms and promote acceptance. As their alter ego, Midgitte Bardot, they use their platform to address issues such as street harassment and ableism.Reynolds shares their experiences of being constantly stared at, filmed, and asked invasive questions. They describe the horrors of the lived experience of being a freak and the entitlement some people exhibit towards them.Through their performances, Reynolds aims to reclaim their identity and challenge the way people with dwarfism are perceived. They have created a character, Midgitte Bardot, who embodies confidence, self-acceptance, and pride.Reynolds believes that talking back to people who harass them is essential and encourages others with dwarfism to do the same. They stress that it's not helpful to tell people with dwarfism that they are too physically vulnerable to stand up for themselves.Midgitte Bardot's show, Shooting From Below, is a powerful expression of Reynolds's experiences and emotions. The show aims to create a community for people with dwarfism and promote more positive ways of interacting with them.Reynolds's story is a testament to the power of self-acceptance and pride in the face of adversity. Their message is clear: it's time to challenge societal norms and promote acceptance and inclusion for all.

The Pakistan Cricket Board has taken disciplinary action against fast bowler Naseem Shah for criticizing the presence of a politician at the start of the Pakistan Super League (PSL). The tournament is being played behind closed doors due to the Middle East conflict and exorbitant fuel hikes in the region.Shah had commented on a tweet about the opening game by the PCB, questioning why Chief Minister of Punjab Maryam Nawaz was treated like a 'queen' at the Gaddafi Stadium. He later claimed his account had been hacked and deleted the post.The PCB issued a show-cause notice to Shah for violating the terms of his central contract, media policy, and regulations. Shah is required to provide a response within a stipulated time, and the PCB will decide on further action.This incident is not the first time a Pakistani cricketer has faced disciplinary action for expressing their opinions. Last year, Aamer Jamal was fined $4,000 for displaying a slogan in favor of Imran Khan, Pakistan's imprisoned former prime minister.Shah is scheduled to play for Rawalpindi Pindiz in Saturday's game against Peshawar Zalmi, led by former Pakistan all-formats captain Babar Azam.

Australian GPs are increasingly turning to AI scribes to record patient notes, with 40% now using the technology, according to a Royal Australian College of GPs (RACGP) online poll. This represents a significant increase from 22% in August 2024.AI tools, such as those offered by Australian company Heidi, record, transcribe, and summarize conversations between doctors and patients for medical notes. Dr. Max Mollenkopf, a GP based in Newcastle, emphasizes the importance of transparency with patients, stating, “We make a big effort to let patients know we are using AI, and give them the option to opt out.”While AI scribes can help relieve doctors' administrative burden, experts point to concerns about consent, privacy, and accuracy. Dr. Elizabeth Deveny, chief executive of the Consumer Health Forum, notes that not all practices are having explicit conversations about the tools with patients.Some GPs see AI scribes as a way to better connect with patients during consultations, allowing them to focus on the patient directly rather than typing notes. However, Dr. Caitlin Curtis, a University of Queensland researcher, warns that outsourcing note-keeping to AI may lead to doctors failing to retain and recall patient conversations.The RACGP president, Dr. Michael Wright, is optimistic about AI tools helping patients and GPs work more closely together, but emphasizes the need for patient consent and verification of AI output. Heidi co-founder Dr. Tom Kelly assures that data is processed securely and not used to train the AI or sold to others.