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In a pulsating Premiership Rugby clash at Franklin's Gardens on April 18, 2026, England fly‑half Fin Smith scored a last‑minute try that handed Northampton Saints a 28‑27 victory over Exeter Chiefs, preserving their chance to host a semi‑final.The drama peaked in the 77th minute when replacement Paul Brown‑Bampoe crossed for Exeter, and Henry Slade’s conversion seemed to guarantee both sides a bonus point. Yet Smith broke through two tiring defenders in the dying seconds, sprinting left and diving over for the decisive score.Earlier, Northampton’s Henry Pollock had put the Saints ahead, only for Exeter flanker Henry Pollock (bleach‑blond) to answer with a powerful run that appeared to settle the match. Smith’s try, however, turned the tide, leaving Exeter to settle for a narrow loss.The encounter unfolded under bright sunshine, a setting that attracted interest from potential American investors linked to Exeter’s new US backing. While the close result showcases the Chiefs’ proximity to the league leaders, the match also delivered a setback for Exeter: long‑serving hooker Jack Yeandle suffered a lower‑leg injury, and centre Ollie Woodburn incurred a muscle strain, casting doubt over his availability for upcoming fixtures.Strategically, the win keeps Northampton firmly on the playoff trajectory, maintaining their position for a home semi‑final. For Exeter, the narrow defeat and injury list underline the fine margins in the race for the top‑four, emphasizing the need for a stronger start in the remaining games.Both teams displayed periods of dominance, but Northampton’s superior line‑speed, relentless pressure on Exeter’s playmakers, and the decisive conversion by Smith highlighted why the Saints remain a formidable contender in the Premiership.

Ben Roberts-Smith, a 47-year-old former Australian special forces soldier and Victoria Cross recipient, has been granted bail after spending 10 days in prison. He was arrested in Sydney last week and charged with murdering five people in Afghanistan between 2009 and 2012.Roberts-Smith, who was heralded as an Australian war hero and even honoured as the nation’s “father of the year,” denies all charges. The alleged crimes include the murder of unarmed Afghan prisoners by Australian troops. He faces a maximum sentence of life imprisonment if found guilty.The Australian Federal Police (AFP) Commissioner Krissy Barrett stated that “it will be alleged the victims were not taking part in hostilities at the time of their alleged murder in Afghanistan.” The prosecution will also allege that the victims were shot by Roberts-Smith or by subordinates acting on his orders and in his presence.Roberts-Smith's reputation was called into question in 2018 when news reports linked him to the alleged murder of unarmed Afghan prisoners. A judge found in 2023 that many of the journalists’ claims were “substantially true.”Australia deployed 39,000 troops to Afghanistan over two decades as part of US and NATO-led operations against the Taliban and other armed groups.

Ten years after Prince’s death, friends and collaborators such as George Clinton, Apollonia Kotero and drummer Charles “Chazz” Smith share personal memories that illuminate his musical brilliance and private life.George Clinton, the legendary leader of Parliament‑Funkadelic, remembers meeting the 19‑year‑old Prince in 1977 and immediately recognizing a talent “a new version of Sly Stone.” Clinton praised Prince’s ability to master guitar, keyboards, bass and drums, noting his “arranging genius” inherited from his pianist father and his dance flair “like James Brown.” Clinton also recalled how Prince later signed him to Paisley Park Records and inducted him into the Rock and Roll Hall of Fame, cementing a friendship that survived countless late‑night studio sessions.Apollonia Kotero, actress and singer who starred alongside Prince in the 1984 film Purple Rain, describes a bond that spanned 33 years. She recounts the grueling shoot—jumping into a freezing lake, suffering hypothermia, and Prince’s frantic plea, “Please don’t die, Apple. I love you.” Their relationship, she says, was “family, not romance,” and Prince’s protective nature shone when he cared for her during illness. Kotero also recalls a surreal moment when Prince hummed the opening melody of “When Doves Cry” into her answerphone, urging her “Don’t erase this!” as a reminder of his creative process.Beyond the studio, Kotero notes Prince’s voracious appetite for literature and politics, his 3 a.m. visits that turned into midnight drives across Hollywood, and his habit of showing her walls plastered with fan mail—a testament to his deep connection with his audience.Charles “Chazz” Smith, Prince’s cousin and original drummer in the early band Grand Central, paints a picture of Prince’s childhood obsession with music. After a spontaneous Sly and the Family Stone concert in Minneapolis, Prince declared, “We’re gonna form a band, and you’re gonna be the drummer.” Within weeks, a newly gifted guitar allowed him to replicate Santana’s “Black Magic Woman” note for note, signalling the start of an insatiable drive to master every genre—from rock to funk to ballads.In the final months of his life, Prince’s friends observed a shift. He reclaimed the rights to his catalog in 2014, began repaying debts, and expressed grief over the death of Vanity, his longtime muse. Smith recalls a poignant encounter six weeks before Prince’s passing: after a brief hug, they exchanged the words “I love you,” marking the last conversation they ever shared.These testimonies collectively reveal a portrait of Prince that goes beyond his public persona: a relentless virtuoso, a compassionate confidant, and an artist whose influence continues to reverberate a decade after his untimely death.

Olivia Rodrigo returns with “Drop Dead,” a single that instantly grabs listeners with a razor‑sharp lyric about online stalking and instant infatuation. The opening couplet—“One night I was bored in bed / And stalked you on the internet”—sets a tone of modern romance that feels both playful and unnervingly catchy.The 23‑year‑old, who burst onto the global stage in 2021 after a Disney Channel stint, has built a reputation for “acute, obsessive” love songs that balance self‑awareness with raw emotion. Her debut “Drivers License” cemented her as a heartbreak anthem, while the pop‑punk edge of her first album Sour and the riot‑grrrl‑infused follow‑up Guts displayed her versatility.“Drop Dead” marks a decisive pivot from the punk‑kiss‑off expectations that surrounded her recent breakup. Instead of a straightforward revenge track, the song delivers a “gorgeous rush of romantic intensity,” aiming to freeze a fleeting moment before plunging back into it with relentless momentum.The track’s production, helmed by longtime collaborator Dan Nigro, layers lush strings and bright power‑pop guitars, creating a sound that feels “one bauble short of festive.” Critics note a vocal delivery that stays in Rodrigo’s highest register throughout the chorus, with melodic bends that echo both Chappell Roan’s maximalism and Taylor Swift’s signature style.Visually, the music video—directed by Petra Collins and filmed at the Palace of Versailles—portrays Rodrigo as a runaway figure reminiscent of Sofia Coppola’s “Marie Antoinette” and Emma Corrin’s Diana in “The Crown.” The lavish setting amplifies the song’s theatricality.Adding a rock pedigree, the single includes a subtle nod to Rodrigo’s friendship with The Cure’s Robert Smith, referencing his classic “Just Like Heaven.” Their rapport, highlighted in a recent Vogue cover story, underscores Rodrigo’s expanding artistic circle.Overall, “Drop Dead” blends maximalist pop production, romantic lyricism, and rock‑infused credibility, delivering a track that feels both instantly addictive and deliberately chaotic—mirroring the messy emotions it portrays.

Richard Desmond, the media tycoon and former proprietor of the Daily Express and Channel 5, has lost his claim for up to £1.3bn in damages against the Gambling Commission. The claim was related to the regulator's decision not to award him the 10-year licence to run the national lottery.Desmond's companies, Northern & Shell investment company and the New Lottery Company, had launched a legal action against the Gambling Commission in 2022, arguing that the commission made 'manifest errors' in the process governing the UK's largest public sector contract, worth £6.5bn. The legal process was lengthy, with Desmond's costs estimated to have reached £55m by May last year.The media mogul claimed the commission's mistakes caused him to incur £17.5m of needless costs in pursuing his bid. However, he was also seeking up to £1.3bn in damages to reflect hypothetical lost earnings from running the lottery.The licence was ultimately awarded to Allwyn, a new vehicle owned by Czech billionaire Karel Komárek, which has been running the draw since 2024. On Friday, Mrs Justice Smith dismissed Desmond's claim, stating that the claimants had failed to make out any case of 'manifest error' on the part of the commission.The competition for the award of the fourth licence was found to have reached a lawful outcome. Desmond had previously failed with a separate claim that Allwyn had received an unlawful £70m marketing subsidy from the Gambling Commission.

The recent WNBA draft saw Azzi Fudd selected as the No 1 overall pick by the Dallas Wings, marking a significant achievement for the talented young player. Fudd, who played under Geno Auriemma at UConn, distinguished herself as one of the best shooters in college basketball and was named an All-American by the Associated Press. However, rather than focusing on her impressive athletic career, the draft night discourse was dominated by her relationship with teammate Paige Bueckers, who was also a top pick in the WNBA draft last year. The pair confirmed they were dating in 2025, but have kept their relationship largely private. This fixation on the personal lives of WNBA players raises questions about the media's priorities and the cultural context of women's sports. Experts argue that the surge of interest in the love lives of WNBA players is fueled by social media, which makes it easy to form parasocial relationships with athletes. Dr. Alicia Smith-Tran, an associate professor of sociology, notes that women athletes continue to be seen as lesser than their male counterparts, and the focus on their romantic lives is a manifestation of this marginalization. The conversation around romance in the WNBA also contributes to the fetishization of queer couples and relationships. Frankie de la Cretaz, author of the Out of Your League newsletter, warns that queer relationships are often dehumanized and become fodder for people to project their own desires onto. In the case of Fudd and Bueckers, their relationship has become a side point, overshadowing their achievements as athletes. As the WNBA enters its 30th season, it's essential to recognize the cultural significance of women's sports and the importance of respecting athletes' personal boundaries. The focus should be on their skills, contributions, and achievements in the workplace, rather than their personal lives. By doing so, we can work towards a more nuanced understanding of women's sports and the athletes who play them.

The government touts the British industrial competitiveness scheme (Bics) as "bold action" to sharpen the United Kingdom’s industrial edge, offering up to a 25% reduction in electricity bills for firms operating in eight "modern" sectors of its industrial strategy. Union leader Gary Smith of the GMB immediately challenged the claim, warning that gas‑intensive industries such as ceramics and brickmaking have been "shamefully ignored" and left out of the support package. At a cost of roughly £600 million a year for 10,000 companies, the scheme is widely viewed as a modest drop in the ocean. While the rollout has been broadened from the originally announced 7,000 firms and now includes a back‑dated claim period starting in April 2025, the financial scale remains limited. Eligibility is deliberately intricate: firms must belong to a "frontier" or "foundational" industry and meet strict electrical‑intensity thresholds for specific product lines. Those that qualify receive relief from three policy charges on their electricity bills, including two green levies, amounting to up to £40 per megawatt‑hour. Two broader observations emerge. First, the programme marks the clearest governmental admission to date that the UK’s business energy costs – the highest among developed economies – are eroding competitiveness. The stated ambition is to bring electricity prices for the targeted sectors in line with European averages. Second, policymakers are beginning to untangle the web of levies that inflate bills. The carbon price support mechanism, a charge on generators passed through to consumers, is slated for abolition by April 2028, after it helped phase coal out of the grid. Nevertheless, the £600 million figure underscores a deeper debate about how to fund the energy transition and new grid infrastructure. Countries such as Germany absorb a larger share of policy costs through general taxation to keep industry competitive, whereas the UK has traditionally shifted those costs onto electricity bills. The Bics announcement signals a tentative shift toward rebalancing, but the scale remains modest. In an ideal, fiscally unconstrained scenario, a broader scheme could run into the billions and target a wider swath of industry. Treasury officials, however, remain skeptical that a larger outlay would generate sufficient long‑term growth and tax revenue to justify the expense, a view reportedly shared by Chancellor Rachel Reeves. Ultimately, Bics can be seen as an unsatisfactory stopgap. It acknowledges that soaring electricity prices are a structural problem but confines the remedy to a narrow slice of the economy, leaving the broader competitiveness challenge largely unaddressed.

After a 90‑year blackout, MGM’s 1932 melodrama Letty Lynton is set for its first legal public screening. The film, starring Hollywood icon Joan Crawford, was withdrawn in 1937 following a plagiarism lawsuit and pressure from the Hays Office, which deemed its risqué themes “unfit for adaptation”.The controversy began when MGM attempted to acquire the rights to the Broadway hit Dishonored Lady, a play notorious for its depictions of booze, drugs and sexual intrigue. After the playwrights demanded $30,000—a sum the studio balked at—MGM settled for the cheaper novel by Marie Belloc Lowndes for $3,500. The resulting film, inspired by the 1857 murder trial of Scottish socialite Madeleine Smith, shocked contemporary censors with scenes such as Crawford’s character watching her ex‑lover sip poisoned champagne.Legal battles intensified when playwrights Edward Sheldon and Margaret Ayer Barnes sued MGM for plagiarism, alleging the movie copied their work rather than the novel. The protracted case forced MGM to pull the film from circulation in 1937, and a year later Crawford herself was labeled “box‑office poison”. Yet both the actress and the film survived, resurfacing in cultural memory through fashion and later adaptations.Beyond cinema, Letty Lynton left an indelible mark on 1930s style. Costume designer Adrian created a white organdy dress with exaggerated sleeves for Crawford; the design was mass‑produced for Macy’s and sparked a nationwide craze. Edith Head later called the dress “cinema’s single biggest influence on fashion”.The film’s revival is largely credited to Crawford’s grandson, Casey LaLonde. In an Instagram post, he announced that the play’s copyright would expire on 31 December 2025, clearing the legal path for a public showing. Warner Bros., which now holds the rights to many pre‑1986 MGM titles, restored the picture in 4K and arranged for its debut at the TCM Film Festival in Los Angeles on 1 May 2026. The movie will also be issued on Blu‑ray and DVD through the Warner Archive.LaLonde thanked Warner Bros. and library historian George Feltenstein for making the restoration possible, noting that without their effort “we wouldn’t have this fabulous film to see again on big and small screens.”Fans of classic Hollywood can finally experience a piece of cinema history that was once deemed too daring for the silver screen, offering a fresh look at Joan Crawford’s daring performance and the era’s bold storytelling.

Rising energy costs stemming from the Iran war are set to deliver a sharp blow to British living standards, with the Resolution Foundation estimating that the average working‑age household could lose about £480 in income this year. Before the conflict began, the think‑tank projected a modest 0.9% rise in household earnings. Market‑driven energy price spikes have now pushed that forecast into a -0.6% decline, effectively turning a gain into a loss. Oil and gas markets have reacted dramatically: Brent crude has surged back above $100 per barrel (£74), while analysts such as JPMorgan Chase expect prices to stay elevated through the current quarter, with Goldman Sachs revising its Brent outlook to an average of $90 per barrel in Q2. For the poorest fifth of households, the outlook is equally grim. Expected income growth has been trimmed from 2.8% to 1.2%, despite a long‑overdue real‑terms increase in benefits for some low‑income families. Families with three or more children stand out as a relative bright spot. The abolition of the two‑child limit is projected to generate a 7.7% income boost for this group, contrasting with zero growth for poorer families with fewer children. Energy bills are also poised to climb this summer, erasing the £117 average savings households enjoyed after the regulator lowered the energy price cap in April, according to Jonathan Marshall, the foundation’s principal economist. In response, the Resolution Foundation is urging the UK government to fast‑track a social tariff before winter, aiming to shield the most vulnerable households from the worst of the price shock. James Smith, chief economist at the foundation, warned that “while hopes for sustained peace persist, the path of this conflict remains uncertain and energy prices stay well above pre‑war levels, meaning many households face a decline in purchasing power this year.” He added that “de‑escalation is welcome, but the damage to household finances is already largely done; the government should act now to prepare a social tariff that reaches households falling through the cracks this winter.”