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LIV Golf, a breakaway tour backed by Saudi Arabia's Public Investment Fund (PIF), is facing an uncertain future as the fund is expected to withdraw its support in 2026. This development has significant implications for the careers of several leading golfers who made lucrative switches to LIV. The PIF's expected withdrawal could leave many golfers in career limbo, with some, such as Bryson DeChambeau and Jon Rahm, potentially having a pathway back to the PGA Tour. However, the future for others who joined LIV is far more uncertain. The tour's executives recently attended a summit with the PIF in New York, where the financial impact of the Middle East crisis was discussed. LIV's chief executive, Scott O'Neil, has attempted to reassure staff and players that the tour's season will continue as planned, but the lack of commitment beyond 2026 has fueled speculation and concern. Since its inception in 2021, LIV is understood to have burned through more than $5bn of PIF money. Despite this, the tour has made strides towards becoming more commercially viable, attracting blue-chip sponsors such as Rolex and HSBC. The PGA Tour has smoothed a path for some LIV golfers to return, including Brooks Koepka and Patrick Reed. However, the scenario for others is far less obvious, particularly for those who lack the pull to return to the PGA Tour. The DP World Tour, formerly European Tour, may benefit from LIV's potential demise, given its willingness to re-engage with LIV players. The uncertainty surrounding LIV's future also has implications for women's golf in Europe, with the PIF Saudi Ladies International and other events potentially being affected if the kingdom diverts attention away from the sport.

After Bournemouth’s 2‑1 triumph over Arsenal at the Emirates on Saturday, manager Andoni Iraola celebrated with a broad smile, acknowledging the win as the third victory in four encounters with the league leaders and a clear sign that his project is gaining momentum. Having risen from administration to the Premier League under Eddie Howe, the Cherries have long been viewed through the lens of Howe’s legacy. Iconic moments such as the 2019 4‑0 demolition of Chelsea cemented that era. Following Howe’s 2020 relegation, a succession of domestic appointments – Jason Tindall, Jonathan Woodgate, Scott Parker and Gary O’Neil – produced mixed outcomes, with O’Neil’s dismissal after a respectable finish highlighting the club’s desire for a new direction under owner Bill Foley. Iraola arrived from Athletic Bilbao, where he amassed over 500 appearances, bringing a philosophy that blends Bilbao’s directness with a British‑style width. Early on, his tenure appeared rocky: the first nine league games yielded no wins and left Bournemouth in 19th place, punctuated by a heavy 6‑1 loss to Manchester City. Yet a narrow victory over Burnley sparked a turnaround, culminating in a seven‑match unbeaten run that added 19 crucial points. Statistically, the Cherries have become more than occasional spoilers. While they previously earned just 0.42 points per game against the traditional ‘big six’, under Iraola they have improved to 1.5 points per game in both the 2024‑25 season and the current campaign, recording nine wins and seven defeats against top opposition. Their current 11th‑place standing reflects a blend of competitive resilience and entertaining football built on athleticism, work rate and on‑ball daring. The club’s on‑field evolution has translated into a remarkable transfer market windfall. Key departures include Dominic Solanke to Tottenham for £55 million, Dean Huijsen to Real Madrid for £50 million, Illia Zabarnyi to Paris Saint‑Germain for £54.5 million, Milos Kerkez to Liverpool for £40 million, Dango Ouattara to Brentford for £42 million and Antoine Semenyo to Manchester City for £62.5 million. Collectively, these sales amount to a staggering £304 million, underscoring Bournemouth’s emergence as a premier talent factory alongside clubs like Brighton and Brentford. Looking ahead, Iraola is set to depart at the end of the season, with speculation linking him to high‑profile roles at Manchester United, his native Athletic Bilbao or other continental giants. Bournemouth’s board has already identified Marco Rose – renowned for his high‑intensity approach that benefitted Erling Haaland and Jude Bellingham – as a potential successor, signaling a commitment to maintain the club’s dynamic style. In the broader context, Bournemouth’s transformation illustrates how a mid‑table Premier League side can leverage strategic coaching, a clear playing identity and savvy player development to generate both on‑field success and substantial financial returns, effectively moving beyond the shadow of Eddie Howe.

Metro Bank has approved a £2.6 million annual remuneration package for chief executive Dan Frumkin, the highest ever for the lender since its 2010 launch. The figure more than doubles the £1.2 million he earned in 2024. The pay rise comes on the heels of a dramatic restructuring that saw the bank cut over 1,000 jobs in spring 2024 and suspend Sunday trading, measures taken after a £925 million rescue led by Colombian billionaire Jaime Gilinski Bacal, who now owns 53% of the institution. Metro’s turnaround has delivered a record pre‑tax profit of £87 million for 2025, prompting the board to approve a complex bonus scheme. The package includes a £1.2 million annual bonus, a £470,000 deferred bonus from 2023, and a salary of £938,875, plus additional tax, life‑insurance and pension benefits. Under the scheme, Frumkin could earn up to £60 million over five years if Metro’s share price exceeds certain thresholds – it must stay above 120p in 2028 and could reach 437p, a level that would trigger the maximum payout. Metro’s shares currently trade around 141p. The bonus plan was endorsed by 88.6% of voting shareholders, despite objections from proxy advisers ISS and Glass Lewis. The bank did not disclose how many of those votes were cast by Gilinski’s holdings. Founded by US billionaire Vernon Hill, Metro Bank distinguished itself with dog‑friendly branches and seven‑day opening hours. However, a 2019 accounting error forced the resignation of its founder and top executives, and the bank struggled to satisfy regulators, leading to the 2023 capital infusion. In a statement, a Metro Bank spokesperson said the remuneration committee’s approach is “based on the delivery of long‑term growth generation and the continued turnaround of the bank,” emphasizing alignment with shareholder interests. Frumkin, who joined Metro in 2020 after senior roles at RBS and Northern Rock, now stands at the centre of a debate over executive pay in a sector still recovering from the 2007‑08 financial crisis.

Jason Allen-Paisant, an award-winning poet, has written an audiobook titled 'The Possibility of Tenderness', which is a meditation on nature, history, race, and the notion of belonging. The book is narrated by the author himself and is available via Penguin Audio, with a duration of 8 hours and 32 minutes.Allen-Paisant's early childhood in Coffee Grove, Jamaica, played a significant role in shaping his relationship with nature. He spent his early years climbing trees, picking fruit, and helping his grandmother harvest yams on their small plot of land. This close connection with the natural world had a profound impact on his life.As Allen-Paisant grew older and moved to Britain to study at Oxford, he noticed a significant change in his interactions with nature. He realized that his socio-economic status and class limited his access to the natural world in Britain, leading him to feel disconnected from the land and soil.The audiobook is a personal account of Allen-Paisant's journey to reconnect with nature and find a sense of belonging. He explains how surrounding himself with nature allows him to feel hopeful and find ways to cope with the constraints of racism. Allen-Paisant emphasizes the importance of non-anger and finding ways to live through difficult experiences.Further listening recommendations are also provided, including 'Don’t Let It Break You, Honey' by Jenny Evans and 'Slags' by Emma Jane Unsworth.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.

The heads of Amazon MGM Studios used Wednesday’s CinemaCon trade show to temper expectations surrounding the next James Bond film. Executives confirmed that the iconic spy has not yet been cast, citing a deliberate, respectful approach to the decision.Courtenay Valenti, Amazon MGM’s head of film, addressed the crowd with a measured tone: “We know you’re eager to learn who will embody James Bond, but we’re taking the time to do this with care and deep respect.” She stressed that the role is “a lifetime dream” and a responsibility the studio does not take lightly.Valenti highlighted the caliber of talent attached to the project, noting that the franchise will be paired with renowned director Denis Villeneuve, acclaimed producers Amy Pascal and David Heyman, executive producer Tanya Lapointe, and screenwriter Steven Knight. This combination, she argued, sets the stage for a film worthy of the Bond legacy.The upcoming installment is slated for a 2028 release, implying that principal photography is likely to commence in late 2026. The timeline follows earlier announcements in June 2025 (Villeneuve as director) and August 2025 (Knight as writer).Speculation about potential leads has centered on three actors: Callum Turner, Aaron Taylor‑Johnson, and Jacob Elordi. If Elordi were chosen, he would become the youngest, tallest, and second Australian to portray the famed spy.Despite his recent Oscar‑nominated turn in Frankenstein and a high‑profile role in Wuthering Heights, Elordi’s schedule appears unusually open, fueling further conjecture.Valenti concluded with confidence: “The film is coming, and when the time is right, we’ll have much more to share.”

Telenor, majority-owned by the Norwegian government, entered Myanmar in 2013 with promises to connect isolated users. However, allegations suggest that the company provided data on over 1,200 customers to the military regime, aiding in the arrest and persecution of anti-coup activists.Aung Thu, an activist, claims that his data was released by Telenor in late September 2021, leading to his re-arrest and charge under counter-terrorism laws. A class-action lawsuit filed in Norway seeks €11m in compensation for 1,253 customers allegedly affected.Telenor's transparency reports reveal it complied with 96% of 153 data requests from authorities. The company's actions have raised concerns about its role in propping up the military junta and breaching trust with its customers.Norwegian politicians and human rights activists have called for accountability and greater transparency on the government's role in the matter. The incident has sparked debate about Norway's image as a defender of peace and human rights.

The Broadway adaptation of The Fear of 13, a play by Lindsey Ferrentino, has been described as sturdy and dependable, but ultimately unremarkable. The play tells the true story of Nick Yarris, who spent 22 years on death row for a crime he did not commit.Based on Yarris's memoir and documentary, the play follows his journey from a troubled youth to his wrongful conviction and eventual exoneration through DNA evidence. Despite its powerful subject matter, the play's execution feels safe and conventional, lacking the depth and inventiveness needed to make a lasting impact.The cast, featuring Adrien Brody and Tessa Thompson, delivers solid performances, with Thompson bringing warmth and understatement to her role as Jacki, Yarris's love interest. However, the play's structure has been criticized for being lopsided, with too much focus on setting up the story and not enough on the emotional depth of the characters.Ferrentino's writing is crisp and propulsive at times, but falters when attempting more lyrical moments, such as the play's final monologue, which falls into vagueness and cliché. The play's themes of hope, perseverance, and the beauty of everyday life are worthy, but not particularly new or insightful.Overall, while The Fear of 13 is a well-crafted and engaging play, it ultimately feels like a fleeting experience that fails to leave a lasting impact on the audience.

Argentina’s justice system has reopened the case surrounding the death of football icon Diego Maradona, with prosecutors branding his medical team as “a bunch of amateurs” who missed a critical window to save him.The trial of seven healthcare professionals—doctors, psychologists and nurses—resumed on Tuesday in San Isidro, a suburb of Buenos Aires, after the original proceedings were annulled when a presiding judge was found to have participated in a documentary about the case.Maradona, who died in November 2020 at age 60 while recuperating from surgery for a brain clot, is alleged to have suffered from heart failure and acute pulmonary edema two weeks post‑operation. Prosecutor Patricio Ferrari asserted that the patient began to deteriorate 12 hours before his official death and that a timely transfer to a clinic could have prevented the fatal outcome.According to the indictment, the defendants’ decision to keep Maradona at home rather than in a hospital, coupled with a series of “omissions” described as “cruel,” constitutes homicide with possible intent. If convicted, each could face prison terms ranging from eight to 25 years.The new proceedings, expected to conclude by July at the earliest, will hear testimony from roughly 120 witnesses. Among the accused, former team doctor Leopoldo Luque and other staff members will be scrutinized for their role in the athlete’s care.Maradona’s family—daughters Dalma, Gianinna and Jana, and former partner Veronica Ojeda—attended the hearing, urging the courts to deliver “justice for Diego” and allow the legend to “rest in peace.” Outside, about 50 supporters waved Argentine flags and signs demanding accountability for the beloved “D10s.”Defense counsel Vadim Mischanchuk argued that the former star’s death resulted from a “progressive decline in his health” rather than medical malpractice, emphasizing that the condition was natural and unavoidable.Legal analyst Fernando Burlando, representing the Maradona family, highlighted the absence of a stethoscope on the legend’s chest during the critical two‑week period, using the instrument as a stark symbol of alleged negligence.The case revives national grief that first erupted when Maradona’s body lay in state at the presidential palace, drawing tens of thousands of mourners amid the COVID‑19 pandemic.