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Brazilian media have reported that Alexandre Ramagem, the country's former intelligence chief, has been detained by US immigration authorities. Ramagem had fled to the United States after being convicted in connection with a coup plot on behalf of former right-wing President Jair Bolsonaro.According to CNN Brazil, Ramagem was arrested by US Immigration and Customs Enforcement (ICE) on Monday. The Brazilian outlet Globo reported that the arrest took place in Florida. The Brazilian government has sought extradition of Ramagem, who was sentenced to 16 years in prison for his involvement in efforts to keep Bolsonaro in power after he lost the country's 2022 election to leftist challenger Luiz Inacio Lula da Silva.Reports state that Ramagem fled Brazil in September, illegally crossing the border into Guyana before taking a plane to the US. The Brazilian embassy in Washington, DC filed documentation with the US Department of State seeking his extradition on December 30, 2025. Bolsonaro himself is currently serving a 27-year prison sentence after being convicted in September.

Celebrating two decades since its West End debut, Avenue Q is back at London’s Shaftesbury Theatre until 29 August, offering a refreshed version of the Broadway‑to‑London hit that originally won Tonys for Best Musical, Book and Score.The revival, billed as a “love letter to the original”, is helmed once again by Jason Moore – the director who first staged the show in 2006. At 55, Moore admits that returning to a work he originally conceived is unusual, but he sees the anniversary as an opportunity to upgrade the show’s scale, technical ambition and cultural sensitivity.Created by composers Robert Lopez and Jeff Marx with book by Jeff Whitty, the musical blends colourful Sesame‑Street‑style puppets with adult themes such as sex, racism, housing crises and existential angst. While the core story remains, the production team has added contextual notes to jokes that might puzzle Gen‑Z audiences – for example, the reference to 1980s sitcom star Gary Coleman is retained but clarified for modern viewers.Moore’s casting criteria emphasise a youthful “innocence” and a strong aptitude for puppeteering. As actor Emily Benjamin explains, performing through a puppet is an “ego death” that forces the performer to shift focus from self to the character, reducing vocal anxiety and deepening emotional honesty.Behind the scenes, puppet director Iestyn Evans coordinates a complex choreography where human actors operate hand‑and‑rod puppets in full view, interacting simultaneously with fellow performers. This layered performance style demands precise timing, especially when tackling songs like “Everyone’s a Little Bit Racist” and “If You Were Gay”, which have sparked whole‑company discussions about their relevance and sensitivity today.Moore acknowledges that the show’s transgressive edge – famously illustrated by “naked puppets having sex” – still feels bold, even as contemporary West End productions such as Oh, Mary! and The Book of Mormon have pushed similar boundaries. He argues that the musical’s core questions – “how do you give your life meaning?” – remain timeless, and that the updated production aims to engage a new generation of audiences.As Benjamin puts it, “they might just be little cloth things, but people can often empathise with something that isn’t real more directly than with a human being telling the same story.” The revival therefore hopes to prove that puppetry can still provoke, entertain and resonate in today’s cultural climate.

In 2020, several nations—including the UK and India—announced ambitious bans on new internal‑combustion‑engine vehicles, while Norway already saw around 60% of new car sales being electric. Australia, however, remained on a different trajectory. Former Prime Minister Scott Morrison dismissed a Labor proposal for a non‑binding 50% electric‑vehicle target by 2030, claiming it would “end the weekend.” The Coalition ignored analyses suggesting that a robust emissions‑cut scheme could deliver a $14 billion net benefit by 2040, and later abandoned plans for an EV‑specific strategy. Five years on, the Albanese government has introduced a vehicle‑efficiency standard mandating annual reductions in average emissions from new cars. Though a long‑awaited move, the policy’s impact will be incremental rather than transformative. March saw a record number of Australians purchasing EVs, yet the market share remains modest—still under 15% of new car sales, up only slightly from 13% in 2025. With fuel prices soaring amid the Iran conflict, the majority of vehicles leaving showrooms are still powered by petrol or diesel, and many will stay on the road for the next 15‑20 years. One bright spot is the surge in second‑hand EV sales, which more than doubled last month despite a tiny baseline. Higher resale values are encouraging broader adoption by making electric cars financially accessible to a larger pool of buyers. Globally, electric vehicles accounted for roughly 25% of new car sales last year. In Australia, the price differential between comparable petrol and electric models averages around 20%, a significant barrier for many consumers. That gap is narrowing, and the potential savings for EV drivers are substantial. Data from energy analyst Simon Holmes à Court—using Amber electricity retailer figures—show that an EV can travel over 40 km per $1 of energy, whereas a conventional car manages less than 5 km per $1 of fuel. Amber’s own smart‑charging platform suggests the distance could reach 160 km per $1 under optimal conditions. Despite such evidence, Australian political discourse often struggles to envision a low‑fossil‑fuel future. Calls for expanded oil exploration, such as Queensland Premier David Crisafulli’s claim of a “sea of oil” in the Taroom trough, lack substantiation and would likely involve costly, long‑term development with uncertain returns. Compounding the issue, the mining sector—Australia’s biggest diesel consumer—receives a 52‑cent‑per‑litre rebate under a national fuel‑tax credit scheme, effectively subsidising over $1 billion annually for diesel use in coal mines. This incentive discourages investment in cleaner truck technologies, even as the safeguard mechanism attempts to curb emissions. Policy recommendations include tightening the vehicle‑efficiency standard to accelerate the shift toward cleaner cars, removing parallel‑import restrictions to boost the supply of affordable second‑hand EVs (as practiced in New Zealand), and reconsidering any road‑user charges on electric vehicles, which currently represent less than 2% of the total fleet. International examples offer guidance: China jump‑started its EV boom by issuing “green” licence plates and imposing hefty fees for fossil‑fuel plates, effectively raising the cost of owning a petrol car by up to $20,000. In sum, Australia’s delayed embrace of electric mobility not only hampers climate goals but also forfeits billions in economic gains. A decisive, well‑targeted policy overhaul could unlock significant consumer savings, reduce emissions, and align the nation with global EV trends.

The Victoria & Albert Museum has acceded to a Chinese printer’s demand to excise several maps and photographs from recent exhibition catalogues, illustrating how Beijing’s censorship apparatus can reach even Western cultural publications. According to documents obtained by The Guardian through freedom‑of‑information requests, the Chinese company C&C Offset Printing flagged a 1930s British‑empire trade‑route map as non‑compliant with the standards of the General Administration of Press and Publication (GAPP). The printer instructed the museum to either delete the page or replace it with an approved image. Faced with the request, V&A; staff approved the change, acknowledging that the map’s depiction of China’s borders triggered the rejection. An internal email noted the delay caused by the edit, stating that the catalogue’s production was paused while the offending page was revised. Cost considerations lie at the heart of the decision. Like the British Museum, Tate and the British Library, the V&A; routinely commissions Chinese printers because they can deliver catalogues at roughly half the price of European firms. This financial incentive, however, comes with the implicit obligation to obey Chinese content restrictions covering topics such as Buddhism, Taiwan, Tibet, Tiananmen Square and other subjects deemed politically sensitive. The museum’s compliance extended beyond the map issue. For a catalogue accompanying the 2021 Fabergé exhibition, the V&A; also removed a photograph of Lenin after the printer warned that the image could be considered “sensitive” by Chinese authorities. V&A; spokespersons described the alterations as “minor” and asserted that the institution maintains “close editorial oversight” when printing abroad. They emphasized that any change that would compromise the narrative would be rejected, and that the museum would relocate production if necessary. Other cultural bodies have responded differently. The British Museum declined to comment on how it handles similar censorship requests for at least eight publications printed in China, while the British Library claimed it has never encountered such issues. Tate Publishing, meanwhile, confirmed that Chinese printers have produced several of its children’s books but insisted that no content has ever been altered at a printer’s behest. A UK publisher who preferred anonymity highlighted the trade‑off: Chinese printing is markedly cheaper, yet the process introduces delays while materials are screened for politically sensitive content, especially references to Tibet or disputed borders. Former employee of C&C Offset Printing remarked that complying with Chinese government directives is standard practice for domestic firms, underscoring the systemic nature of the censorship. These revelations raise broader questions about the ethical implications of cost‑driven outsourcing for publicly funded institutions and the extent to which they are willing to compromise editorial independence to meet budgetary targets.

The NAACP has filed a lawsuit against Elon Musk's artificial intelligence company, xAI, alleging that it has been illegally spewing toxic pollutants into Black neighborhoods near Memphis. The lawsuit claims that xAI's makeshift power plant in Southaven, Mississippi, has been operating without permits, violating the Clean Air Act.The suit, filed on Tuesday in Mississippi federal court, alleges that xAI has been polluting the surrounding historically Black communities by using dozens of methane gas generators without permits. The organization is seeking to force the company to stop operating its unpermitted turbines in Southaven.“All too often, big corporations like xAI treat our communities and families like obstacles to be pushed aside,” said Derrick Johnson, the president and CEO of the NAACP. “We will not allow xAI to get away with this.”xAI's datacenters, nicknamed “Colossus” and “Colossus II” by Musk, are massive facilities, with the latter occupying 1m sq ft in Memphis. They are located in Memphis's industrial zone and a few miles from residential neighborhoods that have long dealt with harmful pollution, including Boxtown, a neighborhood that was established by formerly enslaved people after emancipation in the 19th century.The lawsuit alleges xAI illegally installed and operated up to 27 gas turbines, each one the size of a large bus, to power the datacenters. Combined, they have the capacity to emit tons of harmful nitrogen oxides per year, along with toxic chemicals like formaldehyde, according to the Southern Environmental Law Center.xAI issued a statement in response to the lawsuit: “We take our commitment to the community and environment seriously. The temporary power generation units are operating in compliance with all applicable laws.” The company did not respond to questions about whether it will address the alleged violations listed in the lawsuit.Black residents still make up a large portion of the Memphis neighborhoods, which have faced higher rates of asthma and respiratory diseases as well as a lower life expectancy than other parts of the city. Studies have likewise shown these neighborhoods have a cancer risk that is four times the national average.

Javokhir Sindarov, the 20‑year‑old Uzbek grandmaster, sealed his place as the challenger for Gukesh Dommaraju’s world chess title after winning the Candidates tournament in Cyprus with a game to spare. Playing Black against Dutch veteran Anish Giri, Sindarov drew a calm 58‑move game that lifted him to 9½ points out of a possible 14, leaving the world No. 9 two points behind with one round remaining. "After the queen exchange I felt no pressure at all; the game was comfortable for me," Sindarov said, reflecting the composure that defined his wire‑to‑wire triumph. The Candidates, a double‑round‑robin featuring eight of the world’s best, saw Sindarov dominate with six wins and seven draws, an unbeaten run rarely achieved on such a cut‑throat stage. He will finish the event with a dead‑rubber white game against China’s Wei Yi. His victory not only earns him a shot at the world title—likely in November—but also a winner’s share of €70,000 from the €700,000 prize fund, plus an extra €5,000 for each half‑point scored. The result highlights a broader shift in elite chess. Former top‑seed Americans Fabiano Caruana and Hikaru Nakamura failed to mount serious challenges, underscoring the rise of a younger generation. Gukesh, who became the youngest world champion in history two years ago by defeating Ding Liren, will defend his title against another teenager. This will be the second consecutive world‑championship match featuring two Asian players under 21, a historic first in the 138‑year legacy of the event. While Gukesh’s recent form has dipped—he finished joint‑last at the Prague International Chess Festival—he remains a formidable opponent. Sindarov praised his challenger, noting Gukesh’s "strong skills" and "excellent team," and wished him luck. Having risen to a career‑best world ranking of No. 11 after winning the 2025 FIDE World Cup, Sindarov’s rapid ascent contrasts with Gukesh’s recent struggles, which the Indian prodigy attributes to a deliberate reduction in tournament intensity to regain form. When asked if the prospect of playing for the sport’s most coveted title had sunk in, Sindarov replied, "A year ago I would never have believed it, but I have improved dramatically and I am eager to keep getting better." The exact date and venue for the best‑of‑14‑games world championship match remain to be announced.

Gary Neville’s sports‑media outfit, The Overlap, has secured ownership of two of the United Kingdom’s most followed football YouTube channels, a transaction estimated at a seven‑figure sum.The channels—The United Stand and That’s Football—bring together approximately 3.7 million subscribers, bolstering The Overlap’s audience to around 6 million across all its platforms.While the partnership may appear surprising given past on‑air sparring, Neville acknowledged his former criticism of “those bloody YouTubers” and Goldbridge’s frequent jabs at his own Manchester United opinions. He emphasized that no grudges remain and that the collaboration is driven by business logic, not personal rivalry.Speaking to the press, Neville said the deal is designed to tap the “noise segment” of football coverage—fans’ appetite for constant debate, opinion, and analysis when live matches are not on. He described the goal as delivering “direct, personality‑led content” that keeps supporters engaged around the clock.The United Stand, with 2.26 million subscribers, is the largest Manchester United fan channel on the platform, while That’s Football reaches 1.46 million viewers with broader Premier League coverage. Under the new ownership, The United Stand will debut formats such as “Stick to United” (featuring ex‑players and journalists) and a daily news show titled “The Daily United.” That’s Football is slated for a rebrand and the launch of a daily football‑news podcast channel.The Overlap, founded in 2021, already produces flagship shows like “Stick to Football,” “Fan Debate” with Wayne Rooney and Paul Scholes, and a cricket‑focused series launched last year. This acquisition follows its earlier move in January, when Global took a majority stake in the company, underscoring YouTube’s rising influence in sports broadcasting.Neville framed the purchase as the first of “hopefully a few more” aimed at building premium channels for major clubs across the UK and Europe. He assured fans that any new content will complement Goldbridge’s existing style, adding “value and intelligence” through contributions from former players and journalists.Goldbridge, whose real name is Brent Di Cesare, expressed enthusiasm for the next phase, noting that a decade of building The United Stand and That’s Football has prepared him for the resources and credibility The Overlap can provide to elevate his platforms.

Andoni Iraola has formally notified AFC Bournemouth that he will step down when his contract runs out at the close of the 2025‑26 campaign. The 43‑year‑old manager is expected to explore other Premier League opportunities over the summer.While a move back to his boyhood club Athletic Bilbao remains a possibility, the club’s preferred candidate to replace Ernesto Valverde appears to be former Borussia Dortmund boss Edin Terzic.At Bournemouth, the race to replace Iraola is already heating up. Marco Rose, who succeeded Terzic at Dortmund and most recently managed RB Leipzig, is widely tipped as the leading candidate. Kieran McKenna of Ipswich Town, despite being under contract until 2028, is also generating interest.Players were informed of Iraola’s impending exit after a Tuesday training session, ending months of speculation that kept his staff in the dark. The manager maintained regular contact with director of football Tiago Pinto and technical director Simon Francis throughout the 15‑month negotiation period.In a club‑issued statement, Iraola said, "I feel this is the right moment for me to step away, but I will always carry fantastic memories of this club." Bill Foley, Bournemouth’s owner and chair, praised Iraola’s impact, noting he brought “intensity, innovation, and a clear philosophy that elevated AFC Bournemouth both on and off the pitch.”Despite a recent victory over Arsenal and a push for the club’s best Premier League finish, Bournemouth accepted that retaining Iraola was unlikely. The board is now accelerating the search for a successor, with a new appointment expected within the next fortnight.Iraola’s tenure has been marked by historic achievements: last season he guided Bournemouth to a record points total, matching the ninth‑place finish recorded by Eddie Howe in 2016‑17. He also oversaw the sale of key players – Dean Huijsen, Illia Zabarnyi, Milos Kerkez, Dango Ouattara, and Antoine Semenyo – for a combined fee exceeding £250 million, demonstrating his ability to balance on‑field success with financial prudence.A former Athletic Bilbao full‑back with 510 appearances, Iraola has long expressed affection for the Basque side, though he has hinted he would prefer to preserve his legacy after a 12‑year playing career there.Crystal Palace publicly lauded Iraola after confirming manager Oliver Glasner’s departure, but most analysts agree the former will attract interest from larger clubs.Earlier this season, Iraola hinted to the Guardian that the campaign could be his last at Bournemouth, saying, "Sometimes there is a moment after some seasons where you feel maybe the message does not go the same way to the players."Bournemouth’s next fixture is against Newcastle United at St James’ Park, where manager Eddie Howe has yet to defeat his former club.

The recent conflict in the Gulf has served as a harsh wake-up call for the British public regarding the state of the UK's armed forces. While air defence systems and fighter jets were swiftly deployed, the delayed arrival of a single destroyer, HMS Dragon, to Cyprus underscored concerns about Britain's military preparedness. Former Nato secretary general George Robertson criticised Keir Starmer for showing a 'corrosive complacency towards defence', warning that this put the UK in peril. In response, ministers pointed to 'decades of underinvestment' by previous governments and announced plans for the largest sustained increase in defence spending since the Cold War. The Ministry of Defence aims to spend 3.5% of GDP on defence by 2035. However, defence analysts argue that the UK's military has suffered from a 'lethal combination' of Treasury hostility to defence spending and the Ministry of Defence prioritising investment in ships and aircraft over the army. The British army has shrunk significantly since 1991, from 155,000 troops to 75,000 troops, with a reduction in armoured and infantry brigades. Defence experts, such as Ben Barry of the International Institute for Strategic Studies, blame this decline on inadequate resource allocation. Matthew Savill, director of military sciences at the Royal United Services Institute, notes that the UK has a decent spread of reasonably modern capabilities but faces several problems, including a lack of mass and reliance on allies. 'We've cut a lot of corners and in many cases we rely on our allies. That means we're particularly reliant on the US and others in certain areas and it can come back to bite,' Savill added. Britain's commitment to increase defence spending to 2.5% of GDP from April 2027 is more ambitious than France's, but experts suggest that the UK can learn from France's approach. The UK's plans have been influenced by Poland's military transformation, which has seen defence spending rise to 4.8% of GDP, the highest among Nato countries.