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Javier Mascherano announced his resignation as Inter Miami’s head coach, ending a brief but landmark tenure that delivered the franchise’s inaugural MLS Cup. In an official club statement, Mascherano cited “personal reasons” for his departure and confirmed that his entire coaching staff would also leave the organization. Inter Miami named sporting director Guillermo Hoyos as the interim head coach, tasking him with stabilising a side that has already shown signs of strain. “First and foremost, I would like to thank the club for the trust they placed in me, every employee who is part of the organization for the collective effort, but especially the players, who made it possible for us to experience unforgettable moments,” Mascherano said. “I will always carry with me the memory of our first star, and wherever I am, I will continue to wish the club all the best moving forward.” Mascherano arrived ahead of the 2025 season with limited senior‑team experience, having only coached Argentina’s youth national sides. Nevertheless, he and former Barcelona teammate Lionel Messi steered Inter Miami to a 2‑1 victory over the Vancouver Whitecaps, securing the club’s first MLS title. The defending champions have stumbled early in the new campaign: they have drawn their first two matches at the brand‑new Nu Stadium and recorded three wins in five league fixtures. The most glaring setback came in the Concacaf Champions Cup, where Miami were eliminated by Nashville SC in the Round of 16. Off the pitch, Mascherano inherited a roster in transition. Long‑time stalwarts Sergio Busquets and Jordi Alba retired, while Luis Suárez has been relegated to the bench following the high‑profile signing of Germán Berterame, who has yet to find his scoring rhythm.

Endless Cookie arrives as a daring, hand‑crafted animation that immerses viewers in the everyday chaos of a Canadian Cree household in the remote Shamattawa First Nation. The project, conceived and voiced by half‑brothers Seth and Peter Scriver, took nine years to complete, a fact the film humorously acknowledges through its meta‑narrative and frequent self‑parody. The visual style feels like a cross between Cheech and Chong antics and the digressive storytelling of Tristram Shandy, with scenes that oscillate between vivid surrealism and grounded family moments. From a post‑apocalyptic Toronto backdrop to a sprawling story map described as “bulging like a distended colon,” the animation pushes the boundaries of conventional indie filmmaking. Beyond its eccentric humor, the film tackles weighty themes with a wry yet respectful tone. It shines a light on police racism and historic land theft, while celebrating ancestral continuity and community resilience. The narrative deliberately sidesteps the Scrivers' own cultural positions, allowing the Indigenous perspective to remain front and centre. Key vignettes include a chaotic caribou stakeout, a punk‑era flashback to 1980s Toronto, and a bizarre encounter with a clingy snowy owl—each episode underscored by the presence of the family’s twelve dogs, two of which are humorously named Cheech and Chong. The film’s funding source even appears as a talking slide rule, adding another layer of self‑referential comedy. Critics have likened the animation’s energy to a “SpongeBob SquarePants episode after an afternoon of smoking DMT,” while also noting its lineage to the counter‑cultural spirit of Fritz the Cat. The result is a work that feels both hallucinatory and deeply affectionate toward its subjects. Endless Cookie becomes available for streaming on Mubi starting 17 April, offering audiences a rare glimpse into a vibrant, self‑determined Indigenous narrative that challenges mainstream cinematic conventions.

Nelson Mandela once claimed sport could spark hope where despair prevailed – a sentiment that now feels overly optimistic as climate change threatens every arena, from football pitches to alpine slopes.Extreme weather events are already cancelling competitions and rendering venues unplayable through floods, wildfires and storms. Rising heat and air‑pollution expose athletes to heat‑related illnesses, asthma and cardiovascular strain, while also increasing injury risk and diminishing performance for officials and spectators alike.Countries most vulnerable to climate impacts face the harshest sporting challenges. As Barbados Prime Minister Mia Mottley warned, athletes must compete on the conditions that exist, not on idealised pitches, while wealthier nations and governing bodies often look the other way.Historian David Goldblatt estimates sport’s carbon footprint rivals that of a small‑ to medium‑sized nation – roughly the emissions of Cuba to Poland. Yet the industry continues to chase growth, attracting sponsorship from fossil‑fuel giants and even entities reminiscent of the tobacco era.A 2024 “Dirty Money” report by the New Weather Institute revealed that state‑owned and private fossil‑fuel companies have poured at least $5.6 billion (£4.2 billion) into global sport across 205 active deals. The recent Milan‑Cortina Winter Olympics relied on oil major Eni to fund artificial snow, while the upcoming men’s football World Cup – labelled the “most polluting ever” by Scientists for Global Responsibility – will be plastered with ads from Aramco, the world’s largest corporate greenhouse‑gas emitter, with emissions projected to be 92 % higher than typical tournaments between 2010‑2022.Fans and grassroots organisations are pushing back. Groups such as Surfers Against Sewage, Fossil Free Football, FrontRunners and Protect Our Winters are mobilising, while clubs like Forest Green Rovers and athletes such as Australian cricket captain Pat Cummins are publicly denouncing fossil‑fuel ties.Alternative sponsorships are emerging: Northern Rail backs the Rugby Super League, Metrobank partners with cricket, and Oxford United’s limited‑edition shirt celebrates John Ruskin’s “Study of a Wild Rose,” linking sport to environmental heritage.“The Hotspot” aims to surface the most compelling stories, analyse data, and chart a path forward for sport in a warming world. As the planet races toward a climatic finish line, sport must deliver its own last‑second victory.This excerpt is from the inaugural issue of The Hotspot newsletter. To subscribe, visit this page and follow the instructions.

UEFA is expected to secure in excess of €1 billion (£870 million) annually from sponsorships linked to its club tournaments starting next season, a surge of over 40% that will lift the governing body’s total commercial income past the €6 billion mark.The commercial joint venture UC3 – jointly owned by UEFA and its clubs – is finalising two flagship agreements: an official payments processor and a technology partner. These contracts will complete a roster of premium global partners and underpin the projected revenue jump.Long‑term sponsorships have already been locked in. AB InBev will serve as UEFA’s official beer partner, committing €230 million per year—far above the €120 million reserve price—while Pepsi will extend its soft‑drink partnership for another six years, also exceeding the reserve threshold. Nike is currently in exclusive talks to replace Adidas as the match‑ball supplier.These sponsorship gains complement a booming TV‑rights market. Rights sales in the UK rose 20% and in Germany 30% last year, with further tenders underway across 21 territories. UEFA now projects annual TV‑rights valuations to top €5 billion, meaning the combined commercial haul will comfortably exceed €6 billion.Relevent Football Partners, the American agency appointed by UC3, has overhauled UEFA’s sales process, creating a new “elevated partners” tier that bundles commercial rights across all three UEFA club competitions. This package offers exposure across 531 matches per season, far surpassing the 189‑match footprint of the Champions League alone.The influx of cash will primarily benefit the elite clubs. UEFA currently allocates 74% of its prize fund and 56% of club‑competition revenue to Champions League participants, with the remainder split between Europa League (17%) and Conference League (9%). Seven clubs already received over €100 million in prize money last season, led by Paris Saint‑Germain’s €144.4 million haul.Such concentration of wealth has reignited debate over revenue distribution. The Union of European Clubs (UEC) has proposed a revised split of 50‑30‑20 among the three competitions, directing a larger share into domestic leagues rather than straight to clubs. However, given the influence of the biggest clubs within UC3, the proposal faces an uphill battle.UEFA and Relevent declined to comment on the negotiations.

Rena Effendi, a photojournalist, embarks on a poignant journey in the documentary 'Searching for Satyrus', seeking the elusive butterfly named after her father, Rustam Effendi, a lepidopterist. Her father spent seven years hunting the Satyrus effendi, a rare and endangered species found in the Caucasus mountains.Effendi's quest is intertwined with her exploration of her father's complex legacy. He was a man of many marriages – Effendi humorously notes he lasted longer in his pursuit of the butterfly than in any of his four marriages. This personal history is set against the backdrop of geopolitical tensions between Azerbaijan and Armenia, where the butterfly's habitat lies.The documentary features Effendi's interactions with lepidopterists, including Dmitrii V Morgun, who describes the unique characteristics of various butterfly species. The Satyrus is portrayed as melancholic and brooding, mirroring the complex emotions Effendi experiences as she uncovers her father's past.The film is set to release in UK cinemas on April 19, 2026, offering audiences a thoughtful exploration of family, legacy, and conservation.

Moya Brennan, the celebrated voice behind Irish folk ensemble Clannad, passed away at the age of 73 in her native County Donegal, surrounded by family. The 73‑year‑old had been living with pulmonary fibrosis and was awaiting a possible double‑lung transplant when she died peacefully. Born 4 August 1952 in Dublin as Máire Philomena Ní Bhraonáin, she grew up in a large musical family that performed in their local pub. She later honed her craft at the Royal Irish Academy of Music before co‑founding Clannad in 1970 with her brothers and two uncles. Clann2’s early breakthrough came at the Slógadh Youth Festival, where a prize‑winning performance secured a Polydor contract—though the band members were too young to sign. Their commitment to singing in the Irish language set them apart; as Brennan recalled in 2022, they felt they were “letting the language down” but fell in love with its melodies. The group’s commercial breakthrough arrived in 1983 with the album Magical Ring and its hit single “Theme from Harry’s Game.”strong> The track reached No. 5 on the UK Top 40, earned Clannad a historic appearance on Top of the Pops as the first act to perform in Irish, and paved the way for a BAFTA‑winning score for the ITV series Robin of Sherwood. Throughout the 1980s and 1990s, Brennan earned the moniker “first lady of Celtic music,” garnering praise from peers such as Bono of U2 and contributing vocals to major film soundtracks including Titanic and King Arthur. Her sister Eithne, later known as Enya, also emerged from Clannad before launching a wildly successful solo career. Beyond her musical achievements, Brennan’s personal journey was marked by hardship. She publicly discussed a 1972 abortion in England, subsequent substance use, an 18‑month marriage to fellow musician Pat Farrell, a miscarriage in 1987, and a brief relationship with U2’s Adam Clayton. A deepening Christian faith after the miscarriage helped her overcome addiction, and she later married photographer Tim Jarvis in 1990, a partnership she credited with ending her drug use. Her solo discography began with the critically acclaimed album Máire in 1992 and continued through 2024’s Voices & Harps IV with Cormac de Barra. Brennan also devoted considerable energy to philanthropy, working with Christian Blind Mission Ireland on projects across the Democratic Republic of Congo, Rwanda, Brazil, and Tanzania, and supporting programs for those battling drug and alcohol dependency. In 2002 she officially adopted the stage name Moya Brennan, formalising the change by deed poll in 2009. Over the years she collaborated with a diverse roster of artists, from Shane MacGowan and Robert Plant to Bruce Hornsb​y, the Doobie Brothers, and Ronan Keating. Brennan is survived by her husband Tim Jarvis and their two children. In a 2022 interview she attributed her resilience in the face of her lung disease to her Christian faith, stating, “I know God is with me… that’s where my strength comes from.”

Ruby Wax's latest show, Absolutely Famous, is a candid look back at her most revealing celebrity interviews. Co-hosted with her longtime TV producer, Clive Tulloh, the show features clips from her BBC series When Ruby Wax Met, where she interviewed some of the most controversial figures of the 90s and early 00s.The show is a refreshing take on the genre of veteran entertainers sharing clips from their careers, as Wax is disarmingly upfront about her desire for fame and the experience of celebrity. The show features unsettling and entertaining moments, including Wax's interviews with OJ Simpson, Imelda Marcos, and a certain New York businessman whose notoriety was just beginning.Wax's combination of humour and charm, psychological perspicacity and chutzpah, remains a rarity in celebrity interviews. The show also features a Q&A session, adding more detail, clips, and celebrity gossip from Wax's life as a Girl on Top.

A remarkable fossil discovery in Victoria, Australia, has revealed that giant echidnas once roamed the region. The Owen's giant echidna, Megalibgwilia owenii, lived during the Pleistocene epoch, which began 2.5 million years ago.The fossil, discovered in the Buchan cave complex in East Gippsland, is a significant find, as it fills a 1,000km gap in the species' known distribution. Previously, specimens of the extinct monotreme had been found across Australia, from Western Australia to Tasmania, but mysteriously absent from the fossil record in Victoria.The Owen's giant echidna was about twice the size of Australia's modern echidnas, growing up to 1 metre long and weighing up to 15kg. Its skeleton is much more robust than that of comparably sized animals, with deeper, more prominent muscle scars and larger attachments for ligaments, indicating it was using much greater force when interacting with the landscape.According to Tim Ziegler, the collection manager of vertebrate palaeontology at the Museums Victoria Research Institute, the fossil was likely used for digging for buried larvae, larger prey of beetles, or bogong moths, or tearing tree bark to access food.The research, published in Alcheringa: An Australasian Journal of Palaeontology, provides new insights into the distribution and habitat of the Owen's giant echidna during the ice age.

A shocking case of mistaken identity has come to light involving British Gas, a leading UK energy supplier. A homeowner, IW from Northampton, received a £571 bill for a flat they had never occupied or owned. The error occurred because British Gas's tracing agents mistakenly linked IW's address to that of a debtor.IW reported that British Gas opened an account in their name for the incorrect address and sent the hefty bill. When IW disputed the charge, British Gas declined to investigate further, citing a lack of proof that they did not live at the address in question. The company requested a tenancy agreement or mortgage statement, which IW could not provide as they had long since paid off their mortgage.The situation escalated when British Gas threatened IW with a debt collection agency. Despite IW providing bank statements as evidence of their innocence, British Gas ignored this documentation and did not question the competence of the tracing agent used to locate debtors.It was only after IW got involved and contacted The Guardian that British Gas belatedly apologized and removed IW from its records. This incident highlights significant flaws in British Gas's processes for handling customer complaints and verifying identities.The case serves as a cautionary tale for consumers to vigorously dispute incorrect charges and to be aware of their rights when dealing with energy suppliers and debt collectors.