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The Play's Concept and Inspiration This play about the ethics of international development in the global south is a response to a book on world poverty. Playwright Christine Bacon, who is also co-artistic director of human rights theatre company ice&fire;, has taken Jason Hickel’s The Divide to show how development agencies from the west may mean well but in practice can perpetuate inequality and suffering rather than alleviate it. The Problem with Telling Over Showing It suffers from a serious case of telling over showing. Statistics are put into the mouths of every actor. Character and story are sacrificed on the altar of information and argument. The Plot and Its Execution We hear US president Harry Truman’s foundational postwar dream of ending world poverty though the creation of international development. The story begins with the writer of Truman’s speech, Ben Hardy (Kevin Trainor), who conceives the idea. We are then whisked to current-day Kenya where his granddaughter, Jo (Ella Bryant), meets activist Kala (Grace Saif) and her eyes are opened to the limits of the international development sector, from its underlying colonialist principles to its political neutrality in the face of heinous wrongdoings. The Performance and Its Impact There is an impassioned performance from Bryant and some good satire in spots: a charity concert in postwar America which might be a prototype for celebrity-led campaigns like Band Aid, and a fundraising event in Nairobi that emphatically aims to guilt-trip wealthy donors to part with their cash. The drama might have worked better if this biting tone had been more consistent. The Verdict Instead it leads with number-crunching polemic and statistics alongside some too secondary plotting around Jo’s crisis of conscience and Kala’s abduction by the authorities while she is protesting Kenya’s Finance Bill. The odd drum-roll or comic twist does not do much in dramatic terms and sadly, under the direction of Charlotte Westenra, the production feels longer than its 90-minute duration.

Cactus Pears is the striking directorial debut of Mumbai filmmaker Rohan Kanawade, premiering in UK and Irish cinemas on 19 June 2026. The film follows 30‑year‑old call‑centre worker Anand (Bhushaan Manoj) as he returns to his village for his father’s funeral and confronts a quietly forbidden romance with a goatherd, Balya (Suraaj Suman).Kanawade’s Intimate Exploration of Class and Unspoken DesireThe narrative unfolds over a traditional 10‑day mourning period, using the ritual’s constraints to heighten Anand’s internal conflict. Through restrained dialogue and carefully observed village life, the film reveals how family expectations, caste‑based status, and economic hardship shape personal choices. Symbolically, the titular cactus pears—prickly fruits that Balya removes the spines from for Anand—encapsulate the delicate act of softening societal barriers.Key Release Details and Critical ReceptionUK & Ireland theatrical release: 19 June 2026Runtime: not specified in sourcePrimary cast: Bhushaan Manoj (Anand), Jayshri Jagtap (Suman), Suraaj Suman (Balya)Guardian review highlights: “tender, subtle, candid, scrupulously observed”Why the Film Marks a Shift in Indian Independent CinemaBy foregrounding a same‑sex relationship in a conservative rural setting, Cactus Pears challenges the mainstream Bollywood formula that often sidelines LGBTQ+ narratives. Its modest production values coupled with a strong character‑driven script demonstrate a growing appetite for stories that interrogate class and gender norms without resorting to melodrama. The positive UK reception suggests international audiences are increasingly receptive to nuanced Indian indie films.Looking Ahead: Prospects for Kanawade and Similar VoicesIf the film’s modest box‑office performance mirrors its critical acclaim, it could open doors for further funding of socially conscious Indian projects. Kanawade’s subtle storytelling may inspire other emerging directors to tackle taboo subjects with restraint, potentially reshaping festival line‑ups and distribution strategies for South Asian cinema in the coming years.

Shortlist Revealed for the 2026 Jarman AwardsThe Film London Jarman Awards have narrowed the field to four artists competing for a £10,000 prize. The shortlist showcases a range of subjects—from silent carnivals and asbestos‑related illness to the South Asian sport of kabaddi—demonstrating how contemporary British moving‑image practice draws on historical references to imagine the future.Sadia Pineda Hameed – Anak Where Did We Stay?, a five‑channel work that blends family camcorder footage with archive material about migration, Beatlemania and 1960s political protests.Ilona Sagar – The Body Blow (2022), a two‑channel film investigating asbestos and mesothelioma in Barking and Dagenham, echoing a 1962 radio ballad.Rhea Storr – New Territories (Spectacle Is King) (2025), a silent exploration of UK carnivals that references Isaac Julien’s 1984 documentary.Alia Syed – Ka Ba Ddi – a Breath, a Move, a Game (2025), marking 40 years of experimental film work and reflecting on personal and Welsh connections.£10,000 Prize Underscores Support for Emerging Moving‑Image TalentThe award’s monetary value, £10,000, provides crucial funding for artists whose practice spans installation, multi‑channel video and archival research. While the amount is modest compared with larger arts grants, it signals sustained institutional backing for experimental moving‑image work in the UK.Why the Shortlist Matters for Britain’s Moving‑Image LandscapeBy foregrounding themes such as migration, industrial disease and cultural rituals, the shortlist reflects a broader shift toward socially engaged, historically informed art. The inclusion of diverse backgrounds—Filipino‑Pakistani, Welsh, Bahamian‑British—highlights the increasing multicultural fabric of Britain’s contemporary art scene.Looking Ahead: What the 2026 Jarman Awards Could SignalIf the shortlisted works resonate with audiences and critics, they may encourage more funding bodies to champion interdisciplinary, research‑driven video practice. The visibility of these artists could also inspire emerging creators to experiment with multi‑channel formats and archival storytelling, reinforcing the UK’s reputation as a hub for innovative moving‑image art.

The House of Cards of Modern Longevity In his debut book 'Morbid,' Oxford research fellow Saul Justin Newman launches a scathing attack on the anti-aging industry, arguing that the pursuit of eternal youth is built on a foundation of misleading claims and outright fraud. Newman contends that the fear of mortality has created a lucrative market for medical grifters, ranging from unqualified physicians selling elixirs to tech-bro biohackers selling 'longevity insights.' The review highlights that the current state of longevity research is not merely flawed, but fundamentally compromised by a lack of rigorous data verification. Unmasking the 'Oldest' People Newman’s investigation centers on the veracity of the world's oldest recorded individuals. He challenges the legitimacy of figures like Jiroemon Kimura, pointing out inconsistencies in their documented histories. The most damning evidence comes from the case of Sogen Kato, an official age 111 who was discovered to be a mummified husk lying dead in his home for at least 30 years. This revelation suggests a systemic failure in age verification that extends beyond individual cases. Population-Level Age Inflation The fraud is not limited to isolated individuals but appears to be a widespread phenomenon at the population level. Following the Sogen Kato scandal, Japan’s Ministry of Justice investigated the elderly population and found that 82% of those officially listed as over 100 were actually dead or missing. Similarly, in Greece, a government cleanup revealed that over 9,000 people listed as centenarians were deceased, with survivors existing only on paper to facilitate pension fraud. This systematic inflation of age statistics undermines the entire premise of 'supercentenarian' studies. The Commodification of Death Newman critiques the 'Blue Zones' phenomenon, arguing that the marketing of longevity secrets by entrepreneurs like Dan Buettner is a precursor to the biohacking movement. He specifically targets figures like Bryan Johnson, who spends exorbitant amounts on experimental treatments and sells 'longevity insights' for $365 a year. The review suggests that these commercialized approaches prioritize profit over scientific validity, turning the fear of death into a subscription service. From Snake Oil to Science The author concludes that the future of genuine longevity research must shift away from the 'snake oil' tactics currently dominating the market. Newman advocates for a return to reproducible basic research and simple, proven health interventions—such as not smoking and moving more—rather than chasing expensive, unproven elixirs. As the industry faces increased scrutiny in an era of online grifting, the call is for a rigorous adherence to the scientific method to separate genuine progress from the sordid house of cards.

The Luxury Tycoon's Media ExpansionBernard Arnault, known as the "wolf in cashmere" and owner of the world's biggest luxury group with brands including Louis Vuitton, Dior and Tiffany, is under fire from journalists' unions in France for buying up almost all the country's business and economic press. Reporters Without Borders has accused Arnault of having a "stranglehold" on the main business titles in France after his LVMH group purchased the centrist business weekly Challenges.The Scale of Media ControlLVMH, whose diverse portfolio includes fashion, perfumes, champagne and spirits, now controls an array of influential business publications. These include the leading economic daily paper Les Echos, the business information service L'Agefi, the daily newspaper Le Parisien, and the celebrity magazine Paris Match. This extensive media empire has raised significant concerns about media diversity and independence in France.Legal Challenges and Regulatory ScrutinyThe acquisition of Challenges has prompted formal complaints from journalists' unions and Reporters Without Borders. France's council of state is examining whether authorities failed to properly assess the scope of LVMH's business media ownership, while the competition watchdog is evaluating union arguments that the group "abused its dominant position" by acquiring Challenges. Laure Chauvel, head of the France-Italy desk at Reporters Without Borders, described this as "a textbook example of the loopholes in French law which fail to keep media ownership in check."Broader Media Ownership Landscape in FranceArnault's expansion occurs amid growing debate over the concentration of media ownership in the hands of a few billionaires. This trend extends beyond Arnault to include other wealthy figures like Vincent Bolloré, who owns the TV channel CNews and has been accused of giving platforms to reactionary voices; Rodolphe Saadé, whose media holdings include BFM TV and La Provence; Daniel Křetínský, who is building a French media and publishing empire; and the Dassault family, which owns Le Figaro. This concentration of media power comes as France approaches a presidential election with the far right polling high.Political Stances and Future ImplicationsArnault, whose fortune is estimated at around $145 billion, has consistently opposed wealth taxes, having briefly moved to the US in the early 1980s to avoid what he perceived as a hostile business environment. His close friendship with Donald Trump was demonstrated when he and his family attended Trump's second inauguration. As France's media landscape continues to consolidate in the hands of wealthy individuals, concerns mount about potential editorial bias and the future of independent journalism in the country, particularly as the presidential election approaches.

The Surge in Capital Gains Tax Revenue The UK government has seen a significant increase in capital gains tax (CGT) revenue, with a nearly 80% rise to £24bn in the last tax year. This surge is equivalent to over £800 per household. The increase is attributed to changes in the way CGT works, pulling more people into the tax net, not just the wealthy. Understanding Capital Gains Tax CGT is a tax on the profit made when selling or 'disposing of' an asset that has increased in value. This includes investments, properties not used as main homes, and personal possessions worth £6,000 or more, excluding cars. The tax-free allowance, known as the annual exempt amount, has been reduced over the years: it was £12,300 until 2022-23, then cut to £6,000, and now stands at £3,000. The Financial Impact The Office for Budget Responsibility predicts that CGT revenue will continue to rise, reaching £35bn by 2030-31. The current rates are 18% for basic-rate taxpayers and 24% for higher-rate taxpayers. Experts stress the importance of utilizing tax-free allowances and exploring legitimate ways to reduce CGT bills. Legitimate Ways to Reduce CGT Bills Transfer investments between spouses or civil partners to use both CGT allowances. Make full use of Isa allowances, which allow UK residents aged 18+ to invest up to £20,000 per tax year. Offset losses against gains to cut the overall tax bill. Reduce taxable income by paying into a pension or making charitable donations. The Future Outlook With CGT revenue expected to keep rising, it's crucial for individuals to stay informed about the tax rules and explore strategies to minimize their CGT liabilities. Proposed changes, such as equalizing CGT with income tax, could further impact taxpayers in the future.

Moroccan Fans Shell Out Up to Double Their Annual Salary for World Cup MatchFans from Morocco traveled to the New York‑New Jersey Stadium to watch their team face Brazil, spending amounts that rival or exceed the nation’s average yearly earnings.Cost Breakdown vs. Morocco’s $7,400 Average SalaryKamal Ait El Hadj, a 47‑year‑old villa builder, spent $5,000 on a round‑trip ticket despite receiving a free entry pass.Houssam Jeboni, 33, fish wholesaler, estimated $6,000 to attend all group‑stage matches.Salma Sebti and family projected at least $15,000 for three matches and related travel.Another unnamed fan from the travel industry expected up to $10,000 over ten days.The average annual salary in Morocco is estimated at $7,400, meaning each fan’s expenditure equals one to two years of typical earnings.Economic Inequality Highlights Access Gap to Global Sporting EventsOnly relatively affluent Moroccans can afford the luxury of trans‑Atlantic travel for a group‑stage game, underscoring a broader disparity where the cost of attending major tournaments far outpaces local purchasing power.Future Outlook: Rising Costs May Shape Fan Demographics for 2030 Co‑Host World CupAs Morocco prepares to co‑host the 2030 World Cup with Spain and Portugal, ticket and travel prices are expected to climb, potentially limiting in‑person support to wealthier segments unless subsidised programmes are introduced.

Lead: A New Era of Personal WealthThe Guardian’s Ingrid Robeyns warns that Elon Musk crossing the $1 trillion threshold is not a triumph of merit but a symptom of a dysfunctional system that amplifies inequality, undermines democracy, and hampers global climate goals. Musk’s Wealth Surpasses $1 Trillion: How the Figure Was CalculatedThe trillion‑dollar valuation combines Musk’s stakes in SpaceX, Tesla, X, and other private holdings. Three years ago his assets were estimated at roughly $250 bn; the rapid rise reflects soaring market caps and the valuation of private‑company equity. Numbers That Reveal the Scale of Concentration$1 trillion – 12 zeros of personal wealth.To earn that amount by working, Musk would need to be paid about $5 million an hour (70 h/week from age 20 to 75, no holidays).The U.S. median hourly wage is just under $25.Musk’s political spending: roughly $290 million on the 2024 U.S. presidential campaign.Estimated human cost of dismantling USAID: > 14 million lives lost by 2030, including 4.5 million children under five. Why Extreme Wealth Threatens Democracy, Climate and Social EqualityEconomist Gabriel Zucman shows that billionaires pay lower effective tax rates, exploiting loopholes and tax havens. The essay links this fiscal unfairness to a broader “oligarchic endgame” where super‑rich influence policy, media, and even humanitarian aid, eroding democratic accountability.Concentrated wealth also fuels wasteful consumption and greenhouse‑gas emissions, diverting resources that could address climate change and public health. The power wielded through platforms like X amplifies extremist rhetoric, influencing elections in the U.S., Europe and the UK. Looking Ahead: Policy Paths and the Call for a Wealth‑LineRobeyns urges a paradigm shift: adopt a “wealth line” akin to a poverty line to define the threshold where wealth becomes socially harmful. Potential measures include higher progressive taxes, stricter anti‑avoidance rules, and international coordination to curb tax‑haven abuse.If governments act, the concentration of power could be curbed, preserving democratic institutions and freeing resources for climate mitigation and social welfare. Without intervention, the oligarchic trajectory may solidify, deepening inequality and destabilising global governance.

The Star-Studded Performance Erling Haaland scored twice in his World Cup debut as Norway powered past Iraq to win 4-1 in their Group I opener in Boston. The Manchester City striker scored his first goals at a major international tournament on Tuesday as Norway returned to the World Cup for the first time in 28 years. Match Highlights Haaland turned in from close range to give Norway the lead on 29 minutes, but Aymen Hussein's header brought Iraq level. Haaland then pounced on an error at the back to put Norway ahead again before half-time and take his goal tally at international level to 57 in just 51 matches. Haaland's Goal: Assisted by Antonio Nusa, Haaland stretched to steer in the low cross from the left. Iraq's Equalizer: Aymen Hussein rose brilliantly to power a header past Orjan Nyland. The Impact of Norway's Win The win left Norway on top of Group I on goal difference, level with France on three points after Les Bleus overcame Senegal 3-1 earlier in the day. Norway faces France in their next game in New Jersey on June 22. Norway's Impressive Return Norway last played at the tournament in 1998, when coach Stale Solbakken was a member of the squad that famously beat Brazil in the group stage before exiting in the last 16. After breezing impressively through qualifying, twice thrashing Italy, they are hoping a golden generation of players – led by Haaland and Arsenal midfielder Martin Odegaard – can break new ground in North America.