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Fire Island, a picturesque barrier island off the coast of Long Island, has long been a haven for LGBTQ+ individuals and a hub for artistic expression. The island's legacy as a queer mecca is deeply intertwined with its history of artistic innovation, which is now being celebrated in a new book titled 'Fire Island Art: 100 Years'.The book, edited by John Dempsey, president of the Fire Island Pines Historical Society, delves into the island's artistic heritage, showcasing the works of pioneers like Paul Cadmus, Jared French, and Margaret French, who formed the artistic collaboration PaJaMa. Their paintings and photographs captured the unconventional intimacies and beauty of the island, setting the stage for future generations of artists.Over the years, Fire Island has attracted a diverse array of talented artists, including Peter Hujar, Paul Thek, and Robert Mapplethorpe. These artists found inspiration in the island's serene landscapes, beaches, and vibrant queer community. Mapplethorpe, in particular, immortalized the beauty he found on the island, contributing to the island's reputation as a haven for creative expression.The book also highlights the contributions of women artists, who faced challenges in gaining acceptance on the island. Ksenia M Soboleva's chapter sheds light on the experiences of women artists, who began to make their mark in the late 1980s. This period saw an increase in lesbian presence in Cherry Grove, which reached unprecedented heights.Today, Fire Island continues to nurture artistic talent through initiatives like the Fire Island Artist Residency in Cherry Grove and its Pines sibling Boffo. These programs have launched the careers of notable artists such as Salmon Toor, Raúl de Nieves, Cassils, and Leilah Babirye. However, the legacy of Fire Island's artistic community is threatened by climate change and the rising right, which seeks to erase queer and trans people from public life.Dempsey emphasizes the importance of preserving Fire Island as a sanctuary for marginalized communities. 'Fire Island Art: 100 Years' serves as a testament to the island's enduring legacy as a haven for artistic expression and queer culture.

The Italian football landscape has been plunged into crisis with the resignation of Gabriele Gravina as president of the Italian Football Federation (FIGC). This development comes on the heels of Italy's failure to qualify for the World Cup finals for the third consecutive time, losing on penalties to Bosnia and Herzegovina in a playoff match.Gravina's departure follows intense scrutiny and pressure from the country's minister for sport, Andrea Abodi, who called for a renewal of the FIGC leadership. Gianluigi Buffon, the national team delegation head, also announced his resignation, further exacerbating the turmoil within the Italian football hierarchy.The FIGC's future leadership will have to navigate significant challenges, particularly regarding Italy's co-hosting of Euro 2032 alongside Turkey. UEFA president Aleksander Ceferin has issued a stern warning, emphasizing that the tournament's hosting rights are contingent upon Italy's ability to meet the necessary infrastructure requirements. Ceferin expressed concerns about the state of Italy's stadiums, highlighting that they are among the worst in Europe.Italy is required to submit its list of five stadiums for the tournament by October, with only Juventus's Allianz Stadium currently meeting the requirements. While plans are underway for the redevelopment of San Siro in Milan, Napoli's Stadio Diego Armando Maradona, and the construction of a new stadium in Rome, the deadline for commencing work on new or upgraded venues is March 2027.Ceferin also pointed to deeper issues within Italian football, citing the need for modernization of football facilities and a complex relationship between football politics and general politics. He expressed concern that the crisis extends beyond individual leadership, warning that the greatest loss would be to the FIGC and the potential difficulty in finding a suitable replacement who loves football and Italy as much as Gravina does.

Britain is confronting the most severe energy shock since the early 1970s, as exports of oil, gas and fertiliser from the Middle East have abruptly stopped. The government says a response plan exists, but details remain vague. It is unclear whether the UK is better prepared for the fallout from Donald Trump’s war with Iran than it was for the pandemic six years ago. Ministers are sending a "we have your back" message to the public while simultaneously signalling to financial markets that any assistance will be limited and targeted. Contingency planning is especially difficult when dealing with an unpredictable leader like Trump. Britain’s heavy reliance on imported energy and food means that reassurance can only hold for a short time. The economy entered the conflict already on shaky ground: unemployment rose steadily throughout 2025 and growth stalled to a virtual standstill in the final quarter of that year. The sudden loss of Middle‑East energy and fertiliser supplies now adds a colossal supply shock. Last year, Trump’s “liberation day” tariff hikes served as a dry run for a far more serious confrontation. This time, the war is taking place in a region that is both volatile and crucial to the global economy. In the past two weeks, the repercussions have been felt across Asia – the Philippines declared a state of emergency, Sri Lanka introduced a four‑day work week, and South Korea announced budget measures to help households cope with soaring energy bills. The continent is the most dependent on Gulf‑exported energy, making the impact there the sharpest. The International Monetary Fund warned that the shock will drive higher prices and slower growth worldwide. Shortages push fuel and food prices up, eroding disposable income, prompting businesses to cut staff, and increasing the risk of recession. The UK, already projected to be one of the poorest‑performing major economies in 2026, could see its fresh graduate cohort face a brutal job market. Trump’s claim that the war could end within two or three weeks appears desperate. Even a rapid cease‑fire would leave substantial collateral damage, creating a stagflation scenario that could hurt Republican prospects in the upcoming mid‑term elections. British officials hope a swift resolution will limit economic damage, allowing a short‑term inflation spike to subside and the Bank of England to resume interest‑rate cuts. Treasury plans include scrapping the planned autumn fuel‑duty rise and providing targeted help for the poorest households, though the path is unlikely to be that simple. Currently, the Treasury is hesitant to act boldly for fear of unsettling bond markets. History – the 2008 banking collapse and the 2020 pandemic – shows that governments can act decisively without triggering a market backlash, using tools such as aggressive rate cuts, increased borrowing, and quantitative easing. The Bank of England has warned of a "substantial negative supply shock" and is expected to soften markets for future rate cuts, which are inevitable. Finance Minister Rachel Reeves could mitigate labour‑market pain by reversing recent increases in employers’ National Insurance contributions, subsidising public transport, and even lowering speed limits to conserve energy. The war, like the pandemic and Russia’s invasion of Ukraine, underscores the fragility of global supply chains and the need for greater British self‑reliance. Investing heavily in renewable energy is essential, but the UK also imports roughly 40% of its food and has not run a manufacturing trade surplus since 1982. In a world of disrupted supply lines, a robust plan for economic self‑sufficiency is more urgent than ever. Larry Elliott is a Guardian columnist.

The UK government is set to implement disability benefit cuts affecting nearly 730,000 severely ill and disabled people, reducing their universal credit support by half. The 'health element' of universal credit will be cut to £50 per week and then frozen, unless claimants meet strict criteria for being terminally ill or having a 'severe' and 'lifelong' condition. Charities and disabled people's organizations warn that this change will push people into deep financial hardship and, in some cases, destitution. They fear that families losing out on this vital income could face eviction, go without food and heating, and lose access to the care they depend on. The cut applies to new claimants, meaning that if someone applies for help next Monday, they will be on average £3,000 a year worse off by the end of the decade than if they'd applied this week. This has raised concerns about the fairness and effectiveness of the current welfare system. Critics argue that the government's approach to welfare reform is flawed, as it fails to account for the complexities of disability and illness. They suggest that a more comprehensive approach is needed, including investing in mental health services and preventive healthcare, to address the root causes of disability and support those in need.

When asked before Arsenal’s win over Everton how the upcoming international break might affect his squad, Mikel Arteta stressed the club’s “good communication” with national team coaches and promised to make “the right decisions” after assessing each player’s condition. That cautious optimism was quickly shattered. Following the Carabao Cup final loss to Manchester City, a cascade of withdrawals began. William Saliba pulled out of France’s squad with a left‑ankle injury, and Jurriën Timber missed the Netherlands call‑up due to a lingering groin problem. Within 24 hours, Gabriel Magalhães (Brazil) and Leandro Trossard (Belgium) also withdrew, while Eberechi Eze was forced out of England duty because of a calf strain that kept him out of the cup final. Captain Martin Ødegaard, still recovering from a previous ankle‑ligament injury sustained on international duty, did not feature in the final and subsequently withdrew from Norway’s squad. Arsenal’s injury list continued to grow on Friday when Noni Maduke (England) and Piero Hincapié (Ecuador) limped out of their respective friendlies. Both are doubtful for the FA Cup clash with Southampton at St Mary’s, though the club hopes they may return sooner. Mid‑week, Martín Zubimendi became the eleventh Arsenal player to pull out of an international roster, citing pain in his left knee. The Spain midfielder has logged more Premier League minutes than any Arsenal player this season, edging out Declan Rice and Jurriën Timber. Despite the setbacks, Viktor Gyökeres showed full commitment to Sweden, scoring a hat‑trick in the play‑off against Ukraine and later netting the decisive goal against Poland. By contrast, Riccardo Calafiori returns to London after Italy’s 120‑minute defeat to Bosnia and Herzegovina, a match that highlighted Italy’s ongoing World Cup qualification woes. Arteta’s dilemma mirrors the challenges faced by Sir Alex Ferguson in the early 2000s, when the Manchester United legend famously limited his players’ international minutes. The modern Arsenal squad, arguably one of the deepest in Premier League history, now faces a delicate balancing act: preserving player fitness while competing on three fronts – the league, the FA Cup, and the Champions League quarter‑final against Sporting Lisbon next week in Portugal. With the club already having contested over 50 matches this season and potentially adding another 15 if they reach both cup finals, the psychological impact of another major‑trophy loss could be significant. Arteta will need his remaining fit players to step up and deliver, or risk seeing the season’s ambitions slip away.

The United States men's national team is gearing up for the World Cup, but their recent friendlies have left fans concerned. Over the past few months, the team has struggled, with more than six months without a win. However, this trend is not unprecedented. In 1994, the USMNT had a dismal run-in to the World Cup, winning just two games in 12 attempts, including a loss to Iceland. Despite these poor results, the 1994 team managed to survive the group stage and narrowly lost to eventual champions Brazil in the round of 16. This precedent may offer some consolation to current fans. The team's coach, Mauricio Pochettino, remains optimistic, stating that he is 'happy about the camp' and believes that 'we are not far away' from achieving their goals. Roberto Martínez, former Belgium manager, warned against reading too much into pre-World Cup results, stating that they are 'quite worthless'. This sentiment is echoed by the USMNT's history of performing well in the World Cup despite poor preparations. In 1950, the team lost their only tune-up game but stunned England 1-0 at the World Cup in Brazil. Similarly, in 2002, the USMNT made a deep run in the tournament despite losing several friendlies. The team's star player, Christian Pulisic, also remains positive, citing 'a lot of positives' from the recent friendlies. The USMNT's history suggests that their pre-tournament form may not be a reliable indicator of their performance. With the World Cup approaching, fans will be hoping that the team can defy their recent form and make a strong showing.

The 2,500-year-old gold helmet from Romania, known as the Helmet of Coțofenești, has been recovered after being stolen from the Drents Museum in the northern Netherlands in January 2025. The theft was carried out by a gang of robbers who used firework bombs to break into the museum and smash display cases.“It’s amazing. It’s the best news we could have got,” said Arthur Brand, a Dutch art detective, confirming the recovery of the helmet. Prosecutors are expected to make an official announcement regarding the recovery.The stolen items, including the golden Helmet of Coțofenești and three gold bracelets, are considered national treasures in Romania. The Dutch government had set aside €5.7m for a potential payout after the theft, highlighting the significance and value of the artifact.The recovery of the helmet has triggered outrage and relief in Romania, where the items are deeply valued. This incident underscores the importance of protecting cultural heritage and the challenges faced by museums and authorities in securing priceless artifacts.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.

A Lahore court has ruled in favor of Pakistani singer Ali Zafar in his defamation case against fellow singer Meesha Shafi. On Tuesday, the court ordered Shafi to pay Zafar 5 million rupees ($17,900) in damages.Zafar sued Shafi for defamation in 2018 after she accused him of sexual harassment in Pakistan’s highest-profile #MeToo case.The court’s ruling states that a 2018 social media post by Shafi and an interview she gave to a lifestyle magazine contained “false, defamatory and injurious imputations” against Zafar. The court found that her allegations of sexual harassment of a physical nature had not been proved to be true or shown to be made for the public good, and therefore constituted actionable defamation.The court's decision has sparked concerns that it may set a “deeply troubling precedent” that could discourage victims of sexual harassment from speaking out. Nighat Dad, Shafi's lawyer, stated that the appeal is likely to challenge the judgement on several grounds, including the trial court's selective interpretation of evidence and failure to consider material evidence presented by Shafi.The dispute between Shafi and Zafar has unfolded over several years, with both parties filing complaints against each other. Shafi’s original complaint of sexual harassment against Zafar has been pending before the Supreme Court for several years, and her civil defamation suit against Zafar is also still pending.