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A Radical Vision for Global JusticeImagine a future in which everyone enjoys high levels of wellbeing; where 90% of the world's population doubles their income but works half the hours we work today. A world in which the bottom half of humanity sees its share of global wealth rise from just 2% today to 30%; a world where we consume enough, but nobody over-consumes. And imagine achieving this on a planet that can comfortably sustain human life without its climate breaking down.Against the bleak techno-authoritarian futures now being sold to us, a radical new vision for global progress in the 21st century feels urgently needed. The most credible vision is one in which the habitability of the planet is a precondition for human development and equality.Our new report examines the conditions required for the world to progress towards this ambition on an economically and ecologically compatible path, by the end of the century. Its conclusion? A global transformation that reconciles planetary habitability and high standards of wellbeing for all is possible – as long as three conditions are simultaneously met.The Three Pillars of Sustainable TransformationFast decarbonisation of energy systems is necessary. But we also need a major shift away from overconsumption towards "sufficiency." This would involve a sharp reduction in labour hours and the use of raw materials, along with big changes in consumption patterns, food habits, land use and forest cover. Financing and politically sustaining decarbonisation and sufficiency will require a drastic reduction in inequality of income, wealth and power, between countries and within them.The Global Justice Report is the first attempt to propose a fully quantified plan for this transition. It combines four dimensions that today's debates often treat separately: redistribution at the world scale; a deep reform of the international financial and economic order; a radical transformation of energy systems; and substantial shifts in consumption patterns. Compared with most climate scenarios (including those of the Intergovernmental Panel on Climate Change), the main novelty is that we model all four dimensions together – and place inequality and sufficiency at the centre of the analysis.The Economic Transformation: Convergence and ProsperityWhat would this transition deliver? At its heart is convergence between countries. Average per capita national income, today separated by a 16-fold gap between the poorest (€290 a month in sub-Saharan Africa) and richest (€4,590 in North America/Oceania) regions of the world, would rise towards a common level of about €5,000 a month in all countries by 2100.But this convergence is not just monetary. Annual working hours per employed person would fall from roughly 2,100 to about 1,000, continuing the long shift towards shorter working time; while the share of global working hours devoted to education and health would rise from 11% to 43%. Women and men would converge on equal pay and on an equal share of economic and domestic labour.These shifts would be financed and governed through new institutions. A global justice fund would spend an average of 10% of world GDP a year from 2026 to 2060 on country dividends and investment, against the less than 0.4% that aid and the combined budgets of the UN, the International Monetary Fund (IMF) and the World Bank represent today. Its resources would come from a world sovereign fund holding 10% of the world capital stock, a global wealth tax rising to 20% a year on billionaires and a global income tax rising to 90% at the very top, each touching about 1% of the world's population.The Environmental Impact: Limiting Global HeatingAll of this would unfold within a habitable climate. Thanks to sustainable convergence and fast decarbonisation, global heating would reach 1.8C, against more than 4C on current trends.The result is not a transfer from many to few but a gain for almost everyone. Close to 90% of the world's population would double their income between 2026 and 2100, and once leisure and a habitable planet are counted, more than 99% come out ahead. The plan also redistributes power. Today, the richest regions hold four times as many votes at the IMF and World Bank as their share of the world's population would dictate; in the new order, every inhabitant would have equal voice, backed by an international clearing union and a new international currency to end the exorbitant privileges of the dominant powers and to address global trade imbalances.The Path Forward: Political Will and Coalition BuildingA habitable, equal and prosperous 21st century is materially possible. The carbon budget allows it and history offers precedents at comparable scales: universal suffrage, the universalisation of healthcare and education, the halving of working hours and the sharp compression of inequality over the 20th century. Technical impossibility is not what is standing in the way, but rather the absence of a shared vision of social progress, at once concrete and radical. What it will take instead is political choice, and the hard work of coalition-building behind it.Our report is part of a broader international agenda for planetary habitability, social justice and reform of the global financial architecture – including the Bridgetown agenda launched by Barbados in 2022, the Sevilla Commitment on development finance, the UN tax convention process, and G20 initiatives led by Brazil and South Africa on global inequality. The main contribution of this report is to place these proposals within a quantified institutional framework, modelling socioeconomic convergence, temperature change and distributional trajectories up to the year 2100.

A Pandemic-Era Road Trip Lacking Cinematic TractionThe latest entry into the pandemic-inspired cinematic canon, Bonnie & Clive, arrives as a super low-budget British comedy aiming to capture the chaotic energy of the Covid-19 lockdowns. While the behind-the-scenes footage suggests a joyous production, this enthusiasm struggles to translate into a compelling on-screen narrative, leaving audiences with a film that is perhaps too cheerful and ridiculous for its own good.From South London to Cornwall: A Camper Van EscapeThe narrative centers on Bonnie (played by Eleanor May Blackburn), who has a strict two-day window to travel from South London to her grandparents' house in Cornwall before lockdown restrictions take effect. Her journey takes a bizarre turn when a declined credit card leads to a kebab shop altercation involving a homeless busker named Clive (Michael Kodi Farrow). The duo eventually embarks on their journey in a retro 1990s camper van.The Catalyst: A failed payment and a makeshift ukulele stickup.The Passenger: The pair picks up Wilco (James Jip), a runaway social anthropology student fleeing university lockdowns.The Route: A scenic, westward drive featuring stops at Stonehenge and Dartmoor.The Burden of Unrelenting Quirkiness in Low-Budget CinemaDirectorial choices in Bonnie & Clive lean heavily into an intentional, almost grating quirkiness. The film's reliance on whimsical ukulele songs and over-exaggerated performances—reminiscent of children's television—detracts from the core narrative. A prime example of this absurdity is a scene involving the trio pushing a dead body in a wheelchair around the Eden Project. While indie films often thrive on eccentricity, the execution here feels persistently disjointed.The Niche Appeal of Micro-Budget UK ComediesAs Bonnie & Clive enters UK cinemas starting 3 June, its market performance will be a testament to the appetite for hyper-local, micro-budget filmmaking. While it may not break box office records or appeal to mainstream audiences seeking polished comedy, it serves as a time capsule of the pandemic era. Future indie filmmakers might look at this project as a case study in the importance of balancing on-set camaraderie with disciplined, restrained storytelling.

The Guardian’s Curated Stream Picks for June 2026The Guardian’s weekly guide identifies the most compelling theatre productions you can stream this month, offering a mix of classic revivals, contemporary works, and rare ballet recordings. Each selection is paired with a platform and release date, making it easy for audiences to enjoy premium stage content from home.Why Fallen Angels Leads the Stream LineupThe 100th‑birthday revival of Noël Coward’s Fallen Angels tops the list. Starring Rose Byrne and Kelli O’Hara, the comedy blends sharp wit with a cocktail‑laden backstage intrigue. The production has earned five Tony nominations, signalling both critical acclaim and commercial buzz. It becomes available on BroadwayHD on 5 June 2026.Streaming Platforms and Access PointsBroadwayHD – Fallen Angels (available 5 June)BBC iPlayer – Romeo and Juliet featuring Rudolf Nureyev and Margot Fonteyn (classic 1965 ballet)Prime Video – Rent: Filmed Live on Broadway (2008 staging, superior to 2005 film)NT at Home – Oklahoma! (National Theatre’s 1998 production with Hugh Jackman)BBC Sounds – Flip! (radio adaptation of Racheal Ofori’s satirical play)BroadwayHD – Cyrano de Bergerac (RSC London run, featuring Kevin Kline)Arte.TV – François Chaignaud: Petites Joueuses (four‑hour performance filmed at the Louvre)Broadening Access to Live Theatre: Industry ImplicationsThese releases illustrate a shift toward high‑quality digital theatre archives. By partnering with established streaming services, theatres can reach global audiences, generate ancillary revenue, and preserve performances beyond their live runs. The inclusion of both classic ballet and contemporary drama signals that platforms are diversifying content to attract varied viewer demographics.What’s Next for Digital Theatre Distribution?Looking ahead, the trend suggests more theatres will negotiate exclusive streaming windows, potentially shortening the gap between live performance and online availability. As subscription fatigue grows, curated “best‑of” guides like this one will become essential tools for audiences navigating an expanding catalogue of digital stage offerings.

The Evolution of World Cup UpsetsThis year, the biggest ever World Cup will feature 48 teams, an increase from 32, opening up the tournament to even more upsets, shocks and surprises. The vagaries of the World Cup draw have given rise to classic underdog victories over the years, from an amateur USA team's shock defeat of the then-favourites England in 1950 onwards. But what does the data tell us about upsets in football's modern era?Starting from the launch of the Fifa men's world ranking system in 1993, we have analysed each World Cup match in which an underdog beat a higher-ranked team, along with the ranking disparity between the teams: the bigger the gap, the higher the "upset score", and the larger the circle in the graphics below. Upsets are marked in red, while matches decided on penalties are represented with a white border.USA 1994: Regional Rivalries and Bulgarian BrillianceThis World Cup was characterised by a consistent stream of upsets, particularly in the group stages, with a couple of surprise regional rivalries including Belgium (Fifa ranking 27) triumphing over the Netherlands (2) and Saudi Arabia (34), in their World Cup debut, seeing off Morocco (28).The first World Cup after the dissolution of the USSR featured the first appearance by a unified German team and arguably the tournament's most iconic underdog moment, when a header by Yordan Letchkov secured Bulgaria's (29) victory over top-ranked Germany (1) in the quarter-finals. Bulgaria enjoyed a strong competition overall, including beating Argentina (8) in the group stages and a surprise round of 16 win against Mexico (16) in a penalty shootout.France 1998: Upsets All the Way

Escalating Settler Campaign Displaces Palestinian ShepherdsMukhlis Masa’id of Khirbet Yarza has endured three years of mounting settler aggression that culminated in the exodus of about 100 Palestinians from the village in March 2026. The attacks, which began to intensify in October 2023, have targeted crops, homes, and the grazing lands that sustain the community.Coordinated Attacks on Khirbet Yarza and Neighboring VillagesEarly 2026: Residents gathered surviving livestock and abandoned the village after near‑daily assaults.April 15, 2026: Settlers, backed by 12 Israeli military vehicles, stormed a livestock pen in Jifna, stole 180 head of cattle and shot a neighbour.January 27, 2026: Settlers stole 300 head of livestock in the Masafer Yatta area.Since 2023, settlers have destroyed crops, attacked tractors, and seized grazing lands across Area C and parts of Area A.Livestock Losses and Humanitarian StatisticsEstimated loss for one farmer: 450,000 shekels (≈$150,000).FAO 2025 report: 2/3 of 72,000 farming families in the occupied West Bank need emergency aid.OCHA data: Monthly violent incidents rose from 2 per month in 2020 to 27 in the first four months of 2026.Livestock numbers have fallen from 1.75 million four years ago to 480,000 today.87% of the West Bank livestock sector is concentrated between Masafer Yatta and the Jordan Valley, most of which lies in Area C.Erosion of Palestinian Agricultural Livelihoods and Food SecurityThe systematic intimidation aims to drive entire farming communities off their land, undermining a way of life that has persisted for centuries. With more than 90% of the land between Masafer Yatta and the Jordan Valley off‑limits to Palestinians, settlers enjoy unrestricted grazing while locals face loss of income, disease‑ridden animals, and deteriorating food security.Experts warn that without support, Palestinians may be forced to purchase sacrificial animals from settlers who are protected by the Israeli army, further entrenching economic dependency.Outlook: Growing Humanitarian Crisis Without International InterventionAbbas Melhem of the Union of Palestinian Agricultural Associations cautions that the region is "on the brink of collapse in food security" for both plant and animal sectors. Continued settler aggression and lack of protection could accelerate the decline of livestock and agricultural output, prompting a deeper humanitarian emergency unless the international community steps in.

The Lead Sophie Green's photography exhibition, 'Tangerine Dreams: Rituals of Belonging in Contemporary British Life', showcases her vibrant and colorful captures of the British seaside, highlighting the joy and sense of community that comes with it. Sophie Green's Seaside Inspiration Green's love for the seaside stems from her childhood experiences visiting her grandfather in Pembrokeshire. She finds the seaside to be a space that unlocks the connection to nature, inspiring freedom and fun. The seaside environment, with its bright colors and playful atmosphere, is a perfect setting for her photography. The Data Analysis Green's project began during the Covid lockdown, when she started photographing people at the seaside. She has since returned to the project every summer, capturing the essence of the British seaside and its people. Her work highlights the diversity and richness of British society, showcasing subcultures and communities that are often overlooked. The Impact Analysis Green's photography has a significant impact on how we perceive the British seaside and its culture. Her work challenges the mainstream social narrative, presenting a more nuanced and multifaceted view of British society. By capturing the vibrant colors and joy of the seaside, Green's photography encourages us to appreciate the beauty in everyday life. The Prediction As Green's exhibition continues to showcase her work, it is likely that her photography will inspire a new generation of artists and photographers to explore the British seaside and its culture. Her work will continue to challenge our perceptions and encourage us to appreciate the beauty in everyday life.

The Lead After a decade leading the National Theatre, director Rufus Norris reflects on life after leaving the prestigious institution. The acclaimed theatre artist discusses his new production of Arthur Miller's "Death of a Salesman" in Istanbul and the personal freedom he's discovered in stepping away from the spotlight. A New Chapter: Post-National Theatre Life Norris's tenure at the National Theatre concluded in 2025, coinciding with several significant personal milestones: the loss of his mother, turning 60, and completing a decade at the helm of one of Britain's most prestigious cultural institutions. "It felt important to have a complete break," Norris explains, noting his transition involved DIY projects, kayaking, and a house move. "I'm a bit of a workaholic, but I'm also a bird of simple brain so I can as easily lose myself in how to build a shed or do up a place." Istanbul Venture: Death of a Salesman Norris's first major project after leaving the NT is directing a Turkish-language production of Arthur Miller's "Death of a Salesman" at Istanbul's Zorlu Performing Arts Centre. The opportunity arose serendipitously when Norris was teaching a workshop at the venue, and general manager Filiz Ova approached him to direct the play in the complex's largest space, which seats 2,300 people. "We had been thinking of doing this play for several years and it had never been done at Zorlu PAC," Ova explains, noting her admiration for how Norris connects with people. Creative Collaboration Across Cultures The production features a hybrid creative team blending international and Turkish talent. Set designer Es Devlin, Olivier award-winning choreographer Javier de Frutos, renowned Turkish composer Oğuz Kaplangı, and Turkish deputy director Balım Kar join forces for this ambitious project. The casting includes Turkish national mega-stars: Halit Ergenç (known for "Magnificent Century") as Willy Loman, Zerrin Tekindor as Linda Loman, with Fatih Artman and Kerem Arslanoğlu as their sons. The play features English surtitles to accommodate non-Turkish speakers. Personal Connection to Miller's Masterpiece Norris found a profound personal connection to Miller's exploration of a man abandoned in childhood, striving for acceptance, and experiencing early dementia symptoms. This resonated deeply with Norris, whose mother lived with vascular dementia for years before her death. "My mum went through a very long process of decline. She hadn't recognised me for three years before she died," he shares. For Norris, the play presents "the tragedy of that human condition alongside the toxic illusions of America's capitalist dream." Freedom from the Spotlight Norris embraces his new life with a sense of liberation, particularly enjoying the freedom from the intense scrutiny that came with his NT position. "I like not having that focus on me. It's a relief... I'm irrelevant," he admits. "There's no point in thinking: 'Why aren't I important any more?' The culture moves on and it has to move on. That's how it stays healthy and relevant." He now resides in Fife, Scotland, with his partner, playwright Tanya Ronder, finding contentment in a simpler existence. Artistic Reawakening Having primarily focused on plays for the past two decades, Norris is now broadening his reading habits, exploring novels and history books. "I've got time and space finally to think, 'Oh that looks interesting,'" he explains. "You have to train yourself to actually lose yourself in a novel or nonfiction work when every 45 minutes your brain goes 'Oh surely I should be having a meeting or doing something else'." This renewed intellectual freedom is feeding his creative spirit as he considers future projects. The Future of Theatre Without Institutions Norris rejects the notion of needing to reinvent himself or seek a new institutional position. "There's nowhere like the National so you can't go beyond that. I don't have any ambition to run another building," he states. Instead, he's finding fulfillment in the creative process itself, unburdened by administrative responsibilities. "It's really about what's going to make me feel alive and engaged and content," he concludes, suggesting a new model for artistic leadership that prioritizes creative freedom over institutional power.

The Return of Joy in Women's FootballIn an era where football has become increasingly serious and analytical, the World Sevens Football tournament offered a refreshing reminder of the sport's primary purpose: fun. For three sun-kissed afternoons by the Thames, this end-of-season seven-a-side women's football tournament provided the perfect antidote to the depressingly serious elements of the modern game, focusing on goals, laughter, and entertainment rather than VAR controversies or financial fair play regulations.The World Sevens Tournament: A Celebration of FootballThe third edition of World Sevens Football, featuring eight English teams, culminated in an 11-goal thriller final won by Chelsea. The tournament format allowed flair players such as Manchester United's Melvine Malard and Jess Park to thrive, showcasing their stepovers and lethal finishing. Chelsea's Aggie-Beever-Jones emerged as the top scorer with eight goals, demonstrating her clinical finishing ability against defenders. Teams also embraced the entertainment aspect with meticulously prepared walk-on routines, ranging from the hilarious to the bizarre. Everton's players pretended to give birth, Chelsea manager Sonia Bompastor was carried onto the pitch by her players, and Manchester United's head coach Marc Skinner made an entrance in a dressing gown. Even the referees participated in the festivities with their own walkout routine.Financial Impact and Fan EngagementThe tournament delivered significant financial benefits to women's football, with $500,000 (£372,000) awarded to the winners. This injection of capital is particularly valuable for a sport that often struggles for funding. Fan engagement was equally impressive, with a sold-out crowd of 3,000 attending Saturday's final. One clip on Dazn's Instagram featuring Beever-Jones's amusing walk-on garnered over 11 million views, demonstrating the tournament's ability to expand the reach of women's football beyond traditional audiences. Jennifer Mackesy, a co-founder of World Sevens Football, expressed her delight with the fan response: "The response from fans in London has blown us away."Challenging Conventions in Women's FootballThe tournament's entertainment-focused approach sparked debate within the women's football community. Some observers, perhaps mistaking the event for the World Cup final, expressed annoyance on social media about players not acting in a "serious" manner. One X user wrote: "Organisers of this have genuinely set them back years." Another commented: "Unfortunately, women's football won't ever be taken seriously." Even respected figures in the women's game were critical, with former Everton women's manager Andy Spence responding to a viral video of Everton's players acting out a mock funeral by writing: "What is going on? The Women's game has made such progress but these 'tournaments' and the narrative around them are threatening the integrity & hard work people have put in to make the Women's game be accepted by a wider audience. Please stop. Embarrassing."The Future of Entertainment in Women's FootballDespite the criticisms, the World Sevens Football tournament demonstrated several crucial benefits for women's football. It broadened teams' reach through social media exposure, brought much-needed investment into the sport, and attracted new fans. The tournament also provided light relief to players after a gruelling season, allowing them to express themselves in football's "purest form." While the event is not without its challenges—inequitable facilities for different teams and injuries to players like West Ham's Tuva Hansen and Manchester United's Phallon Tullis-Joyce—the engagement from broadcast partners Sky Sports and Dazn suggests this format has a bright future. As women's football continues to grow, events like the World Sevens may play an important role in diversifying the sport's appeal and finding new ways to engage audiences while maintaining the competitive spirit that makes football compelling.

The Lead The next chapter of Marcus Rashford's dysfunctional relationship with Manchester United may involve a long summer waiting to discover where he plays next season. A state of limbo for a forward expected to start England's World Cup opener against Croatia on 17 June in Dallas is an unusual predicament. Barcelona's Title Clinching Performance Yet this is the latest juncture in a period of career uncertainty that began when the former head coach Ruben Amorim excluded Rashford from his first-team plans. That was in December 2024, loans at Aston Villa and Barcelona followed, and Rashford is still looking to put down roots, perhaps in Catalonia, something he may well have expected to transpire after scoring a free-kick against Real Madrid that proved pivotal in Barcelona's La Liga-clinching victory earlier this month. Financial Complications in Potential Transfer Having enjoyed a generally successful spell under Hansi Flick last season, Rashford's stated preference would be to sign permanently for Barcelona. "I am not a magician but if I was, I would stay," he said after scoring against Real on 10 May. "We will see." The problem is Barça's interest in the 28-year-old is opaque. Anthony Gordon's £69m arrival from Newcastle last week confuses the picture further given he, too, is a left-sided attacker. And if Barcelona want Rashford at all it seems it would again only be on a temporary basis. United, meanwhile, would insist on a £26m permanent fee as they attempt to make money on a player reared in their academy before his contract expires in May 2028. Behind the Transfer Saga The answer to why the price is low for a footballer in his peak years offers a clue to the whole saga: behind the sum is Rashford's £17.5m a-year salary, or the total £35m left to pay on his current terms. United want to offload the cost of the high wage. If Rashford is loaned again, the recruiting club will have to cover all or most of the cost. A permanent transfer will, too, surely feature a raise. As things stand, Barcelona do not appear minded to make any move for Rashford permanent. Potential Destinations Beyond Barcelona What are Rashford's other options? With the caveat of never saying never, there seems no way back for him at United, despite Amorim's departure and the appointment of Michael Carrick as his permanent successor. The lad from Wythenshawe remains firmly persona non grata for Sir Jim Ratcliffe, United's minority owner and controller of football policy, as well as for his senior management team: Jason Wilcox, the director of football, and Omar Berrada, the chief executive. When Rashford's loan move to Villa ended last summer, his aim was to join a Champions League-qualified club but not one in London. If this position has changed, Arsenal may be a potential destination. Mikel Arteta would surely categorise Rashford as an upgrade on Leandro Trossard and Gabriel Martinelli as a left-sided attacking option for the Premier League champions. Rashford's ability to operate at No 9 would also offer a further permutation there, alongside Kai Havertz and Viktor Gyökeres. The same holds at Liverpool, where Cody Gakpo is Liverpool's only senior left-sided option and whose output last season was, at best, middling. If they came calling, would Rashford's disaffection with United prove searing enough for him to ignore tribal loyalties and move to Anfield? Villa, too, may be a desirable destination – Rashford lit up Unai Emery's side when there, especially in the Champions League – while another move abroad also remains a possibility. Paris Saint-Germain have been admirers, albeit it feels unlikely the two-time Champions League winners would move for Rashford given they have the world-class Khvicha Kvaratskhelia operating on the left-hand side of their attack. At Bayern Munich, meanwhile, Luis Díaz is established in the position and at Real Madrid there is Vinícius Júnior. World Cup as Career Turning Point Rashford's next destination is likely to become clearer when the transfer window opens on 15 June but maybe only slowly due to the complexities of his situation, the different agendas of different parties and the World Cup, which should be Rashford's prime focus. United could stymie any deal not deemed desirable to them. But Rashford could also refuse any move he does not want. Assessing this fraught dynamic is a cast of admirers who may well want to add a player who helped Barcelona retain the La Liga title but wonder if they can actually afford him. Rashford remains an enigma. A return of eight goals and nine assists in La Liga last season was a relatively modest return and may explain Barcelona's caution regarding a permanent deal for him. This may change. Imagine, for instance, an England World Cup campaign lit up by Rashford. In this scenario, a £26m fee plus a high-end salary may seem cut-price.