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On 23 June 2016, the United Kingdom’s electorate shifted from party‑centric voting to a binary choice between staying in or leaving the European Union. A decade later, about 60 % of the population still define themselves by the side they chose in that single referendum, turning a one‑off political decision into a lasting personal identity.While analysts often focus on the policy fallout—economic turbulence, party infighting, and shifting trade relations—the real impact runs deeper. The referendum ignited a civil‑war‑like split that continues to shape elections, media narratives, and everyday conversations across the country.Before the global upheavals of the George Floyd protests and the Covid‑19 vaccine rollout, Brexit was Britain’s most potent form of identity politics. It spawned new media outlets, such as GB News, and programmes like The Rest Is Politics, while also marginalising older cultural tropes like the “centrist dad” or “gammon” heckler on Question Time. Figures such as Nigel Farage and Zack Polanski now occupy the political fringe rather than the mainstream.The analysis draws on the new book Tribal Politics: How Brexit Divided Britain by political scientists Sara Hobolt and James Tilley. Their longitudinal surveys reveal a simple yet striking pattern: the referendum transformed a previously lukewarm public attitude toward the EU into a powerful, identity‑based habit.Prior to 2016, most Britons held only a mild Euroscepticism and gave the EU little thought. Even former Prime Minister David Cameron tried to silence the issue in 2006, believing it failed to engage voters. The sudden elevation of a niche concern to a national obsession forced ordinary citizens to pick a side, discuss it in pubs, and embed it into their self‑image—a process James Clear describes as building “identity‑based habits”.Data from Hobolt and Tilley show that emotional attachment to the Brexit identity was modest before the vote, rose sharply as the referendum approached, and surged dramatically after the result was announced. The post‑vote period saw a flood of EU‑themed merchandise, street rallies, and even flag‑clashes at cultural events such as the 2017 Last Night of the Proms.Crucially, the tribal divide has not faded. By 2025, only around 40 % of “Leavers” feel comfortable discussing politics with “Remainers”, and the sentiment is reciprocated. This goes beyond mere disagreement; it reflects a level of social discrimination where individuals on opposite sides would hesitate to share a home or marry into each other’s families.The authors note that the split now extends to perceptions of reality itself. Even in 2024, Remainers and Leavers disagreed on basic economic indicators, illustrating how the referendum reshaped not just policy preferences but fundamental worldviews.Class‑based voting, which dominated the 20th‑century British political landscape, has been largely supplanted by this new cultural cleavage. A previous study co‑authored by Tilley showed that the Labour Party’s turn toward the political centre in the 1990s eroded traditional working‑class loyalty. Today, leader Keir Starmer’s working‑class credentials appear largely symbolic, offering little substantive change.With class politics receded, culture wars have taken centre stage. The Brexit campaign’s vague promises about trade left the nation with a protracted, messy adjustment period. Immigration, famously dubbed the “baseball bat” issue by Dominic Cummings, remains the most polarising policy divide, followed by foreign aid and even the death penalty.Hobolt and Tilley’s most striking chart shows that while Remainers and Leavers clash over immigration, they share little disagreement on economic equality, workers’ rights, or public ownership—issues that directly affect household incomes. This suggests that the political battle is driven more by symbolic identity than by material concerns, benefitting those already financially secure.In sum, the United Kingdom’s post‑Brexit reality is one of entrenched tribalism, where a single referendum has reshaped social bonds, political discourse, and perceptions of truth itself. The nation continues to grapple with the legacy of a vote that turned a policy decision into a lasting cultural fault line.

In a night that felt more theatrical than competitive, Paris Saint‑Germain secured a 2‑0 victory over Liverpool at the Parc des Princes, leaving the English champions questioning their own identity ahead of the second leg.While Liverpool’s players showed resilience by refusing to abandon the fight, the result underscores a deeper issue: the team has lost five of their last eight matches and currently sits fifth in the Premier League, just three points clear of Everton in eighth place. The margin is razor‑thin and the pressure is mounting.PSG’s performance was a masterclass in flair and efficiency. Their first goal set the tone, but it was the second strike at the 66‑minute mark that captured headlines. Georgian winger Khvicha Kvaratskhelia received a swift pass from João Neves, surged past two Liverpool defenders with remarkable balance, evaded Ryan Gravenberch’s challenge, and finished with a composed right‑footed shot that left the Anfield side scrambling.The goal highlighted PSG’s technical edge: their movement was fluid, their ball control assured, and their finishing clinical. In contrast, Liverpool’s pressing strategy, orchestrated by manager Arne Slot, appeared tentative. Slot’s early enthusiasm has given way to a more nervous demeanor, as reflected in his subdued sideline presence.Beyond the scoreline, the match exposed Liverpool’s structural deficiencies. The team’s lack of a clear pattern and the absence of a recognizable “Liverpool goal” raise questions about the effectiveness of Slot’s tactical overhaul, often dubbed “Slot 2.0”.Adding to the narrative, midfielder Dominik Szoboszlai walked off the tunnel alone, a symbolic gesture that contrasted sharply with the collective pursuit of the manager by his teammates. The moment, while minor, hinted at a growing disconnect within the squad.PSG’s dominance was not limited to the goals. Their pre‑match spectacle—flashing lights, dramatic sound cues, and a flamboyant PA announcer—set a tone of confidence that translated onto the pitch. The French side’s control of possession and spatial awareness suggested they could have added another goal with more ruthless finishing.For Liverpool, the defeat is a sobering reminder of the challenges ahead. After a heavy loss to Manchester City in the FA Cup, the Reds entered Paris with evident apprehension. The 2‑0 result, while disappointing, may serve as a catalyst for introspection before the return leg at Anfield.Looking forward, the upcoming fixture at Anfield will test whether Liverpool can summon the “deep Anfield voodoo” that fans often cite as a turning point. The stakes are high: a positive result could revive their European ambitions, while another setback may cement doubts about their season trajectory.

The UK government announced legislation that will protect disabled claimants from an automatic reassessment of benefits when they begin paid employment or volunteering. The measure, dubbed the “right to try”, is slated to take effect at the end of April and aims to remove the fear of losing financial support that many say discourages job‑seeking. Minister for Social Security and Disability Sir Stephen Timms framed the policy as a reassurance for people “stranded in the benefits system”. He emphasized that the change also extends to volunteering, which he described as a vital stepping‑stone toward sustainable employment. The new rules will apply to recipients of Employment and Support Allowance (ESA), Personal Independence Payment (PIP) and the health element of Universal Credit. Under the current system, taking up work can trigger a reassessment that often leads to reduced or withdrawn support, a risk that has deterred many disabled individuals from seeking employment. Disability advocates welcomed the development but cautioned that it does not tackle the deeper obstacles faced by disabled job‑seekers. James Taylor, a director at the charity Scope, called the policy “a step in the right direction” but warned that “the odds are stacked against disabled people when it comes to finding suitable work”. He urged the government to fund personalised employment support and to halt further benefit cuts. Research from the flexible‑working nonprofit Timewise underscores the challenge: only 2.5% of long‑term sick or disabled individuals who are economically inactive manage to return to work each year, and more than half of those jobs last fewer than four months. Mikey Erhardt of Disability Rights UK highlighted that a secure “right to try” is essential to ensure that anyone who tries work can retain the same level of support if the venture fails. Critics also noted that the announcement coincides with a controversial reduction to the health element of Universal Credit, which will be halved for new claimants and frozen unless stricter eligibility criteria are met. Timms acknowledged the pressure this creates, saying the previous system forced people to prove they were “too unwell to work”. Campaigners fear the simultaneous cuts will exacerbate financial strain for disabled claimants already navigating an uncertain labour market. Erhardt warned that “hundreds of thousands of disabled people will experience yet another cut in living standards”, arguing that successive governments have treated social security more as a coercive tool than a safety net.

Djibouti, a country with a population of less than a million people and no significant natural resources, has become a crucial hub for foreign military bases. The nation's strategic location at the entrance to the Red Sea, a vital maritime chokepoint through which roughly 12 percent of global maritime trade passes daily, has made it an attractive location for global powers.The country's President, Ismail Omar Guelleh, has leveraged Djibouti's strategic importance to advance his own aims, welcoming bases from the US, China, France, Japan, and Italy. These countries pay significant fees for the privilege of hosting their bases, with the US paying $65 million annually, France $30 million, China $20 million, and Italy and Japan over $3 million each.The Bab-el-Mandeb strait, a narrow corridor barely 30 kilometers wide, is a critical passage for global trade and communication cables. The region's instability, particularly with the US and Israel at war with Iran, has heightened Djibouti's importance. Federico Donelli, author of 'Power Competition in the Red Sea,' notes that Djibouti sits at the center of many global interests, including trade, shipping, and fiber optic connectivity.Djibouti's base-for-cash model is part of a broader development strategy, including significant infrastructure investment from Chinese firms and a new railway linking landlocked Ethiopia to the coast. However, the country's economic benefits have not trickled down to its citizens, with official unemployment near 40 percent and over one in five people living in extreme poverty.The opposition leader, Daher Ahmed Farah, has criticized Guelleh's rule, stating that the country's strategic position and hosting of military bases have not benefited the Djiboutian people. The US embassy has warned Americans to avoid areas near Camp Lemonnier, citing threats against US interests, while Finance Minister Ilyas Dawaleh has expressed concerns about the Iran war risks pushing Djibouti into deeper economic uncertainty.

The Guardian is calling on readers to share their personal stories of how they have been impacted by the ongoing conflict in the Middle East. With Iran and the US agreeing to a two-week conditional ceasefire, the situation remains volatile and uncertain.Whether you are living, working, or traveling in the region, or have been impacted in other ways, the Guardian wants to hear from you. Your experiences can help provide a deeper understanding of the human impact of the conflict.Please note that your security is the top priority. The Guardian recognizes it may not always be safe or appropriate to record or share your experiences, so please consider this when deciding whether to get in touch.To share your story, you can:Fill out the online form provided, which is encrypted and confidential.Message the Guardian on WhatsApp or Signal at +447766780300.The Guardian assures readers that all responses will be kept secure and anonymous if desired. The information collected will only be used for the purpose of this feature and will be deleted when no longer required.Key form fields include:NameLocationBackground information (optional)Country locatedPersonal experience with the conflictPhoto upload (optional)Publication consentContact details (optional)For more information, readers can visit the Guardian's tips guide or privacy policy.

Copenhagen returns to the London stage under Michael Longhurst’s direction at Hampstead Theatre, a timing the reviewer calls “terrifyingly timely.” The three‑hander dramatizes the 1941 encounter between Danish physicist Niels Bohr (played by Richard Schiff) and German scientist Werner Heisenberg (Damien Molony), set against the looming threat of Hitler’s nuclear ambitions. The production draws unsettling parallels to contemporary politics, invoking Donald Trump’s recent threats toward Iran as a modern echo of the era’s extremist rhetoric. This resonance, the reviewer notes, amplifies the play’s relevance alongside the theatre’s downstairs offering, ROI (Return on Investment), which also interrogates the morality of scientific discovery. Visually, Joanna Scotcher’s set is a striking, non‑realist circle surrounded by water—a subtle nod to the “heavy water” used in Nazi nuclear research and a poignant reminder of the personal tragedy that befell one of Bohr’s sons. The second half’s dense scientific dialogue is rendered accessible, though the reviewer argues it sometimes falls short of fully unpacking the deeper metaphors embedded in the science. Performance-wise, the age gap between Bohr and Heisenberg (Bohr being sixteen years senior) hampers the on‑stage chemistry. Schiff’s portrayal of the seasoned Bohr occasionally stumbles over lines, while Molony’s Heisenberg comes across as a brooding, almost adolescent figure. In contrast, Alex Kingston’s turn as Bohr’s wife and editor, Margrethe, provides the emotional core, shouldering much of the play’s affective weight. Thematically, the drama wrestles with the question of whether scientists bear a moral duty beyond their research. Heisenberg’s famed uncertainty principle is employed as a metaphor for the psychological ambiguity surrounding their historic meeting. Yet the script conspicuously omits any direct reference to the bombings of Hiroshima and Nagasaki, focusing instead on the fear of a Nazi atomic weapon and sidestepping the United States’ own nuclear legacy. While the production boasts compelling aesthetics and a thought‑provoking premise, the reviewer finds moments of sluggish pacing and a missed opportunity to confront the irony of overlooking the U.S. bombings, especially as contemporary concerns about American military assertiveness rise. The show runs at Hampstead Theatre, London until 2 May.

The recent Artemis II mission, which sent astronauts to the far side of the moon, has sparked reflection on the dual implications of space travel. US astronaut Christina Koch encapsulated the profound appreciation for Earth that comes from experiencing it from space, echoing sentiments expressed by earlier space travellers.The Earthrise photograph from the Apollo 8 mission in 1968 is often credited with galvanizing the environmental movement. Similarly, journeys like Artemis II are hoped to foster global cooperation and a deeper appreciation for life. However, the current landscape of space exploration is complicated by the involvement of tech billionaires like Jeff Bezos and Elon Musk and the emerging post-terrestrial geopolitical battle between the US and China.There is a growing concern that the £100bn Artemis programme could divert attention and resources away from solving pressing environmental issues on Earth. This concern is particularly pertinent given that the US withdrew from the Paris climate agreement in the same year as the mission. The pursuit of space exploration must be balanced with the imperative to address ecological limits and protect the planet we currently inhabit.Despite these challenges, the unquenchable human curiosity and scientific value of space travel should not be dismissed. The Artemis II launch was made possible by a rare display of bipartisan support for NASA in Congress. The achievements of the scientists, astronauts, and support teams are a testament to the positive aspects of space exploration.The mission to the moon's dark side, while not a solution to the world's problems, represents a significant scientific and exploratory milestone. The crew has seen more of the moon and travelled further from Earth than anyone before them. As the world watches their return and landing in the Pacific Ocean, it's clear that space exploration continues to captivate and inspire, even as it poses complex questions about our priorities and responsibilities.

The recent Winter Olympics in Milano Cortina showcased the thrilling use of high-speed camera drones, bringing viewers up close to the action. However, this technology has a darker side, as it is also being used in the US military's drone strikes in Iran. The seamless transition from drone-supplied footage of Olympic excellence to drone-supplied footage of war crimes has felt genuinely jarring. The connection between drone racing and drone strikes is not coincidental. Professional drone racing emerged around a decade ago, with the Drone Racing League (DRL) being a prominent competition. The US air force was a longtime sponsor of the DRL, using the competition as a scouting ground to recruit new pilots. The league's emphasis on high-speed, first-person view drones has contributed to the development of technology now used in military contexts. The current conflict in Iran highlights a disturbing trend: the militarization of sports culture. The Trump administration's approach to the war, including the use of Hollywood and gaming imagery in its videos, reflects a broader cultural shift. The US military's actions are being presented as a form of entertainment, with two-minute video montages of "stuff blowing up" being used to brief the president on the war's progress. This phenomenon is not limited to the administration; the language of sports is increasingly being used in discussions of war. Politicians like Marco Rubio and Pete Hegseth are using sports-like terminology to describe military actions, reflecting a degeneration of language in global diplomacy. The Trumpian trash talk has degraded the discourse, with the president's tweets about the war being characterized by their usual boorishness. The article concludes that the culture of sports is central to the chaos unfolding across the Middle East. The blurring of lines between war and sport reflects a deeper societal issue, where the values of competition and entertainment are taking precedence over human life and dignity. As the world teeters on the edge of a military and economic catastrophe, the need for a more nuanced understanding of the relationship between sports, technology, and warfare has never been more pressing.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.