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Dame Carole Jordan, who has died aged 84, was a prominent figure in astrophysics, celebrated for her groundbreaking research on the outer atmosphere of the sun and other cool stars. Her contributions to the field have left a lasting impact, and her legacy extends beyond her scientific achievements as a champion for women in science.Jordan's fascination with astronomy began at a young age, inspired by books from authors like Arthur Eddington and Fred Hoyle. She pursued her passion for astronomy at University College London, where she was interviewed by CW Allen, professor of astronomy, and offered a place. Her academic journey led her to become a leading expert in ultraviolet spectroscopy of the sun and other stars.In 1962, a rocket-borne experiment led by US astronomer Richard Tousey measured the EUV spectrum of the sun, discovering a dozen unidentified emission lines. Jordan dedicated her research to understanding these lines, eventually becoming the world expert on the subject. Her 1965 PhD thesis, Analysis of the Solar Ultraviolet Spectrum, concluded that several lines were due to transitions in highly ionized iron.Jordan's most-cited paper, The Ionization Equilibrium of Elements Between Carbon and Nickel, published in 1969, laid out the ionization equilibrium as a function of temperature for the main ionized states of common heavy elements. This work became a definitive guide to EUV spectroscopy. The launch of the International Ultraviolet Explorer (IUE) in 1978 enabled her to extend her analyses to other stars, solidifying her position as an expert on the chromospheres of cool stars.Jordan's achievements extended beyond her scientific contributions. In 1994, she became the first female president of the Royal Astronomical Society, a testament to her dedication to promoting women in science. She was also a staunch supporter of the Royal Astronomical Society, serving as secretary and vice-president of the Institute of Physics.Throughout her career, Jordan received numerous accolades, including the RAS's gold medal in 2005 and being made a dame in 2006. Her legacy serves as an inspiration to future generations of scientists, particularly women, to pursue careers in STEM fields.

On a surprisingly quiet evening at Wembley, England’s 1-0 defeat to Japan unfolded in a half‑hour that was more ceremonial than competitive. The opening thirty minutes were fluffy and formless, offering little in the way of decisive play but plenty of clues about the team’s underlying issues.For manager Thomas Tuchel, the concession of the opening goal will likely linger in post‑match analysis sessions. The loss adds another chapter to what critics describe as the “never‑ending story of England footballdom,” where each friendly serves as a diagnostic test rather than a showcase of progress.Injuries and omissions forced Tuchel to field a makeshift side featuring Phil Foden, Morgan Rogers, Cole Palmer and Kobbie Mainoo. The line‑up lacked traditional power runners and aerial threats, resembling a “false nine” formation that felt experimental but ultimately failed to generate a clear tactical identity.Japan’s solitary goal came after Palmer lost possession in an attacking area, leaving a void that England’s midfield could not fill. The Japanese attack exploited the space, threading a pass through the centre of England’s formation and scoring with ease. The goal underscored England’s lack of pressure and positional awareness in the defensive third.Despite the disappointment, the match offered a glimpse of individual talent. Harry Maguire and Dan Burn were deployed on set‑pieces, and Jude Bellingham remained an unused asset, highlighting the depth of options available for the upcoming World Cup.Atmospherically, the match resembled a village fête more than a high‑stakes international fixture. Pre‑match entertainment featured a medley of music, fireworks and quirky performances, creating a backdrop that contrasted sharply with the on‑field performance.Analysts noted that England’s approach felt like an attempt to dress up “borrowed tactical clothes” rather than a coherent game plan. The lack of a defined structure left the side vulnerable to Japan’s disciplined, technically sound play.Looking ahead, Tuchel now faces the task of reconciling his experimental selections with the need for a pragmatic, battle‑ready squad. The friendly serves as a reminder that, while England possesses individual brilliance, the team must resolve its tactical ambiguities if it hopes to contend seriously for the 2026 World Cup.

England's World Cup preparations took a hit with a dismal 1-0 defeat to Japan, with Harry Kane's absence from the squad being keenly felt. Coach Thomas Tuchel experimented with various formations and players in Kane's absence, but the team struggled to create scoring opportunities.Tuchel deployed a fluid front four consisting of Phil Foden, Cole Palmer, Morgan Rogers, and Anthony Gordon against Japan, but the system failed to yield the desired results. The lack of creativity and goal-scoring threat without Kane was evident, raising concerns about England's reliance on their captain for goals this summer.“Why would Argentina not rely on Messi or Portugal on Ronaldo?” Tuchel said, highlighting the importance of key players to top teams and nations. He emphasized that Bayern Munich and no other team in the world have the same threat without Kane, underscoring his influence on the team.Tuchel, who was also without several key players including Jude Bellingham, Declan Rice, John Stones, Reece James, and Bukayo Saka, tried different approaches in recent matches. Despite the challenges, he expressed confidence that England can win games without Kane, but acknowledged that having him makes it “easier to win matches.”The coach reiterated that he is not looking for a second Harry Kane, as there is no replacing the influential striker. Tuchel stated that Kane's absence disrupts not only the team's on-field performance but also the squad's dynamics, given his role as captain and a key personality.Tuchel's comments suggest that England's World Cup prospects are heavily dependent on Kane's form and availability. The team's performance in their final camp before the World Cup has given Tuchel “more clarity” over his 26-man squad selection, but the absence of Kane and other key players has raised concerns about their readiness for the tournament.

Within its opening weekend on Netflix, Peaky Blinders: The Immortal Man attracted over 25 million streams, outpacing all other titles that week despite already enjoying a UK cinema run and a high‑profile red‑carpet premiere at Birmingham’s Symphony Hall.Banijay Entertainment, a co‑producer of the film, capitalised on the buzz by launching an official Peaky Blinders merchandise store, underscoring how streaming services are now flipping the classic content pipeline—moving from streaming to the big screen rather than the reverse.Beyond promotional stunts, these theatrical forays are becoming a strategic revenue stream and franchise‑building tool. Shows such as Stranger Things, KPop Demon Hunters and The Mandalorian are being repackaged for cinemas, offering fans a premium, event‑style experience that streaming alone cannot replicate."Cinema still creates anticipation, hype and a sense of scarcity that streaming platforms struggle to match," explains Ben Woods, analyst at MIDiA Research. Historically, Netflix limited theatrical releases to qualify films like The Irishman for awards, but the current focus is on monetising proven intellectual property across both mediums.The success of Peaky Blinders—a series with a built‑in audience—demonstrates the model’s viability. Lead actor Cillian Murphy, who also produced the film, described the release as "one for the fans," signalling the intent to reward loyal viewers.Netflix’s own experiment with KPop Demon Hunters proved lucrative: limited theatrical screenings across two weekends generated more than $24 million (£18 million) at the box office and helped the animated musical secure two Academy Awards for Best Animated Feature and Best Original Song.Co‑CEO Ted Sarandos highlighted that the film’s triumph stemmed from its initial Netflix debut, which fed the theatrical audience via the platform’s recommendation engine. While a sequel is slated to follow the same streaming‑first rollout, the Peaky Blinders movie’s cinema‑first launch shows that release strategies remain flexible.Industry observers note that gaps in the traditional release calendar give streaming services opportunities to fill weekends with original content, a tactic Netflix is actively exploiting.Major studios are also blurring the line between streaming and cinema. Disney, for example, transformed its hit Disney+ series The Mandalorian into a feature film, reflecting a broader push to bring Star Wars stories back to theatres.Adapting episodic narratives for the big screen presents creative challenges. As Ben Woods asks, should a film cater primarily to dedicated fans familiar with the series, or aim for a stand‑alone appeal that attracts a wider audience?Fan reaction to The Immortal Man has been mixed on the Peaky Blinders subreddit, with some critics questioning the decision to condense a season‑long arc into a single film. Nonetheless, the movie enjoys a strong critical consensus, holding roughly a 90 % fresh rating on Rotten Tomatoes.Looking ahead, Netflix announced on 20 March that two new post‑war seasons of Peaky Blinders are in development, raising the question of how soon the next installment might receive a cinematic spin‑off.

Netflix’s fourth season of “Love on the Spectrum” returns this week, following a group of neurodivergent young adults as they navigate the challenges of dating. Unlike mainstream formats such as “Love is Blind” or “Love Island,” the series prioritises genuine connection over drama and commercial incentives. The new lineup blends familiar faces with fresh participants. Logan, a 25‑year‑old from Las Vegas, shares his simple pleasures—Hannah Montana, model‑train crash videos and cheesecake—while preparing for his first date with Hailey under the guidance of autism specialist Jennifer Cook. Their interaction underscores that the anxieties of a first date—wondering if you’ll be liked, what to wear, or what to talk about—are universal. Returning contestant Madison, now 27, moves to Florida to be closer to her partner Tyler, celebrating their first Valentine’s Day together with a country‑song serenade titled “Livin’ on Love.” Meanwhile, Connor, 26, wrestles with mixed signals from his girlfriend Georgie, rehearsing a picnic of finger sandwiches with his mother’s coaching. Another storyline follows Emma, a 22‑year‑old Mormon college student, whose family encourages her to embrace her authentic self rather than conform to expectations—a sentiment the reviewer suggests many viewers could adopt. The programme is positioned as a nostalgic reminder of early‑2000s reality TV, which often framed itself as a “social experiment.” Shows like the original “Queer Eye” and “The Simple Life” highlighted common ground among diverse participants. Over the past two decades, however, the genre has gravitated toward heightened conflict, exemplified by the 2004 “Wife Swap” showdown and the recent “The Bachelorette” season 22 cancellation amid domestic‑violence allegations. In this climate, “Love on the Spectrum” stands out as a life‑affirming alternative that proves reality television can still be kind. At its core, the series reveals a paradox: neurodivergent participants often approach dating with a refreshing candor, unburdened by the performative pressures that affect many neurotypical daters. Emma, for instance, openly shares a Donald Duck impression on a first date and honestly admits when she sees no future with a partner, avoiding the common “ghosting” pitfall. By spotlighting these authentic moments, “Love on the Spectrum” not only entertains but also challenges the prevailing narrative that reality TV must be sensationalist. It suggests that, with the right framing, the genre can celebrate genuine human connection.

The Bauhaus movement, renowned for its revolutionary approach to art and design, also played a pivotal role in empowering female photographers to explore and redefine the boundaries of the medium. During its existence, the Bauhaus school became a hub for creative experimentation, attracting talented individuals from diverse backgrounds. Among them were several women who made significant contributions to photography, often pushing against traditional norms and exploring new artistic expressions. Their work not only expanded the possibilities of photography but also left a lasting impact on the art form, influencing generations of photographers to come.

The Idiot – A fresh five‑part series from the New York Times and Serial Productions, narrated by columnist M. Gessen, follows the unsettling tale of Allen, a self‑styled “idiot” who allegedly orders a hit on his ex‑wife. The narrative blends the investigative depth of earlier Serial hits like We Were Three and S‑Town, delivering a dark, character‑driven thriller that drops new episodes weekly.Friends Keep Secrets – Pop star Selena Gomez teams up with producer Benny Blanco, rapper‑actor Lil Dicky, and his wife Kristin Batalucco for a podcast that pushes the envelope of celebrity banter. Listeners can expect unfiltered conversations that even feature an unexpected Ed Sheeran interview, complete with the kind of raw, off‑beat humor that borders on “brain‑rot” territory.Screwed by AI – Hosted by Avantika Chilkoti of The Economist, this series travels to the Adult Video Network expo in Las Vegas – dubbed the “Oscars of porn” – to explore how the adult‑entertainment sector often foreshadows broader AI trends. The podcast examines the ripple effects on human relationships and the tech landscape, releasing new installments each week.Jacob Reed and Me – Described as an “investigative comedy,” writer Jacob Reed embarks on a nationwide quest to locate every other person sharing his name. The journey becomes a quirky storytelling experiment, featuring encounters with beach‑scene painters, economists, and even porn stars, all while the show’s advertisements are humorously sourced from fellow Jacob Reeds.Raven – This character‑driven investigation follows Raven Chanticleer, the founder of the African American Wax Museum in Harlem. The series weaves together Chanticleer’s flamboyant life story with the mystery surrounding the disappearance of his wax figures after his 2002 death, delivering a richly detailed narrative that unfolds weekly.All six podcasts are widely accessible across major platforms and release new episodes on a weekly schedule, offering a broad spectrum of content for listeners seeking true‑crime intrigue, celebrity insight, technological commentary, and off‑beat humor.

England's experimental lineup for their international friendly against Uruguay ended in a 1-1 draw, a result that did little to alleviate concerns over the team's lack of chemistry and cohesion on the pitch.Manager Thomas Tuchel had indicated that his starting XI selection would be based on training ground performances, but the team's display at Wembley Stadium suggested that chemistry and teamwork were sorely lacking.The match was marked by a disappointing performance from England, with Phil Foden and Harry Maguire among the few players showing any semblance of form. The team's lack of rhythm and patterns on the pitch were evident, with Tuchel's tactics coming under scrutiny.Uruguay's Federico Valverde equalized from the penalty spot after Ben White gave England the lead with a late goal. The draw was a fair result given the lack of quality on display from both teams.The experimental nature of England's lineup, featuring second-choice players and youngsters, raised questions about Tuchel's strategy and the depth of talent available to him. With the World Cup looming, England's form and cohesion will be crucial to their success.

Electropop artist Slayyyter has found success with her new album Worst Girl in America, a chaotic and over-stimulating concoction that scratches an anarchic itch in the listener. The album's sound is a far cry from her earlier work, embracing a midwest trash aesthetic that's both nostalgic and visionary.Slayyyter, born Catherine Grace Garner, has been making music for over a decade, but it's taken her several cycles of chasing hits and experimenting with different sounds to find her true voice. Her aim was simple but risky: to make something cool – fuck anything that sounds commercial, fuck TikTok. And it seems she's succeeded, with fans and critics alike praising her new direction.The album's singles, such as Crank and Cannibalism, have introduced a sound that's sharper, sleeker, and filthier, with a vibe tuned to a precise heartland sleaze. Slayyyter's music is a hedonistic kaleidoscope of motel parties, unfinished basements, trucker hats, and taxidermy, a unique blend of influences that's both captivating and refreshing.Slayyyter's journey to this point has been marked by burnout and depression, but she's emerged with a newfound sense of creative freedom and a determination to make music that's true to herself. As she says, “I’m not, like, looking for a mainstream moment. But if one happens, that’s great.”With Worst Girl in America, Slayyyter is poised to make a significant impact on the music scene, offering a fresh perspective and a bold new sound that's sure to resonate with fans and critics alike.