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Lincoln City's remarkable season has put them on the cusp of a historic promotion to the English Football League Championship. A draw or win in their upcoming match against Reading would confirm their place in the second tier for the first time in 65 years. Manager Michael Skubala has been instrumental in the team's success, implementing an innovative approach that has yielded impressive results.The team's 24-game unbeaten run in League One is a testament to their consistency and determination. Despite having the 17th biggest budget in the league, Lincoln City has been defying expectations and outperforming their opponents. Skubala's focus on teamwork, alignment, and a strong work ethic has been key to their success.Liam Scully, the club's chief executive, emphasizes that the team's approach is not about flashy tactics, but about being 'boringly consistent' and true to their roots. The club's innovative approach extends beyond the pitch, with initiatives such as an Elite Performance Centre and an innovation lab.The potential promotion has generated excitement among fans, but Skubala remains focused on the task at hand. He believes that the team's success is not just about individual talent, but about the collective effort and alignment throughout the club. With players like Conor McGrandles, Jack Moylan, and Reeco Hackett showing exceptional skill, Lincoln City is poised to make a strong impression in the Championship if they secure promotion.

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

Cuba’s government declared a humanitarian amnesty for 2,010 prisoners ahead of Easter’s Holy Week, a decision it says follows a careful review of each inmate’s conduct, health, and time served. The announcement, made by state media on Thursday, represents the second such amnesty this year and the fifth large‑scale pardon since 2011, bringing the total to more than 11,000 released individuals. While Havana officially denies acting under U.S. pressure, the timing aligns with what analysts describe as the most aggressive Washington campaign against the island in decades. The move comes a day after Cuba’s top diplomat in Washington invited the United States to assist in overhauling the island’s “crippled” economy, part of ongoing talks that have yet to produce concrete outcomes. U.S. officials, including President Trump’s administration, have repeatedly called for a change of government in the communist‑run state, with the president even musing about “taking” the island. Yet recent diplomatic exchanges suggest a nuanced shift: both sides have held talks, and scholars note that the amnesty could be a tangible sign of progress, however modest. University of Miami Cuban‑studies chair Michael Bustamante told AFP, “It seems not far‑fetched to think that this is a sign that some of the conversation between both governments is advancing… To where? Unclear.” He added that the political significance will depend on the profile of those released. The Cuban presidency did not disclose the names or crimes of the pardoned individuals, but indicated the group includes young people, women, and inmates over 60 who are slated for early release within the next six to twelve months. Foreign nationals and Cuban expatriates are also among those granted clemency. Importantly, the amnesty excludes anyone convicted of murder, sexual assault, drug‑related offenses, theft, illegal livestock slaughter, or crimes against state authority. Earlier in March, the government freed 51 prisoners as a “good‑will” gesture toward the Vatican, which often mediates between Washington and Havana. The current pardon is framed as part of the “humanitarian legacy of the Revolution” and is presented as customary practice during Holy Week. The release coincides with Russia’s announcement of a second oil tanker bound for Cuba, following a recent easing of the U.S. oil blockade that allowed the first shipment. Bustamante speculated that the timing may not be coincidental, suggesting a possible link between U.S. policy shifts and Cuba’s diplomatic overtures. U.S. Secretary of State Marco Rubio, a Cuban‑American critic of Havana, reiterated on Fox News that Cuba’s economic woes cannot be solved without political reform, warning that the island faces “a lot of trouble.”

Eric Overmyer, a highly influential figure in the world of television, has died at the age of 74. He succumbed to complications from Parkinson's disease, leaving behind a legacy of groundbreaking work in the industry. Overmyer was best known for his collaborations with David Simon, creator of 'Homicide: Life on the Street', 'The Wire', and 'Treme'. His work on these series, along with 'Bosch', an Amazon Prime series based on Michael Connelly's novels, cemented his reputation as a masterful showrunner. Overmyer's versatility in television was evident in his extensive portfolio, which included roles as a writer and producer on shows like 'St Elsewhere', 'The Slap Maxwell Story', 'The Cosby Mysteries', and 'Law & Order'. His ability to drive complex narratives with sharp dialogue was a hallmark of his work, influenced by his background as a playwright and poet. His best-known play, 'On the Verge', continues to be frequently produced and showcases his unique storytelling style. Overmyer's impact on television was not limited to his own creations; he also worked with other notable writers, including George Pelecanos and Dennis Lehane. Throughout his career, Overmyer remained busy, working on various projects, including the miniseries 'Jacqueline Bouvier Kennedy Onassis' and the series 'The Affair' and 'The Man in the High Castle'. His legacy in the television industry is undeniable, and his contributions will continue to be celebrated by audiences and creators alike.

Maggie Aderin-Pocock, a space scientist and CEO of Science Innovation Ltd, says the one item she would take to the lunar surface is a hand‑sewn purple‑cloth alien crafted by her daughter during a GCSE textile project. The tiny creature, made on a loom, embodies her child's love and would serve as a reminder of family ties at the farthest point from Earth. Sheila Hancock, acclaimed actor and writer, would use the trip as a cultural boot‑camp. She plans to study the complete works of Shakespeare, the epic novel War and Peace, and the full symphonies of Mahler as interpreted by Claudio Abbado, hoping the immersion will "strengthen her weakening brain" and deepen her appreciation of human genius. Michael Akadiri, a stand‑up comedian and resident doctor, imagines a lighter itinerary: a stack of old birthday cards to revisit heartfelt messages, an old‑school notepad for real‑time reflections, and a handful of puff‑puff (Nigerian doughnuts) – a cheeky nod to his fitness‑obsessed friends. Michael Rosen, children’s author and broadcaster, would bring three nostalgic comforts: giant yellow Chilean raisins from W Martyn’s shop in Muswell Hill, an oval brown pebble from the alleyway of his teenage flat, and the “furry” blanket his wife gave him during his 2020 COVID‑19 ventilator stay, each item a tactile link to his past. Athena Kugblenu, writer and comedian, opts for practicality and humor. She would pack a pair of Crocs for comfort, the guidebook Contact by Carl Sagan as a potential alien‑communication manual, and a jar of shito sauce – a Ghanaian shrimp‑tomato condiment – to introduce extraterrestrials to Ghanaian flavor before they learn English profanity. Nels Abbey, writer and broadcaster, frames his selection as a morale‑boosting toolkit. He would carry excerpts from Gil Scott‑Heron’s "Whitey on the Moon" and stand‑up routines by Paul Mooney, using their cynical wit to cope with the psychological challenges of space travel. Collectively, the panel’s choices illustrate how personal history, artistic heritage and even culinary curiosity can anchor humanity during the most extraordinary voyages. Their whimsical yet heartfelt lists underscore the idea that, even beyond Earth, we remain tethered to the stories, flavors and objects that define us.

New research by Cleanview and a subsequent confirmation from Google reveal that the tech giant is collaborating with Crusade Energy to develop a 933‑megawatt natural‑gas power plant in the sparsely populated Armstrong County of the Texas panhandle. The facility will serve the Goodnight AI‑focused datacenter campus, signaling a notable departure from Google’s long‑standing clean‑energy narrative.The plant, slated for off‑grid operation, is intended to power at least two buildings on the Goodnight site. Satellite imagery commissioned by Cleanview shows construction already under way, following a permit application filed in January.According to the 465‑page permit filing, the plant could emit as much as 4.5 million tons of carbon dioxide per year—roughly the same amount released annually by the entire city of San Francisco. This emission level underscores the environmental stakes of the project.Cleanview founder Michael Thomas described the venture as “one of the first direct investments in fossil‑fuel infrastructure” he has seen from Google, suggesting a strategic pivot away from the company’s historic climate leadership.When queried, Google spokesperson Chrissy Moy did not deny the partnership but clarified that “we don’t have a contract in place for the plant in Texas.” She noted that negotiations are ongoing and pointed to a separate wind‑farm partnership with Serena Energy in the region. Crusoe Energy declined to comment.The Texas project is Google’s third known involvement with gas‑fuel facilities in recent months. Earlier in October, the company announced an agreement to purchase power from a gas plant in Illinois, and documents obtained in May revealed exploratory talks on a large‑scale gas project in Nebraska.Despite the shift, Google maintains that natural gas does not conflict with its climate objectives. The firm argues it is moving from a strategy of buying carbon credits to one of “building the grid” to secure carbon‑free energy for its operations.At a recent energy conference in Houston, Google’s head of advanced energy, Michael Terrell, declined to elaborate on how natural gas aligns with the company’s sustainability roadmap.From carbon‑free promises to “climate moonshots”Google has long positioned itself as a climate leader, setting a 2020 goal to achieve net‑zero carbon emissions across all operations by 2030 and investing heavily in wind, solar, geothermal and nuclear projects. However, the rapid expansion of AI workloads has strained those commitments.The 2023 sustainability report noted that Google was no longer “maintaining operational carbon neutrality,” and a 2024 update reported a 48 % rise in greenhouse‑gas emissions since 2019, driven largely by datacenter energy demand.By 2025, the company reframed its emissions targets as “climate moonshots,” acknowledging the growing complexity of meeting its 2030 ambitions amid AI‑driven uncertainties.Google is not alone in this trend. Competitors such as Meta, Amazon and Microsoft have also turned to natural‑gas‑powered facilities to meet the soaring energy needs of their AI infrastructures, highlighting a broader industry tension between rapid AI deployment and climate pledges.Thomas of Cleanview summed up the situation: “The race to build AI is creating a new tension with climate goals that these hyperscalers have long championed.”

The UK has been identified as the most vulnerable country in Europe to potential jet fuel shortages as the Iran war disrupts supplies from the Gulf, according to Ryanair CEO Michael O'Leary. O'Leary stated that Britain's reliance on Kuwait for approximately 25% of its jet fuel supply makes it particularly exposed to shortages. He emphasized that even if there is a surplus of jet fuel in the Middle East, the logistics of shipping it to Europe remain uncertain.Jet fuel prices have surged, averaging $195 a barrel last week, more than double the average from the previous year. This increase is largely attributed to the effective closure of the Strait of Hormuz, a critical passage through which over a fifth of the world's oil normally passes.While oil prices eased slightly after US President Donald Trump expressed hope for an end to the Iran war within two to three weeks, the situation remains precarious for airlines. Ryanair has hedged 80% of its fuel costs until next March at $67 a barrel, but O'Leary highlighted that supply disruptions, rather than prices, pose the greater risk.The airline industry faces potential flight cancellations and capacity reductions if fuel supply issues persist. O'Leary also mentioned that higher fares could be a possibility, although there are currently no plans to increase prices. Additionally, he called for the UK government to abolish air passenger duty (APD), a tax that recently increased, further impacting the competitiveness of UK air travel.

TV veteran Michael Patrick King has had a storied career, writing, directing, and producing shows like Murphy Brown, Will & Grace, and 2 Broke Girls. He's best known for his work on the Sex and the City franchise, serving as showrunner and writing and directing its two films.King's latest project is the return of his critically acclaimed show The Comeback, which first aired in 2005. The series, co-created and co-written with Lisa Kudrow, follows the story of Valerie Cherish, a sitcom star trying to return to stardom through reality TV. After a successful second season in 2014, fans have been clamoring for a third installment.The new season of The Comeback begins in the midst of a Hollywood strike, with Valerie navigating an industry in distress. The show tackles timely topics, including the rise of AI in television. King and Kudrow conducted extensive research on AI, consulting with experts to create a realistic portrayal.King also reflects on And Just Like That, the Sex and the City revival, which ended its three-season run last year. Despite initial backlash, King believes the series will age well and that its portrayal of older women challenging societal norms is a significant step forward.Throughout his career, King has demonstrated a willingness to take risks and push boundaries. As he says, 'We got cancelled and we're still here – 21 years later.'

America faces an unprecedented concentration of wealth: the richest 1% now control more assets than the bottom 93% of households, and a single individual, Elon Musk, with a net worth of $805 billion, holds more wealth than the lower‑half of the population combined.Recent tax policies have amplified this gap. In the year following the largest tax cut in U.S. history, 938 billionaires added $1.5 trillion to their fortunes, while President Trump and his family saw a modest increase of $4 billion. Four Wall Street giants—BlackRock, Vanguard, Fidelity and State Street—own stakes in more than 95 % of publicly traded companies, cementing corporate dominance across the economy.Political influence mirrors financial power: by the 2026 midterms, just 50 billionaires had poured over $433 million into campaign activities, shaping policy to protect their interests.Meanwhile, the average American worker is earning roughly $20 per week less than in 1973 after inflation adjustment, despite decades of productivity gains. The Rand Corporation estimates that $79 trillion has shifted from the bottom 90 % to the top 1 % over the past half‑century.Economic hardship is widespread: 60 % of households live paycheck to paycheck, nearly half of older workers lack retirement savings, and over 20 % of seniors survive on less than $15,000 annually. Health‑care insecurity affects 85 million Americans, with more than 500,000 filing for bankruptcy each year due to medical debt.At the heart of the problem is a tax code engineered by the affluent. Billionaires now pay lower effective rates than typical workers. For example, Musk’s tax rate sits below 3.3 % compared with an 8.4 % rate for a truck driver; Jeff Bezos paid under 1 % versus 8.7 % for a firefighter; Michael Bloomberg’s rate was 1.3 % against 13.3 % for a registered nurse; and Warren Buffett’s rate was a mere 0.1 % while a schoolteacher paid nearly 10 %.Corporate tax avoidance compounds the issue. After a $900 billion corporate tax break, major firms such as Tesla, SpaceX, Palantir, Ticketmaster and the parent of Taco Bell, Pizza Hut and KFC reported zero federal income tax despite generating over $17 billion in profit.Public sentiment is shifting. In California, voters favor a billionaire tax by a two‑to‑one margin, and in New York City, 62 % back a 2 % surtax on the ultra‑wealthy. Nationwide, more than six in ten Americans believe the wealthy and large corporations pay too little.In response, Senator Sanders introduced legislation to impose a 5 % wealth tax on the 938 billionaires whose combined net worth exceeds $8.2 trillion. Over a decade, the measure would generate roughly $4.4 trillion.The first‑year rollout would deliver a $3,000 direct payment to every household earning $150,000 or less—equating to $12,000 for a typical family of four. Additional provisions include constructing 7 million affordable housing units, expanding Medicare to cover dental, vision and hearing, providing universal childcare, raising the minimum teacher salary to $60,000, and guaranteeing Medicaid‑funded home health care for seniors and people with disabilities.Crucially, the plan would reverse recent health‑care cuts that stripped coverage from 15 million Americans, ensuring no additional loss of insurance.Even if the tax were applied retroactively, the impact on the ultra‑rich would be modest relative to their fortunes: Elon Musk would owe an extra $42 billion, Mark Zuckerberg an additional $11 billion, and Jeff Bezos another $11 billion—figures that would barely dent their net worths.As Justice Louis Brandeis warned in 1933, “We must make our choice. We may have democracy, or we may have wealth concentrated in the hands of a few, but we cannot have both.” Senator Sanders argues the choice is clear: a democratic economy that serves the many, not a plutocratic system that serves the 1 %.The wealthiest Americans must begin contributing their fair share.