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President Donald Trump's lawyers have filed a court document seeking a 90-day pause in a $10bn lawsuit against the Internal Revenue Service (IRS) to explore a potential settlement. The move has sparked concerns about a conflict of interest, as Trump controls both the executive branch and the Department of Justice, which will be involved in the settlement negotiations. The lawsuit stems from the unauthorized release of Trump's tax returns in 2020, which were leaked by a former IRS contractor. Trump's lawyers claim that the release of the tax returns caused him, his businesses, and his sons "significant and irreparable harm", including reputational and financial damage. However, experts have questioned the validity of the lawsuit, citing flaws in the calculation of damages and the statute of limitations. They also argue that the lawsuit represents a conflict of interest, as Trump is essentially negotiating with his own administration for a payout. The $10bn sum sought by Trump is based on media references to his leaked tax returns, which experts say is not a valid formula for damages. Additionally, the lawsuit contends that Trump did not discover the unauthorized disclosures until January 2024, despite posting about the issue on social media in 2020. Government watchdogs have attempted to stop a settlement from unfolding, arguing that it would threaten the integrity of the justice system and the important taxpayer and privacy protections at the heart of this case. The Emoluments Clause in the US Constitution also prohibits the president from profiting off his position, apart from his salary. Trump has justified the sum by saying it would be donated to charity, but legal experts argue that this could still run afoul of the Emoluments Clause. The case has raised significant concerns about the potential for abuse of power and the integrity of the justice system.

10 pm – ITV1: The Murder Line introduces viewers to a gritty Canadian thriller where Minnie Driver plays a formidable crime‑family matriarch. Detective Henry Roland (Stephen Amell) uncovers a link between his childhood friend and a drug ring, thrusting him into Driver’s dangerous world amid a double‑murder plot. 7 pm – Channel 4: Secret Africa: Into the Wild follows explorer Lucy Shepherd on a six‑week trek across Tanzania. She joins nomadic tribesmen, helps build shelters and even harvests honey from a hive, offering an intimate look at the region’s landscapes and cultures. 7 pm – Channel 5: Queen Elizabeth II: The Unseen Photos reveals never‑before‑published images that show the monarch in candid, relaxed moments. Historians and biographers, including Andrew Morton, discuss how these pictures contrast with the public persona of the world’s most photographed woman. 7.50 pm – BBC Two: Inside Britain’s National Parks continues its series with an episode on Dartmoor’s uplands, featuring high‑definition footage of leaping salmon, carnivorous sundew plants, and traditional sheep‑dog training. 8 pm – Channel 4: World’s Most Secret Hotels returns with sweeping drone visuals of ultra‑luxury lodges, including a remote retreat on the world’s largest salt flats and Norwegian mountain cabins delivered by helicopter. 8.30 pm – BBC Two: Black British Music at the BBC: Volume 1 offers a two‑and‑a‑half‑hour archive showcase curated by Trevor Nelson, celebrating artists from Winifred Atwell to Olivia Dean and highlighting the legacy of Soul II Soul, Neneh Cherry, Sade and So Solid Crew. Sport coverage includes the opening day of the Snooker World Championship at the Crucible Theatre (10 am, BBC Two), Premier League fixtures (Brentford v Fulham at 11 am on TNT Sports 1, Chelsea v Man Utd at 7 pm, Tottenham v Brighton at 5 pm on Sky Sports), the Scottish Grand National from Ayr (12.45 pm, ITV1), Women’s Six Nations (Scotland v England at 1 pm, BBC Two), Premiership Rugby (Exeter v Northampton at 2.30 pm, TNT Sports 2) and the Women’s International Football World Cup qualifier (Iceland v England at 4.45 pm, ITV4).

Heart Wall opens to the sound of a bustling karaoke session, with audience members belting out Friday‑night pub anthems before the drama even begins. The musical backdrop becomes the thread that ties together a family still haunted by a tragedy from more than twenty years ago.The story follows Franky (Rowan Robinson), who returns to her north‑west hometown after building a life in London with a boyfriend and a new job. Her parents, Dez (Deka Walmsley) and Linda (Sophie Stanton), remain trapped in their own grief – Dez appears overwhelmed by guilt, while Linda searches for happiness elsewhere. The play centres on this unprocessed grief, but also hints at a mystery surrounding Franky’s sister and the strained marriage of her parents, threads that never fully resolve.Under director Katie Greenall, the production delivers moments of genuine emotional revelation, yet the pacing feels uneven. Scenes of intensity erupt abruptly, then dissolve just as quickly, leaving the narrative feeling rushed despite its dense storytelling. Supporting characters such as Charlene (Olivia Forrest) and the pub manager Valentine (Aaron Anthony) remain under‑developed, serving more as generic placeholders than fully realised figures.Visually, the play benefits from Hazel Low’s meticulous set design, which recreates a cosy, authentic pub that grounds the audience. The karaoke framing injects warmth and musical energy, offering a lively contrast to the heavy themes.Ultimately, Heart Wall attempts to tackle a big, aching emotional core within a tight, interval‑free two‑hour run, but it bites off more than it can chew. With additional runtime – perhaps more karaoke interludes – the drama could better honour the depth of its subject matter.For those interested, the play runs at the Bush Theatre, London until 16 May.

Turkish doctoral student Rumeysa Ozturk has decided to return to her native Turkey after a nearly yearlong legal battle with the Trump administration. Ozturk was targeted for deportation due to her pro-Palestinian advocacy, which the US government claimed was in support of Hamas.Ozturk, who received her PhD in child study and human development in February, made the announcement through the American Civil Liberties Union (ACLU) on Friday. She cited the 'state-imposed violence and hostility' she faced in the United States as the reason for her decision.The controversy began when Ozturk co-signed an opinion column in her student newspaper, The Tufts Daily, calling on her university's president to acknowledge the Israeli genocide of Palestinians and divest from companies with ties to Israel. The Department of Homeland Security (DHS) accused her of having 'engaged in activities in support of Hamas', although there is no evidence to back that assertion.Ozturk's case was one of the most high-profile instances of the Trump administration seeking to punish foreign students for their pro-Palestinian advocacy. Her arrest on March 25, 2025, was captured on surveillance video, showing six plain-clothed immigration officers surrounding her on the street outside her Massachusetts apartment.After her arrest, Ozturk was transported to New Hampshire, then to Vermont, and eventually to Louisiana, where she was held in ICE detention for 45 days. She described squalid conditions at the detention centre, including overcrowding, insufficient food, and a lack of medical care.Ozturk's legal team had submitted a habeas corpus petition, and on May 9, she was ultimately released. However, her legal proceedings continued, and this week, the ACLU announced that Ozturk's legal team had reached a settlement with the Trump administration to dismiss the deportation push.In a statement announcing her departure, Ozturk explained that countries should understand it is a 'privilege' to host international scholars. She also expressed support for other scholars fearing for their livelihoods and work, stating that she stands 'firmly in solidarity with academic communities in the US and elsewhere who live in fear for nothing more than their scholarship'.Ozturk will put her 13 years of study to use in her native Turkey, saying she is choosing to return home as planned to continue her career as a woman scholar without losing more time to the 'state-imposed violence and hostility' she experienced in the United States.

The International Monetary Fund (IMF) has downgraded its global growth forecast for 2026 from 3.3% to 3.1%, citing the impact of the US-Israeli war on Iran and the shutdown of the Strait of Hormuz on the world economy. In a worst-case scenario of a prolonged war, global growth could fall to 2.5% in 2026, with low-income and developing economies hit the hardest by soaring commodity and energy prices. However, some industries are benefiting from the uncertainty: Wall Street Investment Banks Wall Street investment banks are thriving due to increased trading activity, with Morgan Stanley reporting a profit of $5.57bn, up 29% year on year, and Goldman Sachs reporting a profit of $5.63bn, up 19% year on year. Aerospace and Defence The aerospace and defence industries are booming due to increased global defence spending, with the MSCI World Aerospace and Defence Index reporting net returns of 32% year on year. Artificial Intelligence The AI industry is expected to grow from $189bn in 2023 to $4.8 trillion by 2033, with Taiwan Semiconductor Manufacturing Company posting a net income of $18.1bn for the first three months of 2026, up 58% year on year. Renewable Energy The renewable energy sector is also benefiting from the war, with 150 countries having active policies to advance renewable and nuclear deployment, and the S&P; Global Clean Energy Transition Index up 70.92% year on year.

Citizens of southern Lebanon have started to return to their homes, marking a significant shift towards normalcy in the region. The return of residents has been met with joyful celebrations on the roads, signaling a hopeful period ahead for the community.The calm atmosphere in southern Lebanon is a welcome change for locals who have faced numerous challenges. As people begin to rebuild and restart their lives, the region is slowly coming back to life.This development is a positive sign for the future of southern Lebanon, offering a glimmer of hope for peace and stability in the area.

Olivia Rodrigo returns with “Drop Dead,” a single that instantly grabs listeners with a razor‑sharp lyric about online stalking and instant infatuation. The opening couplet—“One night I was bored in bed / And stalked you on the internet”—sets a tone of modern romance that feels both playful and unnervingly catchy.The 23‑year‑old, who burst onto the global stage in 2021 after a Disney Channel stint, has built a reputation for “acute, obsessive” love songs that balance self‑awareness with raw emotion. Her debut “Drivers License” cemented her as a heartbreak anthem, while the pop‑punk edge of her first album Sour and the riot‑grrrl‑infused follow‑up Guts displayed her versatility.“Drop Dead” marks a decisive pivot from the punk‑kiss‑off expectations that surrounded her recent breakup. Instead of a straightforward revenge track, the song delivers a “gorgeous rush of romantic intensity,” aiming to freeze a fleeting moment before plunging back into it with relentless momentum.The track’s production, helmed by longtime collaborator Dan Nigro, layers lush strings and bright power‑pop guitars, creating a sound that feels “one bauble short of festive.” Critics note a vocal delivery that stays in Rodrigo’s highest register throughout the chorus, with melodic bends that echo both Chappell Roan’s maximalism and Taylor Swift’s signature style.Visually, the music video—directed by Petra Collins and filmed at the Palace of Versailles—portrays Rodrigo as a runaway figure reminiscent of Sofia Coppola’s “Marie Antoinette” and Emma Corrin’s Diana in “The Crown.” The lavish setting amplifies the song’s theatricality.Adding a rock pedigree, the single includes a subtle nod to Rodrigo’s friendship with The Cure’s Robert Smith, referencing his classic “Just Like Heaven.” Their rapport, highlighted in a recent Vogue cover story, underscores Rodrigo’s expanding artistic circle.Overall, “Drop Dead” blends maximalist pop production, romantic lyricism, and rock‑infused credibility, delivering a track that feels both instantly addictive and deliberately chaotic—mirroring the messy emotions it portrays.

Saudi Arabia has withdrawn its bid to host the 2035 Rugby World Cup as a result of the Public Investment Fund's (PIF) new financial strategy, prioritizing projects with potential returns. The country's sports minister, Prince Abdulaziz bin Turki al-Faisal, had expressed interest in bidding for the tournament last year, but no expression of interest was submitted to World Rugby.The PIF's 'value realization' phase of its Vision 2030 economic plan, published recently, has led to the decision to put rugby aspirations on hold. This shift in focus will impact various projects, including LIV Golf, which will see its funding withdrawn next year.While Saudi Arabia and other Gulf countries, such as Qatar and the United Arab Emirates, had considered a joint bid, it has not materialized. World Rugby's bidding process is ongoing, with countries like Argentina, Japan, and Spain having submitted initial expressions of interest.The decision to step away from the Rugby World Cup bid was made before the conflict in Iran began, and the PIF governor, Yasir al-Rumayyan, confirmed that all spending projects are being reviewed. The PIF will continue to invest in sports but will focus on domestic projects, such as infrastructure related to the 2034 football World Cup and the Formula One track near Riyadh.

The Chisenhale Gallery in London greets visitors with an unsettling aroma that oscillates between sweet butter and a harsh, chemical perfume, immediately signalling that the exhibition is designed to disturb both mind and nostrils.At the heart of the show stands a massive mobile health unit – a former US‑British field ambulance acquired at a military auction. Its presence transforms the pastel‑painted gallery into a simulated triage zone, complete with faded chemical warnings, triage forms and evacuation maps. Among the discarded paperwork, a single sheet reveals that the vehicle participated in decontamination after the 2018 Novichok attack on double‑agent Sergei Skripal, adding a chilling historical layer to the installation.The surrounding walls are coated in Baker‑Miller pink, the hue once tested in US jails to calm aggressive inmates. This “drunk‑tank pink” juxtaposes the sterile pink of the health unit, blurring the line between soothing and coercive environments.Beyond visual cues, the exhibition assaults the senses with a bespoke scent concoction. Crowther blends substances derived from powdered milk – a symbol of industrialised sustenance – with hexadecanal, a naturally occurring skin compound known to dampen aggression in men while provoking it in women, and famously emitted by newborns. The result is a “sweetly putrid” odor that feels both familiar and alien, prompting visitors to question whether they are inhaling rubber, milk, or something more sinister.Through this multisensory tableau, Crowther frames colour and smell as potential psy‑ops, probing how basic human experiences can be industrialised and militarised. She asks: What does health mean when it is administered by the state or corporate entities? Who truly benefits when care becomes a tool of surveillance and control?Visitors navigate a space that oscillates between comfort and exploitation, leaving them to wonder whether they are being nurtured or manipulated. The exhibition runs at Chisenhale Gallery until 14 June 2026, inviting the public to confront the uneasy overlap of medical aid, military apparatus and sensory manipulation.