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Viktor Gyökeres has articulated the hurt and defiance within the Arsenal dressing room following their 2-0 Carabao Cup final defeat by Manchester City and promised to use it as fuel in the club's pursuit of other trophies this season.Arsenal produced their worst performance of the season in the final, with nearly every player falling below their standard – with the possible exception of William Saliba. The period from the beginning of the second half until Nico O'Reilly scored his second goal in the 64th minute proved particularly difficult, as City established complete dominance, leaving Arsenal pinned back and struggling to mount any meaningful attack.The recovery mission has already begun, with some at the club hoping the international break will provide a timely change of environment and focus. For Gyökeres, there is also the matter of Thursday's World Cup playoff with Sweden against Ukraine in Valencia. If his country advances, they will face Poland or Albania next Tuesday for a place at the finals.Despite the setback, Arsenal remains nine points clear of City at the top of the Premier League, albeit having played one game more, and has progressed to the Champions League quarter-finals, where they will face Sporting. Their next domestic challenge comes in the FA Cup quarter-final at Southampton on the following Saturday."Of course, we don't feel great right now but it's not like we have a game in three days," Gyökeres said. "For sure, we will go again and be even more motivated for those games."The turning point at Wembley came when Arsenal's backup goalkeeper Kepa Arrizabalaga – who Mikel Arteta started ahead of first-choice David Raya – dropped a cross to allow O'Reilly to score his first goal, although City had already established firm control of possession."We created some chances at the beginning of the game and then I think it was maybe 10 minutes from the break where they got the momentum," Gyökeres reflected. "I think they had the ball … maybe they didn't create so many dangerous chances but they had the ball a long time and it looked the same in the second half."Normally, when it's two top teams it can be like that [with the first goal being crucial]. In the moment of the game where they scored … yeah, it was difficult to get going afterwards."

The England and Wales Cricket Board (ECB) has reaffirmed its support for head coach Brendon McCullum and managing director of cricket Rob Key, despite the team's dismal 4-1 Ashes defeat in Australia. This decision, while potentially unpopular among fans, is seen as the right course of action by the ECB.According to Richard Gould, the ECB's chief executive, the board's choice to stick with McCullum and Key is guided by 'good judgment and objective views,' rather than public sentiment. Gould emphasized that the leadership duo has shown a willingness to 'adapt' and 'evolve' their approach in the wake of the Ashes debacle.The ECB's internal review of the Ashes series highlighted several key areas for improvement, including better use of the performance system, enhanced long-term planning, and a more professional culture within the senior men's setup. These findings were presented to the media in the form of two slides with bullet points.One of the major talking points from the review was the team's culture and environment, which came under scrutiny following a mid-Ashes break in Noosa that generated headlines about player behavior. The situation escalated when Harry Brook was disciplined for a drunken altercation with a nightclub bouncer in New Zealand.Gould described the incident as 'significantly unprofessional,' while Key noted that Brook was given a second chance due to his previous clean record and the decision to prioritize England commitments over the Indian Premier League.In response to these challenges, the team has introduced a midnight curfew to formalize McCullum's stance on the importance of rest and discipline. Key also highlighted the recent appointment of Troy Cooley to oversee fast-bowling development as a positive step forward.Looking ahead, Key emphasized that the team will not undergo a major philosophical shift under McCullum and captain Ben Stokes, who have different but complementary outlooks. The focus will be on refining their existing approach rather than implementing drastic changes.

The Last Blossom, directed by Baku Kinoshita and written by Kazuya Konomoto, is a quiet, contemplative anime feature that rarely gets a theatrical release. The film opens in a lonely prison cell, where the elderly former yakuza Akutsu finds an unexpected confidant in a talking balsam flower.Over the course of one sleepless night, Akutsu's life story unfolds in bursts. Thirty years prior, another balsam flower grows in the back yard of Akutsu's humble house, which he shares with Nana and her baby son, Kensuke. The relationship between the taciturn man and the bubbly young woman is seemingly platonic; Kensuke is not his son. Yet there are hints of romantic attraction; they share bowls of piping hot ramen noodles, play endless rounds of Reversi, and join in harmonising the Ben E King classic Stand By Me.In contrast to this alternative nuclear family, the yakuza world is still strictly traditional, revolving around machismo and codes of brotherhood. When Kensuke is diagnosed with a heart condition, Akutsu is lured into a criminal plot, which leads to his incarceration. Though encompassing much bloodshed and even a hidden treasure subplot, The Last Blossom is most moving as an exploration of human conscience, where a capacity for violence and kindness coexist.The paradox is reminiscent of Shōhei Imamura’s Palme d’Or winner The Eel, starring Koji Yakusho as a wife-murderer who shelters a pregnant woman after his prison release. With his unassuming buzzcut, in stark contrast to his flamboyant yakuza peers, Akutsu bears a striking resemblance to Yakusho’s protagonist. Though a minor work compared to Imamura’s, The Last Blossom similarly questions conventional notions of justice, and the impossibility of weighing one’s good and bad deeds.The Last Blossom is in UK and Irish cinemas from 27 March, and in Australian cinemas from 23 April.

Palantir, one of the world's biggest tech companies, has been accused of launching an intimidation campaign against a small Swiss magazine, Republik, after it published an investigative report on the company's activities in Switzerland.The report, which was a collaboration between Republik and the independent Swiss research collective WAV, alleged that Palantir had persistently courted Switzerland but had been rejected. The investigation found that Palantir had pitched itself to Switzerland's chancellor during the Covid-19 pandemic to help with data tracking, approached the Swiss army, and met Switzerland's then finance minister, Ueli Maurer.Palantir was not happy with the report and filed a lawsuit in a Swiss commercial court demanding that Republik print a detailed rebuttal. The company claims that the report paints a false and misleading narrative about Palantir and sets back important discourse on European software modernisation.The journalists behind the report say they had interviewed company executives and sent a full list of questions before publication, but that Palantir demanded they print a detailed rebuttal that went beyond the scope of their investigation. The lawsuit has sparked concerns about Palantir's tactics and the impact on journalism, with the European Federation of Journalists claiming that the legal action is an attempt at intimidation aimed at discouraging critical analysis of Palantir's activities."It does feel like an intimidation campaign," says Marguerite Meyer, a journalist who works with WAV. "However, we adhered to all journalistic standards, and had a thorough factcheck done. They are suing for an absurd list of changes."The investigation, which was published in December, gave an account of Palantir's years-long efforts to try to sell itself to the Swiss government. The journalists found that despite Palantir's efforts, no government contracts had been reported."We tried to find out, is there any kind of government agency that uses this software? I mean, they are in Switzerland, eventually some government official maybe thought they could use this Palantir," says Balz Oertli, who is also with WAV.The lawsuit has raised questions about Palantir's influence and the limits of journalistic scrutiny. Swiss law allows the subjects of a story to request a right of reply, but this has caveats: the right of reply has to be concise and stick to the facts of the story."This lawsuit for a right of reply is not about whether Republik was technically inaccurate or not. It is only about whether Palantir is allowed to place its view of the facts alongside that of Republik and whether Republik must publish it," says Dominique Strebel, an expert in media law and the editor-in-chief of Beobachter, another Swiss magazine.