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The Squad Revelation Thomas Tuchel is set to announce England's 2026 World Cup squad. The big announcement comes at 9:45 am UK time. The Probable Squad David Hytner and Jacob Steinberg have done their analysis and made their predictions on the final 26. Here's their probable squad: Goalkeepers: Jordan Pickford Everton, Dean Henderson Crystal Palace, James Trafford Manchester City Defenders: Reece James Chelsea, Tino Livramento Newcastle, John Stones Manchester City, Marc Guéhi Manchester City, Ezri Konsa Aston Villa, Dan Burn Newcastle, Jarell Quansah Bayer Leverkusen, Nico O'Reilly Manchester City Midfielders: Jordan Henderson Brentford, Elliot Anderson Nottingham Forest, Declan Rice Arsenal, Kobbie Mainoo Manchester United, James Garner Everton, Jude Bellingham Real Madrid, Morgan Rogers Aston Villa Forwards: Bukayo Saka Arsenal, Noni Madueke Arsenal, Eberechi Eze Arsenal, Marcus Rashford Barcelona, Anthony Gordon Newcastle, Harry Kane Bayern Munich, Ollie Watkins Aston Villa, Ivan Toney Al-Ahli The Omissions Trent Alexander-Arnold has been omitted from the squad. Djed Spence has been included but reportedly broke his jaw after a collision with Liam Delap of Chelsea on Tuesday. Maguire was the first to go public about being left out, with the defender taking to social media to express disappointment over failing to make the cut. The most eye-catching omissions came in the attacking areas, with Foden and Palmer left out due to underwhelming seasons. The Surprising Inclusions Tuchel has been bold with his selections, notably turning to Toney for the first time in 12 months. The former Brentford striker, who now plays for Al-Ahli in Saudi Arabia, was part of England's squad at Euro 2024 but has not made an international appearance since coming on as a substitute in the friendly defeat by Senegal last June.

The Shock Exclusion: Maguire’s Instagram RevealHarry Maguire used his Instagram story on Thursday, 21 May 2026 to announce that he is not part of Thomas Tuchel’s England roster for the upcoming World Cup in the United States, Canada and Mexico. The 33‑year‑old centre‑back called the decision “shocked and gutted” and wished his teammates the best. Statistical Snapshot of Maguire’s International Career66 caps for England since his debut in 20177 international goalsParticipated in the 2018 World Cup (semi‑finals) and Euro 2020 (final)Last appearance: 1‑0 loss to Japan in March 2026Missed Euro 2024 due to injury Implications for England’s Defensive Options Ahead of the 2026 World CupThe omission opens a pathway for younger defenders such as Marc Guehi and Ezri Konsa, who have been edging Maguire out of the pecking order. Tuchel’s final squad, due on Friday, 22 May 2026, is expected to feature a blend of experience and emerging talent, potentially shifting England’s tactical setup from a traditional back‑four to a more versatile defensive line. What This Means for Maguire’s Club Future and England’s CampaignHaving helped revive Manchester United’s season after the departure of former coach Ruben Amorim, Maguire’s international snub could affect his confidence and market value. At United, he remains a key figure, but a prolonged absence from the national team may prompt discussions about his role under new management. For England, the decision signals a clear move away from the Southgate‑era core, emphasizing form and fitness over legacy.

The World Cup SnubHarry Maguire has announced he has been overlooked by Thomas Tuchel for the England World Cup squad. The Manchester United centre-half had hoped to be included in the 26-man party for the tournament this summer, which Tuchel will name at Wembley on Friday morning."I was confident I could have played a major part this summer for my country after the season I've had," Maguire posted on social media. "I've been left shocked and gutted by the decision. I've loved nothing more than putting that shirt on and representing my country over the years. I wish the players all the best this summer."Resurgence at Manchester UnitedMaguire has excelled for United since Michael Carrick took over as the head coach in mid-January and was called up by Tuchel for the March international programme. The 33-year-old started against Uruguay and came on as a late substitute against Japan, when he brought a threat on set pieces.His performances had raised hopes that he would feature in the World Cup squad, especially after struggling for form under previous manager Ole Gunnar Solskjaer.Defensive Priorities for EnglandDespite Maguire's improved club form, Tuchel has decided to prioritise other players in the position. The decision suggests that the England manager may be looking for different attributes in his center-back options for the tournament.Maguire's omission comes as a surprise given his recent performances and his experience at international level, having been a regular starter for England in previous tournaments.Implications for Maguire's International FutureThis decision raises questions about Maguire's future with the national team. At 33 years old, this could potentially be his last chance to feature in a World Cup, making the exclusion particularly disappointing.However, his continued good form at Manchester United could give him opportunities to force his way back into contention for future England squads, particularly if Tuchel's preferred options underperform at the World Cup.

The LeadMeghan Markle's lifestyle brand As Ever has launched a $64 candle to commemorate her and Prince Harry's 8th wedding anniversary, sparking debate about the value and purpose of luxury celebrity-branded merchandise.The Anniversary Product LaunchThe candle, described as "modern and elegant" and "housed in a beautiful ceramic vessel," was featured on Markle's Instagram account with the caption: "The feeling of warm sunshine and blue skies, surrounded by love and laughter. Celebrating 8 years of our founder @meghan and Prince Harry's love story."The Signature Candle No 519 is described as having "bright and refreshing, with quietly grounding notes of Moroccan mint, white tea leaves, and a back note of woodsy cardamom." The product page claims it "evokes the freshness of a day in the English countryside."The Price Point AnalysisAt $64 (approximately £48), the candle sits at a premium price point for a scented candle. This places it significantly above average luxury candles, which typically range from $30-$50. The pricing strategy appears to leverage the celebrity connection rather than the intrinsic value of the product itself.The product represents a specific marketing approach that targets dedicated fans willing to pay premium prices for items associated with celebrities, particularly those with royal connections.The Celebrity Business ImpactThis product launch highlights the evolving landscape of celebrity entrepreneurship, where personal milestones are monetized through branded merchandise. The strategy raises questions about the balance between authentic brand building and commercial exploitation of personal relationships.Markle's business ventures, including this candle line and her previously mentioned jam products, represent an attempt to establish a post-royal career through lifestyle branding. However, the anniversary candle specifically has drawn criticism for its perceived disconnect from consumer needs and its focus on monetizing a personal milestone.The Future OutlookThe reception of this anniversary candle will likely influence Markle's future product development strategies. If the product performs well, it may encourage more celebrity-branded commemorative items tied to personal milestones. If it receives significant backlash, it could signal a market limit on how much consumers are willing to pay for celebrity-associated products.The long-term success of As Ever will depend on whether the brand can establish itself as a legitimate lifestyle brand beyond its celebrity connections, or if it remains perceived as primarily leveraging Meghan Markle's royal status for commercial gain.

Lead: Police Officers File Lawsuit Over $1.776 bn FundHarry Dunn and Daniel Hodges, officers with the U.S. Capitol Police and Metropolitan Police Department respectively, sued the Trump administration on May 20, 2026, seeking to dissolve a newly‑created $1.776 bn “anti‑weaponisation” fund. The suit claims the fund would reward participants in the January 6, 2021 Capitol attack and heighten violence against officers.The Lawsuit Targets the Anti‑Weaponisation FundThe complaint labels the fund “the most brazen act of presidential corruption this century,” arguing it would finance the violent operations of rioters, paramilitaries, and their supporters. Dunn, now retired, and Hodges, still on duty, say they were injured during the attack and continue to receive threats, which the fund would exacerbate.Fund purpose: compensate alleged victims of government “weaponisation.”Officers’ claim: the fund would enable payments to Jan 6 participants.Legal venue: U.S. District Court for the District of Columbia.Financial Scope: $1.776 bn Set Aside for VictimsThe settlement between Trump and the Justice Department directed the department to draw $1.776 bn from the Judgement Fund and place it into the anti‑weaponisation pool. The money is to be managed by five appointees of the Attorney General, removable by the president, with no explicit liability for fraud.Implications for Government Oversight and Public SafetyCritics, especially Democrats, view the fund as a self‑dealing mechanism that undermines the rule of law. By potentially rewarding those who threatened the Capitol, the fund could send a “clear and chilling message” that violent actions will be compensated, increasing the risk of vigilante attacks on law‑enforcement personnel.Future Legal Battles and Potential Dissolution of the FundDunn and Hodges expect their case to be the first of several challenges to the settlement’s terms. If successful, the fund could be dissolved, preventing taxpayer money from flowing to Jan 6 participants. The outcome will shape how future presidential settlements involving large government funds are scrutinized and overseen.

The LeadIn a photographic self-portrait taken not long after she was diagnosed with squamous cell bladder cancer in 2020, Tracey Emin's iPhone shrouds her right breast as our line of vision descends from her catheter to her urostomy bag to her disposable knickers. Her body is fragile here in this hospital mirror, yet her gaze is anything but. It looks us dead in the eye as if to say: I matter, this matters – a sureness that challenges the notion of subjugation in times of ill-health.The Art of Bodily AutonomyEven now, six years after her life-saving surgery, Emin refuses to conform to what may, or may not, make us feel comfortable when it comes to her post-operative body. As well as losing her bladder, Emin also lost her uterus, ovaries, lymph nodes, part of her colon, her urethra and part of her vagina. And yet she has found a striking autonomy in documenting the changes in her body. "This is mine, I own it," she affirmed in an interview not long after her surgery.The Personal Becomes PoliticalWould I have taken these photographs if it wasn't for Emin? Probably not. In the weeks that led up to my own life-saving surgery, I became increasingly fixated on the ways in which her no-holds-barred Polaroids, like the squares of her autobiographical blankets, were urging us to look at her in ways that perhaps we'd rather not. Twenty-seven years after her sculptural work My Bed catapulted her to tabloid fame in the late 1990s, Emin is still challenging us to acknowledge the things we tend to pull away from. Only these days her bleeding nudes are centred squarely on the presence of non-visible disability and what Harry Weller, creative director of Emin's studio, calls "her wild scramble for existence".Challenging the "Confessional" Label"Back in the 90s, people used to say it was confessional art," Emin recently mused to Maria Balshaw, director of the Tate. Only it wasn't. "I wasn't confessing anything at all to anybody," she corrected her past critics – and maybe even her present fans. I thought of Emin's vital reframe only a few weeks ago when I visited her landmark show at Tate Modern and contemplated her 2023 painting, I watched Myself die and come alive. In it, her red-swabbed body is splayed out on a table, she is watched over by the black cloak of death, and her mother's ashes are resting in a casket behind her bloody hair. Like most of Emin's artworks, this painting isn't asking for a certain kind of gaze from us – it exists for itself alone, and that's what makes it so corporeally present.The Legacy of Frida KahloCall it visceral, call it personal. But, like Emin, I too struggle with the word "confessional" in relation to women's expression of their experiences. The implication being that there is something guilt-inducing and therefore even shameful about a woman drawing attention to herself both in her life and art. As if by doing so, she needs to beg pardon for it. Only Emin has never subscribed to this falsehood. Come to think of it, neither did Frida Kahlo over the course of her all-too-short life (Kahlo died when she was only 47) – another autobiographical artist whose retrospective is set to appear at Tate Modern next month.Transforming Trauma into TranscendenceWith an anatomical eye on her wounds, Kahlo would redraw what she called her "body's landscape" on her own terms, making her disabilities into something transcendental, a devotional act that helped her transform the mundanity of her physical limitations into something extraordinary. As Kahlo's biographer Hayden Herrera remarked in 1983, Kahlo's art has a particular intensity and strength "that can hold the viewer in an uncomfortably tight grip". We can see this for ourselves in her 1944 artwork, The Broken Column: a valiant self-portrait of chronic pain that evokes the Saint Sebastian paintings of the Christian faith.

The Championship's Competitive LandscapeAfter six of 14 matches in the County Championship, the competition reveals an unusually tight race at the top. Only Essex and Sussex (carrying a points penalty) have won half their matches, yet they find themselves only fourth and fifth respectively. Five other counties have two wins, and just 17 points separate the top seven teams, creating what commentators describe as either a 'tight nip-and-tuck season' or a 'structural failure to separate the wheat from the chaff'.Essec's Dominant PerformanceThe big movers this week were Essex, who secured their second consecutive win with a comprehensive victory over Leicestershire. The match turned dramatically in the third innings when overnight rain livened up the Chelmsford pitch. Essex's formidable bowling trio of Jamie Porter, Sam Cook, and Shane Snater devastated the Leicestershire batting lineup, dismissing them for just 60 runs. The target was then chased down with three wickets to spare, setting up Essex for a potential hat-trick of wins when they travel to Leicester in June.Yorkshire's ResurgenceAt Headingley, Yorkshire demonstrated the value of experience with a commanding performance against Surrey. The fielded an impressive 865 international caps against Surrey's 171, with Adam Lyth (41st first-class century) and Jonny Bairstow (32nd first-class century) providing the foundation. The win kickstarted a hesitant season for Yorkshire, who are now 25 points clear of the drop zone, though they may struggle to call on key players like Joe Root and Harry Brook in the coming matches.Glamorgan's Promising StartGlamorgan continues to be the surprise package of the season in Division One. The promoted county has shown little difficulty adjusting to the higher division, securing a draw that denied Warwickshire the top spot. Their batting depth has been particularly impressive, with eight batters averaging over 30 in their recent match. The emergence of 18-year-old Tom Norton, who backed up his debut hat-trick with international scalps, adds an exciting dimension to their bowling attack.Division Two DevelopmentsMatters are clearer at the top of Division Two, where Durham lead by 20 points. However, they might feel aggrieved not to extend their lead further after a leaky cover ruled out play on day three of their match against Kent. A 10th-wicket stand of 158 between Ben Raine and Callum Parkinson secured the draw for the leaders. Meanwhile, Northamptonshire secured a crucial victory over Gloucestershire, with substitute player Louis Kimber playing a pivotal role with an explosive 66 not out to guide his team home by two wickets.

The Challenge of Translating ShakespeareThe great Argentine writer Jorge Luis Borges, who translated William Faulkner, André Gide, Franz Kafka and Virginia Woolf into Spanish, drew the line at Shakespeare. Speaking of the moment when Hamlet asks the ghost why it returns to haunt "the glimpses of the moon", Borges commented: "I don't think it can be translated. Perhaps the words can be translated. Certainly Shakespeare cannot be translated. 'The glimpses of the moon' means exactly 'the glimpses of the moon'."All, however, is not lost. "It has been said that Shakespeare cannot be translated into any other language," Borges added. "But Shakespeare cannot be translated into English, either, since he wrote what [Robert Louis] Stevenson called 'that amazing dialect, the Shakespeare-ese'." This might not be entirely true, as the translator Daniel Hahn points out in this superbly diverting book. Recalling a hip-hop production of Romeo and Juliet he once saw, he persuades us instantly that "the phrase 'Do you kiss your teeth at me, fam?' proved to be a perfect translation of 'Do you bite your thumb at us, sir?'"Shakespeare Across LanguagesAnd if into English, then why not into Portuguese, or French, or Māori? Hahn's project is to argue that "Shakespeare with every word changed can still be great, and can remain Shakespeare", and to that end he reproduces chunks of Dutch, Russian, Welsh, Thai, Arabic, Japanese, and a dozen other languages, betting that by simply counting syllables or observing alliteration in a language one doesn't understand (as he cheerfully admits, he doesn't understand Danish), one can learn something about the quality of a translation. I wasn't convinced that wager worked much of the time, but the typesetters, as you can imagine, were certainly getting a decent workout, and the gambit does finally pay off when a long passage from Twelfth Night is annotated by boxes mentioning dozens of different translators' choices.Cultural Adaptations in TranslationWhat really illuminates the book are Hahn's conversations with his fellow translators, who can explain their choices directly. In Māori, we learn, Lady Macbeth's question to her husband, "Are you a man?", makes no sense at all, so the translator Te Haumihiata Mason renders it as something roughly meaning "Have you got balls?" – "which is," Hahn notes contentedly, "exactly what Lady M is asking." Meanwhile, Prince Hal's name means "fish" in Hungarian, which would be unhelpfully distracting, so it gets changed to Riki, short for Henrik.Hahn also offers many asides about the annoyances and pleasures of translation in general. "The word 'literal' is annoyingly overused to suggest a sort of 'neutral' translation, which cannot exist," he complains; and he shows that, in many cases, a non-literal choice would be better. When Mark Antony imagines Caesar's spirit to "cry 'Havoc'", for example, the closest Portuguese word is the rather weak-sounding "devastação"; a better choice, Hahn shows, is "matança" (killing), because it's shorter and more easily shoutable.Translating Verse and JokesEach chapter addresses a different question translators face, for example whether to translate into verse (careful: as one French translator observes, you risk making "a genius into a talented versifier"), or how to translate jokes: it's usually best, everyone agrees, to create an entirely new joke – "being faithful to the laugh", as Hahn calls it. In a German Midsummer Night's Dream, to preserve the doggerel rhymes, we are promised not that Thisbe will be in "mulberry shade" but that she will be "hiding like a newt". Translators might even embrace the possibility of a joke where none previously existed – which Hahn illustrates brightly by mentioning that the "sorting hat" in Harry Potter has become, in French, le choixpeau (the chapeau that chooses).Poetic Elements and Title AdaptationsCan you even preserve alliteration? Sometimes, if you're lucky: Love's Labour's Lost received the surely unimprovable Greek title of "Agapēs Agōnas Agonos" ("the struggles of love are barren"). But when no such fortunate tricks are available, you can simply replace one idiom with another: so, in Spanish, Much Ado About Nothing is often called "A lot of noise, not many nuts".There are quibbles to be made here and there. Hahn calls a line from Richard III "irregular" after counting syllables, but it's a perfectly regular line that begins with an anapest (da-da-dum). And when Juliet says to Romeo "You kiss by th'book", Hahn glosses this as her approvingly noting his "formal courtship", but she is surely issuing a flirtatious challenge. And – this being the publisher's rather than the author's fault – the book has been produced, inexplicably, without an index.The Value of TranslationAll may be forgiven, though, for the delight and endless curiosity displayed in these pages. "In Shakespeare, people get sad with precision," Hahn enthuses. And he is cherishably bitchy about certain literary "translators" who somehow produce new English versions of Chekhov or Ibsen without speaking the source language – the process being, as he surmises, "a sort of high-status prettying up of a so-called 'literal' translation". By the end of the book, Hahn has amply demonstrated not only the treasures of other languages, but also the rich and strange inexhaustibility of Shakespeare himself.

The 'Axolotlisation' of the CapitalAs Mexico City prepares to host the FIFA World Cup, the city has undergone a radical aesthetic overhaul dubbed 'axolotlisation.' The initiative, championed by Mayor Clara Brugada, involves painting the city's infrastructure in shades of lilac, lavender, and plum, while plastering murals of the rare amphibian—the city's official mascot—across pedestrian bridges, walls, and public transport.Resource Allocation vs. AestheticsThe core of the controversy lies in the allocation of limited state resources. Residents argue that the budget spent on decorative paint could be better utilized for essential services. Critics point to the city's chronic issues, including:Crumbling Infrastructure: Worn-out tunnels and potholes that pose safety risks.Pedestrian Safety: The danger of painting traffic fixtures purple, potentially reducing visibility at night.General Maintenance: Crooked pavements and flooding streets that plague the daily lives of the 22 million inhabitants.Political Fallout and Public SentimentThe backlash has reached the highest levels of government. President Claudia Sheinbaum, an ally of the mayor, defended the initiative, stating that all governments paint bridges and that the lilac color makes them 'look very pretty.' However, experts like Ernesto Moura from Mexico’s National Autonomous University argue that the lack of citizen input before the abrupt transformation has alienated the public.The sentiment has turned viral online, with citizens questioning the mayor's priorities. Some users have drawn a stark contrast between the painted axolotls and the real species, which is on the brink of extinction due to habitat loss. The backlash has even spawned satirical AI content depicting the mayor as a villain from Harry Potter or a Godzilla-like creature destroying the city.The Long-Term Urban LegacyAs the World Cup approaches, the city faces a critical test of its public image. While the 'axolotlisation' aims to project a welcoming, vibrant face to the world, the underlying resentment regarding neglected infrastructure could tarnish the city's reputation. The question remains whether the aesthetic transformation will be viewed as a temporary spectacle for tourists or a genuine improvement in urban living standards.