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Chelsea's Enzo Fernández is facing increased uncertainty over his future at the club after Liam Rosenior hinted at 'a few hurdles' that need to be overcome. Fernández has been serving an internal two-match suspension for comments made during the international break that appeared to court Real Madrid. Despite apologizing, Fernández will miss Chelsea's Premier League game against Manchester City on Sunday.Rosenior expressed hope that Fernández would be a 'massive part of the group moving forward' but acknowledged there are issues to clear up. Meanwhile, Pep Guardiola has stressed that Manchester City must win every game, starting with Sunday's fixture at Chelsea, to have any chance of winning the Premier League title.In other news, Mikel Arteta has praised Eberechi Eze's determination to return early from a calf injury. Eze is set to feature against Bournemouth on Saturday and has impressed Arteta with his 'obsession' with improving since joining Arsenal last summer.

Outcome arrives on Apple TV+ on April 10 as Jonah Hill’s most ambitious foray into Hollywood satire. The film casts Keanu Reeves as Reef Hawk, a globally recognized star whose public persona of kindness masks a deep‑seated narcissism and a hidden past of heroin addiction.Reef becomes the target of a mysterious extortionist who claims to possess compromising footage. His crisis lawyer, Ira—portrayed by Hill himself with a shaved head and unnerving veneers—guides him through a frantic quest to locate the blackmailer. The narrative unfolds as a “whodunnit without a body,” prompting Reef to apologize to every person he’s ever wronged while hunting the unseen threat.Supporting roles feature Cameron Diaz and Matt Bomer as Reef’s high‑school friends who reluctantly join the mission. The film also boasts cameo appearances from Laverne Cox as a women’s‑rights attorney, Drew Barrymore playing herself, and a moving turn by Martin Scorsese as a washed‑up talent manager. In a tongue‑in‑cheek detail, Ira’s office wall displays a picture of Kanye West, symbolising the industry’s obsession with redemption narratives.The satire’s core message is that wealth and fame do not guarantee happiness. Reef spends idle moments Googling his own reputation—searching “Reef Hawk bad person”—underscoring a profound loneliness beneath the glittering surface. While the script delivers frequent laughs, its climax lands on a comparatively flat note, offering personal growth rather than the expected murder or public humiliation.Overall, the performances remain consistently entertaining, and Hill’s dialogue, co‑written with Ezra Woods, captures the insider tone of Hollywood’s inner circle. Outcome serves as both a comedic critique and a reflective portrait of celebrity culture, inviting audiences to consider the cost of perpetual public scrutiny.

On 23 June 2016, the United Kingdom’s electorate shifted from party‑centric voting to a binary choice between staying in or leaving the European Union. A decade later, about 60 % of the population still define themselves by the side they chose in that single referendum, turning a one‑off political decision into a lasting personal identity.While analysts often focus on the policy fallout—economic turbulence, party infighting, and shifting trade relations—the real impact runs deeper. The referendum ignited a civil‑war‑like split that continues to shape elections, media narratives, and everyday conversations across the country.Before the global upheavals of the George Floyd protests and the Covid‑19 vaccine rollout, Brexit was Britain’s most potent form of identity politics. It spawned new media outlets, such as GB News, and programmes like The Rest Is Politics, while also marginalising older cultural tropes like the “centrist dad” or “gammon” heckler on Question Time. Figures such as Nigel Farage and Zack Polanski now occupy the political fringe rather than the mainstream.The analysis draws on the new book Tribal Politics: How Brexit Divided Britain by political scientists Sara Hobolt and James Tilley. Their longitudinal surveys reveal a simple yet striking pattern: the referendum transformed a previously lukewarm public attitude toward the EU into a powerful, identity‑based habit.Prior to 2016, most Britons held only a mild Euroscepticism and gave the EU little thought. Even former Prime Minister David Cameron tried to silence the issue in 2006, believing it failed to engage voters. The sudden elevation of a niche concern to a national obsession forced ordinary citizens to pick a side, discuss it in pubs, and embed it into their self‑image—a process James Clear describes as building “identity‑based habits”.Data from Hobolt and Tilley show that emotional attachment to the Brexit identity was modest before the vote, rose sharply as the referendum approached, and surged dramatically after the result was announced. The post‑vote period saw a flood of EU‑themed merchandise, street rallies, and even flag‑clashes at cultural events such as the 2017 Last Night of the Proms.Crucially, the tribal divide has not faded. By 2025, only around 40 % of “Leavers” feel comfortable discussing politics with “Remainers”, and the sentiment is reciprocated. This goes beyond mere disagreement; it reflects a level of social discrimination where individuals on opposite sides would hesitate to share a home or marry into each other’s families.The authors note that the split now extends to perceptions of reality itself. Even in 2024, Remainers and Leavers disagreed on basic economic indicators, illustrating how the referendum reshaped not just policy preferences but fundamental worldviews.Class‑based voting, which dominated the 20th‑century British political landscape, has been largely supplanted by this new cultural cleavage. A previous study co‑authored by Tilley showed that the Labour Party’s turn toward the political centre in the 1990s eroded traditional working‑class loyalty. Today, leader Keir Starmer’s working‑class credentials appear largely symbolic, offering little substantive change.With class politics receded, culture wars have taken centre stage. The Brexit campaign’s vague promises about trade left the nation with a protracted, messy adjustment period. Immigration, famously dubbed the “baseball bat” issue by Dominic Cummings, remains the most polarising policy divide, followed by foreign aid and even the death penalty.Hobolt and Tilley’s most striking chart shows that while Remainers and Leavers clash over immigration, they share little disagreement on economic equality, workers’ rights, or public ownership—issues that directly affect household incomes. This suggests that the political battle is driven more by symbolic identity than by material concerns, benefitting those already financially secure.In sum, the United Kingdom’s post‑Brexit reality is one of entrenched tribalism, where a single referendum has reshaped social bonds, political discourse, and perceptions of truth itself. The nation continues to grapple with the legacy of a vote that turned a policy decision into a lasting cultural fault line.

Wayne Koestenbaum's latest novel, 'My Lover, the Rabbi', defies expectations with its unapologetically obsessive prose and exploration of desire. The story centers around a man who works as an antique furniture restorer and his overwhelming desire for a man who works in a synagogue. This central fact is accepted by all characters, and the writing treats realist conventions with a kind of exalted scorn.The book's 188 chapters are short and plunge the reader into a world of carnality, confusion, and bizarrely specific detail. The title of the book is reiterated throughout, becoming almost a mantra. This insistent and anxious formality is at the heart of the book's uncanny life, matching style to subject in a brilliant and unconventional way.As the plot emerges, it seems almost 19th century in its storyline, with themes of infidelity, illegitimacy, madness, shopping, coincidences, and death. The narrator's need to discover the secret of his rabbi's attractiveness drives the plot, much like Proust's Swann. The mystery of the rabbi's allure and the death of his three-year-old son become central to the narrative, revealing vistas of unknowability.The book's whirlwind invention culminates in a final, fugue-like recapitulation, where the narrator's obsessive desire morphs into a vision of the unknowability of any object of desire. This gloriously original evocation explores what it might feel like to admit to the inability of love to triumph over death. Koestenbaum's writing is like that of the best kind of angel, unafraid to come down to earth and explore the complexities of human desire.

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.

A24 marketed Kristoffer Borgli’s second English‑language film as a darkly comic romance, pairing Zendaya and Robert Pattinson as a seemingly picture‑perfect couple on the brink of marriage. The studio’s teaser, a faux wedding announcement in the Boston Globe, amplified the buzz that began with the trailer’s release and even earlier Reddit speculation. The narrative follows Charlie (Pattinson) and Emma (Zendaya) through a series of sun‑lit flashbacks that culminate in a tense pre‑wedding dinner. During a “worst‑thing‑you’ve‑done” game, Emma confesses that, as a depressed teenager in Louisiana, she once planned a mass shooting and even practiced with her father’s rifle, though she never pulled the trigger. This revelation serves as the film’s central twist and propels the story into a moral quandary about forgiveness and trust. Critics note that the film’s premise is deliberately provocative. Borgli, known for his satirical take on cancel culture in Dream Scenario, uses Emma’s confession to interrogate America’s obsession with gun violence. By placing the “thought crime” in the hands of a Black woman—contrasting with statistics that over 95% of mass shooters are male and more than half are white—the director forces a reversal of the usual gendered narrative surrounding firearms. The twist has provoked strong reactions from survivors and advocacy groups. Tom Mauser, who lost his son in the 1999 Columbine shooting, called the plot “awful” in a TMZ interview, while 2019 school‑shooting survivor Mia Tretta told USA Today that such a storyline “shouldn’t be joked about.” Parkland survivor Jackie Corin offered a more measured view, urging the film’s stars to use their platforms responsibly and questioning whether the project rises to the ethical standards their influence demands. Beyond the controversy, the film boasts technical strengths. Arseni Khachaturan’s cinematography creates a lush visual palette, and the editing maintains a brisk pace as the wedding day approaches. The climactic ceremony—described by many reviewers as the film’s “pièce de résistance”—forces Charlie and Emma to confront the fallout of Emma’s secret amid a chaotic, alcohol‑fueled toast that lays bare the fragility of their relationship. In the final scene, the couple reconvenes at a diner, echoing the opening “can we start over?” motif. The ambiguous resolution suggests that exposing one’s darkest thoughts may either deepen intimacy or foreshadow further turmoil. Overall, ‘The Drama’ is both a compelling watch and a flashpoint for debate about how cinema engages with the United States’ endemic gun‑culture. Whether the film succeeds as a thought‑experiment or merely courts outrage remains a divisive question that will likely fuel discussions well beyond its theatrical run.

Bath’s historic Farleigh House training centre has been spruced up this week with black flags fluttering alongside a new “Choose Greatness” banner, signalling the club’s ambition as they approach a Champions Cup last‑16 tie with Saracens. For Max Ojomoh, the atmosphere feels like a personal challenge. Just weeks after collecting the Man of the Match award for his decisive performance against Argentina, the 25‑year‑old found himself omitted from Steve Borthwick’s Six Nations squad. Ojomoh believes that a dominant display for Bath – especially after the 62‑15 demolition of Saracens in the Premiership – could revive his England prospects, but he also acknowledges that national selectors may have a specific back‑line profile in mind for the upcoming World Cup. Reflecting on his Argentina heroics, Ojomoh said, “If that was my final Test, I’m happy to have left a mark on international rugby.” Yet the disappointment of watching England lose to Ireland from a Moroccan pub underscores how close the margins are for a player on the fringe. He explained the selection dilemma: with centre Ollie Lawrence returning from injury, the squad needed a more physical ball‑carrier, and Ojomoh’s role as a second‑receiver/playmaker meant he was the one to make way. England’s coaching staff have asked him to sharpen three key areas – post‑contact metres, defensive intensity and overall work‑rate. While these are valid targets, Ojomoh points out that few English centres combine his blend of pace, vision and creative kicking. Back at Bath, his partnership with newly‑signed Finn Russell has blossomed. “When we signed Finn, I didn’t expect us to think alike on attack,” Ojomoh remarked, highlighting a shared instinct that fuels his confidence. Coach Johann van Graan’s influence is evident, with the club’s motivational signage and a focused training environment that Ojomoh describes as “single‑minded”. He hopes the upcoming match will provide a platform for a first home Champions Cup quarter‑final since 2002. Family wisdom also plays a role; his father, former England centre Steve Ojomoh, reminded him that “the cream always rises to the top”. With a business degree from the University of Bath and a hobby of online chess, the younger Ojomoh is aware that consistent club performances could shift national perception. Looking ahead, Ojomoh is determined to make the 2027 World Cup squad. He admits that obsession over selection can be self‑destructive, emphasizing the need for mental clarity and playing with the same confidence he shows in his head. As Bath prepares for the high‑stakes clash with Saracens, Ojomoh’s mantra remains clear: choose greatness, stay true to his strengths, and let his on‑field X‑factor speak for itself.

Dua Lipa, the Brit award-winning pop star, has been announced as the curator of this year's London literature festival at the Southbank Centre. The festival, now in its 19th year, will run from October 21 to November 1.Lipa will shape the programme of events across the opening weekend and beyond in collaboration with her Service95 book club, which she launched in 2023. This initiative is part of the Southbank Centre's 75th anniversary programme and during the UK's National Year of Reading.Lipa has established herself as a prominent advocate for reading through her book club, where she spotlights established writers and emerging voices. She has interviewed notable authors such as Margaret Atwood, George Saunders, and Olga Tokarczuk.“Reading has anchored me through every chapter of my life,” Lipa said. “Curating the Southbank Centre’s London literature festival is a dream come true. I’m thrilled to indulge one of my greatest obsessions: books and the brilliant minds behind them.”Mark Ball, artistic director of the Southbank Centre, praised Lipa's passion for literature, stating, “Dua Lipa is a global cultural force with millions of fans around the world, and her passion for the written and spoken word has inspired a new generation of readers.”The 2026 edition will feature a mix of ticketed and free events, highlighting both Lipa's favourite writers and new literary voices. The full programme is expected to be announced over the summer.

The new HBO Max series Portobello had all the makings of a gripping drama: a charismatic TV host, a mind-controlled parrot, and allegations of mafia involvement. However, the show's pacing and tone leave much to be desired.Based on the true story of Enzo Tortora, the former host of Italy's top TV show, Portobello explores the intersection of celebrity, politics, and organized crime. The series' setting in the 1980s and its themes of false accusations and the power of the media are certainly relevant today.Despite its potential, the show's execution is wildly dull. The 72-minute first episode feels like a slog, and the period-authentic aesthetic, while well-intentioned, doesn't quite make up for the lack of tension or excitement. Even the bizarre subplot involving a mind-controlled parrot and its owner's obsession with Tortora can't seem to elevate the show's overall pace.The show's portrayal of the justice system is also noteworthy, highlighting the Kafkaesque experience faced by Tortora as he navigates the complexities of the law. However, this powerful theme is often overshadowed by the show's meandering pace and lack of dramatic tension.Ultimately, Portobello feels like a missed opportunity to create a compelling drama about a fascinating true story. While it may appeal to fans of character-driven dramas or those interested in Italian culture, others may find themselves checking their watches.