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England have announced a 15‑man squad for the opening Test against New Zealand at Lord’s on 4 June, inserting three uncapped players – Emilio Gay, James Rew and Sonny Baker – and recalling fast‑bowler Ollie Robinson after a two‑year absence.Uncapped Trio Earn Spots in England’s First Test SquadThe selections reflect a post‑Ashes clean‑up and a clear intent to reward strong county performances. Gay, a Durham batsman, averages 92 this season; Rew, a 22‑year‑old Somerset wicket‑keeper‑batter, has already amassed 12 centuries in first‑class cricket; and Baker, a 22‑year‑old Hampshire seam‑bowler, has taken 14 wickets at 26.21 this summer.Statistical Snapshot: Performances that Secured SelectionEmilio Gay – 92 average in Durham’s Division Two campaign.James Rew – 12 first‑class centuries; recent opening debut yielded 4 and 0.Sonny Baker – 14 wickets at 26.21 for Hampshire.Ollie Robinson – 76 Test wickets at an average of 22 before being dropped in 2024.Strategic Shift: County Form and New Selector InfluenceEngland’s newly appointed selector Marcus North – former Durham director of cricket – emphasised “the strength and depth of talent across the domestic system”. His appointment coincides with a pledge to “pay more attention to county form”, explaining why players with standout domestic numbers have been fast‑tracked.Veteran Ben Duckett retains his place, while Zak Crawley is omitted after a poor start to the season. The seam‑bowling department now features a competition between Baker, Jacob Bethell, Gus Atkinson and the returning Robinson.Looking Ahead: How the Squad Might Shape the Lord’s TestWith a 15‑man roster, head coach Brendon McCullum and captain Ben Stokes have flexibility to experiment. If Robinson and Atkinson take the new‑ball duties, England could gain extra pace depth. The open‑ers slot remains contested; Duckett’s form will be tested against the possibility of promoting a newcomer.Should the uncapped trio translate their county success to the international stage, England could signal a broader generational shift, reinforcing the link between domestic performance and Test selection.

Boos at Anfield Signal a Season of Unmet ExpectationsAfter a 1-1 draw with Chelsea on Saturday, Liverpool supporters erupted in boos, echoing the discontent that followed earlier defeats to Manchester United, Tottenham and Burnley. The criticism centers on Arne Slot's perceived lack of ambition and the team's inability to finish games strongly.Season Snapshot: Results, Injuries and Transfer WoesLeague record: 11 losses – the most since 2014‑15.Away performance: 1 point from 7 games against top‑nine Premier League opponents.Cup setbacks: 3-0 loss to Crystal Palace (League Cup) and 4-1 defeat by PSV (Champions League), marking nine defeats in 12 European matches.Key injuries: Alexander Isak (broken leg), Hugo Ekitiké (Achilles), and limited minutes for new signings.Why Liverpool’s Struggles Matter Beyond the ScoreboardThe club’s under‑performance threatens its Champions League qualification, financial inflows, and the morale of a fan base accustomed to success. Persistent defensive lapses – highlighted by woodwork hits from Dominik Szoboszlai and Virgil van Dijk – expose tactical rigidity, while the heavy investment in the summer transfer window has yet to yield returns.Potential Paths Forward: Retain or Replace?Supporters of Slot argue his league title in his debut season and the competitive nature of the current campaign justify patience. Critics point to the downward trend, injury‑plagued signings and a lack of clear playing identity as reasons to consider a change before the next season.Looking Ahead: What Could Shape Liverpool’s Next Chapter?If Slot remains, the focus will be on integrating new signings, reducing injury risk and sharpening attacking intent to convert draws into wins. A managerial change would likely aim to restore a proactive style and re‑energise the squad ahead of the crucial final league fixtures and next season’s transfer window.

The Lead Lauren Elkin's book 'Vocal Break' is a celebration of the female voice in all its forms and imperfections. Elkin, a London-dwelling French-American translator and author, examines the female voice through the lens of her own musical passions and explores the rules and expectations foisted on female vocalists. The Event Details Elkin's book is not strictly a memoir, but she mines her past as she examines singers and singing. She digs into notions of self-image, coolness, integrity, and authenticity, and ponders the history of the vocoder and the current vogue for Auto-Tune. The Data Analysis No specific data is provided in the article, but Elkin's research takes in Roland Barthes's 'The Grain of the Voice,' Greil Marcus's 'Lipstick Traces,' and Homer's 'Odyssey.' She also shares surprising facts, such as the French phrase for singing along to a song in a language you don't know: 'chanter en yaourt,' or 'to sing in yoghurt.' The Impact Analysis Elkin asserts that women using their voices is 'not a neutral proposition but a hard-won right' and that judgments on their singing are wrapped up in power and identity. She highlights the physical violence women have endured for daring to sing and be themselves on stage, citing examples such as Ari Up and Tori Amos. The Prediction Elkin notes that 'singing is about wanting that thing that is just beyond reach, and that is why we love it, and need it.' She encourages more people to sing, emphasizing that through music, we can get things that are just beyond our reach, or feel like we have, for the time the music lasts.

First Ascent: The Allure of Carn Ffoi’s Jagged EdgeThe Guardian’s Country Diary captures a solitary climber’s obsession with a dark, looming rock outcrop on the brow of a Pembrokeshire hill. From a modest “home away from home,” the author watches the storm‑washed landscape settle, the wind drying the volcanic stone and setting the stage for a daring bouldering session.On‑Ground Details: Route‑Finding Without a GuidebookWithout a phone or detailed topos, the climber relies on a hand‑drawn booklet of routes that proves indecipherable. Instead, he scouts a potential line on the lee side of the boulder, warms his fingers, and visualises the climb in his mind before committing to the overhanging block.Physical Metrics: Climb Length, Elevation Gain, and Weather ConditionsClimb height: approximately 4‑5 metres of vertical gain.Elevation gain from base to summit: ~12 m above sea level.Wind: post‑storm gusts around 15‑20 km/h, drying the rock surface.Temperature: mild coastal chill, roughly 12 °C.Why This Matters: Highlighting Remote Coastal Climbing in WalesThe piece underscores a growing niche of climbers seeking untouched tors along the Welsh coast. The volcanic geology offers a texture “rough as old bark,” while the surrounding landscape—sandy Trefdraeth Bay, gorse scrub, and distant fishing boats—provides a dramatic backdrop that differentiates these sites from inland crags.Looking Ahead: Future Exploration of Pembrokeshire’s TorsAfter topping the boulder, the author spots a freshly‑moulted adder, a reminder of the area’s rich biodiversity. The encounter, combined with the panoramic sea view, suggests that Pembrokeshire’s tors will continue to attract adventurous climbers and nature enthusiasts alike, encouraging more detailed route documentation and sustainable access initiatives.

Why Labor Opted for a Partial Negative Gearing RetentionIn a video released alongside the 2026 budget, Treasury Minister Jim Chalmers clarified that the Labor Party chose not to abolish negative gearing outright but to retain it in a limited form. The move is presented as a compromise between fiscal responsibility and the political imperative to support property investors.Chalmers' Explanation in the Budget VideoThe video highlighted three core arguments:Revenue Impact: A full repeal would shave billions off projected tax receipts, widening the budget deficit.Housing Supply: Negative gearing encourages investment in rental properties, which helps keep rental vacancy rates low.Electoral Considerations: Property owners constitute a key voter bloc in marginal seats.Budget Numbers Behind the DecisionThe 2026 budget projects a surplus of AUD 12.4 billion after accounting for existing tax measures. A total repeal of negative gearing was estimated to erode that surplus by roughly 5‑6 %, pushing the government toward a modest deficit. By scaling back the deduction to properties with annual losses below AUD 5,000, the Treasury expects to retain most of the fiscal headroom.Broader Political and Market ImpactRetaining a trimmed version of negative gearing sends several signals:It reassures investors that the government will not introduce abrupt policy shocks, stabilising the Australian housing market.It placates the Labor base in outer‑urban electorates where property investment is a significant income source.It leaves the door open for future reforms, such as tightening eligibility criteria or introducing a phased phase‑out.Outlook for Tax Policy and Housing AffordabilityAnalysts anticipate that the next budget cycle will revisit negative gearing as part of a broader tax‑fairness agenda. If fiscal pressures intensify, Labour may consider a gradual reduction rather than an immediate repeal, aiming to mitigate any sharp correction in property prices while still moving toward a more progressive tax system.

The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.

The Quick Collapse of the $1.5bn Gold Coast Trump Tower DealIn February, David Young of Altus Property Group and Eric Trump announced a partnership to build the tallest tower in Australia on the Gold Coast, branding it Trump International Hotel & Tower Gold Coast. Within three months the agreement was terminated, with both sides blaming each other.Why Altus Property Group Cited the Trump Brand as ‘Toxic’Young posted on LinkedIn that the ongoing war in Iran had made the Trump brand “toxic to Australians”, claiming the negative perception was “pure sensationalism” and not related to the President himself.Altus argued the brand’s image was harming marketability.The Trump Organization responded that Altus failed to meet basic financial obligations.Financial Stakes: $1.5bn Project and Developer’s Bankruptcy HistoryProjected investment: $1.5 billion.Young has declared bankruptcy twice; the first was later annulled.The Trump Organization alleged missed payments upon execution of the agreement.Implications for Luxury Branding and Gold Coast DevelopmentThe fallout highlights the risk of attaching politically charged brands to high‑profile real‑estate projects, especially in a market sensitive to international conflicts. Gold Coast mayor Tom Tate confirmed no formal planning application had been submitted, underscoring regulatory caution.What’s Next for the Site and Similar High‑Profile ProjectsAnalysts predict the land will likely be re‑marketed under a different brand, but securing financing may remain challenging given the developer’s track record. The episode may deter other developers from pursuing “flash‑in‑the‑pan” branding strategies without solid financial backing.

The Ruislip Abuse Documentary Takes Prime Time on Channel 4Do You Know This Man? airs at 10pm on Channel 4. It follows survivors Laura Hughes, Lauren Preston and Mary Sharp as they confront drug dealer Martin Butler, whose house became a party venue that led to multiple rapes. The programme blends courtroom testimony with personal recollection, highlighting the lasting trauma and the victims' resilience.Hannah Fry Explores Anti‑Ageing Science on BBC TwoAt 7.30pm, the new series The Future With Hannah Fry launches. The first episode travels from US bio‑hackers to Japanese butterfly research, probing how emerging science could extend human lifespan.Travel, Comedy and Drama Fill BBC One’s Primetime Line‑up8pm – Race Across the World: Teams reach Mongolia, facing harsher terrain and colder weather.9pm – Amandaland: A pretentious coffee‑shop saga in South‑West London turns into a clash of digital‑marketing egos.9.30pm – Only Child: The second series deepens the comic chemistry of a pensioner and his out‑of‑work actor son.9pm – Kidnapped By My Mum (BBC Three): A harrowing documentary revisits the 2017 disappearance of Alex Batty and his later rescue.Why These Programs Matter for British TelevisionAll four channels are prioritising real‑life narratives that blend investigative journalism with human‑interest storytelling. By airing a rape‑survivor documentary alongside a science‑focused series, broadcasters signal a willingness to tackle difficult subjects while still delivering entertainment.What to Expect Next SeasonIf audience metrics stay strong, we can anticipate more documentary‑driven slots on primetime, especially on Channel 4 and BBC Three, and further expansion of science‑communication formats like Hannah Fry’s series.

The International Committee of the Red Cross (ICRC) reports that displacement in Colombia doubled in 2025, with over 235,619 people forced from their homes, marking the worst humanitarian year in a decade.The Surge in Displacement Amid Colombia’s Fragmented ConflictSince the 2016 ceasefire with the Revolutionary Armed Forces of Colombia (FARC), the conflict has splintered into multiple dissident and criminal groups. The ICRC’s annual report highlights that this fragmentation has reignited violence across the country, especially in the border department of Norte de Santander, where 42 % of the displaced are concentrated.Numbers That Reveal a Humanitarian Crisis235,619 individuals displaced in 2025 (double the 2024 figure)Mass‑displacement events affected > 87,000 peopleExplosive‑related casualties: 965 killed or injuredExplosive incidents rose > 33 % year‑on‑yearLockdowns in small communities increased by nearly 100 %Why the Conflict’s Fragmentation Is Deepening SufferingFragmented armed groups compete for control of illicit economies, leading to a surge in the use of drones and improvised explosive devices. Civilians face “lockdowns” that restrict access to education, crops, and essential services, eroding the social fabric and livelihoods of entire regions.What the Future Holds for Peace Efforts and Civilian SafetyPresident Gustavo Petro’s “Total Peace” negotiations remain stalled as right‑wing factions demand a hardline approach ahead of the May 31 elections. Analysts warn that without a credible security framework, displacement trends are likely to continue rising, pressuring both national and international actors to intervene.