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The Trump administration has announced it will pay French energy major TotalEnergies $1 billion to kill plans to construct wind farms off the US east coast. This decision comes as a fuel crisis triggered by the war in Iran drives up global fossil fuel prices.The deal is the latest blow to the US offshore wind industry, which has faced repeated disruptions to multi-billion-dollar projects under Donald Trump. Trump has expressed his dislike for wind turbines, citing their ugliness, cost, and inefficiency, and his administration has moved to increase domestic fossil fuel production.In the deal, TotalEnergies will give up two offshore leases it had purchased off New York and North Carolina. The US Department of the Interior will reimburse the company $928 million it paid for the leases under Joe Biden. TotalEnergies has pledged not to develop any new offshore wind projects in the country and will invest nearly $1 billion this year in the development of four trains at the Rio Grande LNG plant in Texas, and the development of upstream conventional oil in the US Gulf and shale gas production.Critics of the deal, including climate advocates and environmental groups, argue that it will deepen the country's dependence on volatile fossil fuel markets and undermine efforts to transition to cleaner energy sources. They also point out that offshore wind projects can provide reliable and affordable power to the grid. The decision has been met with criticism from groups such as Oceantic Network, Evergreen Action, and Sierra Club, who argue that it will leave American consumers struggling to pay their electricity bills and undermine efforts to address climate change.

Michelle De Swarte's comedy career is a testament to her versatility, having worked as a model, actor, journalist, and now comedian. Her latest touring show, 'The Afters', is a hilarious and mouthy performance that leaves audiences in stitches. While the set may not break new ground in terms of comedy themes, De Swarte's confident and cavalier standup voice makes it a standout.From the outset, De Swarte's ability to turn crowd work into a fine set piece about cultural appropriation and Norfolk seafarers showcases her skill. She follows up with a number about a “poor-off” contest she had with a citizen of Bradford, whose salty tang of truth adds up to something far funnier than the usual comedy of class cliches. Her menopause material is distinguished by her pose of stroppy denial, making it a refreshing take on a commonly tackled topic.De Swarte's say-what-she-sees manner seems wholly unaffected, as she arches eyebrows at various aspects of modernity. Her resistance to touchy-feeliness is evident, and her background – poor, queer, and ruthlessly unsentimental – provides context for her personality and comedic style. The show's later stages feature rough-hewn comic effect as De Swarte recalls her forebears and their attitudes.The show's final section, in which De Swarte recalls her encounters with Jeffrey Epstein and P Diddy, leaves the audience wanting more. Perhaps there's a whole show or book to come from this cheerfully incautious comic voice. For now, 'The Afters' is a must-see for fans of comedy and those looking for a fresh voice in the industry.

Leicester City's struggles in the Women's Super League continued as they suffered a 2-1 defeat at home to Aston Villa, with Ebony Salmon's impressive performance off the bench proving decisive for the visitors.The loss leaves Leicester rooted to the bottom of the table, three points from safety with just five games remaining. Alisha Lehmann had given Leicester the lead, but Anna Patten and Kirsty Hanson scored for Villa, with Hanson netting her 10th league goal of the season.In another match, Liverpool and Brighton played out a goalless draw, a result that edged Liverpool further away from the relegation zone. The draw extended Liverpool's winless away run to 10 WSL matches but followed a general upturn in form that has seen them win three of their previous five league games.The result means Liverpool are now five points clear of Leicester, who are still struggling to avoid relegation. Liverpool goalkeeper Jennifer Falk made a crucial save to deny Brighton a late win, while at the other end, Aurélie Csillag's low shot was saved and Maelys Mpomé cleared the ball off the line to preserve the draw.

In the end, a comedy show leaves you with a feeling that tells you whether it worked or not. The general consensus about the inaugural episode of Saturday Night Live UK is that it did work, though some may feel the cast of 11 actors and 20-strong writing team only just got away with it.The show began with an impression of Keir Starmer by George Fouracres, followed by the guest host monologue by Tina Fey, former head writer at the original SNL. Like many sketches to come, it started stiltly but warmed up to end in relative triumph.One of the stronger sketches featured a skincare range called Undérage by Pedolay, with the tagline "everyone will think your husband is a nonce!" While some sketches went on too long—a tradition almost as longstanding as the cold open—others hit their mark better.A sketch about David Attenborough's Last Supper with reanimated icons offered a disturbingly good Diana impression by Jack Shep, followed by two successful bits featuring Hammed Animashaun as an honest film critic and as part of a team dedicated to making the internet "as bad as it can possibly be."The team recovered with a solid Weekend Update presented by Ania Magliano and Paddy Young, which contained proper jokes for grownups, including references to "Boris Pistorius/Saddam Walliams" and a joke about "It's a Sin becoming a musical as if a TV show about the Aids crisis could get any gayer."While a Shakespeare sketch and a bra-fitting sketch had mixed results, and performances by Wet Leg were described as "god-awful," the reviewer concluded that the show did not fail and could become more successful as the team and audience settle in over coming weeks.The review acknowledges that while the show could have been a lot worse, it also could have been better. However, the attempt to retool a legacy American brand for British audiences was refreshing and ambitious, with potential for growth and improvement.