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The Takeover Bid EasyJet has called a potential £3bn bid by a US investment group “highly opportunistic”, as shares in the budget airline shot up to their highest level in three months on the takeover interest. Castlelake's Stake and Offer The US private credit firm Castlelake said on Friday it was considering a takeover offer for the airline. On Monday, it said it had already bought a 2.14% stake in the business and its offer would value easyJet at least at 403p a share, or about £3bn overall. EasyJet's Response However, easyJet hit out at its potential buyer, saying it was “highly opportunistic timing” as its share price was “temporarily depressed due to the current situation in the Middle East and its impact on customer confidence and jet fuel prices”. Market Reaction and Future Outlook Shares in easyJet shot up by as much as 12% in early trading on Monday, reaching 444.7p – well above the minimum level of a potential offer by Castlelake, and their highest level since 2 March, valuing the company at about £3.4bn. The jump later eased, with shares up about 10%. Regulatory Challenges Under City takeover rules, Castlelake, which is headquartered in Minneapolis and manages $36bn (£27bn) in assets, has until 5pm on 26 June to announce whether intends to make an offer for easyJet. EasyJet said it would “consider any proposal, should one be made” but that there were “considerable regulatory, financial and other execution challenges associated with a potential takeover”.

Executive Summary: Masturbation Recognized as Natural Avian BehaviorA collaborative survey of 120 bird species shows that self‑pleasuring is widespread, more frequent in the wild than in captivity, and poses no health risk. The findings challenge long‑standing advice to discourage or punish the behavior and call for a shift in veterinary guidance.Comprehensive Survey Highlights Widespread Onanism Across Diverse SpeciesThe research, led by Dr Chloe Heys (University of Lancashire) and co‑author Dr Matilda Brindle (Oxford University), combined expert interviews, online keeper communities, and published literature. Species documented include parrots, ducks, turkeys, chickens and numerous others, with both males and females engaging in the activity.Quantitative Findings Underscore Higher Incidence in Wild Populations120 bird species examined, spanning captive and wild individuals.Incidence reported as higher in wild birds than in captivity.Male birds were slightly more frequently mentioned, but female participation was notable.Repercussions for Veterinary Practice and Bird WelfareVeterinarians are urged to reassure owners that the behavior is normal and not a sign of distress. Interventions such as perch removal, hormonal treatments, or even surgical de‑sexing are deemed unnecessary except in rare pathological cases. Dr Ana Basto (University of Lancashire) emphasizes that the study will help vets provide evidence‑based advice.Projected Shift Toward Non‑Interventionist Care in Avian HusbandryAs the scientific community accepts masturbation as a natural component of avian sexual repertoires, bird‑keeping guidelines are expected to evolve. Future husbandry practices will likely focus on monitoring for genuine health issues rather than attempting to suppress a harmless behavior, fostering better welfare outcomes for both captive and wild birds.

The Historical Clean SweepNew South Wales has secured the first whitewash in Women's State of Origin since the series shifted to three matches in 2024, after grinding out a 12-4 victory over Queensland on the Gold Coast in game three. The scoreline flattered the home side, who were clearly second best against the shield holders, and have now lost back-to-back series. But they hung with the Blues until Jayme Fressard's try with 17 minutes to go which proved to be the match-winner.The Decisive MomentThe Blues' fifth-tackle spread looked to be going nowhere, but when the imperious Isabelle Kelly off-loaded to her winger, Fressard capitalised on the Maroons' tired defense. She surged down the inside, slicing up the Queenslanders and sliding across to trigger the Blues' celebrations. The winger told Channel Nine she wanted to make up for an earlier missed opportunity. "I'd seen a few Queenslanders and a big space, and I thought, you know, just back yourself, you've got the speed, so I wasn't bombing that one," Fressard said.Series Statistics and PerformanceThe series result represented an unfortunate opening to the Origin coaching career of Queensland's Nathan Cross, who was brought in this year to replace Tahnee Norris. Despite the 3-0 result, the Maroons were in each contest, and the combined margin across the three matches was just 17 points. Instead, the sweep was another endorsement for John Strange, who has now won five of six matches in the series.Impact on Women's Rugby LeagueEven after Fressard's try pushed the lead to eight, the Blues still had work to do. With seven minutes to go, the Maroons had three successive sets on the Blues line, and both Blues wingers – Fressard and Jaime Chapman – prevented the Maroons from turning grubbers into tries. Though her fellow Blues forward Yasmin Meakes won the player of the series award, lock Olivia Kernick had a night to remember, topping counts for tackles (33) and run metres (199).Future Outlook for Both TeamsDespite the result, the Maroons can have cause for optimism. Five-eighth Chantay Kiria-Ratu only became more confident in her first Origin series, and on Thursday her ball-playing and running began to match her already elite kicking and defense. NSW dominated the first half but took 26 minutes to find the opening try, with Kelly – named player of the match on Thursday – crossing after Southwell ran deep into the Maroons' retreating goalline defense.

The Dance Challenge: A Weekend Immersion As I wait for my first Cuban salsa class to begin, I have the distinct feeling that I am poorly prepared. I'm wearing heavy jeans, a bulky woollen sweater and boots. I have never done a dance class in my life – or any kind of exercise class. I don't know anything about salsa, Cuban or otherwise. Standing alone, I notice that everyone has come with at least one friend, and begin to suspect that it takes two to Cuban salsa. This year, Rising festival – Melbourne's winter arts offering – has consolidated its longstanding dance focus into a mini-festival: the inaugural Australian Dance Biennale, showcasing Australian and international work. There's also a series of dance classes, romantically titled The Land of 1000 Dances, held in the romantically decrepit Flinders Street Ballroom. Running daily until 7 June, with classes costing $29 a pop, the diverse schedule includes Afro-fusion, ballroom, voguing, waltz and K-pop for teens and tweens. From Salsa to Shuffle: A Dancer's Journey As an audience member, I am an avid appreciator of dance; as a participant, I can most kindly be described as "curious" but uncoordinated. What if I went to a bunch of dance classes and then wrote about it? Precisely 24 hours before my first class, the misgivings begin – doing my first dance class while dressed for the show I'm seeing directly afterwards sounds like a bad idea. At the ballroom, I am briefly reassured: the crowd is a diverse mix of ages, genders and bodies, and hardly anyone is wearing dance-appropriate clothing. But the class itself is a blur – sometimes literally – as I try to learn and enact the cucaracha, the guapo and other basic Cuban salsa moves; attempt to locate the beat, my hips, any sense of coordination at all. Every time I feel as though I'm starting to get the hang of something, the instructor adds a new step. Then he corrals us into pairs – and a series of new moves, yelling "change partners!" every three minutes. Going solo, it turns out, is fine: everyone is friendly; many seem as unsure as I am. Some are nailing it but there's a sense of camaraderie: we're all in this together. That said, we're all a bit too sweaty to be holding each other. The Social Dynamics of Dance Classes I move from absolute befuddlement, through occasional moments of triumph, to a sense of quiet despair. A move that involves a 360-degree rotation to an eight-count almost breaks my spirit and I consider quitting. To my surprise, this awakens a latent fighting spirit: screw the rules, I'm doing it my way. I experience brief elation. Then we change partners and I find myself in a cursed duet involving four left feet. The elation shrivels. The class ends and I run to the theatre feeling like a dank, demoralised biohazard. I spend the next hour watching a show by the Irish choreographer Oona Doherty featuring a mix of professional, student and untrained dancers – and I mentally salute them all, with a newfound appreciation for the dark art of dance. Finding Joy in Movement I approach my next class, Melbourne shuffle, with a sense of dread. Not only do I now know how bad I am but I have agreed to be photographed. And I made the choice without knowing anything about the Melbourne shuffle, mistakenly assuming it was somewhere in the ballpark of the city's other great cultural tradition. This feeling I am experiencing, I discover, is known as "endorphins". The physical exertion, the mental focus required, the social connection – it all combines to create a chemical cocktail that makes the experience worthwhile despite the occasional humiliation. By the end of my dance weekend, I haven't become a dancer, but I've gained a profound respect for those who are. The Australian Dance Biennale and The Land of 1000 Dances offer not just entertainment, but an invitation to participate, to challenge oneself, and to discover new dimensions of movement and expression.

The Unplanned Performance La La Land is a much adored homage to Hollywood, where dreamers take chances and seize unexpected moments. On Saturday night at the ICC’s Darling Harbour theatre, that idea became a reality for a 21-year-old university student who was thrust into the spotlight at a live performance of the movie’s score – and saved a concert from derailment. The Keyboardist's Sudden Illness Sterling Nasa was in the audience at La La Land in Concert, a touring production where the movie – which features Ryan Gosling and Emma Stone – is projected on to a screen while a live orchestra plays the musical score in synchronisation with the film. The performance proceeded normally until the interval, which stretched out to 40 minutes. Then the film’s Oscar-winning composer and conductor, Justin Hurwitz, walked out alone to address the audience. The Call for a Pianist The orchestra’s keyboardist had suddenly fallen ill. Was there by any chance a pianist in the house? And one with exceptional sight-reading skills? Nasa, who plays piano and organ and is the bagpipes tutor at his old school, Scots College, hesitated when the call went out. The Impromptu Performance Nasa told the ABC he was thinking the same thing when he saw the complex score. “I saw it on the score and I thought, oh, I don’t know if I’m going to be able to sight-read that in one go,” he said. Like Gosling’s jazz-pianist character Sebastian, the student had to decide whether to stay in the shadows or take a monumental leap of faith. With no time to overthink, he chose to trust his instincts. The Audience's Reaction The gamble paid off, carrying the orchestra through the number – and earning Nasa a resounding ovation from the audience. “He saw it coming up … and he just improvised,” Hurwitz said. “That is a whole other skill on top of sight-reading. To be able to play a really cool solo in the right key, in the right scale, on the fly with no rehearsal – it was remarkable.” The Future Performance While the production team is now scrambling to rehearse new keyboardists for the upcoming Melbourne and Brisbane legs of the tour, Nasa will be heading back to his regular university lectures. La La Land in Concert will play at the ICC Sydney on Monday, at the Brisbane Convention & Exhibition Centre on Wednesday and at the Hamer Hall in Melbourne from Friday 6 to 8 June.

How Norway’s Children’s Books Are Redefining TabooSwedish‑born author Anna Fiske and fellow illustrators are publishing picture books that openly discuss subjects traditionally considered off‑limits for young readers, from assisted reproduction to sexual abuse. The approach has earned them awards, strong sales, and, in some markets, fierce opposition.Anna Fiske’s ‘How Do You Make a Baby?’ Triggers International ControversyFiske’s 2019 title Hvordan Lager Man en Baby? (How Do You Make a Baby) illustrates IVF, insemination and the mechanics of intercourse. Distributed in English‑speaking territories by a New Zealand publisher, the book attracted death threats in Canada, was labeled pornographic in the US and banned from several school libraries, yet it also sparked vital conversations about sexual education.Sales Milestones and Awards Highlight Market Reception100,000+ copies sold of Fiske’s “How to” series in Norway.2025: Fiske receives the Honorary Brage award, one of Norway’s top literary honors.Norwegian festival of literature in Lillehammer showcases dozens of titles on exclusion, bullying, queer literature, climate, mental health and forced migration.State Support and Cultural Attitudes Fuel Literary FreedomNorway’s publishing model purchases a large stock of every new title for national libraries, insulating authors from pure market pressure. Government grants further enable writers to experiment without fearing commercial failure. Culturally, Scandinavian views treat children as autonomous individuals, encouraging open dialogue about risk and hardship.Global Publishers May Follow Norway’s ModelAs controversy in North America highlights the limits of censorship, the Norwegian example suggests a viable path for other markets: combine public funding with a cultural ethos that respects children’s capacity to engage with difficult topics. If other countries adopt similar policies, we could see a surge in globally distributed children’s literature that tackles previously taboo subjects.

The Global Wildfire Paradox of 2025 Despite a global decline in the total area burned by wildfires in 2025, wealthier nations experienced some of the most destructive fire seasons on record, according to a comprehensive study examining the complex relationship between climate change, land use, and fire impacts. Uneven Distribution of Fire Devastation Catastrophic blazes claimed lives, homes, and jobs last year in California, Canada, Europe, and South Korea. The Scottish "megafire" torched more than 100,000 hectares, contributing to the UK breaking its record for burned area. Meanwhile, the Palisades and Eaton fires in Los Angeles ranked among the most destructive in US history, while record-breaking blazes in Spain and Portugal burned more than half a million hectares. South Korea experienced its biggest and deadliest wildfire season on record. The Declining Global Burn Area Despite these regional disasters, the 335 million hectares burned globally in 2025 represented the second-lowest total since 2002. This reduction is largely attributed to the expansion of African farms that have fragmented landscapes and hampered the spread of large savannah fires. The overall decrease in burned area led to a drop in carbon dioxide emissions to their third-lowest level on record. Economic and Human Cost Concentration While the total burn area decreased, the economic and human impacts became increasingly concentrated. Fires accounted for more than 38% of insured losses from weather disasters in 2025. In southern California and South Korea, high winds and dry vegetation pushed fires through densely populated areas, causing "exceptional mortality, mass evacuations, and major infrastructure losses." The toxic particles spewed by Canadian wildfires in 2023 killed 82,000 people worldwide, according to studies. Climate Amplification of Fire Risk Global heating is creating conditions that allow fires to spread more intensely, particularly at the wildland-urban interface where people are most at risk. Adverse weather, inflamed by carbon pollution, turned some of 2025's fires into explosive infernos. An attribution study found that the extreme weather fueling flames in Portugal and Spain was made 39 times more likely by climate breakdown. "If we continue to warm the planet, large-scale fires will continue to increase," warned David Garcia, an applied mathematician at the University of Alicante. Regional Disparities in Fire Impact The study reveals a growing disconnect between total area burned and real-world impacts. While global burn areas decreased, Canada experienced extreme wildfire emissions for the third year in a row. Since 2023, boreal forests in North America have emitted close to 4 billion tonnes of CO2, exceeding the total emissions of the preceding 15-year period. In the Mediterranean, drought and extreme heat drove severe blazes from Portugal to Turkey. Future Projections and Preparedness Experts warn that as the planet continues to warm, large-scale fires will become more frequent and intense. Adrián Regos, a landscape ecologist at the Biological Mission of Galicia, Spain, noted that last year's events illustrated how a relatively small number of extreme fires could dominate the ecological, social, and economic consequences of an entire fire season. This trend suggests that despite potential reductions in total burn area, the threat to human communities and infrastructure may continue to increase, necessitating improved preparedness and mitigation strategies.

The LeadMaggie O'Farrell's 10th novel, "Land," is a sweeping narrative set in the aftermath of the Irish famine, exploring themes of trauma, identity, and cultural preservation through the lens of mapmaking and Celtic mythology. The novel follows multiple generations across various locations, blending historical realism with mythical elements to create a complex tapestry of Irish heritage.The Historical and Mythical Framework"Land" opens in 1865 on a rainswept Irish peninsula, where Tomás and his 10-year-old son Liam are mapping territory for the English Ordnance Survey. Tomás, a famine survivor working for the English, must navigate complex local legends and toponyms while dealing with his own trauma. The narrative expands to include Dublin, Rome, Quebec, and Kerala, weaving together the stories of multiple generations and incorporating elements of Celtic mythology through a magical well that transforms those who drink from it.The Narrative Structure and StyleO'Farrell adopts the role of a "seanchaí" (traditional storyteller) in this novel, employing fable-like elements, direct address to the reader, and shifting perspectives between human characters, animals, and even the land itself. The narrative unfolds episodically with an uneven passage of time, creating a storytelling approach that feels more traditional than conventional. However, this results in a book that is light on dialogue and dense in description, with characters that don't always feel fully developed.The Literary and Cinematic PotentialThe reviewer notes that "Land" feels "uncomfortable in its own skin," neither fully fable nor history nor family saga. However, the novel's visual quality and episodic nature suggest strong cinematic potential. Indeed, the film rights have already been acquired by the same production company that adapted O'Farrell's "Hamnet," with several award nominations. The novel contains scenes written with a cinematic perspective, as if describing character movements for a screenplay.The Cultural Significance"Land" explores the complex relationship between Ireland and its colonial rulers through the lens of mapmaking—a process that both documented and erased Irish place names and cultural knowledge. By incorporating Celtic mythology and focusing on the trauma of the famine, O'Farrell creates a narrative that grapples with cultural preservation and identity in the face of historical upheaval. The novel's magical elements serve as a counterpoint to the harsh realities of colonial mapping and famine survival.

A traveler who booked a seemingly cheap meet‑and‑greet parking service at Stansted Airport ended up with a £4,000 repair bill, a reduced £250 parking charge and a £100 penalty, highlighting opaque contracts and weak consumer safeguards.How a ‘Cheap’ Meet‑and‑Greet Deal Turned Into a £4,000 BillThe driver used compareairportparkings.co.uk to arrange a short‑stay, off‑site service. After returning to the UK, the car was delayed for four hours, discovered to have been in an accident, and the airport issued multiple charges.Breakdown of the £4,477+ Charges£66 – initial booking fee (refunded by compareairportparkings)£477 – original parking ticket, reduced to £250 after negotiation£100 – breach of parking conditions notice (later cancelled as a goodwill gesture)£4,000 – estimated cost of repairing the smashed front of the vehicleConsumer‑Protection Gaps Exposed in Airport Parking MarketThe story reveals a tangled web of companies: Swift Meet and Greet, Airport Parking Deals, Travel Extra Deals (trading as compareairportparkings), Parking4u, Nation wide Parking and Safe Meet and Greet. Each entity used different names on contracts and receipts, making it nearly impossible for the customer to identify the responsible party. The police classified the dispute as a civil matter, while Essex Trading Standards declined to confirm any investigation, urging customers to contact Citizens Advice.What Travelers and Regulators Should Expect Going ForwardExperts advise booking directly through official airport websites and verifying reviews on independent platforms. The incident may prompt tighter scrutiny from trading standards and the Civil Aviation Authority, especially as consumer groups like Which? have already highlighted “airport parking cowboys”. Until clearer regulation is introduced, travellers should treat low‑price online offers with caution and retain all documentation for potential disputes.