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Ed Miliband's stock is rising in the Labour Party as he fills a void left by Morgan McSweeney's departure, becoming a key figure in shaping the party's thinking. His influence has grown significantly in recent weeks, with some suggesting he is the real prime minister, calling the shots on key issues. Miliband's popularity among Labour members has increased, with him leapfrogging Angela Rayner as the membership's favourite cabinet minister. This surge in popularity has led to speculation that he could potentially win a leadership contest if one were to happen. The Labour Party's shift to the left, partly due to the Greens' victory in Gorton and Denton, has contributed to Miliband's rise. His reputation as a deep thinker and intellectual heavyweight has become increasingly valuable in a time when the party needs to address complex global challenges. Miliband's background in intellectual pursuits has prepared him for this role. Having cut his teeth in Gordon Brown's court, which was known for its intellectual voraciousness, Miliband has developed a unique ability to think through complex arguments from first principles. The current political landscape, marked by an energy crisis, potential recession, and rising populism, has highlighted the need for big ideas. Miliband's approach, which emphasizes thoughtful consideration and intellectual rigor, is seen as a welcome change from the party's previous focus on small, practical solutions. While Miliband is not infallible, his tendency to think years ahead of his time has been noted by those who have worked with him. His ideas, though not always successful, have the potential to sharpen the party's mental blades for the challenges ahead. In conclusion, Ed Miliband's rise to prominence is a reflection of the Labour Party's need for intellectual heavyweights who can provide big ideas and thoughtful leadership in a rapidly changing world.

The International Olympic Committee (IOC) has come under fire for its new guidelines on transgender athletes, which have been criticized by over 100 human rights, sports, and scientific groups. The guidelines, announced on Friday, mandate genetic sex tests for all athletes competing in women's categories and impose blanket bans on people who identify as transgender, intersex, or with sex differences.The new policy has been deemed 'a blunt and discriminatory response that is not supported by science and violates international human rights law.' Professor Paula Gerber, an international human rights lawyer at Monash University, stated that 'mandatory genetic sex testing and rigid biological criteria as a condition for participation in the women's category violates fundamental and universal human rights … including the right to equality, non-discrimination, dignity, privacy, and bodily autonomy.'The guidelines have also been criticized for their potential impact on intersex athletes and women of color, who may be disproportionately targeted due to their appearance. Dr. Ada Cheung, a professor of endocrinology at the University of Melbourne, noted that 'the best available data … shows that transgender women receiving gender-affirming hormone therapy are not meaningfully different from cisgender women in key performance-related measures.'The Australian Olympic Committee (AOC) has expressed support for the new guidelines, with president Ian Chesterman stating that they provide 'clarity for elite female athletes who compete at the highest level and demonstrates a commitment to fairness, safety and integrity in Olympic competition.' However, Nikki Dryden, a human rights lawyer and former Olympic swimmer, argued that the guidelines 'will be unlawful in Australia' and 'create a culture where someone like a coach, an official, or even another parent, feels entitled to question whether your daughter 'looks female enough' to belong.'

The US Pentagon chief has made a bold claim regarding Iran's naval capabilities, stating that the country effectively no longer has a navy or a leader to command it. This assertion suggests a significant weakening of Iran's naval power, which could have implications for regional and global security dynamics.The statement comes at a time when geopolitical tensions in the Middle East remain high, with various actors vying for influence and power. The Pentagon's assessment of Iran's naval capabilities could be seen as part of a broader narrative about the shifting balance of power in the region.However, without specific details on the criteria used to make this assessment, it's challenging to fully evaluate the claim. Iran's naval capabilities have been a subject of interest for international observers, given the country's strategic location in the Persian Gulf and its past military engagements.

Liverpool FC's Egyptian star Mohamed Salah has announced that he will be leaving the Premier League club at the end of the season. The 33-year-old forward confirmed the news in a video message on social media, marking the 'first part' of his farewell.Salah will depart on a free transfer despite having 12 months remaining on his contract. The reasons behind his departure are not explicitly stated, but earlier in the season, he mentioned having a nonexistent relationship with Liverpool manager Arne Slot.The fan favorite accused the club of making him a scapegoat for their poor start to the Premier League season. Speculation about his next destination has been ongoing, with links to several clubs around the world.Salah's agent, Ramy Abbas Issa, stated that no decision has been made about his future. The Saudi Pro League, particularly Al-Ittihad and Al-Hilal, have been mentioned as potential destinations. A move to the MLS in the United States is also a possibility.Liverpool has respected Salah's wish to announce his departure early, celebrating his achievements and memorable moments with the club. Salah is one of the most decorated players in Premier League history, with 255 goals in 435 appearances and numerous awards, including three PFA Player of the Year titles and four Premier League Golden Boot awards.

The film The Blue Trail (O Último Azul in Portuguese) has struck a chord with older women in Brazil, who see themselves in the protagonist Tereza, a tenacious woman who refuses to be defined by her age.The movie's themes of ageism and ageing resonate strongly in Brazil, where older women are increasingly prop up the community. The film offers a dark solution to the issue, depicting a dystopian future where senior citizens are banished to a remote housing colony.The film's director and screenwriter, Gabriel Mascaro, was inspired by his grandmother, who took up painting in her 80s after losing her husband. The film has been praised for its portrayal of older women as vibrant and full of life.Gilda Olinto, an 80-year-old woman who was given a prize at work recently, felt as if she was being told “nothing more is expected of you”. She relates to Tereza's story and sees her as a woman who “resists and is hungry for life”.The film's star, Denise Weinberg, puts her casting down to the fact that she is one of the few Brazilian actors her age who hasn’t had any cosmetic procedures. She joked with the director: ‘did you choose me because I have wrinkles?’Brazil is undergoing a rapid demographic shift, with the number of over-60s more than doubling between 2000 and 2023. This demographic is expected to account for a third of the population by 2050, prompting questions as to whether the country is prepared for this new reality.

German film-maker and author Alexander Kluge, a leading figure in the New German Cinema movement, has died at the age of 94. Kluge was known for his intellectually stimulating films and his role in shaping the cinematic landscape of post-war Germany. Kluge's career was marked by his innovative approach to filmmaking, which often incorporated cinematic collages and experimental techniques. His film Abschied von Gestern (released as Yesterday Girl in the US) was one of the first films to emerge from the Oberhausen Manifesto, a call to the German film industry to break free from traditional and shallow filmmaking. Kluge's contributions to German cinema were significant, and his influence can be seen in the work of other notable directors such as Rainer Werner Fassbinder and Werner Herzog. He continued to produce films and television programs throughout his career, including arts, magazine, and interview programs for German television through his production company DCTP. Kluge's wartime experiences had a profound impact on his life and work, shaping his commitment to pacifism. However, his comments on the topic have been met with controversy, particularly in the context of Russia's invasion of Ukraine. Throughout his career, Kluge collaborated with other artists and writers, including Ben Lerner, with whom he co-authored a poetic dialogue book, The Snows of Venice. Kluge's legacy as a pioneering film-maker and author continues to be celebrated, and his influence on German cinema and culture remains significant.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

Raoul Peck's documentary about George Orwell and his enduring relevance takes as its keynote the heretical masterpiece Nineteen Eighty-Four and its famous scene about the state compelling people to believe whatever it says is the truth: that two and two make five. This Orwellian anti-arithmetic of tyranny has become a political meme often repeated in social media debates.The simple experience of hearing Orwell's prose, both from his published work and letters and diaries, read aloud by Damian Lewis, is invigorating and refreshing. There's an interesting emphasis on Orwell's physical frailty, with him effectively composing his masterwork in the shadow of death. Peck amusingly juxtaposes Orwell's sickness with Winston Smith being made to do exercises and the infatuation of tyrannical regimes with public displays of physical fitness.Peck cites various movie and TV adaptations of Nineteen Eighty-Four and includes footage of Jura, where Orwell went to live, and archive photo records of Orwell's childhood and early working life as a policeman in Burma. The film also shows how Orwell predicted the rise of AI in propaganda and in soulless bread-and-circuses for the masses.The film falls down in not focusing on actual theocracies of the present day and the Orwellian qualities of Isis and Hamas. The question of how far Orwell renounced his own earlier antisemitic tendencies is not entirely addressed in this film.Orwell was disliked by some on the left for daring to write Nineteen Eighty-Four and disliked still more with the revelation 30 years ago that in 1949 he had handed over to British authorities the names of 38 public figures he considered 'crypto-communists' – a fact from which this film averts its eyes. But Orwell's complications don't compromise his genius for truth-telling.

Matt Brittin, Google's former top executive in Europe, has been selected as the next director general of the BBC. Brittin, who stepped down as Google's president in Europe, the Middle East, and Africa last year, will replace Tim Davie at a critical juncture for the corporation. The 57-year-old's appointment was confirmed after a BBC board discussion on Thursday. Brittin, a former Olympic rower and Doctor Who fan, is seen as a substantial figure capable of diving straight into crucial government talks over the renewal of the BBC's royal charter. However, his lack of editorial experience has been noted by insiders, who worry about his ability to deal with the periodic crises that occur at the corporation. The BBC is now expected to create the role of deputy director general to support Brittin, with a new head of BBC News also to be appointed. Brittin expressed his excitement about the role, stating: “Now, more than ever, we need a thriving BBC that works for everyone in a complex, uncertain and fast-changing world.” Samir Shah, the BBC's chair, praised Brittin's experience, saying he had “deep experience of leading a high-profile and highly complex organisation through transformation”. The appointment comes after some early favourites for the role dropped out or declined to apply amid concerns that scrutiny and political attacks aimed at the BBC have made leading it one of the hardest jobs in public life. Brittin's lengthy career at Google will also be significant in his new job, particularly as the BBC lays out plans to save considerable costs using a new tech division and forges a new relationship with YouTube, which is owned by Google. The licence fee model is also under pressure, with more people opting not to pay.