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The Lead: Scotland's World Cup AnthemThe lyrics came to Stuart Murdoch in the hazy aftermath of Scotland's dramatic qualification for the World Cup. The Belle and Sebastian frontman had watched his side's playoff victory over Denmark through his fingers before deciding to write his own anthem to a team he has followed for more than 50 years. "Most people recognised instantly the next day that they'd witnessed the most important Scottish game ever," says Murdoch. "That was our magic moment."The Anthem Creation: It Only Takes One Lion"It Only Takes One Lion" starts by hinting at the travails of the team ("You gave us hope, you gave us despair"), turns into a bombastic four-on-the-floor singalong with self-deprecating lyrics ("This is Scotland, where everybody knows you start with nothing"), and nods to the Tartan Army ("you can join an army that's for peace"). The song's danceable beat was inspired by the team's current anthem, Baccara's 1977 hit, Yes Sir, I Can Boogie, which has been blasted out at Hampden Park after recent Scotland victories. "I like the thought that they just might play It Only Takes One Lion after a game, that's what I fantasise about," Murdoch says.Historical Significance: Scotland's Football JourneyFootball has been a life pursuit for Murdoch, who is an Ayr United fan, and Belle and Sebastian have broached the topic of football before, notably in the tale of Sunday league woes, Another Sunny Day. It is fair to say Scotland and Murdoch have got a bit of previous with the World Cup. The singer's earliest memories of the team at the tournament are of the 1974 edition where Scotland – despite not losing a game and only conceding one goal – were knocked out in the first round. There was more heartbreak in 1978 when a formidable Scotland team featuring Joe Jordan, Graeme Souness and Kenny Dalglish came back early from Argentina – despite a legendary Archie Gemmill goal.Cultural Impact: Music Meets Football PassionThe song, which the band debuted as part of an encore at an April gig at the Royal Albert Hall and is out on 2 June, coincides with Scotland preparing to play in their first World Cup tournament since 1998. Scotland will face Brazil and Morocco in the group stage, with Haiti the final team making up a tough draw. But Murdoch remains optimistic about the team avoiding any unnecessary drama. He concedes It Only Takes One Lion is a not-too-subtle dig at the auld enemy and England's anthem, Three Lions, Baddiel and Skinner's track, which celebrates its 30th birthday this summer. "It was done in a nice way," says Murdoch, who says he will support England if Scotland get knocked out early.Future Outlook: World Cup Dreams and Musical LegacyThe band's US tour finishes on the same night Scotland play Haiti in their first game, but Murdoch may try to watch a later group game, despite the eye-watering prices Fifa is charging for tickets. "We're going to play it by ear," he says. "I'm hoping the song does well and we'll get invited to a game." As Scotland prepares to make their return to the World Cup stage, "It Only Takes One Lion" stands as both a tribute to decades of football passion and a potential new soundtrack for Scottish sporting history.

The Farewell of a Harlequins LegendAfter 18 years with Harlequins, New Zealand's Nick Evans is preparing to say farewell to the club where he has made an indelible mark as both a player and coach. The 45-year-old former All Black fly-half, who helped the club win the Premiership title in 2012 as a player and again in 2021 as a coach, admitted this week: "It's going to be really hard to let go of this club." His departure marks the end of an era for Harlequins, a club that has become his home thousands of miles from his native New Zealand.A Career Forged at the StoopEvans joined Harlequins in 2008 and quickly became an integral part of the team's fabric. As a player, he was known for his skill, creativity, and popularity, embodying the positive approach that Quins brought to the game. After transitioning to coaching, he continued to bring innovation, constantly seeking new ways to break down opposition defenses. Despite a disappointing season for the team in what would be his final year, Evans' contributions over nearly two decades have been substantial, leaving a lasting legacy at the Stoop.The Numbers Behind the LegacyDuring his playing career, Evans made over 200 appearances for Harlequins, scoring more than 1,500 points. His precision kicking and creative playmaking were instrumental in the club's 2012 Premiership victory. As a coach, he helped develop the team's attacking strategies, culminating in another title win in 2021. His influence extended beyond the field, as he mentored young players like Marcus Smith, who has emerged as one of England's most exciting fly-halves. Evans' ability to adapt and innovate has been a constant throughout his tenure, even as the team faced challenges maintaining consistency.Shaping English Rugby's IdentityEvans' time in England has given him unique insights into the national game and its relationship with traditional playing styles. He believes England has the talent to compete with the world's best at next year's World Cup, identifying them as one of five teams capable of causing trouble. However, he also sees a tension between England's traditional identity—epitomized by players like Jonny Wilkinson, George Ford, and Owen Farrell—and more instinctive players like Marcus Smith. Evans suggests that England could learn from South Africa's ability to maintain a clear DNA while adapting their style, potentially finding a middle ground that accommodates both approaches.The Future of Harlequins and English RugbyAs Evans prepares to move on, he leaves behind questions about Harlequins' future identity. The club once prided itself on the TRUE mantra—Tempo, Ruthless, Unpredictable, Enjoyment—but Evans acknowledges that this identity has been inconsistently applied. His departure creates an opportunity for the club to redefine itself, while his insights suggest that English rugby must evolve to accommodate different playing styles without losing its fundamental character. Wherever Evans goes next, his influence is likely to continue shaping the game, as he brings a unique perspective forged from nearly two decades at the highest level of both English and New Zealand rugby.

The Return of a Championship PartnershipEmma Raducanu has rehired Andrew Richardson, the coach who helped guide her to her sensational US Open triumph in 2021, on a formal basis as she prepares to return to competition next week in Strasbourg in the buildup to the French Open.Richardson will accompany Raducanu at the WTA 500 event as she competes for the first time in two months after being sidelined by post-viral illness. During the early days of her return to the courts, Raducanu travelled to Richardson's base at the Ferrer Academy in La Nucía, Spain, near Benidorm, for a clay-court training block that doubled as a trial period for a potential formal partnership.In a statement, Raducanu said: "Grateful to have reconnected with someone who has known me for over a decade now and looking forward to building together one iteration at a time."A Historic Collaboration RenewedRaducanu and Richardson have a long history, with the pair first working together during her youth. Raducanu had been working with Nigel Sears at the beginning of her breakthrough summer in 2021, before joining forces with Richardson in July. Their partnership yielded one of the biggest surprises in tennis history as Raducanu won the US Open that year as a qualifier without dropping a set.Less than two weeks later, Raducanu controversially chose not to extend her coaching partnership with Richardson, which had begun on a short-term interim basis. This decision generated significant discussion, with many suggesting it would have been beneficial for Raducanu to continue with a familiar face who had worked so successfully with her at a time when so much of her life had instantly changed.A Pattern of Coaching ChangesThe decision not to continue with Richardson marked one of the first of many coaching changes for Raducanu, who has since struggled to find the right person to guide her on a permanent basis. Raducanu last worked with Francisco Roig for six months before the pair parted ways in February. Roig now coaches the six-time grand slam champion Iga Swiatek.Raducanu travelled to her most recent tournament, Indian Wells in March, with the LTA coach Alexis Canter. Considering how much scrutiny her life and career still generate, Raducanu has constantly sought out familiar faces she knew before her breakthrough in 2021.Quest for StabilityHer longest coaching stint was with Nick Cavaday, another of her childhood coaches, with whom she worked for more than a year until he stepped away because of personal health matters. Her return to the top 30 last year was a result of her partnership with Mark Petchey, another person with whom she worked before her breakthrough, whose tennis broadcast work meant they could work together only on an ad-hoc, informal basis.Now she has returned to the coach who helped her to her greatest achievement, suggesting a renewed focus on stability and proven results as she continues her career in the highly competitive world of professional tennis.

The LeadRenowned actress Linda Bassett reflects on her distinguished career spanning decades of theatre work, her celebrated collaboration with playwright Caryl Churchill, and her upcoming role in Alexander Zeldin's "Care" at the Young Vic. Known for her understated yet powerful performances, Bassett shares insights into her approach to acting and the profound impact of theatre on her life.The Career JourneyBassett's path to acting wasn't conventional. Despite coming from a non-theatrical family, she discovered her passion at age four when she was unexpectedly thrust into a Sunday school Easter play. "I was in bliss," she recalls. Her formative years included ushering at the Old Vic during Laurence Olivier's legendary tenure, where she witnessed groundbreaking performances and even sold ice creams during intermissions.After briefly studying English at Leeds University, where she focused on drama rather than academics, Bassett began creating devised work in Leeds and Coventry. This experience, she suggests, "made me a bit gobby," developing her confidence to make suggestions as an actor, though she admits she sometimes oversteps when working with certain playwrights.The Churchill ConnectionBassett's most significant artistic relationship has been with playwright Caryl Churchill, beginning with "Fen" in 1983 and continuing through to "What If If Only" in 2021. She describes auditioning for Churchill as "enormous" because it launched her on a particular trajectory. Her disconcerting clarity has made her a peerless interpreter of Churchill's work, which some audiences find forbidding."They're not hard to watch," Bassett protests of Churchill's plays. She recalls her iconic monologue in "Escaped Alone" where the phrase "terrible rage" is repeated 25 times in succession. "It was the only thing to say at that point. The words fed the feeling, and it was the audience who felt it, not me, which is ideal." Churchill's writing, she notes, is "so distilled, no excess baggage," requiring actors to find "the one way" to play them.From Call the Midwife to CareDespite notable film roles including "East Is East" and "Calendar Girls," many audiences know Bassett as stern nurse Phyllis in the BBC's "Call the Midwife." "Complete strangers come up and say, I love you. My wife loves you, my mother loves you. It's extraordinary," she remarks of the public's connection to the character. Despite playing Phyllis for over a decade, she found fresh aspects to explore, learning "how to be" more matter-of-fact and practical than her natural disposition.Currently rehearsing Alexander Zeldin's "Care" at the Young Vic, Bassett plays Joan, a woman who after caring for her family begins showing signs of dementia and needs care herself. "She's convinced, as many people are, that she's just in for respite. She never loses the idea that she's going home," Bassett explains. The role draws from personal experience; after a heart attack, she spent two weeks recuperating in a care home, giving her "an insight into what it's like when you become helpless."The Actor's Philosophy"Every part is an education," Bassett states. "That's the glory of being an actor. You learn about human feelings and frailty and rottenness. The writer puts their soul on the page, and you inhabit that. I've always felt I was a writer's actor." This philosophy has guided her selective approach to roles, resulting in a "remarkably free of crap" CV despite turning down numerous opportunities.Though she hasn't performed as many classics as she might have hoped—"I think I'm seen as a working-class actress"—Bassett values the authenticity she brings to her roles. With Zeldin directing "Care," she appreciates his desire for "absolute truthfulness," which "suits me down to the ground." As she prepares for this new challenge, she acknowledges the nerves: "Every new part you're starting again. It's a bit scary, but I think we'll be all right."The Future of TheatreAs a veteran performer who has witnessed theatre's evolution, Bassett remains committed to the medium's power. She recalls the impact of Ronald Pickup's messenger speech in Peter Brook's production of Seneca's "Oedipus": "People fainted every night. You didn't see anything, his voice was enough. That's the power of theatre, isn't it?"Looking ahead, Bassett continues to seek roles that challenge her and explore the human condition. Whether through her meticulous interpretation of complex playwrights like Churchill or her willingness to portray the vulnerability of aging in "Care," she remains dedicated to the craft that has defined her life. "Every part is an education," she reiterates, and with each new role, Linda Bassett continues to learn, grow, and enrich the theatrical landscape.

The Lead: IndyCar's Political CrossroadsAs IndyCar prepares for the 110th running of the Indianapolis 500, the sport finds itself embroiled in controversy over a promotional T-shirt that has sparked accusations of insensitivity and political messaging. The incident reveals a significant rightward shift in the organization's direction under owner Roger Penske, who has increasingly aligned himself with former President Donald Trump and conservative politics.The Controversial 'One Nation, One Race' ShirtAs part of its promotional push for the Freedom 250, a Washington DC street race sanctioned by a Trump executive order, IndyCar unveiled a licensed T-shirt featuring a helmeted racing driver rendered entirely in white, posed in a manner resembling the Lincoln Memorial statue, set against a red-striped backdrop, with the words "One Nation, One Race."The design quickly drew criticism online, with many noting its problematic imagery. Automotive writer Ryan Erik King slammed the shirt on X as "incredibly insensitive and inflammatory." Critics pointed to the Roman fasces the driver's arms rest on—iconography later adopted by fascist movements—as particularly concerning. The stark white racing driver set against Lincoln's seat, combined with the Freedom 250's association with Trump, sharpened these concerns.Following customer backlash, IndyCar pulled the shirt from its online store, stating it was "reviewing its approval process related to event apparel." However, the organization has not explained who approved the design initially.Penske's Political Alignment and Financial ContributionsThe controversy cannot be separated from IndyCar's owner, Roger Penske, who has become increasingly aligned with Trump since purchasing the organization. Penske's drivers and teams have appeared at the White House after major wins, and Trump awarded Penske the Presidential Medal of Freedom in 2019.In the lead-up to the 2024 presidential election, Penske Corp reportedly made more than $4 million in political contributions, including $1.1 million to MAGA Inc. Penske has been publicly effusive in his support for Trump, writing in a February letter: "Thank you for all that you and your administration are doing to put 'America First', to protect our borders, and return investment to our great country."This political alignment stands in contrast to IndyCar's international makeup, with nearly 70% of full-time drivers racing under foreign flags, including one-third of Penske's own IndyCar drivers.The Impact on IndyCar's Position in MotorsportIndyCar has historically positioned itself as maintaining political neutrality, unlike NASCAR which leans into American jingoism and conservative cultural signaling. Two years ago, IndyCar rejected a Trump/RFK Jr car livery for the 500, citing its policy against political sponsorships—a stance that now appears to be shifting.The organization's closer alignment with Trump has drawn criticism from within the racing community. When the Department of Homeland Security used an IndyCar image to promote a proposed immigration detention facility in Indiana dubbed the "Speedway Slammer," Mexican driver Pato O'Ward expressed his discomfort: "I was just a little bit shocked at the coincidences of that and, you know, of what it means. I don't think it made a lot of people proud, to say the least."This political shift threatens IndyCar's unique position in motorsport, potentially alienating international drivers and fans while attempting to close the gap on NASCAR and Formula One in terms of cultural relevance.Future Outlook for IndyCarAs IndyCar continues to navigate this political crossroads, the organization faces a critical juncture. Penske's bid to elevate IndyCar's prominence may be undermined by the alienation of its international fan base and drivers. The controversy over the 'One Nation, One Race' shirt serves as a stark reminder of the risks when sports organizations become entangled in political polarization.IndyCar must now decide whether to double down on its rightward shift or recalibrate to maintain its traditionally more neutral stance. The organization's ability to navigate this tension will likely determine its future trajectory in an increasingly polarized sports landscape.

The Historic World Cup Half-Time DebutMadonna, Shakira and K-pop megastars BTS will headline a Super Bowl-style half-time show at the World Cup final on July 19 at MetLife Stadium in New Jersey, FIFA has confirmed. Coldplay's Chris Martin will curate the show, which is a first for a football World Cup final, but the programme details released on Thursday have raised concerns about how long half-time will be."This will be a historic moment for the FIFA World Cup and a show befitting the biggest sporting event in the world," FIFA president Gianni Infantino said on Instagram.Breaking New Ground in Football EntertainmentThe move mirrors the show held during the final of the 2024 Copa America in Miami, when Colombian star Shakira performed at half-time at the Hard Rock Stadium. There was also a half-time show at last year's FIFA Club World Cup final, also at MetLife Stadium, which stretched the break in excess of the regulation 15 minutes.Infantino announced in March last year that there would be "the first-ever half-time show at a FIFA World Cup final." He did not say at the time who would be performing or how long the show would last.Financial Impact and Global InitiativeThe half-time extravaganza will support FIFA's Global Citizen Education Fund, an initiative working to raise $100 million for children worldwide during the World Cup. The biggest-ever World Cup, with 48 teams, kicks off on June 11 in the United States, Canada and Mexico.Infantino added that FIFA also planned to "take over" New York's Times Square on the final weekend of the World Cup, further expanding the commercial and cultural impact of the tournament.Transforming Football's Cultural LandscapeThe inclusion of major musical acts at the World Cup final represents a significant shift in how football's premier event is presented to global audiences. By blending sports entertainment with music, FIFA aims to attract new demographics and expand the tournament's cultural reach beyond traditional football fans.This entertainment strategy builds on the success of previous World Cup anthems and performances, particularly Shakira's "Waka Waka" for the 2010 tournament, which became a global hit and remains closely associated with the World Cup brand.Future of Tournament EntertainmentWith the success of recent half-time shows at Copa America and the Club World Cup, FIFA is signaling that entertainment elements will become a permanent feature of major tournaments. The collaboration between football's governing body and top-tier artists sets a precedent for future World Cups and other international competitions.As Shakira prepares to release the official World Cup song "Dai Dai" featuring Nigerian artist Burna Boy, the tournament's musical dimension continues to expand, potentially creating new opportunities for cross-cultural collaborations in future events.

The Sendoff Ceremony Crowds gathered in Tehran to send off Iran's World Cup team, demonstrating the nation's enthusiasm for football. Details of the Event The event took place in Tehran, with thousands of fans showing up to support their national team. The Impact on Iranian Football The large turnout highlights the significance of football in Iran and the high expectations for the team's performance in the World Cup. The Road Ahead As Iran's team prepares for the World Cup, the country's fans remain hopeful for a successful tournament.

As the US‑Israel war on Iran reaches its 12th week, the city of Tucson, Arizona, is quietly transforming its sports complex into the home base for Team Melli ahead of the 2026 FIFA World Cup, underscoring a stark contrast between battlefield headlines and the unifying promise of football. Training Camp Set Up at Kino Sports Complex The Kino Sports Complex, overseen by Sarah Hanna, director of the facility, is being pre‑pared to FIFA‑regulation standards. Grass is being watered and cut to exact height, weight rooms, ice‑baths and massage tables are readied, and meeting spaces have been booked for the team’s staff. Location: Tucson, Arizona – a desert oasis of ~540,000 residents. Facility: Kino Sports Complex, equipped with FIFA‑approved pitch. Key personnel: Sarah Hanna (facility director), Jon Pearlman (FC Tucson president). Logistics and Security Amid Geopolitical Tension Preparation intensity is high: Hanna reports averaging 12 to 20 meetings each week, ranging from food‑service contracts to FIFA inspections. Security measures have been tightened, and hotel rooms for the squad are locked in. Travel timeline: Arrival expected two weeks before opening match on June 15, 2026 in Los Angeles. Group‑stage venues: Los Angeles (vs New Zealand), Seattle (vs Egypt), and a match against Belgium six days after the opener. Political backdrop: Ongoing naval blockade of Iranian ports and a de‑facto closure of the Strait of Hormuz. Sport as a Diplomatic Bridge in a Conflict Zone Local leaders stress that football can transcend politics. Jon Pearlman said, “We welcome them with open arms… the game brings nations together, not drives them apart.” Residents echo this sentiment, despite President Donald Trump’s earlier social‑media doubts about the team’s safety. Community response: Positive, with local clubs and fans offering support. FIFA stance: The tournament will proceed with Iran’s participation as planned. Outlook for Iran’s World Cup Participation While visa and staff‑treatment demands remain under negotiation, the logistical groundwork in Tucson suggests a high probability that Iran will compete as scheduled. Should diplomatic friction intensify, contingency plans could involve neutral venues, but current momentum points to a full tournament presence. Potential risk: Escalation of hostilities could trigger travel restrictions. Best‑case scenario: Iran plays all group matches, using Tucson as a stable training hub.

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.