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In the winter of 2026, Younus Qambrani used WhatsApp to document how his Pak‑Shaheen Boxing Club is turning Lyari—a locale long portrayed as a criminal backdrop in Bollywood films—into a vibrant hub for girls’ boxing and community empowerment. The Rise of a Boxing Hub in Karachi’s Lyari Qambrani, a 60‑year‑old coach, founded Pak Shaheen in 1992 and opened its doors to girls in 2013. The club now trains 10 girls daily, preparing them for city‑wide tournaments and aiming to expand access with a portable ring. 1992: Pak Shaheen Boxing Club established. 2013: First female member, Qambrani’s daughter Anum, joins. 2015: Students compete at the South Asian Games. 2016: Anum wins the Jinnah First Ever Karachi Women Boxing Championship. 2022: Aliya Soomro, Pakistan’s first world‑title female boxer, trains at the club. Numbers Behind the Movement: Participation and Milestones Lyari’s population of roughly 950,000 residents now includes a growing cohort of young athletes. Since 2013, the club has produced: Over 200 registered youth boxers. More than 30 female competitors in regional tournaments. Two national‑level medals (South Asian Games 2015, district championship 2016). Reframing Lyari: Social and Cultural Impact Beyond sport, the boxing initiative challenges the one‑dimensional media narrative that links Lyari solely to gang violence and Bollywood’s fictionalised portrayals in the Dhurandhar franchise, which grossed over $100 million per film. Anthropologist Adeem Suhail likens Lyari’s cultural resurgence to historic hubs like Naples, emphasizing its diverse heritage—from Baloch and Afro‑Baloch roots to a thriving hip‑hop scene. Future Outlook: Expanding Girls’ Boxing and Community Empowerment Qambrani’s next goal is to acquire a folding, portable boxing ring to bring training to schools across Lyari. Funding challenges remain, but the club’s success suggests a scalable model that could inspire similar programmes in other under‑represented Pakistani neighbourhoods, fostering gender‑inclusive sports participation and reshaping external perceptions of Lyari.

The Road to the World CupScotland qualified for the World Cup in dramatic circumstances that absorbed almost three decades of frustration. This marks a first appearance in the event since 1998 and it was achieved on a spine-tingling Hampden Park occasion when Denmark were eventually vanquished 4-2.The Team's ChancesNow for the trickier part. Clarke has an ageing squad which is light on goal threat if midfielders – primarily John McGinn and Scott McTominay – do not contribute. The goalkeeping position has been a problem for a concerted spell now. At centre-back, the Scots are adequate rather than strong, having operated with a back three or four.Key PlayersScott McTominay has evolved from bit-part player at Manchester United to a hero in Naples. He has grown in stature and significance for Scotland while reviving his club career and his overhead kick in the Denmark win is etched in history as one of the finest goals ever witnessed at Hampden Park.The CoachScotland were in the doldrums, with tournament participation supposedly an unattainable dream, when Steve Clarke took on the position in 2019. History will look very favourably upon the former Chelsea player, given he has taken his nation to three out of four finals.Group Stage Fixtures13 June v Haiti, New York (9pm local, 14 June 2am BST, 14 June 11am AEST)19 June v Morocco, Boston (6pm local, 11pm BST, 20 June 8am AEST)24 June v Brazil, Boston (6pm local, 11pm BST, 25 June 8am AEST)

The Lead: Conte's Abrupt Exit from NapoliAntonio Conte has announced his departure as Napoli head coach after guiding the team to a 1-0 home victory over Udinese in their final Serie A match of the season. The 56-year-old confirmed the decision at a press conference alongside Napoli president Aurelio De Laurentiis, revealing he had initiated the exit talks a month ago.The Event Details: Conte's Napoli Tenure and Reasons for DepartureHaving joined the club in July 2024, Conte won the league title in his debut campaign as well as this season's. His final match was settled by a 23rd-minute goal from striker Rasmus Højlund, securing a second-place finish in the league table for the hosts behind Inter.The former Italy and Chelsea manager revealed he had initiated the exit talks based on his relationship with the club's owner. "I rang the chairman a month ago … and told him: 'Given the friendship we share, I feel that my time here is coming to an end.' The decision was mine," Conte told reporters. "I've never been one for mediocre seasons, and I never will be."Reflecting on the turning point of his decision following a loss to Bologna this month, Conte cited friction over January signings and internal squad dynamics. "I saw situations there that I did not like," Conte said. "Certainly some new signings arrived in January while the old group and I were in very difficult dynamics. There came a moment when it was right to speak out and take responsibility."I failed at one thing in Naples: I was unable to bring everyone together," he added. "I saw too much poison, too much malice. The moment you can no longer do things with ease is a step backwards for me."Conte is a frontrunner to take over as Italy manager, local media reported. "There is satisfaction, honour and prestige in what I achieved coaching Naples. I thank De Laurentiis for giving me this opportunity."The Impact Analysis: Como's Historic Rise to Champions LeagueComo qualified for the Champions League for the first time in their history, the lakeside club being joined by Roma in the top four as giants Milan and Juventus missed out on an eventful final day marred by fan violence.Como's 4-1 win at Cremonese, who drop down to Serie B, and Milan falling to a shock 2-1 home defeat to Cagliari was enough for Cesc Fàbregas's side to cap their incredible rise from lower leagues to Europe's top table. Como will finish the season fourth, two points behind Roma, whose 2-0 win at already-relegated Verona ensured third place and an end to their long absence from the Champions League.Juve's match at Torino kicked off over an hour late for "public safety" after one of the Turin giants' fans was admitted to hospital following pre-match clashes with rival supporters.The Data Analysis: Final League Standings and European QualificationThe final Serie A standings saw Inter claim the title, with Napoli finishing second. Roma secured third place, with Como fourth. This means the top four teams for next season's European competitions are:Inter: Champions LeagueNapoli: Champions LeagueRoma: Champions LeagueComo: Champions League (first qualification in history)Teams finishing fifth and sixth will enter the Europa League, while those in seventh and eighth positions will qualify for the new Europa Conference League.The Prediction: Future Implications for Italian FootballConte's departure from Napoli creates a significant vacancy at one of Italy's biggest clubs, with potential ripple effects across Serie A. His possible move to the Italy national team could reshape the national team's approach as they prepare for major tournaments.Como's historic Champions League qualification represents a changing power dynamic in Italian football, with smaller clubs making breakthroughs into Europe's elite competition. This could lead to increased investment and competitive balance in Serie A.The final day's fan violence also highlights ongoing challenges in Italian football, with authorities likely to implement stricter security measures for future matches.

Marine Atlan’s Debut ‘La Gradiva’ Shines at CannesFormer cinematographer Marine Atlan makes a confident entrance into directing with La Gradiva, a debut film that follows a group of French teenagers on a school trip to Pompeii and Naples. The narrative intertwines youthful desire, class dynamics, and a mythic reference to Wilhelm Jensen’s 1902 novella, which fascinated Sigmund Freud.Critical Reception and Festival ExposureThe Guardian’s review highlights the film’s strong visual style, the intelligent performance of Antonia Buresi as teacher Mercier, and the raw chemistry among the newcomer cast. While no box‑office numbers are available yet, the Cannes screening positions the film for international sales and potential awards consideration.Why ‘La Gradiva’ Resonates with Modern AudiencesAuthentic teen voice: The script, co‑written by Atlan and Anne Brouillet, captures the awkwardness and intensity of adolescent relationships.Historical metaphor: The backdrop of Pompeii and the 1980 Irpinia earthquake mirrors the characters’ personal upheavals.Diverse perspectives: Characters like Toni, Suzanne, and Mercier explore themes of sexuality, class, and identity.What Lies Ahead for Atlan and French Teen CinemaIf La Gradiva’s festival momentum continues, Atlan could become a notable new voice in European arthouse cinema, encouraging more stories that blend historical allegory with contemporary teen experiences. Distributors may seek the film for streaming platforms, and the cast’s breakout performances could open doors for further projects.

The LeadItalian Davide Ballerini won stage six of the Giro d'Italia as a crash on the cobbles took out several sprint specialists near the finish in Naples on Thursday.The Technical Breakthrough on the CobblesBallerini (XDS Astana Team) comfortably beat Belgium's Jasper Stuyven (Soudal Quick-Step) on the city centre finish after a flat 142km ride from Paestum. A relatively incident-free stage burst into life in the final kilometres as the sprinters moved into position.The Impact of the Wet ConditionsWith light rain making the surface treacherous, a crash inside the final kilometre took down Jonathan Milan (Lidl-Trek), Dylan Groenewegen (Unibet Rose Rockets) and several other riders. "It was a bit slippery and it can happen," Groenewegen said. "It's disappointing. Sometimes you have bad luck."The Race DynamicsBallerini and Stuyven managed to avoid the chaos and powered to the line with Ballerini proving too strong. Overall race leader Afonso Eulálio of Portugal finished safely in the main pack.What's Next in the GiroThe race continues with the riders facing the challenges of the Italian terrain, with Ballerini's victory potentially shifting the dynamics of the sprint competitions in the remaining stages.

The Artist's Journey Through Love and LossFalling in and then out of love is a universal experience that often brings sadness, grief and heartbreak, and with time, hope and healing. Photographer Diana Markosian used her camera lens to document these complex feelings in her new project, Replaced.She brings the viewer on her journey of having, losing and reclaiming love, in a project that blurs documentary and fiction. "[The moments] no longer existed in the way they had, and I wanted to reclaim them," she says. "I wanted to feel that I could exist in my own story again."Recreating Intimate Moments Through ArtTo document their relationship, Markosian and her team worked with an actor to play her ex-partner. Each intimate image from the series, taken over three months, is a replica of an exact moment once shared with her ex and now shared between her and the actor. Her connection to him deliberately led to his being cast as her partner in the series so that the experience would feel as real as possible.With the actor, she visited Miami, Paris, Naples, Capri and Nice, all places she had once traveled to with her ex-partner. "These locations carry an existing weight of romantic myth," she says. "They are already shaped by cultural narratives of love, desire and idealized experience."The Emotional Toll of ReenactmentShe stayed at the same hotels and did the activities they had once done together, describing the experience as painful but cathartic. "It hurts so much, watching myself be replaced, watching those memories erased, and I didn't want to live in this any more," she says. "I'm so grateful that the project happened quickly."One of the most tender moments she recreates with the model appears in an image of them seated in a bathtub, holding one another with a red light glowing around them. Their vulnerability allows the viewer to reflect on a delicate moment between two people whose past love no longer exists, fostering empathy and prompting the audience to reflect on their own past relationships.Art as a Tool for Processing EmotionsCreating these intimate photographs enabled her to contemplate her journey. "I wanted to acknowledge how these same spaces can be reoccupied," she says, before adding: "If anything, [the project] just showed me how much I loved this person."For the past 16 years, Markosian has not let go of her camera, often using it to reach back and understand her past. "Art has given me a way of processing. I was studying writing, and suddenly found myself holding a camera and not wanting to let go of it; it became just a friend in my life," she says.A Career Built on Memory and ReconnectionShe first picked up a camera at 20, during graduate school at Columbia University. After graduating with a master's degree in journalism, she wanted to see the world, so she moved back to Moscow, Russia, where she was born. There she taught herself how to use the camera.Today, her lens serves as a tool for reconnecting with her past life and reclaiming it as her own. In her previous, highly regarded photo monograph Inventing My Father, she demonstrates her unique ability to reveal the unseen past through her images. Working on the book for 10 years, she depicts her journey of finding her father after 15 years of no contact, following her move to California in 1996 from Armenia, where he lives."Father, my previous work of the past decade, it's all rooted in memory, and I think what's beautiful about memory, there's a blend of fiction, interpretation, and it's very subjective," she says. "So I think I love existing in that territory because none of it is really real."

Elvira Notari—Italy’s first and most prolific female filmmaker—crafted a vivid portrait of early‑20th‑century Naples through melodramas such as È piccerella (1922). The film opens with bustling pilgrimage scenes at the Candelora festival, juxtaposing flamboyant revelry with stark images of poverty, a visual strategy that challenged the sanitized narratives favored by the fascist regime.According to film scholar Giuliana Bruno, Notari’s work was driven by a desire to document reality, exposing class tensions and gendered oppression that Mussolini’s censors deemed unacceptable. A 1928 censorship law explicitly banned Neapolitan films featuring “stallholders, beggars, urchins, dirty alleyways,” effectively silencing Notari’s authentic street‑level storytelling.Despite directing around 60 feature films—many hand‑coloured—alongside her husband Nicola at Dora Film, only three titles (A Santanotte, È piccerella, Fantasia ‘e surdato) and fragments survive today, a loss directly attributable to fascist suppression and the prohibitive cost of sound‑film conversion.The newly released documentary Elvira Notari: Beyond Silence, produced by Antonella Di Nocera and directed by Valerio Ciriaci, reconstructs Notari’s fragmented career by collaborating with contemporary “artisans”—photographers, visual artists, novelists, and musicians who reinterpret her silent‑film aesthetics. Ciriaci notes that the absence of personal archives made the film’s investigative approach essential, turning Notari’s silence into a creative catalyst.Critics emphasize Notari’s lasting influence on Italian‑American auteurs such as Francis Ford Coppola and Martin Scorsese. Elements of her chaotic street festivals anticipate the wedding scenes in *The Godfather* and *Goodfellas*, while her raw urban tableaux echo the gritty New York sequences of *Taxi Driver*.Beyond cinematic technique, scholars like Cristina Jandelli argue that Notari’s intertitles reveal a pronounced class consciousness and a critique of women’s marginalisation in early 20th‑century Italy. Her use of Neapolitan dialect and unvarnished depictions of squalor directly opposed the regime’s propaganda‑driven vision of a unified, pristine Italy.After Dora Film collapsed in 1930, Notari retired to Cava de’ Tirreni and died in 1946, largely forgotten until recent scholarly revival. The documentary positions her as a “symbol of the right to memories,” underscoring the ongoing relevance of silenced female voices in cultural history.*Elvira Notari: Beyond Silence* will premiere at New York’s Film Forum on 6 April 2026 and tour the United Kingdom throughout April and May, offering audiences a chance to reconnect with a pioneering filmmaker whose work was once erased by fascism.

UEFA chief Aleksander Ceferin warned that Italy’s ability to co‑host Euro 2032 with Turkiye is in jeopardy because many of the nation’s football venues rank among the worst in Europe. In an interview with La Gazzetta dello Sport, Ceferin said, “Euro 2032 is scheduled and will take place, of that there is no doubt. I just hope that the infrastructure in Italy will be ready. If that’s not the case, the tournament will not be held in Italy.” He added that the core issue lies in “the relationship between the football authorities and politics,” suggesting that political interference has hampered stadium development. By October, Italy must submit a list of five stadiums for the tournament, choosing from eleven candidate cities: Rome, Florence, Bologna, Milan, Genoa, Bari, Naples, Turin, Cagliari and Palermo. Work on any new or renovated venue must commence by March 2027 to meet UEFA deadlines. At present, only Juventus’s Allianz Stadium in Turin meets UEFA standards for Euro 2032 matches. Meanwhile, Inter Milan and AC Milan have acquired the San Siro site and aim to deliver a new 71,500‑seat arena on the same footprint by 2031, but the transaction is under investigation for alleged bid‑rigging. In Rome, local authorities have approved a new stadium in the city’s eastern district, while Fiorentina’s Artemio Franchi Stadium is undergoing redevelopment. Naples unveiled a €200 million renovation plan for the Diego Armando Maradona Stadium, which includes removing the surrounding running track – a project the mayor says is essential “regardless of 2032.” The UEFA warning follows a historic setback for Italian football: the Azzurri, coached by Gennaro Gattuso, were eliminated from the 2026 World Cup after a 4‑1 penalty defeat to Bosnia and Herzegovina in the UEFA playoff final, marking the first time a former champion has missed three consecutive World Cups. Should Italy fail to upgrade its venues, UEFA has indicated that the tournament could proceed without Italian venues, preserving the event’s schedule but stripping Italy of the prestige and economic benefits of hosting matches.