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Campaigners and industry bodies are urging the UK government to resist calls for another relaxation of the zero‑emission vehicle (ZEV) mandate after an analysis showed that the 2024 rule changes could add 17 million tonnes of CO₂ to the atmosphere by 2030. Campaigners Warn Against Further Weakening of the UK ZEV Mandate The original ZEV mandate, introduced in 2023, required manufacturers to raise electric‑car sales to 80% by 2030. Labour’s 2024 revisions added “flexibilities” allowing higher sales of plug‑in hybrid electric vehicles (PHEVs), which combine a small battery with a petrol engine. Projected 17 Million Tonnes Extra CO₂ Emissions by 2030 Industry analysis shows an additional 59 billion miles driven by petrol and diesel cars and vans compared with forecasts made before the ZEV changes. This mileage increase translates to roughly 17 million tonnes of direct CO₂ emissions – comparable to the annual output of a small country such as Croatia. Sales of PHEVs rose 48% this year, reflecting manufacturers’ response to the new flexibilities. The Department for Transport (DfT) attributes most of the extra mileage to the mandate changes, noting that fewer PHEV owners use the electric mode. Consequences for the Charging Industry and Energy Transition Fewer fully electric vehicles on the road threatens the business case for charge‑point investors. Vicky Read, chief executive of ChargeUK, warned that billions of pounds of infrastructure spending are predicated on the original ZEV forecasts, and another rollback could “pull the rug from beneath the charging sector.” Colin Walker of the Energy and Climate Intelligence Unit cautioned that further weakening could push consumers toward PHEVs that cost “hundreds, even thousands, of pounds a year more to own and run than an electric car.” Outlook: Potential Policy Paths and Emissions Trajectory The government has pledged a review of the ZEV mandate by early 2027. If the flexibilities are fully exploited, the headline target of 33% electric sales this year could fall to as low as 7%, according to think‑tank New AutoMotive. Stakeholders such as Mike Hawes (Society of Motor Manufacturers and Traders) argue for a “review of the transition” to align ambition with market realities, while the government reiterates its commitment to ban new non‑zero‑emission car and van sales by 2035 and is investing over £7.5bn in EV market growth and infrastructure.

The Anticipation Builds The World Cup, one of the most widely viewed and followed sporting events globally, is about to kick off, promising a spectacle that will captivate audiences worldwide. This event is not just a tournament; it's a celebration of football, culture, and national pride, bringing together the best teams and players from around the globe. The Event Details The World Cup is known for its grandeur, with state-of-the-art stadiums, high-level competition, and an electric atmosphere. The tournament will feature a series of matches, starting from the group stages to the knockout rounds, culminating in the final showdown for the coveted title. Fans can expect thrilling matches, stunning goals, and exceptional skill on display. The Global Impact The World Cup's impact extends beyond the football pitch, influencing culture, economy, and society as a whole. It's an event that unites people across different backgrounds and geographies, creating a shared experience that transcends borders. The tournament also provides a platform for nations to showcase their capabilities, hospitality, and cultural heritage to a global audience. The Future Outlook As the World Cup approaches, fans and spectators alike are eagerly anticipating the action-packed tournament. With advancements in technology and social media, the event will be more accessible and engaging than ever, allowing fans to connect, share, and experience the excitement in real-time. The World Cup's legacy continues to grow, solidifying its position as a premier sporting event that captivates and inspires millions worldwide.

A Glimpse of 1973 New York Through Iconic ImagesThe Guardian’s photo essay stitches together street scenes, bustling neighborhoods, and the electric atmosphere inside Madison Square Garden during the Knicks’ championship run. From the neon‑lit Times Square to the gritty Bronx streets, each picture captures the city’s mood at a pivotal moment in sports history.Iconic shots of the Knicks hoisting the NBA trophy on June 10, 1973.Street vendors selling hot dogs outside the Garden on game nights.Neighborhood celebrations in Manhattan’s Upper West Side.Championship Numbers: The Knicks’ 1973 Triumph in StatsThe 1973 title was backed by a blend of veteran leadership and emerging talent. Key figures illustrate the team’s dominance:Series record: 4‑1 over the Los Angeles Lakers.Average attendance: 19,000 fans per home game, a 12% rise from the previous season.Points per game: 106.5, ranking second in the league.Revenue boost: Estimated $3.2 million increase in gate receipts for the 1973‑74 season.How the 1973 Victory Shaped the City’s Sports CultureThe championship sparked a wave of community pride that extended beyond basketball. Local businesses reported higher sales on game days, and youth basketball programs saw a 25% enrollment surge, cementing the Knicks as a cultural touchstone for New Yorkers.Madison Square Garden became a venue for concerts and political rallies, leveraging its newfound fame.City schools introduced basketball scholarships, inspired by the Knicks’ success.What the Past Teaches About the Knicks’ Future ProspectsWhile the 1973 win remains the franchise’s most recent title, the archival images offer lessons for today’s front office. The blend of home‑grown talent, strategic trades, and strong fan engagement proved decisive—elements the current roster can emulate to rekindle championship aspirations.Invest in local scouting to replicate the home‑grown pipeline.Maintain a vibrant game‑day experience to sustain fan loyalty.Leverage the city’s historical narrative in marketing to attract new supporters.

The Shift in Clarkson's Farm By now, five series in, the fatal flaw at the heart of Clarkson’s Farm has become unignorable. Ultimately, this is meant to be a show about failure; about an oafish man who wades in to an industry he knows little about and mucks everything up. The Reality of Clarkson's Success Except, well, it isn’t that any more, is it? Because in real life, Clarkson’s Farm has become so successful that Clarkson has now essentially colonised the entire Cotswolds in his image. His Farmer’s Dog pub is now such an attraction that it recently had to turn a nearby field into a 360-space car park – the same as a large supermarket – to cope with demand. His Diddly Squat farm shop is a souvenir emporium, catering to anyone who wants to buy branded hats and cufflinks, or to own a jar of honey with Clarkson’s face on it. And this isn’t even mentioning his Hawkstone beer brand, which reported sales of £21.3m in the year to March 2025 and has a stated goal of putting Peroni “out of business”. The Impact on the Show's Format All of which makes Clarkson’s mannered whoopsie daisy clumsiness harder to take. If the point of Clarkson’s Farm is to show people how difficult it is to be a farmer, and yet Clarkson’s biggest gripe is the number of pint glasses tourists steal from his pub, that seems like a fairly difficult structural flaw to overcome. The Data Analysis The show's attempt to balance Clarkson's celebrity with farming content is evident. The series opens with iPhone footage of Clarkson in hospital with chest pains. Years of stress and bad living have caught up with him, and he reveals that he was apparently days away from a catastrophic heart attack. The Prediction Especially when the actual farming stuff is so well made. The joy of Clarkson’s Farm is that Clarkson is such an effective communicator that you find yourself swept up in his interests. Unlike Countryfile, which offers rose-tinted sentimentality as a default, there’s always something slightly thrilling about the sight of Clarkson encountering the quirks of modern agriculture. There’s a bit here where he gets someone to perform a postmortem on a dead sheep that is fascinating and disgusting in equal measure. Clarkson’s Farm is on Prime Video

A Dream Debut: Gay’s 57 Sets England on CourseEmilio Gay called his first Test innings "like a dream" after delivering a half‑century that helped England seize the initiative in the second Test against New Zealand at Lord's. The Durham opener reflected on the atmosphere, the crowd and the pressure of earning his cap.Gay’s Whirlwind Arrival at Lord’s: 57 Runs and a Crucial CatchOn day two Gay struck 57 off 95 balls, becoming the match’s top scorer. Earlier, he opened his Test career with a four off a full‑toss from Kyle Jamieson and later took a diving catch at short‑leg to dismiss Kane Williamson, highlighting a debut packed with both batting and fielding highlights.Numbers That Shifted the Match: 57 from 95 Balls, England 36/3, 218 Runs BehindGay’s score: 57 runsBalls faced: 95England’s position at stumps: 36 for 3Runs needed for victory: 218England’s second‑innings total: 226The dismissal of Gay triggered a rapid loss of wickets – Harry Brook, Joe Root and Ben Stokes fell within ten balls, underscoring how quickly momentum can swing.Why Gay’s Performance Could Redefine England’s Test CampaignGay’s composure under pressure and his ability to contribute both with bat and in the field provide a template for England’s middle order. His statement about “lap[ing] it all in” reflects a mental edge that could bolster the side’s confidence in the remaining fixtures.What’s Next for England in the Series?With the series still open and England now within striking distance, the team will look to build on Gay’s platform, manage the bowling workload of players like Matt Henry, and capitalize on the psychological boost from a debut that felt "like a dream".

The LeadOnce a symbol of national unity and joy, Iran's World Cup qualification now reflects deep political divisions. The national football team's relationship with the public has transformed amid social unrest and political tensions following the death of Mahsa Amini.The Cultural Significance of Football in IranIranian filmmaker Abbas Kiarostami captured the profound importance of football in Iranian society through his film "Life, and Nothing More..." set during the 1990 World Cup. The film depicted a villager, despite having lost family members in an earthquake, adjusting a television antenna to watch Argentina play Brazil. Kiarostami later wrote about this scene: "This sequence is directly drawn from a similar experience during my trip to the earthquake-stricken region in the early days after the disaster. [The man] had his left arm in a cast, was shirtless, and with his right hand was striking one stone against another at the base of the antenna to secure it. I saw that after that event, what mattered there was life – and then football."The Evolution of National PrideAt one time, football and the World Cup held such importance for Iranians that they symbolized hope for continuing life. Qualifying for the 1998 World Cup – after defeating Australia over two legs – was celebrated for years like a national occasion, with special programs, interviews, and repeated broadcasts of match highlights on national television. Four decades later, football – and specifically the national team – has become one of the most controversial aspects of Iranian life at a critical historical moment; a controversy with roots in politics and Iran's collective memory.The Changing Landscape of CelebrationIran have missed two World Cups since 1998 and each qualification has been accompanied by street celebrations – except the most recent one. While videos of past qualification celebrations are easily found online, there are virtually no videos on social media of festivities marking qualification for this World Cup. A segment of Iranian society began distancing itself from the national team after September 2022, when the death of Mahsa Amini in police custody triggered one of the most intense waves of protests since the Islamic Revolution. These protests became known as the "Woman, Life, Freedom" movement.The Political DivideAt the time, just before the Qatar World Cup, protesters believed national-team players had not taken a clear stance against the suppression of the demonstrations. Even the players' act of solidarity before the first match, against England, standing in silence during the national anthem in memory of those killed in the unrest, did not bring protesters closer to the team. From that point, for some Iranians, the national team became "the regime's team," and this divide has widened.The Economic and Social ContextEconomic pressure, declining purchasing power and the shadow of war (which had not yet happened) contributed to football's importance for Iranians falling to its lowest level in decades. There is a stark contrast to the atmosphere around the 2014 World Cup, when even a 1–0 loss to Argentina in the second group game led to hopeful street celebrations. During the 2018 World Cup the team's matches were shown on the big screens at Azadi Stadium and received a great response.The Future of Iranian FootballNima, 42, who has lived outside Iran for years, says: "Iran's national team has gone from being a team that represented the people during the war with Iraq or the 1998 World Cup, to a team that now promotes the regime. That's why I no longer care what results they get." This sentiment reflects a growing divide between the national team and a significant portion of the Iranian population, suggesting that football's role in Iranian society may continue to evolve in response to political and social changes.

Breathing Earth's Ancient PastMore than 2bn years ago, during the Paleoproterozoic era, the Earth's atmosphere began to fill with free oxygen, enabling the rise of aerobic life and, ultimately, humans. This Great Oxidation Event is now being experienced firsthand by visitors to the Museum of Old and New Art (Mona) in Tasmania, where French-Swiss conceptual artist Julian Charrière has created an extraordinary installation that allows people to inhale oxygen that has been trapped in iron ore since that ancient time.When Charrière came up with the concept for what would become 'Breathe,' Mona's owner David Walsh not only approved the project but created a bespoke space for it, recognizing the unique intersection of science, art, and human experience that the installation represents.The Science Behind the Ancient OxygenThe installation is a marvel of scientific ingenuity and artistic vision. Charrière has sourced ancient iron ore from Australia's Pilbara region, which is processed daily in an on-site laboratory. The water is extracted from the ore using specialized machinery, then put through a Hofmann apparatus—a piece of scientific equipment that electrolyzes water—to liberate the trapped oxygen molecules.This pure, ancient oxygen is then released into a specially designed room where visitors can breathe it in, creating a direct connection to the beginning of life on Earth. As Charrière explains: 'I want people to get all the way back to the beginning of the earth. It's like a time machine.' The installation is designed as a solitary experience, with visitors accessing a vault-like corridor reminiscent of a mining drift, flanked by raw sandstone and lined with deep red rocks from the Pilbara.The Immense Timescale of the InstallationThe timescale involved in 'Breathe' is almost incomprehensible. The oxygen visitors inhale has been trapped in iron ore for over 2.4 billion years—since the Great Oxidation Event that transformed Earth's atmosphere and enabled the development of complex life forms. This installation literally connects each visitor to the primordial beginnings of our planet's atmosphere.As visitors walk through the tunnel, the temperature drops as they approach a high-ceilinged cylindrical room, an underground windowless tower where lighting depends on the amount of sun that can be reflected through a small opening above. Walking over tiles made of polished ancient tiger ore, they circle a floor-to-ceiling clear glass tube that houses the Hofmann apparatus. It is here, at a small opening, that visitors have their closest access to Charrière's pure, ancient oxygen.Redefining the Art-Science Experience'Breathe' represents a groundbreaking fusion of scientific methodology and artistic expression, challenging traditional boundaries between disciplines. The installation creates a profound personal experience that connects visitors not just to art, but to the very essence of life on Earth.What makes this installation particularly powerful is its claim that each visitor is the first human being to ever inhale that specific oxygen. As Charrière explains: 'You are breathing something which is so pure and has not been touched by any being before you... And the beauty of the piece is you will carry it until you die. You're going to become a small part of this installation and you become a big part of the great oxygen cycle, and you will only finally free this oxygen once... once you're going in the other world.'This installation is part of a broader trend in contemporary art that incorporates scientific processes and concepts, creating works that are both intellectually stimulating and viscerally impactful.The Future of Scientific Art Installations'Breathe' is opening alongside Charrière's major new exhibition 'Hard Core,' which showcases both the ambition and scientific curiosity of the Berlin-based artist. Individual elements of 'Hard Core' have been exhibited elsewhere in the world, including at the Venice Biennale, but the full exhibition finds its perfect home at Mona, with its exposed rock, industrial aesthetic, and fusion of science with art.As museums and galleries continue to seek innovative ways to engage audiences, installations like 'Breathe' point to a future where art and science are not just displayed together but are fundamentally intertwined in the creative process. This approach has the potential to create more immersive, educational, and thought-provoking experiences that challenge visitors to see the world—and their place in it—in new ways.Charrière's work demonstrates how art can make abstract scientific concepts tangible and personal, creating connections across vast stretches of time and space. As our understanding of the universe expands, art installations like 'Breathe' will play an increasingly important role in helping us process and relate to these profound concepts.

The Atmospheric Soundscapes of Gintė Preisaitė Copenhagen's Rhythmic Music Conservatory has become associated with a specific gauzy, esoteric sound, which draws on, and reshapes, classical instrumentation and pop songwriting. Following in the footsteps of ML Buch, Astrid Sonne, and Erika de Casier, Lithuanian musician Gintė Preisaitė works with piano, voice, and electronics to create atmospheric, unsettling ambient compositions. The Evolution of Preisaitė's Sound Preisaitė's first solo release under her own name, 'Instruments of Forgetting and the Singing Bone', draws on her background in improvisational techniques and composing for large ensembles. With additional instrumentation from a cluster of collaborators – strings, woodwind, tape – she presents eight tracks that build in intensity through her collage-like assembling of strange sounds and effects. The Experimental Approach The album starts subtly with opening track 'Vigilance', where sustained drones are gradually peppered with birdsong and electronic glitches. Preisaitė's vocals, which appear in the second half, are at first stark and bright, before they are also chopped up and layered in a dreamy haze. On tracks such as 'Summary Saint Mary' and 'I Constantly', disparate instruments creak and clatter around dense blurts of noise. The Intersection of Abstraction and Pop Among the abstraction are shades of left-field pop and modern classical. In standout track 'Deepen', a gorgeous, low-slung refrain emerges from the eerie dissonance, complete with moody vocals and guitars that recall Smerz and Blonde Redhead. Aéroport features a blown-out breakbeat, while penultimate track 'Day' places Preisaitė's piano centre stage for the first time. Other Releases to Watch Other notable releases include 'Bayal', the third collaborative album from Iranian experimental musicians Tegh and Adel Poursamadi, and 'Sinking', a slick and deeply atmospheric journey through UK bass, dubstep, and dub techno by Paris-born DJ and producer Beatrice M.

The Comeback That Never MaterializedJust over a year ago, Lizzo appeared on Saturday Night Live, announcing a new album called Love in Real Life in grandstanding style. Wielding an electric guitar, clad in a Trump-baiting T-shirt that read Tariffied, she performed its title track and two other new songs, Still Bad and Don't Make Me Love U. As with her appearance earlier the same week on a late night talkshow – during which she ran into the audience to high-five fans who were yelling "we love you Lizzo!" – it looked very much like a defiant comeback, fit to drag her out of the controversy that erupted at the end of her hugely successful 2023 world tour. Three former backing dancers and a costume designer filed lawsuits against the singer alleging harassment and discrimination: damaging claims given how Lizzo's songs have preached a message of inclusivity, body positivity and self-confidence. Some of the allegations were dismissed by a judge but others are ongoing; Lizzo has refused to settle out of court, saying: "I'm fighting the case because I know that it's not true."The Album That Never WasBut the Love in Real Life single, a pivot towards rock that owed a little to Tom Petty's American Girls – or the Strokes' American Girls-indebted Last Nite if you prefer – failed to make the charts, a far cry from the period between 2018 and 2022 when Lizzo's singles seemed to go multi-platinum as a matter of course. The same fate befell Still Bad, a track much more in the vein of her big hits, prompting a rethink. The album was pulled, Lizzo apparently taking control of her own destiny – "I need to do shit my way". A mixtape that returned her more-or-less to where she started, before pop stardom came calling – punchy hip-hop, albeit tricked out with guest appearances from Doja Cat and SZA – appeared in its place: My Face Hurts from Smiling received mixed reviews and underwhelming streaming figures.A Career at a CrossroadsAll of which means that Bitch, her fifth album proper, lands at a deeply peculiar juncture in Lizzo's career. Given that the public apparently don't want her going rock, nor rapping in the style of her 2013 debut Lizzobangers, nor indeed making the kind of music they were buying in their millions three years ago, the question of what they actually do want has presumably hung heavy over its making.Musical Identity CrisisLizzo hasn't come up with a definitive answer. Bitch tries a bit of everything, from pastiching Tame Impala on Happy 2 Be to making clipped new-wave rock decorated with Cure-like guitars on She Stole My Man; Sexy Ladies is a girls-night-out-soundtracking reiteration of the old body positivity message. This scatter-gun approach makes Bitch a disjointed listen.The Subdued ToneMoreover, there's something oddly subdued about its tone, whether it's dabbling in 80s retro – Don't Make Me Love U brings to mind the arena-rousing keyboard hook from Tina Turner's The Best, but renders it into a distant, affectless backing vocal – or delving into jazzy R&B; on Too Nice. The vibraphone-heavy beat on the latter is fantastic, rich in small-hours atmosphere, but the actual song feels nondescript: it only really comes to life in its dying moments, when Lizzo stops singing and starts playing a flute solo. The title track interpolates the chorus from Meredith Brooks' 1997 pop-grunge hit of the same name, but somehow flattens it in the process. Crooned over smooth, G-funky R&B;, it feels stripped of its fiery power, less of a snarl and more of a shrug.Equivocal LyricsThe lyrics often seem similarly equivocal. You don't want for apparent references to Lizzo's recent woes – "I hope it makes you happy to hurt somebody else", "the thing about depression, you think your life is over", "you'd still be working at the mall if it wasn't for me" – but they ultimately feel neither pugilistic nor racked, just confused and sore: "I have feelings too," she sings on piano ballad A Toast.Highlights Amidst the StruggleNot everything here is underwhelming: Whose Hair Is This is a great southern soul pastiche, home to an impressively raw vocal and a snappy plot twist at the end of the lyrics; That Grrrl employs an old-school Chicago house bassline to energising effect. But what's definitely lacking is an unequivocal pop smash, the kind of thing that Lizzo once seemed to be able to write to order.A Changing Cultural LandscapePerhaps that's inevitable. One of the reasons Lizzo hit so big in the first place was that she made pop music that perfectly captured a zeitgeist, and that zeitgeist has moved on: the era of body positivity has been displaced by the era of Ozempic and Mounjaro; the kind of post-pandemic, post-Trump optimism embodied on 2022's About Damn Time now sounds like a transmission from a distant lost age. We're living in a different world now, and Bitch suggests Lizzo has yet to work out how to respond to it: "I'm doing my best," she sings on A Toast, which feels like the most telling lyric of all.