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The Expanded Partnership Lovable and Google announced an expanded multiyear collaboration on Wednesday. Lovable, the fast-growing Stockholm vibe-coding startup, has long been a Google Cloud user. Under the new agreement, it will be a much bigger one. The Deal Details While the companies did not disclose the dollar figure, a person with knowledge of the deal tells TechCrunch it involves a fivefold increase in Lovable’s footprint on Google Cloud, including AI usage. As part of the deal, this individual tells us, Lovable will gain expanded access to both Anthropic’s Claude — the AI model widely used for coding tasks — and Google’s own Gemini models. The Financial Impact Google invested $10 billion in Anthropic in cash and compute credits in April, promising another $30 billion if Anthropic hits certain performance targets. Lovable crossed $400 million in annualized revenue in February, having added $100 million in a single month with just 146 employees. The Strategic Implications The deal also plugs Lovable into several other parts of Google’s ecosystem. Lovable’s new agent will be available through Google Cloud’s enterprise agent marketplace, the Gemini Enterprise Agent Gallery — an arrangement the two companies first telegraphed at Google’s major U.S. cloud conference in April. And to help secure the code that both humans and agents write, Lovable will integrate with Wiz, Google’s biggest ever acquisition at $32 billion, which officially closed in March. The Future Outlook The calculus for Google is simple enough. If it can keep both Lovable and Anthropic growing by attracting deep-pocketed enterprises, the revenue helps fund the $180 billion to $190 billion in capital expenditures Google plans to spend this year.

The Lead From blacklists for UK passport holders to being asked to work illegally while on holiday, the plethora of extra costs and red tape thrown up post-Brexit are restricting opportunities for British actors seeking work in the EU. Mainland Europe has always been a springboard for those in the creative industries, from gaining crucial first credits on a TV, film or theatre production to building a marketable resume and paying the bills while attempting to make it big in the UK or US. The New Barriers for UK Performers Since Brexit, new barriers that have had a devastating effect for performers include visa rules that only allow work for up to 90 out of 180 days, inclusive of any European holiday time, and myriad customs, tax and other documents that can take an inordinate amount of time and cost to get processed, and can vary between countries. The performers' union Equity cited one common example of a member being taxed on their accommodation costs because that was classified as a "benefit in kind", which had a big impact on their net wages. Spotlight pointed out that, for UK performers, social security costs are deducted in the country where they are working – anywhere from 12% to 22% of their pay. This can be reclaimed but the process can take many months, and often requires paying accountants to chase the money. The Decline in European Opportunities Between 2016 and 2023, performing arts exports to the EU fell from £1.15bn to £929m, according to the Office for National Statistics. By contrast, figures for creative industry exports to non-EU countries show an 18% increase over the same period, from £1.57bn to £1.87bn. The National Theatre halted tours to mainland Europe in 2021 and Europe's largest educational touring company, White Horse Theatre, which has provided English-language performances to schools and theatres across Europe for almost half a century, said last year that Brexit threatened its future. In evidence provided to an investigation being conducted by the culture select committee on the impact of Brexit on performers going to the EU, Spotlight said that jobs on TV commercials were now "almost completely unavailable to UK performers". The Impact on Different Segments of the Industry While performers with star status continue to have a streamlined experience, it is jobbing actors who are often finding they are no longer on the list for parts. One past regular source of work was in adverts filmed abroad, such as the long-running "Get away!" campaign for the now defunct package holiday pioneer Lunn Poly, which featured British tourists filmed in locations such as the Balearic islands. In its written evidence sourced from the experiences of its members, Spotlight said it was "aware of named holiday companies that no longer audition UK-only passport holders" to appear in adverts filmed in the bloc. The difficulty for performers also extends to the many other crew involved. One casting director said that, pre-Brexit, one TV campaign employed 45 people based in the UK but similar campaigns are now being cast from Spain or another EU country. The paperwork involved, and the quick-turnaround nature of shooting, has meant that it is simply easier to not bother auditioning UK talent. The Growing Crisis for Emerging Talent It is young UK performers, and in particular those from a working-class background, who have been most hit by the loss of the EU for work and experience. Students and new graduates would previously have typically secured summer contracts for theme parks, tours and cruises, which are now largely closed off post Brexit because of factors such as the visa changes. According to Spotlight, casting directors have seen a significant decrease in working-class actors in particular picking up jobs in the EU. Unlike actors from wealthier backgrounds, who have access to finances to cover things such as visa costs and sometimes having to wait many months for payments relating to working in mainland Europe, they simply cannot afford to accept a job in the EU. The Future Outlook for UK Performers Agents have turned to encouraging actors to check their heritage to see if they are eligible for some form of dual citizenship, an Irish passport, for example, while some businesses based in the EU now actively blacklist UK-only passport holders. However, the "most concerning" anecdotal evidence is of UK performers being asked to skip getting a legitimate work visa if the paperwork can't be finalised in time, and to lie and work while claiming to be on holiday. Spotlight calls this practice a "ticking timebomb" that could involve the use of sanctions for performers and agents caught taking this route to secure work. The agency said this would include "deportation and potential blacklisting" from future opportunities. "The simple answer is Brexit has been catastrophic for the creative industries," says Jonathan Shalit, founder of InterTalent Rights Group. "We as a country made the decision to leave Europe. This is self-inflicted. Europe don't really want us unless they have to."

Wembanyama Guides Spurs to Historic NBA Finals AppearanceVictor Wembanyama entered the 2026 postseason under intense scrutiny about his durability and ability to handle a deep playoff run. By leading the San Antonio Spurs to a Game 7 victory over the Oklahoma City Thunder and securing a spot in the NBA Finals, he proved that his slender frame can withstand the rigors of elite competition. The Spurs’ Playoff Run and Wembanyama’s On‑Court MasteryThe Western Conference finals showcased a blend of poise and explosiveness rarely seen in a player of his stature. Highlights included:Dominant shot‑blocking that turned the glass into a defensive wall.Three‑point shooting from beyond 30 ft, stretching traditional big‑man roles.Ball‑handling and passing comparable to a point guard, creating mismatches.Off the court, Wembanyama displayed a human side—publicly condemning social injustices and sharing personal interests such as chess and Shaolin training—reinforcing his growing cultural influence. Numbers That Highlight Wembanyama’s Unprecedented ProfileAge: 22 years.Height: officially 7ft 4in (some claim up to 7ft 6in).Draft status: No. 1 overall draft pick in 2023.Playoff impact: Led Spurs to their first NBA Finals appearance since 2007. How Wembanyama Is Shaping the Future of the NBAHis skill set forces a reevaluation of the traditional “big man” archetype. Teams now must consider:Recruiting taller players who can also handle the ball and shoot from distance.Designing defensive schemes that account for unprecedented reach and mobility.Marketing narratives that blend athleticism with personal authenticity, as fans respond to his outspoken social stance. What Lies Ahead for Wembanyama and the LeagueLooking forward, the trajectory suggests:Victor Wembanyama could become the face of the NBA’s next branding era, attracting global audiences, especially in Europe.The San Antonio Spurs are likely to build around his unique abilities, influencing roster construction league‑wide.Other franchises may invest in developmental programs that prioritize versatility over sheer bulk, echoing the “Ozempic era” of streamlined athletes.If his health remains intact, the next few seasons could see Wembanyama not only collecting championships but also redefining the positional boundaries of professional basketball.

The Standout PerformanceWigmore Hall is turning 125, its director John Gilhooly was being granted honorary membership of the Royal Philharmonic Society, and everyone in the audience was shouted a free drink, but there was another cause for celebration on Sunday night. With Lise Davidsen, the world's most in-demand opera singer, giving an all-Schubert recital it was a case of standing room only.Vocal Mastery and Dramatic InterpretationThe Norwegian soprano has a Rolls-Royce instrument, more than capable of filling a house the size of the Metropolitan Opera, but up close she brought other qualities to the table. Her disarming warmth in seemingly off-the-cuff spoken introductions put the audience entirely at ease. Her ability to inhabit a character, as she does on stage, ensured songs such as Gretchen am Spinnrade and Die Junge Nonne were dramatic highlights. The former opened with a throbbing intensity and built to an eruption of volcanic proportions. Her fledgling nun seethed with a scared rapture that verged on the dangerously corporeal.Technical Brilliance and Wagnerian ElementsThe big beasts – Ganymed, for example, with its sly, priapic crescendo, or a turbulent Erlkönig, taken at an RSI-inducing lick by supportive pianist James Baillieu – hit their mark. Her voice has an extraordinary amplitude and a focused core of steel, although when pressed hard in the burgeoning upper register, the odd consonant was inclined to go astray. It was impossible to find fault, however, with Die Allmacht, surely Schubert's most Wagnerian utterance. Nailing her operatic colours to the mast, Davidsen threw caution to the wind, and unleashed her inner Valkyrie.Intimate Moments and Rare GemsIt was the more intimate songs, however, several of them welcome rarities, that brought the greatest pleasure. Du Bist die Ruh, with an imposing final diminuendo, was a masterclass in breath control; the singer's unassuming honesty tapped hidden depths in Mignon's So Lasst Mich Scheinen. Baillieu, her rock throughout, brought a tender flexibility to Goethe's heart-wrenching Nur Wer die Sehnsucht Kennt. Saving the best until last, the recital concluded with a spellbinding account of the quasi-religious Am Tage Aller Seelen. Davidsen's seamless soprano barely rose above a whisper as the voice dispensed balm to the broken-hearted, every word and emotion crystal clear.

Lead: A Surge of Online Abuse Targets Two Female MusiciansCMAT and Olivia Rodrigo have each become the focus of a wave of hateful comments about their bodies after high‑profile performances in 2026. The incidents reignite a long‑standing debate over who gets to decide how women should look on stage.BBC Radio 1 Big Weekend Incident Highlights Persistent Body‑ShamingDuring CMAT’s set at BBC Radio 1’s Big Weekend in Sunderland, the broadcaster disabled Instagram comments because of the vitriolic remarks aimed at her size. Smaller‑bodied female performers at the same festival retained active comment sections, underscoring a double standard. CMAT described the experience as "deep sadness" and linked it to a similar episode she endured at the same festival two years earlier.Olivia Rodrigo faced a different but equally hostile reaction when she appeared in a babydoll‑style dress for her new album promotion. Critics called the outfit "pedo bait" and "Lolita," despite her history of performing in more revealing attire without similar outrage.Absence of Quantitative Data Underscores the Qualitative Nature of the OutrageNo specific comment counts or engagement metrics were released by the platforms.The Guardian article relies on anecdotal evidence and artist statements rather than hard numbers.This lack of hard data highlights that the issue is measured more by cultural impact than by statistics.Why This Signals a Wider Cultural Backlash Against Women’s Public ImageThe two cases illustrate a broader conservative retrenchment around femininity, where any deviation from a narrow, youthful ideal is quickly weaponised. Social‑media bots and coordinated campaigns appear to amplify misogynistic narratives, limiting the visual vocabulary available to female artists.Both musicians argue that their sartorial choices are intentional artistic statements—CMAT’s “countrified burlesque” and Rodrigo’s homage to 90s punk‑era “kinder‑whore” aesthetics—yet the public discourse reduces them to objects of scrutiny.What the Future May Hold for Female Artists Navigating the Male GazeIf platforms continue to silence or enable hateful commentary selectively, female performers may feel pressured to self‑censor or conform to safer visual norms. Conversely, heightened visibility of these incidents could galvanise industry allies and push social‑media firms to enforce stricter harassment policies.Ultimately, the trajectory will depend on whether the music community and audiences choose to champion artistic autonomy over entrenched misogynistic expectations.

The Lead A new play, 'Butterfly', is being performed at the Phoenix theatre in Hampshire, shedding light on the life of Eleanor Glanville, a 17th-century naturalist who was persecuted for her love of butterflies. The Event Details The play is based on the life of Eleanor Glanville, one of Britain's pioneering female naturalists. She discovered the Glanville fritillary, a rare species of butterfly, at the end of the 17th century. The play explores how her passion for butterflies was turned against her when she became trapped in an abusive relationship with her second husband, Richard. The Data Analysis No specific data is provided in the article. The Impact Analysis The play highlights the issue of sexism in butterfly communities, with the playwright, Claire Jackson, noting that she has experienced sexist or patronizing attitudes from male obsessives while 'butterflying'. The play also touches on the theme of gaslighting and manipulation in abusive relationships. The Prediction The play's portrayal of Eleanor's possible neurodiversity and questioned sanity aims to hold nuance and ambiguity. The audience is left to reflect on the importance of perseverance and not listening to what others say about you, as embodied by Eleanor's legacy.

The Struggle to Find Employment in Grimsby In the Lincolnshire seaside town of Cleethorpes, a 19-year-old man named Cohen is sitting in the back seat of a car, putting on an Easter bunny outfit. He is hoping to use new photographs to advertise his mascot business for the upcoming holidays. Cohen, who has a learning disability, lives with his parents in neighbouring Grimsby and set up Co Co Mascots last year as one of his many attempts to find work. The Challenges of Job Hunting with a Disability Cohen has been applying for roles in holiday parks, retail, charity shops, and even the local football club Grimsby Town FC, which was recruiting for a new mascot. Despite his efforts, he has yet to find paid work. "The hardest thing is not hearing back [from a job application] and not getting feedback," says Cohen. "I start overthinking because I want it [a job] too much. A lot of the time, I think they [employers] will see you have a disability and will pick the person without one because they think the person with a disability is more work." The Economic Reality of Grimsby Grimsby was recently dubbed Britain's "worklessness capital" by the Telegraph due to the large proportion of its working-age people claiming benefits. The town has a higher number of working-age adults out of employment than the national average, and 41% of under-16s in the town live in relative low-income families. Once one of the world's largest fishing ports, Grimsby is still the UK's biggest fish-processing hub, reportedly making every other fish finger eaten across the country. The Impact on Young People For many young people in coastal places such as Grimsby, finding paid employment is hard – and having a disability compounds the issue. Cohen has been volunteering in charity shops and at food banks for more than a year now, and doesn't see his disability as a barrier to working. "My mind can wander a bit when I work so I need a nudge every so often. I just need a bit of support until I get used to the job and what is expected of me." The Future Outlook The Guardian's Against the Tide project aims to report on the lives of young people in coastal communities across England and Wales. The project will examine what kind of changes young people need to build the futures they want for themselves. For Cohen, he will continue to throw everything at his job search, hoping to find a permanent role that suits his needs and abilities.

The Evolution of World Cup UpsetsThis year, the biggest ever World Cup will feature 48 teams, an increase from 32, opening up the tournament to even more upsets, shocks and surprises. The vagaries of the World Cup draw have given rise to classic underdog victories over the years, from an amateur USA team's shock defeat of the then-favourites England in 1950 onwards. But what does the data tell us about upsets in football's modern era?Starting from the launch of the Fifa men's world ranking system in 1993, we have analysed each World Cup match in which an underdog beat a higher-ranked team, along with the ranking disparity between the teams: the bigger the gap, the higher the "upset score", and the larger the circle in the graphics below. Upsets are marked in red, while matches decided on penalties are represented with a white border.USA 1994: Regional Rivalries and Bulgarian BrillianceThis World Cup was characterised by a consistent stream of upsets, particularly in the group stages, with a couple of surprise regional rivalries including Belgium (Fifa ranking 27) triumphing over the Netherlands (2) and Saudi Arabia (34), in their World Cup debut, seeing off Morocco (28).The first World Cup after the dissolution of the USSR featured the first appearance by a unified German team and arguably the tournament's most iconic underdog moment, when a header by Yordan Letchkov secured Bulgaria's (29) victory over top-ranked Germany (1) in the quarter-finals. Bulgaria enjoyed a strong competition overall, including beating Argentina (8) in the group stages and a surprise round of 16 win against Mexico (16) in a penalty shootout.France 1998: Upsets All the Way

The Lead: UK Regulator's AI Content DecisionThe UK's competition watchdog has ordered Google to change how it uses publishers' content in its AI-powered search results, in a move that will have global ramifications. The Competition and Markets Authority (CMA) is using special powers to set bespoke rules for major tech firms that it deems to have 'strategic market status', with Google being one of those companies.The Regulatory Breakthrough: New Content Requirements for GoogleThe CMA has imposed a set of 'conduct requirements' on Google, which the tech firm must adhere to. It must allow publishers to block Google from using their content to power features such as AI Overviews and AI mode (an expanded version of overviews). An AI Overview is an answer to a query, produced by the search engine's Gemini AI model, that summarises material from news publishers and other websites to produce an answer.Under the current set-up, news publishers who allow their content to be listed in ordinary Google search results are defaulted into AI Overview responses as well. With this ruling, they will now be able to opt out from appearing in such responses. Google will also be required to make sure that publisher content is properly flagged and attributed in overview results, using clear links to the material.The Industry Impact: Publisher Leverage and Revenue ConcernsThe CMA hopes this will give publishers greater leverage in content deals with Google, by forcing the company to seek permission to use their intellectual property. Publishers have seen dramatic falls in Google traffic to their websites, and therefore revenue, since their content was pulled into AI summaries. However, they have not been able to negotiate AI content deals without jeopardising inclusion in traditional Google search, which has been central to online journalism since its inception.Tim Cowen, co-founder of the Movement for an Open Web (MOW) and competition lawyer at Preiskel, believes the CMA's move means publishers will now have the power to make money from Google's use of their content in AI. 'It provides a baseline that Google can't just take content,' he says. 'This provides a framework to monetisation, which is welcome, but there is a long way to go.'The Financial Analysis: Cost of Compliance and Potential Revenue ShiftsGoogle will have nine months to implement the changes but the CMA wants swift action on the most important aspects of its decision. The search company announced it was testing a new control that lets website owners manage how their links and content appear in AI features such as AI Overviews or AI Mode. Google will also give websites more information about how much their content is being used in its AI features.This will be trialled with a 'subset' of UK websites before being rolled out globally, underlining the impact of the CMA's new digital competition powers. Earlier this week, AG Sulzberger, the chairperson of the New York Times, revealed that the publisher has already spent $20m (£15m) on lawsuits against OpenAI and AI startup Perplexity over the use of its copyrighted content.The Market Transformation: Shifting Power Dynamics in Digital ContentPublishers have welcomed the CMA's move with the News Media Association (NMA), which represents UK news publishers, hailing it as a 'significant step towards levelling the playing field' in an online environment where big tech-controlled algorithms dictate how and where content appears.However, concerns remain that dealing with Google will remain a difficult proposition with the Silicon Valley company being left to provide 'periodic reporting' to the CMA, but little detail on how frequently this will be and what will be provided to prove it is remaining in compliance with its obligations.The Future Outlook: New Alliances and Content Licensing ModelsPublishers are attempting to address this through the formation of SPUR – the so-called 'Nato for news' coalition formed earlier this year that includes the BBC, Guardian, Financial Times, Telegraph and Sky. The group added another 20 major publishers this week as it seeks to strike better AI deals by agreeing common standards and content usage rights.Publishers have signed deals with AI firms. For instance the FT and Washington Post have reached agreements with OpenAI, the developer of ChatGPT, over using their content in responses. The Guardian has signed deals with a variety of businesses including OpenAI, Google, Amazon and Microsoft to allow those companies to use its journalism in some GenAI products.