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Erling Haaland's Acting Debut Manchester City striker Erling Haaland is to make his feature acting debut, in an animated film as the voice of a Viking – called Haaland. The Film Details According to the Hollywood Reporter, the Norwegian international is to play “an animated version of himself” in Viqueens, directed and co-written by Harald Zwart, the Dutch-Norwegian director of The Karate Kid and Agent Cody Banks. The Film's Plot The film’s IMDB synopsis describes Viqeens’ storyline thus: “To return a stowaway, two courageous Viking girls go from Norway to China. Discovering secrets, becoming proficient with dragon kites, fireworks and kung fu, and realising that friendship’s gifts surpass anything taken from adversaries.” The Director's Perspective Zwart said: “Erling has already become a kind of real-life Viking icon around the world – powerful, fearless and uniquely Norwegian. Bringing him into this universe as himself gives the film an unexpected energy and authenticity that felt completely right for this story.” The Film's Cast Zwart has already secured musician Rita Ora and Yellowjackets’ Ella Purnell as its leads, named Hedvig and Ingrid, as well as chatshow host Alan Carr in a smaller role as “a lyrically challenged royal scribe”. Haaland's Current Form Haaland, who joined Manchester City in 2022 from Borussia Dortmund, is leading the race for the Golden Boot, having scored 26 goals so far in the 2025-26 Premier League season. The Film's Release Viqueens is due for release around Christmas.

Dates Become the New Go‑To Snack in the UKConsumers looking for a natural sweet treat are reaching for medjool dates instead of traditional biscuits or chocolate bars. The shift is being fueled by viral social‑media recipes, heightened awareness of fibre intake, and a desire for alternatives to ultra‑processed foods.Nichola Ludlam‑Raine, author of *How Not to Eat Ultra‑Processed* and spokesperson for the British Dietetic Association, describes the phenomenon as a rise in “whole food indulgence”. Dates offer a caramel‑like texture plus nutrients such as fibre, potassium, magnesium and antioxidants that support gut health.Sales and Search Metrics Show Double‑Digit GrowthOcado reports a 100% year‑on‑year increase in medjool date sales.Google searches for “date butter” have jumped 458% and for “chocolate dates” 135%.Waitrose sees a 60% rise in queries for its no‑bake Medjool date, pretzel and peanut butter squares.Recipe trends on TikTok feature dates stuffed with salted butter, sticky fried dates drizzled with olive oil, and energy balls blended with nuts, oats and plant‑based protein.What the Rise of Dates Means for the Ultra‑Processed Snack SectorThe surge signals a consumer pivot toward snacks perceived as more natural and nutrient‑dense. While dates are still treats, their higher fibre and micronutrient profile positions them as a healthier alternative, challenging the dominance of conventional confectionery and protein bars laden with additives.Supermarkets are responding by expanding date‑based product lines, and niche brands like Ayesha Erkin’s “date girl” offerings are gaining visibility, highlighting cultural ties (e.g., Ramadan) and culinary versatility.Where the Natural Sweet Snack Trend Is HeadedAnalysts expect the momentum to continue as health‑conscious shoppers seek convenient, whole‑food snacks. Potential developments include:Broader retail assortments of premium date varieties (e.g., Ajwa from Saudi Arabia, Sukkari from Morocco).Increased collaboration between snack manufacturers and dietitians to formulate “better‑for‑you” date‑based products.Continued growth in online recipe communities driving seasonal spikes, especially around Ramadan and holiday periods.Ultimately, the market will likely see a gradual reallocation of shelf space from traditional ultra‑processed sweets to natural fruit‑based options, reshaping the snack landscape over the next few years.

The LeadAs Eurovision celebrates its 70th anniversary, some of the most iconic figures from the competition share their untold stories. Not many 70-year-olds spend their nights with pop singers in sparkly catsuits or nightmarish monsters barking out heavy metal, but these Eurovision veterans have experienced it all. From winning while sick with fever to becoming internet memes overnight, their tales reveal the unique magic and challenges of Europe's most beloved music competition.The Metal Monster's VictoryMr Lordi, frontman of Finnish metal band Lordi and winners in 2006, recalls how their journey began with no expectations: "When we were invited to enter the Finnish national contest to be the Eurovision entry, we thought we had absolutely no chance. We just wanted some free TV for our new album." Despite their casual approach, they won the popular vote by a landslide.Their arrival in Athens created a media frenzy: "We'd arrive in the press room in our full costumes, you know, just minding our own business. Then the press would go: 'Oh, fucking hell, that's Lordi!' and run to us." Their unconventional approach drew both attention and complaints from other contestants.Despite their eventual victory, Lordi's performance was far from perfect: "On the night, that performance was one of the worst versions I personally have ever delivered of Hard Rock Hallelujah. I was sick with a fever. And it's so hot in that costume you have your own mobile sauna with you."The aftermath was unexpectedly harsh: "Within a year, the backlash started. A lot of metal and rock people really resented us for winning. They thought we had sold out. But then, surprisingly fast, normal people started joining in."The Saxophone SensationSergey Stepanov, saxophonist of Moldovan band SunStroke Project who placed 22nd in 2010 and 3rd in 2017, shares how Eurovision changed his life completely. "Going to Eurovision was always a dream for me. When I was young, I would watch with my mother, and the artists performing seemed so different from us they were like spacemen."Their first experience in Oslo was modest but impactful: "We did not have a lot of money. All we had to make people remember us was our energy, our music – and how much fun we had." Their unexpected fame came later: "After we came back, my friend called me and said: 'You are a meme: Epic Sax Guy. You are famous in the United States!' Until that moment, I had no idea what a meme was."Their return in 2017 brought even greater recognition: "When we went back in 2017, we were about to go on stage when our producers gave me the phone. It was the president of Moldova. He said: 'Guys, are you ready to do a miracle?' We went out and came third."Steppanov describes the transformative power of that moment: "The moment I started to do my moves in 2017, the crowd got so loud I couldn't even hear what I was playing. At that point, I knew my life wouldn't be the same afterwards."The Zero Points ExperienceJames Newman, who represented the UK in 2021 and became the second British act to score nul points, shares his experience of the competition. While the article cuts off before detailing his full story, the heading suggests a dramatic experience that contrasts with the triumphs of other Eurovision participants.

The Third Nakba The Kaabneh Bedouin community in the West Bank is facing its third forced displacement since 1948, with Israeli settlers and military forces driving them out of their homes and lands. The community's leader, Abu Najjeh, describes the ongoing crisis as the 'third Nakba'. A History of Displacement The Kaabneh community was first expelled from their homes in 1948, during the Nakba, and again in 1967, when Israel captured the West Bank. In 2023, they were forcibly displaced from their community of Ein Samiya, and have since been relocated multiple times. The Current Crisis The community is currently living in a temporary tent in Rammun, but Israeli settlers have established an outpost nearby, and attacks have resumed. The community's livestock, which was once a thriving livelihood, has been decimated, and many family members have been forced to scatter to other areas. The Humanitarian Crisis The UN's Office for the Coordination of Humanitarian Affairs reports that since January 2023, over 5,900 people from 117 communities across the West Bank have experienced full or partial displacement due to settler attacks and related access restrictions. At least 45 communities have been erased completely. The Future Outlook The Kaabneh community's situation is a microcosm of the larger crisis facing Palestinians in the West Bank. With ongoing settler violence and military attacks, the humanitarian situation is likely to continue to deteriorate. The international community must take action to address the root causes of the conflict and protect the rights of Palestinian communities.

The Philosophy of 'Touching the Earth Lightly'Lynne Eastaway describes the Ball-Eastaway House not just as a dwelling, but as a teacher. Located on a 10-hectare block of dry sclerophyll forest north-west of Sydney, the home was commissioned in 1983 by Eastaway and artist Sydney Ball. The design was entrusted to the young architect Glenn Murcutt, who was tasked with creating a space that respected the landscape rather than dominating it.Murcutt’s approach was revolutionary for the 1980s. Instead of building directly on the sandstone rock shelf, he chose to suspend the structure. This decision was driven by a desire to preserve the topography and leave almost no trace of the house's existence, a philosophy Murcutt famously summarized through an Aboriginal quote: “touch the earth lightly”.Technical Specifications and Sustainable EngineeringThe architectural feat of the Ball-Eastaway House relies on a sophisticated structural system that prioritizes environmental harmony. The entire building is suspended on 14 steel columns sunk into the rock, creating the illusion that the house is floating above the landscape.Materiality: Constructed primarily from corrugated iron, a material often overlooked at the time, the exterior belies a light-filled interior with hardwood floors.Climate Control: The elevated design allows for free air circulation, providing passive cooling during warm months and shelter for native wildlife.Water Management: Murcutt’s attention to detail extended to the gutter system, which was designed to direct fallen eucalypt leaves into a birds' nest formation at the base of the downpipes.A Legacy of Minimalist IntegrationMurcutt’s design was a stark departure from the heavy-handed construction methods common in 1970s and 80s Australia. However, its influence has rippled far beyond the country's borders. The jury citation for the Pritzker Prize, which Murcutt would later win, explicitly cited this philosophy of structures floating above the landscape.International architects, such as Francis Kéré (a subsequent Pritzker laureate), have cited Murcutt’s work as a formative inspiration. Kéré noted that the simplicity, openness, and comfort of Murcutt’s designs taught him that architecture could be gentle and human, shaping spaces that nurture rather than overpower.The Future of Eco-Conscious LivingThe Ball-Eastaway House serves as a timeless case study for the future of residential design. As the world grapples with climate change and the need for sustainable living, Murcutt’s insistence on integrating human habitation with the natural environment offers a critical roadmap. The house proves that modern comfort does not require a heavy environmental footprint, advocating for a future where architecture works *with* nature rather than against it.

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.

In a recent Guardian letter, a small‑business owner from Margate argues that Labour’s recent local‑election setbacks reflect a widening disconnect with independent traders who feel over‑taxed and under‑represented.Letter Reveals Growing Disillusionment Among Small‑Business VotersThe author, Nicola Powell, describes how Labour’s rhetoric about “broad shoulders” resonates poorly with owners whose profit margins are shrinking despite substantial tax contributions.Financial Snapshot of a Margate Independent RestaurantAnnual turnover: £350,000Estimated tax paid (VAT, PAYE, NI): ~£100,000Owner’s net earnings: below minimum wage after accounting for hours workedEconomic and Political Impact of Declining Small‑Business SupportWhen owners like Powell face reduced income, the risk of closures rises, threatening local employment, community vitality, and future tax receipts for the Treasury.Outlook: What Labour Must Do to Re‑Engage Independent TradersTo halt the drift, Labour would need to propose tax reliefs or targeted support schemes that acknowledge the dual role of owners as both entrepreneurs and workers.

The Controversial ListingA property in the Israeli settlement of Neve Daniel, which was once a farm owned by the Sbeih family, has been listed on Booking.com. The listing describes the property as having a garden and terrace with scenic surroundings, ideal for outdoor gatherings.The Background of the SeizureThe Sbeih family's land was seized in 1982, and since then, they have been fighting legal battles to regain control. Mohammad al-Sbeih remembers his family's farm fondly, where three generations grew wheat and barley.The Implications of the ListingThe listing on Booking.com has raised concerns about the company's involvement in profiting from occupied territories. A report by Ekō, a US-based advocacy group, found 41 Booking.com listings in 14 illegal Israeli settlements across the occupied West Bank.The Legal and Ethical ConcernsThe settlements involve the transfer of a civilian population into occupied territory, which is a violation of the fourth Geneva convention and the Rome statute. The International Court of Justice has confirmed the illegality of the settlements, stating that governments and organizations must not recognize their legality.The Response from Booking.comA Booking.com spokesperson stated that the company does not decide where people can or cannot travel, but they do monitor the situation closely and apply the principles outlined in their human rights statement.

Es Devlin’s collective selfie portrait challenges Britain’s fragmentationAt the National Portrait Gallery, artist Es Devlin presents a constantly evolving digital collage built from ordinary people’s selfies. The work is framed as a quiet, non‑verbal invitation for the nation to coexist.How the living portrait merges thousands of UK selfiesParticipants upload a selfie via the project website.Each image is rendered in Devlin’s smoky charcoal‑and‑chalk style.The stylised portraits rotate on a framed screen, appearing and fading in a perpetual carousel.The installation deliberately leaves imperfections – mismatched beards, overlapping features – to reflect the difficulty of seamless unity.Technology behind the portrait: Google Arts & Culture Lab’s AI modelWorking with engineers at Google Arts & Culture Lab, Devlin trained an image‑generation model on her hand‑drawn portraits. The AI translates raw selfies into drawings that retain the tactile feel of charcoal, rather than a simple filter.While the project showcases AI’s creative potential, Devlin acknowledges the paradox of offering her artistic “shadow” to a corporate tech platform amid broader debates over artists’ rights.Why a crowd‑sourced portrait matters for British social cohesionThe timing is significant: Britain is experiencing heightened political fury, algorithmic echo chambers, and loneliness. By foregrounding ordinary faces, the work challenges the dominance of celebrity and political imagery in national narratives.Devlin hopes the fleeting intimacy of a shared glance can prompt a pause in the “age of destruction, fragmentation, separation, isolation” she describes.Future steps: workshops, regional roll‑outs and the debate over AI in artBeyond the gallery, Devlin will run free portrait‑drawing workshops and online classes, with plans to bring the installation to town halls, libraries and schools across the UK.The project also sparks discussion about the role of AI in cultural production – whether it is a tool of industrial capitalism or a means of artistic re‑appropriation.