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According to the latest Tottenham Hotspur financial statements, former executive chair Daniel Levy received £5.76 million in remuneration for the year ending 30 June 2025. That figure represents a 54% increase on his 2024 earnings and, as noted by football‑finance analyst Kieran Maguire, made him the highest‑paid director in the Premier League for the season. In stark contrast, the club’s women’s team—comprising 64 players and staff—had a combined salary and bonus total of £3.73 million, a 23% rise from the previous year. After accounting for social security and pension contributions, the overall wage bill reached £4.3 million, with an average annual earnings of roughly £58,000 per employee. This places Tottenham Women below several WSL rivals that have disclosed their 2024‑25 accounts, such as Brighton (£5 million), Manchester United (£5.88 million), and Arsenal (£11.3 million), but above Liverpool (£3.12 million). The women’s side recorded a post‑tax loss of £2.83 million, marginally higher than the £2.73 million loss reported in 2024. The deficit persisted despite a notable surge in commercial revenue, which more than doubled from £1.46 million to £3.34 million. Broadcast income remained static at £267,414, while prize‑money earnings fell by approximately £600,000. On the pitch, Tottenham Women finished the 2024‑25 campaign in 11th place in the Women’s Super League. However, the current 2025‑26 season shows a marked turnaround, with the team sitting fifth with three matches remaining and having nearly doubled their league victories compared with the previous term. Sources indicate that an internal review has repositioned women’s football as a strategic priority for the club, a shift that is expected to be reflected in the forthcoming 2025‑26 accounts.

Plans to alter the size of HS2 trains, aimed at maximizing capacity, may result in increased costs and fewer seats, potentially leading to slower services north of Birmingham. A senior government and rail industry figure, Chris Gibb, has warned against changing the train order.The original £2bn order for 54 high-speed trains, to be built by a joint venture of Alstom and Hitachi, was placed in 2021. However, the project has been under review since the cancellation of the northern leg of HS2 by Rishi Sunak in 2023. The initial plan was for the 200-metre, eight-carriage units to double into 16-carriage trains, similar in size to a Eurostar. But this will only be feasible on the new line between London and Birmingham, as existing stations like Manchester Piccadilly cannot accommodate a 400-metre train.Gibb, a non-executive director of DfT Operator, expressed concerns that if HS2 opens with eight-coach trains, they would be full, leaving people behind. He suggested that instead of varying the train order, which could incur extra costs and delays, the government should retain the original order and plan to replace the current Pendolino fleet with longer, faster, modern versions around 2040.This approach, Gibb argued, would provide a significant increase in capacity, revenue, and a reduction in journey times on all routes without the need for further railway construction. Lord McLoughlin, former transport secretary, and Lord Berkeley, a long-term HS2 sceptic, have backed Gibb's idea, emphasizing the importance of consistent rolling stock for future use.A spokesperson for HS2 Ltd stated that no changes have been made to the original order, and they are still working closely with the manufacturer and the DfT to finalize train designs. The trains will be built in Derby and Newton Aycliffe.

Riki Lindhome's 'Dead Inside' is a refreshing and emotionally involving comedy that chronicles her journey to become a mother. The show is a beautifully judged hour of entertainment, tackling topics such as pregnancy loss, IVF, and surrogacy with humor and sensitivity.Lindhome's modesty and unassuming approach make the show feel less like a typical autobiographical performance. She signs off most of her songs with a demure 'that's it,' and the production values are similarly understated. The show features witty and bittersweet numbers, including a parody of Disney princesses and a song asking 'will you be my bio-dad?'The show also touches on awareness-raising dimensions, including the challenges of surrogacy and the importance of transparency in the process. Lindhome's performance is compelling and persuasive, engaging the audience's heart, head, and funny bone.'Dead Inside' is a must-see comedy that will leave you entertained and moved. It is currently running at Soho theatre, London until 18 April.

‘Departures’ arrives in UK and Irish theatres on 17 April, offering a sharply observed portrait of a man navigating the aftermath of a breakup. The story centers on Benji, a thirty‑something who, after parting ways with his charismatic trainer Jake, plunges into a haze of parties, substance use and fleeting encounters in an attempt to dull the ache of lost love. The film tackles weighty subjects—body‑image insecurity, familial rejection and the pressures of toxic masculinity—yet it avoids sentimentality by leaning into a darkly comic tone and a poppy visual palette. Its elliptical editing stitches together present‑day self‑destruction with fragmented memories of Jake, creating a nonlinear rhythm that mirrors the disorienting experience of a broken heart. Ey​re‑Morgan not only co‑writes and co‑directs but also embodies Benji, delivering a performance that feels both self‑deprecating and raw. His on‑screen chemistry with David Tag’s Jake provides the emotional anchor of the film, allowing the audience to glimpse the genuine connection that fuels Benji’s subsequent turmoil. Despite its strengths, the movie leans heavily on voice‑over narration, which at times hampers momentum, especially during emotionally charged scenes. The tendency to verbalise feelings rather than let the cinematography speak can feel redundant, and the multiple flashbacks occasionally drift into over‑exposition. Overall, ‘Departures’ stands as a thoughtful exploration of love, identity and the search for authenticity, while also showcasing the burgeoning talent emerging from northern England’s film scene.

The highly anticipated third and final season of Euphoria premieres on Monday at 9pm on Sky Atlantic. The series, created by Sam Levinson, follows the lives of a group of high school students as they navigate love, friendship, and identity.The new season stars Zendaya, Jacob Elordi, and Sydney Sweeney, who have all become major Hollywood stars since the show's debut. The story picks up five years after high school, with the characters now in their early 20s. Previews are scarce, but it's known that Cassie and Nate are married, Jules is in art school and is a 'sugar baby', and Rue is involved in some shady business in Mexico.Other TV shows airing tonight include Miriam Margolyes Made Me Me on BBC Two, Great Japanese Railway Journeys on BBC Two, Missed Call on Channel 5, Charmain and the Prophet on BBC Two, and DTF St Louis on Sky Atlantic.

The ongoing conflict in Iran has created a perilous situation where the threat of nuclear war and climate disruption have converged into a single, catastrophic crisis. This crisis will persist long after the war subsides, emphasizing the need for immediate and decisive action. For over a decade, climate change has been recognized not just as an environmental issue but as a fundamental threat to national and global security. The current situation demands that governments conduct thorough risk assessments and treat climate change with the same urgency as military threats. The war on Iran has several alarming features: Unilateral action: The US and Israel launched a large-scale war against a sovereign nation without consulting major allies, creating a diplomatically isolated conflict with no clear exit strategy. Escalation threats: There are credible threats of escalation from both sides, with Donald Trump issuing ultimatums and Iran threatening to target critical infrastructure. Catastrophic miscalculation: The conditions for miscalculation are ripe, with erratic leadership, intelligence failures, and extreme pressure on decision-makers. The conflict has significant implications: Global energy shock: The closure of the Strait of Hormuz has caused an acute global energy shock, with higher oil prices likely to accelerate inflation and economic instability. Climate impact: The war is consuming military resources and political attention, with no climate dividend, and may pressure countries to extend fossil fuel use. Australia, as a regional power and signatory to the NPT, has responsibilities to the international order. The author, Admiral Chris Barrie, calls on the Australian government to take four key steps: Conduct and release a nuclear escalation risk assessment. Use diplomatic channels to counsel restraint. Refuse any form of complicity in nuclear use. Champion de-escalation at the NPT review conference. Australia can play a crucial role in addressing these threats by acting on evidence, speaking plainly about risks, and leading rather than following events.

Roberto De Zerbi arrived on the pitch barely half an hour before kick‑off, his black padded gilet pulled up to the neck against a biting Wearside wind. By the final whistle the chill had eased, but Tottenham’s morale had plummeted.Sunderland’s 1‑0 victory not only cemented the visitors’ place in the league’s bottom three, it also lifted Régis Le Bris’s side to 10th place with six matches left in the campaign.Facing his third managerial appointment in a single season, De Zerbi urged his squad to rediscover the high‑risk attacking ethos of former boss Ange Postecoglou – a vision that remained frustratingly out of reach on a day dominated by low‑tempo play.Long‑time Tottenham midfielder Antonin Kinsky made a rare return after his brief, infamous cameo in a 5‑2 Champions League loss to Atlético Madrid. His comeback was cut short when a second‑half head clash forced his substitution for the inexperienced Brandon Austin.Goalkeeper Guglielmo Vicario, still recovering from hernia surgery, was expected to be tested. Sunderland’s Granit Xhaka delivered a sharply inswinging corner, but Kinsky calmly palmed the ball over the bar, keeping Spurs in the game.A potential penalty for Tottenham was overturned after VAR review; replays showed Omar Alderete had won the ball cleanly, while Randal Kolo Muani’s appeal proved unfounded.Richarlison offered brief flashes of quality but failed to convert his chances, and Dutch striker Brian Brobbey – described as a “human bulldozer” – was unable to capitalise on Enzo Le Fée’s incisive passes, despite a lone fine save from the Sunderland keeper.De Zerbi’s frustration was palpable. After Dominic Solanke’s weak finish allowed Sunderland’s Robin Roefs to deny a golden‑chance in stoppage‑time, the manager pulled his gilet up over his eyes, perhaps to shield himself from the disappointment.Mid‑second‑half, former Paris Saint‑Germain defender Nordi Mukiele, back from injury, struck a 20‑yard shot that deflected off centre‑back Micky van de Ven. The ball’s change of direction left the goal‑mouth ambiguous, sparking a debate over whether the goal should be credited to Mukiele or recorded as an own‑goal.The match’s physical intensity escalated when Brobbey’s challenge led to a painful collision between Kinsky and Cristian Romero, forcing both players off – Romero in tears with a leg injury. De Zerbi also expressed anger that Brobbey, already booked, escaped a second yellow card.Despite a flurry of substitutions, Tottenham struggled to pose serious questions to Sunderland’s defence, leaving the club’s relegation hopes hanging by a thread as the season draws to its final stretch.

In a dramatic climax to the men’s 200m final at the Sydney Olympic Park Athletic Centre, Gout Gout crossed the line in 19.67 seconds, eclipsing the previous Australian record of 20.02 seconds and becoming the first Australian to break the 20‑second barrier under legal wind conditions. Gout entered the race after posting a solid 20.11‑second heat, despite gusty, autumn‑like weather that had turned the track into a testing ground for speed. Early in the straight, he was shadowed by Aidan Murphy, the 22‑year‑old former national 200m champion whose personal best of 20.41 seconds suggested he could challenge the favourite. For most of the race the two athletes ran side‑by‑side, with Murphy refusing to fade. Gout eventually found his top‑end speed, pulling ahead to claim his second national title, but the margin was tighter than many pundits had anticipated. When the official time appeared—19.68 seconds—the stadium fell silent. A quick review adjusted it to 19.67 seconds with a tailwind measured at 1.7 m/s, comfortably within the legal limit. The result not only beat his own illegal 19.84‑second run from the previous year but also outpaced the best under‑20 performance ever recorded, aside from an unratified mark by Erriyon Knighton. Analysts noted that the time would have secured a bronze medal at the Paris 2024 Olympics and would have been fast enough for gold at the Sydney 2000 Games—faster than Usain Bolt ever ran at the same age. The performance therefore cements Gout’s status as a genuine global contender and fuels expectations for the upcoming Brisbane 2032 and Los Angeles 2028 Games. After the finish, Gout celebrated exuberantly, his arms aloft as manager James Templeton looked on, while Murphy, who finished just 0.21 seconds behind, quietly exited the track, having delivered the second‑fastest Australian 200m ever. The event was steeped in symbolism: the track had hosted the 2000 Olympic Games, the iconic Stadium Australia roof loomed overhead, and Gout stood on a dais bearing the vintage Sydney 2000 logo, underscoring the link between past glory and future ambition. With this landmark run, Gout Gout has not only rewritten the Australian sprint record books but also signalled that the nation’s sprinting renaissance is well underway, promising thrilling chapters ahead for Australian athletics.

The play 'Dear Jack, Dear Louise' presents a refreshing take on love in the digital age, set against the backdrop of World War II. This epistolary story revolves around Jack, a military doctor, and Louise, a dancer aspiring to Broadway, who are brought together by family members hoping they might make a match. Written by Ken Ludwig in 2019, the play is a delightful romantic comedy that unfolds through letters, capturing the intimacy and anticipation of a bygone era. The narrative progresses from a formal courtship to a genuine relationship, all without the characters having met, as their first date is continually deferred due to circumstances. The production shines with its simplicity, featuring two actors delivering remarkably honest performances from opposite sides of the stage. This setup fosters an incorrigible warmth for the characters as they strive for happiness amidst the turmoil of war. Directed by Simon Reade, the play balances sweetness, humor, and poignancy, leaning into its nostalgic spirit. While a twist towards the end attempts to introduce unnecessary emotional tension, the overall story remains an irresistible heart-warmer. The play effectively conveys the romance of letters, highlighting the intimacy and physicality of handwritten communication. 'Dear Jack, Dear Louise' is set to run at the Arcola theatre, London, until May 2, offering audiences a chance to experience this charming and moving theatrical production.