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In a striking reversal of a century‑old judgment, researchers have confirmed that the red bands on the walls of Bacon Hole in South Gower are not mineral stains but the United Kingdom’s oldest known Palaeolithic cave paintings. 1912: The Guardian reports the discovery of red pigment bands in Bacon Hole. 1928: The same outlet declares the markings a natural phenomenon. 2026: Uranium‑thorium analysis dates the pigments to 17,100 years ago, redefining British prehistory. The Rediscovery of Bacon Hole’s Red Streaks as Palaeolithic Art Original investigators William Sollas and Henri Breuil argued in 1912 that the horizontal red lines represented intentional art. Their interpretation was dismissed in 1928 after the newspaper cited mineral seepage as the cause. The new study, led by Dr George Nash of the University of Liverpool and Coimbra University, re‑examined the panels with modern archaeometric techniques. Uranium‑Thorium Dating Confirms 17,100‑Year‑Old Paintings Using uranium‑thorium dating on the pigment’s calcite matrix, the team obtained a calibrated age of 17,100 years before present. Chemical analysis identified a mixture of calcite and clay, applied with finger strokes, confirming deliberate human agency. Implications for Understanding Upper Palaeolithic Wales The findings place Wales at the forefront of Upper Palaeolithic activity in north‑western Europe, suggesting that hunter‑fisher‑gatherer groups exploited the periglacial landscape of the emerging Bristol Channel shoreline. The research also aligns with earlier discoveries such as the Cathole Cave paintings dated between 14,500 and 12,500 years ago. Future Research and Conservation Prospects The cave, managed by the National Trust of Wales, is slated for official announcement and potential scheduling as a protected monument. Ongoing collaboration among the universities of Southampton, Swansea, and international partners aims to map additional sites along the Gower coast and refine the chronology of early human occupation.

Emma Barnett’s Personal Battle Takes Center Stage on BBC Two9pm, BBC Two – Broadcaster Emma Barnett opens up about living with endometriosis, describing the pain as “like having a drill inside my stomach”. The documentary follows her journey and features interviews with other women who share their experiences.Inside the Documentary: Personal Stories and Medical GapsThe programme combines Barnett’s narrative with expert commentary, exposing the lack of research and treatment options that stem from the longstanding gender health gap.First‑hand accounts from women across the UKInterviews with gynecologists and pain specialistsCalls for increased funding for endometriosis researchScale of the Problem: One in Ten Women AffectedEndometriosis impacts roughly 10% of women of reproductive age, yet it remains under‑diagnosed and under‑funded.Average diagnostic delay: 7‑10 yearsEstimated annual economic cost to the UK: £8.2 billionCurrent NHS research budget for endometriosis: £5 million (2025)Why the Documentary Matters for Women’s Health PolicyBy bringing the condition into prime‑time viewership, the film challenges the status quo and pressures health authorities to close the gender gap in research investment.Potential catalyst for parliamentary inquiriesMay influence NHS commissioning decisionsEncourages employers to adopt more supportive sick‑leave policiesPotential Ripple Effects on Funding and Public AwarenessAnalysts predict a surge in public interest following the broadcast, which could translate into higher charitable donations and lobbying power for patient groups.Social media mentions expected to rise by 150% in the week after airingCharity Endometriosis UK reports a 30% increase in website traffic after similar media eventsLong‑term outlook: stronger case for a dedicated UK endometriosis research institute

The Global Bauxite Rush and Guinea's ContradictionIn the small village of Bembou Silaty, northwestern Guinea, 38-year-old Mamadou Aliou embodies the central contradiction of Guinea's bauxite boom. Working in the environmental health and safety department for a mining company while simultaneously advocating for his community's rights, Aliou represents the complex relationship between global resource demands and local realities."Before these companies arrived, we cultivated our land, and it sustained us," Aliou told Al Jazeera. "We could cover our daily needs, especially food. But now, when a piece of land is registered and belongs to a mining company, you have nothing there any more."The Strategic Value of Guinea's Bauxite ReservesGuinea holds the world's largest reserves of bauxite, the ore that becomes alumina and ultimately aluminum—a metal essential for car and aircraft frames, windows, wind turbines, and solar panels. Over the past three decades, the country has multiplied its bauxite production tenfold, with more than a dozen ongoing projects currently operating.As the global energy transition demands ever more aluminum, Guinea has found itself in a strategically crucial position. Approximately 75 percent of the bauxite exported by the country over the past decade has ended up in China, which produces 60 percent of the world's aluminum. Companies from Russia, the United States, and the United Arab Emirates have also established significant operations in the country to secure this valuable resource.Economic Disparities and Compensation ChallengesIn the traditional bauxite heartlands of Kindia and Boke, the main roads are notably well-maintained, and steady jobs in technical roles or transport logistics have created economic opportunities for some Guineans. In Bembou Silaty, however, the situation remains starkly different—a quiet village without electricity, where farming methods remain untouched by mechanization.People working in technical roles at the mine can earn up to about $300 a month, a significant sum in Guinea. For other locals who make a living from farming, most don't have a regular wage and rely on the yield from their crops. Across Guinea, an estimated half of the population depends on agriculture for their livelihood.Locals in Bembou Silaty say every hectare claimed by mining is a hectare lost to farming, in a country that spent more than $500m importing rice in 2024. "They give you compensation for your land, but it's not enough, and in the end, it's mismanaged," Aliou said. "Within a month or two, someone who received 50 or 100 million Guinean francs ($5,700-11,400) has nothing left. No land, no money. They have to start over, from below zero."Environmental Degradation and Water ContaminationThe environmental impact of bauxite mining in communities like Bembou Silaty has been profound. Not all homes in the village of about 5,000 have indoor toilets and plumbing. While a new water point serves nearly all residents, the water contains iron contamination.In neighboring villages, the situation is even more dire. "Since the mining companies came, we've had this problem with the water. The children get sick, and the parents too," said Mariama Kindi Diallo, a farmer. "The doctors tell us not to drink the rain or river water. There are no roads, no school, no phone signal. What are we supposed to do? We are asking for help to have a dignified life."Environmental concerns extend beyond water contamination. Surgical holes drilled into the ground mark where mining companies have tested for bauxite—a reminder to farmers that the impact on the land is felt even before extraction begins. In a recent report, Djami Diallo, the Guinean minister of the environment and sustainable development, stated that each year, certain companies had their impact studies and evaluation reports rejected for failing to comply with environmental standards.The Government's Push for Value AdditionTo address these challenges and increase the benefits for Guinea, the government of Mamady Doumbouya, which came to power in a 2021 coup, is attempting to reorganize the mining sector. It is pressing investors to process bauxite within Guinea, ensuring a portion of the value stays in the country.Processing bauxite into aluminum can multiply its price by 37 times. Instability in Iran amid the US and Israel's war has contributed to rising aluminum prices, which surpassed $3,600 per tonne in April. Doumbouya is set to lead the country for the next seven years, after winning the December 2025 elections with nearly 87 percent of the vote.Achieving this transformation, however, requires a huge increase in electricity generation—power that is non-existent in villages like Bembou Silaty and unreliable even in the capital, Conakry. Guinea is working with neighboring Senegal on a solution: Using Senegalese gas to generate enough electricity to process its bauxite on African soil.The Global Trail of Bauxite and MigrationThe story of Guinea's bauxite extends far beyond its borders. More than 3,000km away, in Parets del Valles, Spain, the journey's end plays out. For Spain, Europe's largest consumer of Guinean bauxite, more than 90 percent of its imports come from Guinea.The aluminium produced there feeds the automotive industry and serves both industrial and domestic purposes. In Spain, there is light, hot water, paved roads—all the base elements of a decent life that remain elusive in many parts of Guinea.Increasingly, more boats are leaving directly from Guinea, towards the Canary Islands and on to mainland Europe. According to Frontex, the European Union border security agency, more Guineans arrived in the Canary Islands, Spain, in 2023 (2,324) than in the previous 13 years combined. In 2024 and 2025 combined, another 6,000 Guineans arrived.Many left, following the bauxite trail, hoping to find something more in the places where their resources are both enjoyed and exploited. "If you compare the bauxite we export with what we get in return, the difference is enormous," Aliou reflects. "We gain almost nothing. Just enough to survive."

French artist Camille Henrot presents her latest exhibition “Don’t” at the Perimeter in London, shifting from her previous large‑scale, concept‑driven installations to a pared‑back, intimate investigation of everyday digital overload. The Minimalist Turn: “Don’t” Strips Henrot’s Grand Narratives The show is divided into two bodies of work. The painted series layers screenshots, collaged paper and brushstrokes into frantic digital abstractions, while the accompanying drawings depict mythic beasts and overtly erotic figures. By inserting personal artifacts—a photo of her husband, an X‑ray of her wrist, even a bill for IVF‑related oocyte storage—Henrot turns the exhibition into a visual diary rather than a theoretical treatise. Absence of Big Numbers: What the Lack of Commercial Data Reveals Opening date: 2026‑05‑31 (press review) Venue run: until 25 July 2026 No disclosed ticket‑price or attendance figures, underscoring the exhibition’s focus on personal experience over market metrics. Redefining Post‑Internet Intimacy in Contemporary Art Henrot’s shift mirrors a broader trend in post‑internet practice: moving from hyper‑complex installations toward works that foreground the artist’s private life and digital fatigue. The chaotic blend of analogue and digital elements questions what is “real” in a screen‑saturated world, while the erotic drawings expose the raw, often ignored, physicality behind online personas. Future Directions: Anticipating Henrot’s Next Personal Exploration Given the intimate tone of “Don’t,” future projects may delve deeper into domestic technology, perhaps exploring AI‑mediated relationships or the emotional economics of data storage. Critics will watch to see whether Henrot continues to trade grand gestures for the mundane, reshaping how contemporary art narrates the digital age.

The Rumors Surrounding Tom Hardy's Departure Rumors are swirling that Tom Hardy has been fired from the Paramount+ series MobLand due to clashes with cast and crew. The news comes after reports of Hardy's difficult behavior on set, including late arrivals and demands for creative control. Hardy's History of Difficult Behavior This isn't the first time Tom Hardy has been accused of being difficult on set. During the filming of Mad Max: Fury Road, there were reports of blowups between Hardy and his co-star Charlize Theron. Similar incidents have been reported during the making of Star Trek: Nemesis, Lawless, and The Revenant. The Impact on MobLand Hardy is currently the center of gravity in MobLand, providing the series with charm and forward momentum. Without him, the show risks drifting off into nothingness. Production insiders claim that Hardy hasn't been fired and that 'things are being worked through creatively.' The Future of MobLand The choices now available to the MobLand producers are limited and painful. Assuming that the show will be recommissioned, MobLand will have to toy with the idea of letting Hardy go and recalibrating without him. However, this would be a difficult task, as Hardy is the show's main attraction.

The Enigmatic Artist Steven Shearer is a quiet and elusive artist who has managed to keep a low profile despite his significant contributions to the art world. His work, which spans 40 years and multiple media, is characterized by stunning paintings of long-haired teens, collages of appropriated images, and billboard-sized poetry inspired by heavy metal lyrics. The Intersection of Art and Music Shearer's work is deeply rooted in his fascination with heavy metal music and its iconography. He grew up in a suburban area near Port Coquitlam, where he was exposed to the darker aspects of life, including the serial killer Robert Pickton. This environment influenced his art, which often explores themes of teenage angst, loneliness, and alienation. The Evolution of Shearer's Style Shearer's figures have always been boys on the brink of manhood, characterized by long-haired youths caught between childhood and adulthood. His portraits are tense and androgynous, reflecting his own sensibility and fascination with the fluidity of gender. In his recent works, Shearer's figures have aged, becoming frailer and more lined with wrinkles, reflecting the passage of time and the loss of youthful abandon. The Ideal Viewer Shearer hopes that his work will be universal and accessible to viewers 40 years into the future who have no knowledge of the references and allusions in his art. He aims to create a sense of cryptic distance, drawing viewers into his world through his enigmatic and often disturbing images.

The LeadViolet Grohl, daughter of Foo Fighters' Dave Grohl, releases her debut album "Be Sweet to Me" at just 20 years old, showcasing impressive alt-rock credentials despite her young age.The Alt-Rock DebutThe album features tracks like "595," a scuzzy, slasher-inspired alt-rock single that feels made for 90s MTV. Grohl's music combines elements of Veruca Salt and Queens of the Stone Age, with arch, deadpan verses giving way to big, bluesy, intentionally sleazy choruses finished with blown-out guitar and squealing feedback.The Family LegacyDespite her young age, Grohl has significant rock'n'roll credentials. She fronted a rare Nirvana reunion at just 13 years old, with her coolly authoritative vocals making it more symbolic than a mere family favor. Her father connected her with producer Justin Raisen, who has worked with artists like Kim Gordon, Yeah Yeah Yeahs, and Sky Ferreira.The Critical ReceptionWhile the review praises tracks like "Cool Buzz" for its persuasive combination of ska-inspired guitar and hardcore drums, and "Often Others" for its seething, sour, and groovy nature, it also notes that the album's nostalgia is sometimes too reverent and predictable. Tracks like "Last Day I Loved You" and "Plastic Couch" come off like stage makeup rather than real war paint, according to the reviewer.The Future OutlookGrohl shows promise as a genuine talent in the alt-rock scene, but the review suggests her hungry threats need sharper fangs. As she continues to develop her sound beyond her family connections, she may establish herself as a formidable force in rock music.

The LeadSéamas O'Reilly's debut novel "Prestige Drama" presents a brilliant wry comedy set in Derry, where a Hollywood actor disappears while filming a TV series about the Troubles. The novel transcends its intriguing premise to explore how places become defined by historical moments, and how stories about such places often fall into predictable formulas.Multiple Perspectives on Historical TraumaO'Reilly uses the TV series "Dead City" as a starting point to weave through different characters connected to the production. From a stressed scriptwriter to a local historian questioning how to talk about the past while still living it, the novel creates a patchwork portrait of the city. This approach echoes Tommy Orange's "There, There," which used multiple voices to explore Native American lives. Each character speaks directly to the reader, revealing their complex relationship with Derry's history and the Hollywood production that has descended upon the city.Commodification of MemoryThe novel masterfully examines how historical trauma becomes marketable. O'Reilly has a keen eye for absurdities: the artist who once painted Bogside murals now doing lecture tours with a "wee moustache and crucifix earring like a plastic Provo"; the ex-IRA hitman offering services as a "consultant." Those once bound by silence now demonstrate how to make a bottle bomb for the cameras. The locals, facing economic necessity, take work that perpetuates clichés—local painters recreate old murals for film sets, while aspiring actors see the production as their only chance to escape.The Haunting of HistoryThis recreation and commodification of the past creates a kind of haunting. The novel is permeated by different ways in which the dead remain inescapable. Ann-Marie, whose son was shot by a British soldier and whose image now appears on book covers and "bloody tea-towels," delivers one of the novel's most powerful voices: "My heart is small and hard, wind-bleached like seaside beach seats." Her reflection on those who came home safely after her son was killed—"It wasn't their fault and I'll never forgive them"—captures the unfixable contradictions of grief.A New Voice in Irish LiteratureBuilding on his previous memoir "Did Ye Hear Mammy Died?"—described as "heartbreakingly funny"—O'Reilly demonstrates a rare gift for moving between opposing tones. The humor in "Prestige Drama" is skillfully weaponized, allowing him to address subjects we often tiptoe around. His language is gloriously vivid, as when a hungover man wakes up "slowly, like a column of dog food muscling its way out of a tin." While some readers may wish the missing actor thread had more prominence, the novel's true focus is on the ordinary people behind the televised version of events, offering a polyphonic exploration of how history continues to shape the present.

Lead: Triumph Over Tragedy on the Streets of North LondonArsenal fans flooded the streets of north London on Sunday, cheering the Premier League title despite a bruising Champions League defeat. Defender Gabriel Magalhães admitted the shoot‑out loss was “painful”, but the club’s open‑top bus parade quickly shifted the narrative to celebration.Open‑Top Bus Parade Turns Celebration into Citywide FestivalThe squad left the Emirates Stadium at 2:15 pm for a 5.6‑mile route that wound through Holloway Road, Highbury, and surrounding neighborhoods. Captain Martin Ødegaard led the first bus, proudly displaying “Champions 25/26” and the Premier League trophy, while the women’s team followed on a third bus with the FIFA Champions Cup.Parade Route, Timing and Crowd EstimatesDeparture: 2:15 pm from Emirates StadiumDistance: 5.6 milesEstimated spectators: hundreds of thousands along the routeKey stops: Holloway Road, Highbury, IslingtonNotable participants: Gabriel Magalhães, Eberechi Eze, Myles Lewis‑Skelly, coaching staff, club officialsCommunity Reaction and Club Momentum After Dual OutcomesLocal businesses, such as the Coffee Zee café on Holloway Road, described the scene as “the most insane I have ever seen”. The parade not only celebrated the league triumph but also served as a morale boost after the Champions League disappointment, with manager Mikel Arteta promising to use the setback as “fuel” for next season.What the Celebration Signals for Arsenal’s Next SeasonPlayers like Myles Lewis‑Skelly expressed optimism, calling the moment “the start of a new era” and pledging to “go and achieve our dreams”. The massive fan turnout and unified club atmosphere suggest a strong foundation for Arsenal as they aim to convert domestic success into European glory in 2026‑27.