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Arsenal broke a spell of anxiety at the Estádio José Alvalade, edging Sporting CP 1‑0 in the Champions League quarter‑final first leg. Kai Havertz delivered the decisive goal after Gabriel Martinelli’s cross found him unmarked, allowing the German forward to finish past Rui Silva.The match was a grinding affair; Arsenal completed 488 passes but struggled to create clear-cut chances. Early opportunities were limited to set‑piece scrambles and long‑range attempts, with Noni Madueke’s corner rattling the bar and Leandro Trossard’s speculative 40‑yard effort failing to find the net.Arsenal’s breakthrough came in added time of the second half. Substituting Martin Ødegaard in the 70th minute, Arteta introduced Havertz, who slipped into a support‑striker role and, moments later, slotted home the winner. The goal not only secured the lead but also provided a psychological lift as the season’s final weeks loom.Equally pivotal was goalkeeper David Raya’s performance. The Spaniard produced three major saves, including a fingertip parry that kept a Geny Catamo header off the line and a double‑save sequence against Catamo and Luis Suárez. His interventions were described as “nothing will ever get past him,” underscoring the importance of elite goalkeeping in high‑stakes fixtures.Sporting CP pressed in the closing stages, with Ousmane Diomande threading a pass behind Ben White and Maxi Araújo forcing a near‑miss that only Raya’s fingertips prevented. Yet Arsenal’s defensive shape and Raya’s reflexes held firm, allowing the Gunners to head into the second leg with a valuable advantage.Arteta’s side has faced criticism for recent goalkeeping choices, notably starting Kepa Arrizabalaga in the Carabao Cup final against Manchester City, a decision that backfired after an error led to City’s opener. The contrast with Raya’s composure highlights the impact of recruitment decisions on match outcomes.While the win injects optimism, Arsenal remain nine points clear at the top of the Premier League and must translate this European momentum into domestic consistency. As Arteta cautioned, “don’t panic,” the onus now lies on Havertz to maintain composure and on the squad to capitalize on the platform Raya helped secure.

The recent Winter Olympics in Milano Cortina showcased the thrilling use of high-speed camera drones, bringing viewers up close to the action. However, this technology has a darker side, as it is also being used in the US military's drone strikes in Iran. The seamless transition from drone-supplied footage of Olympic excellence to drone-supplied footage of war crimes has felt genuinely jarring. The connection between drone racing and drone strikes is not coincidental. Professional drone racing emerged around a decade ago, with the Drone Racing League (DRL) being a prominent competition. The US air force was a longtime sponsor of the DRL, using the competition as a scouting ground to recruit new pilots. The league's emphasis on high-speed, first-person view drones has contributed to the development of technology now used in military contexts. The current conflict in Iran highlights a disturbing trend: the militarization of sports culture. The Trump administration's approach to the war, including the use of Hollywood and gaming imagery in its videos, reflects a broader cultural shift. The US military's actions are being presented as a form of entertainment, with two-minute video montages of "stuff blowing up" being used to brief the president on the war's progress. This phenomenon is not limited to the administration; the language of sports is increasingly being used in discussions of war. Politicians like Marco Rubio and Pete Hegseth are using sports-like terminology to describe military actions, reflecting a degeneration of language in global diplomacy. The Trumpian trash talk has degraded the discourse, with the president's tweets about the war being characterized by their usual boorishness. The article concludes that the culture of sports is central to the chaos unfolding across the Middle East. The blurring of lines between war and sport reflects a deeper societal issue, where the values of competition and entertainment are taking precedence over human life and dignity. As the world teeters on the edge of a military and economic catastrophe, the need for a more nuanced understanding of the relationship between sports, technology, and warfare has never been more pressing.

Liverpool manager Arne Slot has expressed confidence that his team can go 'toe-to-toe' with Paris Saint-Germain in their Champions League quarter-final first leg on Wednesday, despite a 4-0 defeat to Manchester City in the FA Cup quarter-final.Slot warned that his team will suffer another emphatic defeat if they switch off against PSG, but believes they can save their season by competing with the European champions. He acknowledged that PSG have improved since winning their first Champions League title last season and will punish any lapses from Liverpool.The pressure on Liverpool and Slot has intensified following the defeat to Manchester City, with Virgil van Dijk criticizing the team's performance. However, Slot and Florian Wirtz have emphasized the importance of character and mentality in overcoming setbacks.Liverpool have won only once in five matches, but Slot and Wirtz have expressed confidence that the team can turn their form around. Slot highlighted that Liverpool have a good record of standing up in tough moments and competing with top teams in Europe.Alexander Isak is expected to be named among Liverpool's substitutes after four months out injured, and Slot may make changes in personnel and formation in response to the City defeat.

Tens of thousands of people have been hired by Scale AI – a firm 49% owned by Meta – to train artificial‑intelligence models by scraping Instagram accounts, harvesting copyrighted artwork and transcribing pornographic soundtracks, according to the Guardian.Scale AI promotes its Outlier platform as a flexible, expert‑driven marketplace, recruiting professionals from medicine, physics and economics to "become the expert that AI learns from."Workers, however, say the reality diverges sharply from high‑level model refinement. They describe tasks that involve massive personal‑data scraping and content that many find morally uncomfortable.Outlier is managed by Scale AI, which holds contracts with the U.S. Pentagon and other defense companies. Its chief executive, Alexandr Wang, is hailed by Forbes as the world’s youngest self‑made billionaire, while former managing director Michael Kratsios served as science adviser to former President Donald Trump.One contractor noted that users of Meta platforms would be shocked to learn their photos and friends’ images are being harvested for AI training, with workers manually reviewing profiles to extract data.The Guardian interviewed ten Outlier contributors – many also journalists, graduate students, teachers or librarians – who took the gig work out of economic desperation. One said, "A lot of us were really desperate" and felt compelled to accept the unstable, low‑pay assignments.These gig workers, dubbed “taskers,” often feel they are training their own replacements, expressing “internalised shame and guilt” over contributing to the automation of creative professions.Law firm Clarkson, representing AI gig workers, estimates that hundreds of thousands of people worldwide now labor on platforms like Outlier. Taskers report bait‑and‑switch recruitment tactics, where advertised high salaries are replaced by lower‑paid projects after onboarding.All contributors are monitored through a tool called Hubstaff, which can screenshot browsers to verify work. While Scale AI claims the software is only for accurate payment, workers describe it as constant surveillance.Assignments have ranged from transcribing pornographic audio and labeling photos of dead animals or dog faeces, to annotating diagrams of infant genitalia and violent police scenarios. One doctoral student recounted being promised “no nudity” only to receive explicit porn clips.Scale AI says it shuts down any task flagged as inappropriate and does not accept projects involving child sexual‑abuse material or pornography, though workers note that publicly available images of minors have been used for training.Social‑media scraping tasks required workers to tag individuals by name, location and age, sometimes pulling data from accounts of users under 18. One task asked contributors to order Facebook photos by the subject’s age, prompting ethical unease.In addition to personal data, taskers were asked to harvest copyrighted artwork, with strict instructions to avoid AI‑generated images and select only hand‑drawn pieces. Scale AI maintains it does not ask workers to violate copyright standards.Scale AI’s client list includes major tech firms such as Google, Meta and OpenAI, as well as the U.S. Department of Defense and the government of Qatar, highlighting the growing demand for labelled data as AI models scale.Some workers reported interacting with ChatGPT and Claude, and speculated they might be training Meta’s upcoming model, code‑named “Avocado.”OpenAI announced it ended its partnership with Scale AI in June 2025, citing its supplier code of conduct that mandates ethical treatment of all workers.Despite irregular pay, occasional mass layoffs and the unsettling nature of many tasks, many taskers remain on the Outlier platform, hoping the AI future will eventually improve conditions. One said, "I have to be positive about AI because the alternative is not great."In response, a Scale AI spokesperson stated, "Outlier provides flexible, project‑based work with transparent pay. Contributors choose when and how they participate, and we regularly hear from highly skilled contributors who value the flexibility and opportunity to apply their expertise on the platform."

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

The Artemis II crew, fresh from a record‑breaking lunar flyby, received an unexpected call from former President Donald Trump on Monday night. Facilitated by NASA administrator and Trump ally Jared Isaacman, the 12‑minute conversation was punctuated by long silences, anecdotes about Canadian hockey legend Wayne Gretzky, and the president’s claim that he had "saved NASA" from closure. Trump’s assertion sparked eyebrows among the astronauts, who had just set a new milestone as the farthest‑traveled humans from Earth. The president recounted a decision he allegedly faced in his first term: whether to revive or shut down the agency. "We’ve spent what we had to do," he said, implying the agency’s survival rested on his judgment. While Trump has publicly championed the Artemis program, his administration has repeatedly pursued deep cuts to NASA’s overall budget. In early 2025, the White House proposed a 24% reduction—bringing the budget down to $18.8 billion, the lowest level in a decade. Experts warned such cuts would constitute "extinction‑level" reductions to critical science programs. Congress, in a rare bipartisan move, rejected the proposed slashing and approved a near‑full budget of $24.4 billion in January. Yet, on 3 April 2026—just two days after Artemis II launched on the first crewed mission beyond low‑Earth orbit in over 50 years—Trump unveiled his FY 2027 budget request, again proposing a steep cut of 23% to NASA’s funding. Democratic leaders denounced the proposal as "morally bankrupt," while Isaacman issued a statement supporting the president’s fiscal stance, urging NASA staff to "leave the politics for the politicians and remain focused on the mission." During the call, Trump praised the crew’s "incredible journey into the stars" and claimed their mission had "inspired the entire world." He reiterated America’s ambition to lead space exploration, promising a permanent lunar base and eventual crewed missions to Mars. The conversation also featured a brief exchange with Canadian astronaut Jeremy Hansen, who highlighted the United States’ "intentional decision" to lead by example and collaborate with allies like Canada. Trump responded by recalling conversations with Gretzky, Canadian Prime Minister Mark Carney, and other Canadian friends, emphasizing national pride. After a minute of awkward silence, Isaacman returned for a "comm‑check," and Trump reiterated his stories about Canadian contacts. The Artemis II commander, Reid Wiseman, acknowledged the president’s remarks with a polite, "Yes, Mr. President, we heard that." Trump concluded by extending an invitation to the four astronauts for an Oval Office reception following their scheduled splashdown in the Pacific on Friday. "I’ll ask Jared to bring you over, and I’ll ask for your autograph, because you deserve that," he said, adding he would "find the time" to salute the crew on behalf of the American people. Pilot Victor Glover responded enthusiastically, "When you want us, we will be there," and thanked the president for what he called a "really special" call. He highlighted the mission’s significance, noting it was made possible by both the American and Canadian peoples.

The Wireless music festival, scheduled to take place in July, has been cancelled after Kanye West, now known as Ye, was banned from entering the UK. The decision to ban Ye was made by the Home Office, citing that his presence in the UK would not be conducive to the public good.Ye had made an application to travel to the UK via an Electronic Travel Authorisation, which was initially granted online but later rescinded by Home Office ministers. The rapper has been criticized for making antisemitic remarks, including voicing admiration for Adolf Hitler and releasing a song called Heil Hitler.The festival's organizers had booked Ye to perform, but with only three months' notice, finding a replacement proved to be complex. Many artists would have had their summer schedule sorted months ago, making it difficult to fill the slot. The organizers stated that they were not giving Ye a platform to extol his opinions, but rather to perform songs that are currently popular.The decision to ban Ye has been welcomed by some, including Phil Rosenberg, the president of the Board of Deputies of British Jews, who said that music festivals should be places where all communities feel welcome, not venues that platform individuals with records of profiteering from antisemitism and other repulsive views.Ye joins a list of American cultural figures who have been banned from entering the UK, including Snoop Dogg, who was denied entry in 2007, and Tyler, the Creator, who was banned for four years in 2015.

Opening night of the Pet Shop Boys’ Obscure tour turned the Electric Ballroom in Camden into a shrine for deep‑cut enthusiasts. Frontman Neil Tennant opened with a cheeky promise – “no hits tonight” – and the crowd responded with delighted roars, eager for the rare material the duo had promised.The Obscure moniker is no accident. Tennant and synth‑master Chris Lowe rehearsed 35 songs from their 42‑year catalogue, deliberately sidestepping the familiar chart‑toppers in favour of B‑sides, album tracks and fan‑favourite deep cuts. A fan‑compiled Spotify playlist of 226 non‑single tracks illustrates just how vast the selection pool is, yet even that list fell short of the band’s final set.Two songs made their live debut: a never‑performed track from the unreleased stage show Naked titled “I Dream of a Better Tomorrow,” and the 1986 B‑side “Jack the Lad” from the Suburbia era, which had never before been heard on stage. Phones rose in the audience as Tennant sang the cheeky tale of a ne’er‑do‑well, capturing a moment that will likely become a new fan legend.Highlights included a soulful rendition of the 1990 ballad “To Face the Truth,” where Tennant’s hand‑over‑stomach gesture added a rare glimpse of vulnerability, and the 1987 piano‑driven “Do I Have To?” showcasing Lowe’s most tender synth‑piano work. The set also featured “King of Rome” (2009), its horn‑laden refrain enveloping the room in a warm, nostalgic glow.Interspersed with the music, Tennant acted as an urbane quizmaster, prompting the audience to shout B‑side titles and rewarding them with trivia – for example, a medley that combined 1993’s “One in a Million” with Culture Beat’s “Mr Vain,” performed for the first time since its original 1994 Latin America appearance.Closing the main set, the 2005 anthem “The Performance of My Life” evoked the duo’s early club‑scene roots, while the encore opened with the poignant B‑side “Your Funny Uncle” (1989), a lament that still resonates with listeners who first found solace in its lyrics during the AIDS crisis.In a final, forward‑looking moment, Tennant introduced “I Dream of a Better Tomorrow,” a brand‑new song taken from the unreleased stage production based on *The Emperor’s New Clothes*. He declared, “change is coming… the start of something new,” hinting at fresh creative directions beyond the archival focus of the tour.The Obscure run, part of the broader Dreamworld tour that began in 2022, demonstrates the Pet Shop Boys’ mastery of both pop craftsmanship and archival curation, offering fans a rare chance to hear the hidden gems that have long lived in the shadows of their massive catalogue.

James Gunn's early feature film Slither, initially released in 2006, is being re-released in cinemas ahead of its 20th anniversary. The film, a comedy horror with a heavy focus on body horror, was Gunn's first feature-length project. At the time, it was met with commercial disappointment but has since garnered attention due to Gunn's subsequent success with major franchises such as Guardians of the Galaxy and Superman.The film's plot revolves around an alien lifeform that crash-lands on Earth and takes over a small town in South Carolina. The alien larvae, resembling flaccid phallic worms, infect the townspeople through various orifices, turning them into evil minions or hideously swollen incubators. The movie features Michael Rooker, Elizabeth Banks, and Nathan Fillion in key roles.Despite its thinly conceived science fiction elements and reliance on rubbery practical effects and lame jokes, which align more closely with the style of Troma, a production company where Gunn got his start, the film does showcase Gunn's early experimentation with comic timing and musical cues. A notable scene features a killing spree set to Air Supply's 'Every Woman in the World', a technique Gunn would later refine in his Guardians of the Galaxy films.The cast, including Michael Rooker and Elizabeth Banks, appears to be enjoying the film's humor, bringing some bright spots of wit and amusement to the movie. Slither is set to re-release in UK cinemas on April 10 and will be available on digital platforms from May 1.