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Brighton pulled off a major upset in the Women's FA Cup quarterfinals, defeating Arsenal 2-0 at Borehamwood. The win extended Arsenal's wait for their first Women's FA Cup title in over a decade. Fran Kirby, a former Chelsea forward, played a crucial role in the victory, providing two assists.Madison Haley opened the scoring shortly after halftime with a superb finish into the top corner, and Caitlin Hayes sealed the win with a header from a deep Kirby corner. Arsenal, who had recently knocked out Chelsea in the Champions League, looked disjointed and below their best.In another match, Liverpool secured a semifinal spot with a scrappy 115th-minute goal from substitute Zara Shaw against Charlton Athletic. Shaw's goal came after a scramble in the box, marking her return to competitive action after a 12-month knee injury.Liverpool manager Gareth Taylor praised Shaw's determination, saying, 'What a story, Zara Shaw, eh? The way people speak about her at the club, it couldn’t have happened to a better person.'Charlton's head coach, Karen Hills, expressed pride in her team's performance, stating, 'I’m so proud of the group. The way they performed today, they were outstanding.'

James, the Manchester‑originated nine‑piece, have turned a five‑decade career into a living testament to longevity, headlining arenas while celebrating the surprise success of their 2024 album Yummy, which finally secured a UK No.1 spot 42 years after the band first formed.The group continues to defy conventional touring formulas. Frontman Tim Booth describes their shows as “crazy, idiosyncratic,” with nightly set‑list revisions and unreleased songs that often lack finished lyrics. One such piece, the eight‑minute “Nantucket,” features a wordless chorus, an electro‑violin groove and verses that proclaim a mission to inspire, embodying the band’s experimental spirit.Rather than relying solely on a greatest‑hits marathon, the two‑hour, 21‑song performance weaves in moody interludes, deep‑cut selections, and influences ranging from Brian Eno’s ambient textures to the pulsating beats of Italian house. Lyrical barbs aimed at billionaires and organized religion sit alongside anthemic warmth, creating a communal atmosphere. The opening number “Come Home” subtly nods to Booth’s Leeds roots, while trumpeter Andy Diagram sports a “No more war” T‑shirt, and Booth often reaches out to audience members, reinforcing the show’s inclusive vibe.Driving the rhythm is veteran drummer David Baynton‑Power, complemented by recent additions Chloe Alper and Debbie Knox‑Hewson, who inject fresh sonic layers. Booth, now 66, remains the band’s charismatic talisman, occasionally appearing on a balcony for “Born of Frustration” and the soaring “Say Something,” moments that feel almost ritualistic. Arena‑sized sing‑alongs erupt during “Getting Away With It (All Messed Up)” and the classic “Sit Down,” and when Booth finally dives off the stage, he is hoisted aloft by a sea of hands, underscoring the band’s unique connection with fans.The concert at P&J Live in Aberdeen on 7 April exemplified why James remains a special, brilliant force in live music, continuing a tour that proves their relevance and humanity endure across generations.

Mexico’s art world is in uproar after an agreement with Banco Santander to export a landmark segment of the Gelman collection to Spain. The collection, hailed as one of the most significant assemblages of 20th‑century Mexican art, features masterpieces by Frida Kahlo, Diego Rivera, Rufino Tamayo, José Clemente Orozco, María Izquierdo and David Alfaro Siqueiros. Approximately 400 cultural professionals have signed an open letter demanding clarity from the Mexican government about the fate of the works, especially those by Kahlo that the state has designated as an "artistic monument". Historian Francisco Berzunza warned that Kahlo is "the most important artist in the history of our country" and that her works should remain accessible in Mexico. The disputed batch comprises 160 paintings, sketches and photographs originally owned by collectors Jacques and Natasha Gelman and purchased by the Zambrano family in 2023. Under the Santander deal, the pieces—currently on public display in Mexico for the first time in two decades—are slated to travel to Spain this summer to become a centerpiece of the new Faro Santander cultural centre. Santander’s announcement promised to handle "conservation, research and exhibition" of the collection, yet it omitted the duration of the Spanish stay. The bank’s director, Daniel Vega Pérez de Arlucea, later told El País that the legislation governing the works is "flexible" and that the collection would enjoy a "permanent presence" at the centre, intensifying concerns. Mexican officials have attempted to reassure the public. President Claudia Sheinbaum stated, "Our desire is for the collection to remain in Mexico," while Culture Minister Claudia Curiel de Icaza emphasized that the export is only temporary and that the artworks are expected to return by 2028. Santander also issued a statement insisting the deal does not constitute a sale or permanent removal. Nevertheless, critics argue the contract is ambiguous. The agreement, viewed by the Guardian, allows Faro Santander to retain control of the collection at any point between June 2026 and 30 September 2030, with the possibility of extensions by mutual consent. Such language fuels fears that the pieces could become effectively permanent fixtures abroad. Legal experts note that Mexican law protects works declared national artistic monuments, mandating that they may leave the country only temporarily and that the National Institute of Fine Arts and Literature (Inbal) is responsible for their repatriation. With Inbal owning just four of Kahlo’s roughly 150 pieces, many fear the deal undermines the protective framework. Berzunza summed up the stakes: "If the works were not to return, a fundamental part of this artist’s body of work – and her history – would be lost. These pieces are essential to telling her story and to understanding our identity as Mexicans."

When Corentin Roudaut arrived in Paris a decade ago, he swapped his student‑era bike for a car, daunted by the city’s traffic and lack of cyclist protection. After a protected lane opened on Boulevard Voltaire in the 11th arrondissement, he reclaimed his two‑wheel commute and now volunteers with the cycling advocacy group Paris en Selle, witnessing a city that has shed its car‑centric image.Roudaut notes that the shift “started slowly but really accelerated in the last ten years,” with a growing network of bike routes that is becoming safe and nearly complete in many districts.Mayor Anne Hidalgo’s 12‑year agenda reshaped Paris’s urban fabric. Since taking office in 2014, her administration planted 155,000 trees, created several hundred kilometres of segregated bike lanes, pedestrianised 300 school streets, and banned cars from the banks of the Seine. Former parking spaces have been turned into green plazas and café terraces, reducing the risk of children being hit while walking to school.As Hidalgo departs on Sunday, her legacy is touted as a blueprint for progressive European cities, especially as some national governments retreat from green initiatives.Nevertheless, the reforms have sparked pushback. Motorists object to the loss of road space, and recent referendums on higher parking charges for SUVs and further school‑street pedestrianisation suffered low voter turnouts. Right‑wing mayoral candidate Rachida Dati described the new public‑space regime as “anxiety‑inducing,” though she stopped short of promising a reversal.In a candid interview, Hidalgo described the Seine‑bank pedestrianisation as “a tough battle” that, once won, left residents reluctant to revert to car traffic. She highlighted a generation of children who have never known cars on those riverbanks, prompting awe‑filled reactions from visitors.Urban scholars attribute the rapid change to Paris’s tight administrative boundaries, which limit suburban influence on city transport decisions, and to groundwork laid by previous mayors. Yet they stress that political courage was essential to implement measures that inconvenienced drivers while delivering social and environmental benefits.Environmental epidemiologist Audrey de Nazelle of Imperial College London, a Paris native, praised the transformation as “fabulous” and warned that many cities lack the bravery to pursue similar legacies.A recent report placed Paris among 19 global cities that cut two major toxic air pollutants between 2010 and 2024. While Brussels and Warsaw saw faster declines in fine‑particle matter, London outpaced Paris in reducing nitrogen‑dioxide levels.By contrast, Berlin—despite opening a new inner‑city motorway and scrapping 30 km/h speed limits on key streets—still records a higher share of cyclists than Paris.Transport researcher Giulio Mattioli argues that Paris simply needed to add bike lanes to unlock latent demand, noting that the city started from a lower baseline but quickly caught up with peers.However, the transformation remains uneven. The extensive suburbs continue to be dominated by cars, hemmed in by the 35 km Boulevard Périphérique ring road. Analyst Jean‑Louis Missika of think‑tank Terra Nova stresses that “as long as this motorway encircles Paris, the Greater Paris metropolis will remain an administrative construct devoid of urban reality.” He calls for dismantling or repurposing the ring road to achieve a truly post‑car metropolis.

Lawyers estimate that as many as 75 women could have a claim in the $72.5 million settlement reached with Bank of America over alleged involvement in Jeffrey Epstein’s sex‑trafficking network. U.S. District Judge Jed Rakoff has instructed counsel to assemble a broad list of publications by the upcoming Friday to ensure every potential victim receives notice, emphasizing that "nobody is left out." A final approval hearing is scheduled for August 27. The settlement was first disclosed in court filings on March 27 after a proposed class‑action lawsuit was permitted to move forward. In October, a plaintiff using the pseudonym Jane Doe filed the suit on behalf of herself and other alleged victims, accusing the bank of overlooking suspicious transactions tied to Epstein’s operations. According to the complaint, Bank of America allegedly benefited knowingly from its relationship with Epstein and impeded enforcement of the Trafficking Victims Protection Act, a federal statute aimed at combating sex trafficking. Bank of America reiterated its stance that it did not facilitate Epstein’s crimes, stating that the resolution allows the institution to move past the matter and provides "further closure for the plaintiffs." Judge Rakoff gave preliminary approval, noting that while no monetary figure can fully compensate for the magnitude of Epstein’s offenses, victims are entitled to restitution from any party that "knowingly, recklessly or otherwise unlawfully facilitated" the trafficking. This agreement follows similar settlements in 2023: JPMorgan Chase paid $290 million and Deutsche Bank settled for $75 million with Epstein victims. Rakoff previously dismissed a suit against Bank of New York Mellon; the plaintiffs are now appealing that decision. He stressed that liability should be limited to entities that knowingly assisted or profited, not to every organization that merely intersected with Epstein’s network. Jeffrey Epstein, a wealthy financier who died by suicide in a New York City jail in 2019, was accused of preying on girls and young women for decades and maintained ties to high‑profile figures across politics, arts, and business. One of Doe’s attorneys, David Boies, believes that 60 to 75 women may qualify for the settlement, and cautions that additional claimants could emerge as the search continues.

NASA has unveiled the first photographs taken from inside the Artemis II Orion spacecraft, where a crew of four astronauts is currently circling the Moon. The images, released on Friday, were captured by mission commander Reid Wiseman through the capsule’s window, revealing a cloud‑shrouded Earth rising beyond the spacecraft. A second shot displays the full globe, complete with shimmering oceans and a faint green aurora, emphasizing the planet’s fragility from deep space. At mid‑morning on Friday, the crew was approximately 100,000 miles (160,000 km) from Earth and had another 160,000 miles (258,000 km) to travel before reaching the Moon, a milestone expected on Monday. The team—three Americans and one Canadian—will orbit the Moon in the Orion capsule before looping back to Earth without landing. The spacecraft entered its lunar trajectory after firing its main engine on Thursday night. Mission specialist Christina Koch, the first woman to travel around the Moon, told ABC News, "I knew that is what we would see, but nothing prepares you for the breathtaking view of our home planet lit up by day and the Moon’s glow at night." She added that the crew is eager to experience similar vistas of the Moon and the eventual return home. The mission is now on its third day of a planned ten‑day flight. On day six, the Orion will make its closest approach to the lunar surface, passing 4,000‑6,000 miles (6,450‑9,650 km) above the Moon. After circling the far side—the first human deep‑space journey of this magnitude in over five decades—the crew will use lunar gravity to set a course back to Earth, with a splashdown slated for April 11 at 00:06 GMT (8:06 p.m. ET on April 10) in the Pacific Ocean off San Diego. Astronaut Victor Glover reflected on the emotional impact of seeing Earth from space, saying, "From up here, you look amazing. Homo sapiens is all of us—no matter where you’re from or what you look like. We’re all one people." He called the mission a true "moonshot" that demonstrates what humanity can achieve when differences are set aside. The released images not only showcase the technical success of Artemis II but also serve as a powerful reminder of our shared planetary identity as the crew prepares for the historic lunar flyby.

As the 2026 local and regional elections draw nearer, the spectre of Trussonomics looms large over the British political landscape. From the Conservatives to the Greens, parties are unveiling extravagant fiscal promises that they claim can be funded by cuts elsewhere or additional borrowing, while insisting the broader economy will remain unharmed. Critics warn that any adverse effects will inevitably be shifted onto people and businesses outside the parties' core constituencies, effectively socialising the risk. Only Keir Starmer and his Labour cabinet appear to resist the pressure to re‑engineer the economy without acknowledging inevitable spill‑overs or extra costs. Former Prime Minister Liz Truss famously pledged £45 bn of tax cuts, financed through extra borrowing and so‑called welfare “efficiencies”. The plan was pitched as a catalyst for an entrepreneurial surge that would lift the UK out of a prolonged period of low productivity. Heading into May’s local polls, the Conservatives are touting a new “big‑spending” agenda after recent welfare cuts, highlighted by a headline pledge to shrink the welfare bill by £23 bn. Shadow Chancellor Mel Stride declared that the “culture of ‘something for nothing’ must end, now”. Green Party leader Zack Polanski has softened some of his party’s more radical proposals, yet the manifesto remains vague. Earlier drafts featured a litany of “free lunches”, signalling an ambition to raise taxes by **more than £170 bn a year** by the end of the next parliament. Key components of the Green plan include a £90 bn annual carbon tax and a matching increase in day‑to‑day public spending, alongside a proposed £90 bn boost to the capital‑spending budget (raising it from £160 bn to £250 bn per year). Reform UK has embraced Trussonomics with gusto, promising to raise the income‑tax threshold from £12,570 to £20,000 – a move that would cost the exchequer **over £40 bn each year**. Underlying many of these pledges is a belief that the UK can reverse a century of economic decline with a “magician’s wand”, ignoring potential repercussions for financial markets, trading partners, and a rapidly disintegrating global order. While the article briefly references the United States and France, the French electorate’s recent rejection of similarly flamboyant policies in local elections serves as a cautionary tale: voters in key cities like Paris and Marseille opted for centrist candidates over the radical platforms of Marine Le Pen’s National Rally and Jean‑Luc Mélenchon’s LFI. The broader context is a decade marked by two major wars, a quantum technological shift, and accelerating climate change – none of which offer quick‑fix solutions. Labour’s economic strategy, championed by Rachel Reeves, hinges on an early‑parliament spending surge intended to generate growth before the next general election. However, the damage inflicted by the previous government is still being reassessed, with the public‑finance gap now appearing larger than the £22 bn initially highlighted by Reeves. Labour still holds considerable funds earmarked for investment, but bureaucratic inertia in Whitehall hampers swift action, and Starmer bears responsibility for this paralysis. Demonstrating tangible returns on public spending – with HS2 currently the sole benchmark – could justify future tax increases on higher earners, provided the money is not wasted. In an uncertain world, the article argues that rational, evidence‑based governance is preferable to “outlandish initiatives” that create a multitude of losers. Ultimately, the piece concludes that Truss’s experiment was a disaster not merely because of the misguided belief that tax cuts can drive sustainable growth in a mature economy, but because it relied on an imagined “escape hatch” to propel the UK to a higher economic plane.

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

Ten years after the groundbreaking Panama Papers investigation, the revelations about hidden offshore accounts and shell companies continue to reverberate across the globe. The leak, which exposed the financial maneuvers of politicians, celebrities, and corporations, sparked a wave of regulatory scrutiny and public demand for greater transparency. In the decade since, governments have introduced stricter anti‑money‑laundering rules and enhanced reporting standards, yet the challenge of tracking illicit wealth persists. Analysts note that the papers highlighted systemic weaknesses in the international financial system, prompting ongoing debates about the balance between privacy and accountability. Beyond policy changes, the Panama Papers underscored the power of investigative journalism to uncover complex financial networks. Their legacy endures as journalists and watchdog groups continue to probe offshore activities, reinforcing the role of a free press in safeguarding democratic institutions. As the world reflects on this milestone, the conversation has shifted from the initial shock of the disclosures to a broader assessment of how such leaks shape global financial governance and influence future reforms.