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The United States government has reaffirmed its position that it plans to deport Salvadoran immigrant Kilmar Abrego Garcia to Liberia, despite arguments that doing so would be vindictive.On Tuesday, lawyers for the administration of President Donald Trump told US federal judge Paula Xinis that it remains committed to Liberia as a destination.Abrego Garcia, however, has said that, if he must be deported, he would prefer to be sent to Costa Rica, and the government there has indicated it would accept him.But the Trump administration’s insistence on sending Abrego Garcia to Africa has raised questions about its motive.Critics have accused the US government of seeking retribution against Abrego Garcia, whose case has spurred scrutiny over the legality of Trump’s mass deportation campaign.The case began with a high-profile mistake. In March 2025, less than three months into Trump’s second term, Abrego Garcia was wrongfully deported to his native El Salvador, in violation of a 2019 protection order that found he could face gang violence if returned to the country.The Trump administration, at the time, described Abrego Garcia’s removal as an “administrative error”.Still, it initially refused to seek his return, arguing that Abrego Garcia was a gang member and that, once abroad, he was subject to El Salvador’s leadership. Abrego Garcia, though, had no criminal record at the time of his deportation.Abrego Garcia was imprisoned, first at El Salvador’s Terrorism Confinement Centre (CECOT) and later in a second prison in Santa Ana, El Salvador.Meanwhile, lawyers in the US had turned to US courts to reverse his deportation.In early April 2025, Judge Xinis ruled that the US government had to “facilitate” Abrego Garcia’s return to the country, and later that month, the US Supreme Court upheld her ruling in a unanimous decision.But it was only in June 2025 that Abrego Garcia was brought back to the US. In announcing Abrego Garcia’s return, the Trump administration revealed it would be filing criminal charges against him for human smuggling.He pleaded not guilty, but was forced to remain in jail. The Trump administration had deemed him a flight risk, and his own lawyers feared that stepping out of his jail cell would land him in immigration detention instead.When a court ordered his release in August, this is exactly what happened: Immigration agents took him back into custody within days.Authorities at the time said they would deport him to Uganda. Later, they changed the proposed destination to Liberia.Abrego Garcia was ultimately freed from immigration detention in December, but he continues to fight both his criminal charges and his deportation proceedings.At Tuesday’s hearing, Judge Xinis questioned why the Trump administration would not consider deporting Abrego Garcia to Costa Rica instead of Liberia.She pointed out that the country had recently inked an agreement to accept 25 removals from the US per week.In response, Ernesto Molina, the director of the Justice Department’s Office of Immigration Litigation, suggested that Abrego Garcia could “remove himself” to Costa Rica.But Xinis called the proposal a “fantasy” and noted that he cannot leave as long as the Justice Department is prosecuting him on criminal charges. He is legally required to attend his criminal hearings.After the tense exchange, Xinis set another hearing on the matter for April 28.

In the spring of 2002, the modest Free Butt pub on Brighton’s seafront buzzed with a restless energy. Future stars such as Natasha Khan, then a university art student, danced atop the bar while the Yeah Yeah Yeahs thundered through their first UK dates. Behind the scenes, band frontmen like Guy McKnight of Eighties Matchbox B‑Line Disaster served pints, and budding engineers like Steve Ansell of Cat on Form fine‑tuned the sound. The atmosphere felt like a rite of passage, where any performer could slip from a cramped stage to national attention.Unlike the neatly branded scenes of New York’s garage‑rock revival or London’s Libertines‑driven hype, Brighton’s early‑2000s scene resisted a single aesthetic. Rock groups emerged from rehearsal rooms and tiny clubs with wildly different looks and sounds, creating a cultural mosaic rather than a monolithic movement.Electrelane’s guitarist recalls recording their debut Rock It to the Moon in a studio once owned by the Levellers, and crafting their sophomore effort inside a former public toilet. These unconventional spaces proved surprisingly fertile, underscoring the city’s DIY spirit.By the turn of the millennium, the big‑beat dominance of Fatboy Slim and Skint Records had faded, making way for a grassroots rock surge. Sea Power relocated from Reading to Brighton, drawn by the city’s “dilapidated charm and fresh sea air”. Their self‑organized Club Sea Power nights at the Lift offered a chaotic yet liberating platform that eventually caught Rough Trade’s attention.Women played a pivotal role in shaping the scene’s infrastructure. Promoters Lisa Lout and Anna Moulson, both still active, booked seminal shows—including the Strokes’ first UK gig at the Lift in 2001—and helped launch the Great Escape festival. Their efforts ensured that bands such as the Pipettes, Electrelane and Bat for Lashes could share stages and media coverage.Artists recall the city’s palpable sense of belonging. Rose Dougall of the Pipettes describes a landscape where “alternative culture was on every street, from vintage shops to the colour of the houses,” and where “small venues made it feel attainable to launch a project.” Similarly, Brakes frontman Eamon Hamilton contrasts Brighton’s walk‑able, collaborative vibe with London’s darker, more competitive energy.Music journalism mirrored the scene’s intensity. Everett True and photographer Steve Gullick launched Careless Talk Costs Lives in 2002, a deliberately short‑run magazine that championed female writers and bands at a time when the industry was still heavily male‑dominated.As rents surged through the 2010s, many of the cheap flats, rehearsal rooms and iconic venues that underpinned the scene vanished. The Free Butt closed, independent record stores shuttered, and the once‑abundant low‑cost infrastructure dwindled, prompting a migration of creative energy down the coast to places like Margate, Ramsgate, Folkestone and Shoreham.Nevertheless, the remnants of Brighton’s network continue to nurture new talent, from the Kooks to Dream Wife and Gazelle Twin. The city’s strength lies not in a singular sound but in its capacity to host a “constant collision of wildly dissimilar bands,” allowing artists to develop authentically and fearlessly.

Major League Baseball has handed down seven-game suspensions to Los Angeles Angels designated hitter Jorge Soler and Atlanta Braves pitcher Reynaldo López after a heated brawl during a game between the two teams. The suspensions, announced by MLB's senior vice-president for on-field operations, Michael Hill, also come with undisclosed fines. Both players are appealing their suspensions, which were set to begin on Wednesday but are currently on hold.The incident occurred on Tuesday night when Soler homered off López in the first inning, and later was hit by a 96mph fastball from López. The situation escalated when López threw a high-and-inside wild pitch, prompting Soler to charge the mound. The two players began throwing punches, leading to a brawl that involved players and coaches from both teams.Atlanta Braves manager Walt Weiss described the situation as a 'big man' on a 'warpath,' saying he had to intervene to prevent Soler from hurting someone. Soler and López were teammates during the second half of the 2024 season with the Braves.The Braves went on to win the game 7-2, with Soler's two-run shot in the first inning contributing to the victory. Soler has impressive stats against López, going 14 for 23 with five homers and three doubles.Both players expressed regret over the incident, with López stating there was 'never any intent to hit him' and Soler criticizing López for missing 'way too high and close to my head.'

Paris Saint-Germain dominated Liverpool in the Champions League quarter-final first leg, securing a 2-0 victory at the Parc des Princes. The gulf in quality between the two teams was evident throughout the match, with PSG creating numerous scoring opportunities.The hosts took the lead through a fortunate deflected strike from Désiré Doué, which looped over Liverpool goalkeeper Giorgi Mamardashvili. The Georgian goalkeeper made a vital contribution to prevent further damage at halftime, producing a fine save to tip away a Khvicha Kvaratskhelia shot that was heading towards the bottom corner.PSG extended their advantage in superb style through Kvaratskhelia, who held off Liverpool midfielder Ryan Gravenberch, rounded Mamardashvili, and converted into an unguarded net. The win leaves Liverpool facing a tough task to overturn the deficit in the second leg.

Ryanair is paying airport ground staff €2.50 (£2.20) for every oversized cabin bag they confiscate, a tactic championed by CEO Michael O’Leary to enforce the airline’s strict baggage limits.The airline defines an oversized bag as any item exceeding 40 cm × 30 cm × 20 cm. Passengers who cannot fit their luggage into the gate‑side cage must pay a levy of up to £75 to travel with the bag.O’Leary says the bounty program has been “very successful,” noting a dramatic drop in the number of passengers attempting to board with oversized items. He even increased the bounty by an additional euro last year, stating he “makes no apology for the policy.”While Ryanair’s dimensions are stricter than many rivals—EasyJet, for example, allows bags up to 45 cm × 36 cm × 20 cm—the airline’s limits are actually 33% larger than the EU’s minimum free‑bag size of 40 cm × 30 cm × 15 cm, after a recent 20% volume increase.Travelers who exceed the limits can purchase a Ryanair‑approved cabin bag for £40‑£50 or pay a fee to carry a larger bag on board, ranging from £12 to £36 depending on the route—sometimes exceeding the cost of the seat itself.The aggressive enforcement has sparked criticism over “draconian” interpretation of the rules, but O’Leary dismisses the backlash, arguing the approach protects the airline’s low‑cost model and deters passengers from exploiting loopholes.Industry observers note that Ryanair’s bounty scheme illustrates a broader trend of airlines monetising ancillary services, raising questions about consumer rights and the need for clearer, possibly regulated, cabin‑baggage standards across Europe.

In a dramatic turn of events, Arsenal claimed a late win in Lisbon, showcasing their determination and skill under pressure. Meanwhile, Bayern Munich emerged victorious at the Bernabéu, dealing a significant blow to Real Madrid's hopes.The matches, part of the ongoing football season, have left fans and analysts alike buzzing with excitement. The outcome highlights the intense competition and unpredictability that define the sport.

At 75, Suzi Quatro is still rocking with the same energy and passion that defined her glam era. Her signature scream, which has been thrilling audiences since she was a kid playing dance halls around Detroit, was on full display during her recent concert at Glasgow. The Suzi Q scream is a defining sound of the glam era, a holler of swallow-the-world desire that leaves the audience galvanized.While the opening hour of the concert was entertaining and well-paced, the second set was a bit of a mess, with tedious solos and drawn-out introductions of her eight-piece band. The highlight of the evening came when Quatro played Can the Can and Devil Gate Drive back to back, delivering a pure pop rush. However, the concert could have benefited from a few cuts, as Quatro seemed to struggle with pacing.Despite some minor issues, Quatro's performance was still thrilling, and her infectious energy was palpable throughout the evening. As she told the Glasgow crowd, 'I can still scream just as loud,' and she proved it with her powerful vocals.

Rob Reiner’s 1986 film ‘Stand by Me’ transforms Stephen King’s novella The Body into a quintessential American coming‑of‑age story, echoing the timeless tone of Mark Twain’s tales. The movie, now entering its 40th anniversary, has acquired a fresh layer of melancholy following the 2025 homicide of Reiner and his spouse, Michele Singer Reiner. The narrative follows four twelve‑year‑old boys in a fictional Oregon town during the late 1950s, embarking on a secret trek to locate the body of a missing peer rumored to lie beside a railway line. Their perilous journey—marked by near‑misses with a train, a drowning episode, and a hostile junkyard dog—serves as a conduit for exploring the fragility of youth and the inevitable confrontation with mortality. At the heart of the quartet are Chris (River Phoenix), the tough leader; Teddy (Corey Feldman), scarred by an abusive father; Vern (Jerry O’Connell), the clumsy sidekick; and the introspective Gordie (Wil Wheaton), an aspiring writer haunted by his older brother’s accidental death. As an adult, Gordie is portrayed by Richard Dreyfuss, who reflects on his past while typing the story that has defined his life. The film’s moral undercurrent emphasizes that, despite the boys’ rough edges, an innate decency persists—perhaps reinforced by the looming presence of the dead boy whose fate they seek. A standout meta‑scene features Gordie’s fictional tale The Revenge of Lard‑Ass Hogan, a miniature film‑within‑a‑film that mirrors the real‑world cruelty, voyeurism, and fear the characters experience. Reiner’s direction is complemented by a soundtrack that weaves in period hits by the Chordettes and Buddy Holly, reinforcing the nostalgic atmosphere. While the story glosses over certain darker possibilities—such as the anticipated retribution from the local bully Ace (Kiefer Sutherland)—its portrayal of childhood innocence remains remarkably resonant. ‘Stand by Me’ returns to UK cinemas on 10 April 2026, offering both longtime fans and new audiences a chance to revisit a film that continues to grip hearts, now underscored by the real‑world sorrow surrounding its creator.

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.