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When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

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.

A United States federal judge has rejected a motion from the Department of Justice to reconsider his earlier ruling dismissing subpoenas against Jerome Powell, the chairman of the Federal Reserve.In a six-page opinion published on Friday, Judge James Boasberg reaffirmed his decision to nullify the subpoenas, stating that they were issued for an 'improper purpose': to pressure Powell into compliance with President Donald Trump's demands.The subpoenas were part of an investigation into Powell's handling of renovations to the Federal Reserve's historic buildings in Washington, DC, which have gone over budget. The Trump administration has accused Powell of 'malfeasance' and called for his premature resignation.Boasberg criticized the Trump administration's efforts, saying they presented 'no evidence whatsoever of fraud' and that the subpoenas were an attempt to undermine the Federal Reserve's independence.The ruling is likely to set the stage for the Trump administration to appeal, with US Attorney Jeanine Pirro previously denying any political motivation for the investigation.

As opportunities for Western and Indigenous collaborations multiply, it's critical that Indigenous people maintain control over any knowledge gleaned and how it's used. Suzanne Greenlaw, an ecologist at the Schoodic Institute, emphasizes that 'Western science can help, as long as Native people are still decision makers.' The goal is to create a more inclusive and equitable approach to environmental conservation, one that values and respects Indigenous knowledge and perspectives.

Liverpool's humiliating 4-0 defeat to Manchester City in the FA Cup quarter-finals has raised concerns about the team's form and manager Arne Slot's future. Slot criticized his team's performance, particularly in the 10 minutes after halftime, where he felt they lacked the 'fighting spirit' needed to compete at a high level. The manner of the defeat will heighten scrutiny of Slot's future, especially with Liverpool's upcoming Champions League quarter-final against Paris Saint-Germain. A similar performance in that tie could prove detrimental to Slot's position as manager. Erling Haaland scored a hat-trick for Manchester City, contributing significantly to their eighth consecutive FA Cup semi-final appearance. Slot emphasized the need for his team to improve defensively and show a better reaction to the loss, particularly against top-tier teams like PSG. Liverpool's Dominik Szoboszlai echoed Slot's sentiments, stating that the team's 'fighting spirit wasn't there enough.' The defeat marks Liverpool's 15th of the season, their most since the 2014-15 season. Liverpool's struggles have been compounded by Mohamed Salah's missed chances, including a penalty when City were 4-0 ahead. Slot, however, chose not to single out individuals, instead focusing on the team's overall performance and the need for improvement.

In what can only be described as a humiliating exit, Liverpool were beaten 4‑0 by Manchester City in the FA Cup quarter‑final, a result that has thrown the future of manager Arne Slot into further doubt.The Etihad crowd watched City dominate from the first whistle, with Erling Haaland completing a hat‑trick by the 57th minute. The Norwegian’s third came from open play after a series of defensive lapses, sealing a comprehensive victory that left Liverpool supporters emptying the upper tiers of the South Stand.Liverpool’s own chances were squandered. Mohamed Salah missed a late penalty, a rare misfire that underscored his waning influence. Earlier, Virgil van Dijk conceded his fourth penalty of the season – a stark contrast to the single penalty he had given up in his previous 319 Premier League appearances for the club.Mid‑fielder Dominik Szoboszlai offered a blunt self‑assessment after the match, stating, “The fighting spirit wasn’t there enough, the mentality wasn’t there enough. None of us were there to be honest as much as we could.” His words captured the collective lack of resolve that defined Liverpool’s performance.Beyond the immediate disappointment, the defeat raises the stakes for Slot’s upcoming Champions League quarter‑final first leg against Paris Saint‑Germain. With Liverpool still carrying the Premier League’s highest wage bill, the club’s hierarchy and fans will be watching closely to see whether the team can salvage the season or face a deeper crisis.The match exposed systemic issues: a static defense that allowed City’s left‑back Antoine Semenyo and striker Erling Haaland to exploit gaps, a goalkeeper positioning that appeared indecisive, and a general absence of leadership on the pitch. As the season progresses, the spotlight remains firmly on Slot, whose tenure now hinges on a single chance to revive Liverpool’s dwindling fortunes.

South Carolina defeated UConn 62‑48 in the women’s NCAA Final Four on Friday night, snapping the Huskies’ 54‑game winning streak and booking the Gamecocks a spot in the national championship.With just 0.1 seconds left on the clock, the two veteran coaches met at the scorer’s table. Geno Auriemma raised his voice toward Dawn Staley, prompting a sharp retort from the South Carolina coach. Assistant coaches intervened before UConn could inbound the final play.In the post‑game press conference, Staley emphasized her integrity, saying she had shaken hands with every member of Auriemma’s staff before the game and was unaware of any perceived slight. "Sometimes things get heated, we move on," she told ESPN’s Holly Rowe.Auriemma, who later described the exchange as “nothing,” reiterated that he simply said what he felt was necessary, while Staley deflected responsibility, noting that he had initiated the conversation.Earlier in the fourth quarter, Auriemma vented frustration over officiating, alleging a series of fouls called against his team and accusing the opposing coach of “rants and raves” that distracted from the game.The loss exposed offensive struggles for UConn’s All‑America duo. Sarah Strong, the national player of the year, managed only 12 points on 4‑of‑16 shooting, and Azzi Fudd contributed eight points on 3‑of‑15, including a poor three‑point performance (2‑of‑9). In contrast, South Carolina’s Ta’Niya Latson scored 16 points and Agot Makeer added 14.Defensively, the game was a battle: UConn was called for 17 fouls, while South Carolina drew just eight. The Gamecocks’ interior size limited Strong’s attempts, and the Huskies could not find rhythm, recording their lowest point total since a 49‑point effort in the 2022 championship loss.UConn entered the Final Four with a 38‑1 record, marking their ninth undefeated run to the semifinal and the third consecutive year they fell short of the title. South Carolina (34‑3) will now face UCLA for a chance at their fourth national championship.

UCLA secured a hard-fought 51-44 win over Texas on Friday night, advancing to the national championship game of the women's NCAA Tournament for the first time. The Bruins, with a stellar season record of 36-1, were led by Lauren Betts, who scored 16 points and made a pivotal block in the final minutes to thwart Texas's late surge.The Bruins dominated their way to another national semi-final, boasting the best season in program history. Their path to the title game had to go through Texas, the only team to beat them this season. UCLA turned the tables on Texas, shutting down All-American Madison Booker and building a 13-point lead midway through the fourth quarter.Despite Texas's strong defensive showing, which included a 12-2 run that cut UCLA's lead to 47-44, Betts's crucial block with 20 seconds left halted the Longhorns' momentum. Kiki Rice then hit two free throws, securing the win and sending coach Cori Close's team into the title game.The grinding win earns the Bruins a spot in Sunday's title game against South Carolina, the three-time national champions who ended reigning champion UConn's undefeated season. This sets up an exciting matchup, especially after Geno Auriemma and Dawn Staley had a tense postgame exchange following South Carolina's shock win over UConn in the Final Four.For Texas, Madison Booker had a tough finish to an otherwise stellar season, hitting her first shot, missing her next 17, and finishing with six points on 3-of-23 shooting.

AI‑Driven Power Race The AI boom is prompting the biggest wave of power‑infrastructure investment since the early days of cloud computing. Companies are scrambling to lock in natural‑gas supplies and build on‑site generators, a move that could reshape electricity markets in the southern United States. Scale of the Projects Microsoft is partnering with Chevron and Engine No. 1 to construct a natural‑gas plant in West Texas that could reach 5 GW of capacity. Google has confirmed a collaboration with Crusoe for a 933 MW plant in North Texas. Meta is adding seven more plants to its Hyperion data‑center complex in Louisiana, bringing total on‑site capacity to 7.46 GW—enough, the company notes, to power the entire state of South Dakota. Combined, these projects exceed 13 GW, roughly equivalent to the average electricity demand of a mid‑size U.S. state. Supply Constraints and Cost Pressures Wood Mackenzie warns that turbine prices have surged 195% versus 2019 levels. If a 2020 turbine cost $1 million, the same unit now costs about $2.95 million, inflating the equipment share of a plant’s budget from 20% to up to 30%. The consultancy also notes a six‑year lead time for turbine delivery, meaning new orders cannot be placed until 2028. This bottleneck could delay the rollout of additional capacity precisely when AI workloads are accelerating. Resource Availability and Market Risks The U.S. Geological Survey estimates that a single gas‑rich region holds enough supply to power the entire United States for 10 months. While abundant, production growth in the three leading shale basins—responsible for three‑quarters of U.S. output—has slowed, tightening the long‑term outlook. Natural gas accounts for about 40% of U.S. electricity generation (EIA). Consequently, any spike in gas prices reverberates through wholesale electricity markets, raising the cost of power for all consumers, not just data‑center operators. Strategic Risks for Tech Companies Behind‑the‑meter gas plants allow firms to claim “self‑supply,” but they merely shift demand from the public grid to the gas grid, potentially driving up wholesale gas prices. Industrial users—petrochemical plants, fertilizer manufacturers—cannot easily substitute gas with renewables, so they may push back against large‑scale data‑center consumption. Extreme weather, such as the 2021 Texas freeze, can curtail wellhead output, forcing a choice between keeping AI workloads online or supplying heat to households. In sum, the AI‑driven rush for natural‑gas power plants highlights a fundamental physical constraint: the digital economy still depends on finite, market‑sensitive energy resources. Betting heavily on a commodity that can swing dramatically in price may prove costly if AI growth plateaus or if gas supply tightens.