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The Scotland women's rugby team encountered significant contract uncertainty before their 2025 Rugby World Cup quarter-final appearance. According to former Scotland international Beth Blacklock, the situation was stressful for many players, with some having contracts that ended in October after the World Cup.In the lead-up to the tournament, talks took place between players and the Scottish Rugby Union (SRU). While 21 of the 32 players in the World Cup squad received contracts, 11 did not. Blacklock, who was one of the players without a new deal, described the process as 'difficult' to see teammates struggling with uncertainty.The SRU stated they engaged with the Scotland Women playing group over several months, including face-to-face and online meetings, to work through the contracting process ahead of the Rugby World Cup. Despite this, Rachel Malcolm, the Scotland captain, described the talks as 'disruptive' to their preparations.Blacklock, who has since retired from international rugby and is pursuing a career in data engineering and aviation, expressed excitement about the new era for Scottish women's rugby under coach Sione Fukofuka. She praised Fukofuka's organized plan and the team's potential for growth.The next significant test for the team will be their first standalone match at Murrayfield against the defending champions, England, with nearly 30,000 tickets sold.

The ongoing conflict between Israel and Iran has led to a substantial increase in global fuel prices, affecting Americans and forcing them to make difficult trade-offs. Many are struggling to access essential items, including medication and groceries, while others are facing financial insecurity and even homelessness.The impact of rising gas prices is being felt across various aspects of life, from accessing essential medicines to facing the brink of homelessness amid an already rising cost of living. For Mandy, a 42-year-old mother in central Utah, higher gas prices have made it harder to visit one of her children, who has disabilities and lives hours away.“Before [Donald] Trump and [Israeli prime minister Benjamin] Netanyahu started their war, gas in my town was $2.70 a gallon. Now it’s $4.19 and I’m terrified it’s going to go closer to $5 before all is said and done. One of our children is disabled and lives in a group home two and a half hours away,” she said.Rising gas prices are also affecting people’s ability to access necessary medication. Lisa, a 56-year-old living with disabilities on a tribal reservation in Oregon, said rising gas prices had disrupted her ability to access necessary medication.“My caregiver and I have had to cut back our trips to pick up my prescriptions, even though they are necessary. Because I live in rural Oregon, the basic necessities are 40 minutes away, so if a doctor calls in an additional prescription after I’ve already been in town for the week, that prescription has to wait for the following week for me to pick it up,” she said.The strain is also being felt by food banks and pantries. Melissa Meyer, chief executive of IPM Food Pantry in Cincinnati, Ohio, said rising gas prices had driven more people to rely on food pantries – even as those same costs strain the operations of local food banks and their volunteers.“Increased gas prices put additional costs on our operations as we must increase gas costs for picking up and delivering food across five counties of south-west Ohio … We are not cutting back our services in any way, yet,” she said.The rising cost of fuel is also having indirect effects, such as impacting small businesses and artists. Cathi Newlin, a 63-year-old ceramic artist in Sacramento, California, who also cares for her husband with Parkinson’s disease, said her income had been hit as consumers pull back.“A substantial portion of our household income is generated from the sale of my art and the classes I teach. These are surely luxury items in any economy but when people have to spend more on basics like gasoline, they don’t have as much money or desire to spend on art. The rise in oil prices very much affects my income and the price of my materials,” Newlin said.

The second season of Beef has arrived on Netflix, but it seems to have lost the magic that made the first season so compelling. Critic Lucy Mangan argues that the show has become an unlovable White Lotus rip-off, with a similar premise but lacking the depth and nuance that made The White Lotus so impactful. The new season stars Carey Mulligan and Oscar Isaac as a married couple who oversee the running of a luxury country club. Their characters, Josh and Lindsay, are frustrated with where life has led them – close to wealth but far from achieving it. They are joined by their employees, Austin and Ashley, who become entangled in their problems. As the season progresses, the plot becomes increasingly convoluted with too many characters and complications introduced. The tension, which was so expertly ratcheted up in the first season, becomes diluted. Much is gestured towards but nothing is satisfactorily interrogated, including themes of racial tension, ageing, and the precarity of jobs. The characters themselves are also criticized for being hard to care about. Lindsay is described as a 'cold, hard spoilt brat', while Josh is weak and unconvincing. Austin is a cipher, and even Ashley, who is better served, has actions that feel forced. Overall, Beef season two feels like an entertaining but shallow potboiler rather than the dark march towards truth that the original was. It seems that the show has failed to live up to the standard set by its predecessor and The White Lotus.

The Marine Stewardship Council (MSC), a leading certifier of sustainable seafood, has been accused of masking widespread labour abuses through its 'blue tick' scheme. A recent study found that one in five vessels where crew reported abuses to the International Transport Workers' Federation (ITF) were certified by the MSC.The study identified 80 cases of labour abuses onboard 72 vessels in 25 MSC-certified fisheries across the globe. These abuses included forced labour, human trafficking, and forced criminalisation, as well as unpaid or delayed wages, excessive hours, violence, harassment, and denial of medical care.The MSC has long claimed that it is an environmental organisation with no social assurance mandate nor labour assessment capacity. However, Chris Williams, ITF fisheries co-ordinator, said that this risks masking abuses and leading people to buy products that aren't necessarily what they think they are.Dr. Jessica Sparks, co-author of the report, added that the MSC's policies and practices may obscure labour abuses in seafood supply chains by undermining enforcement efforts and reducing scrutiny. The study's findings have sparked concerns that the MSC's 'blue tick' scheme may be creating an 'illusion' of ethical sourcing.The International Labour Organization estimated in 2022 that about 128,000 workers were trapped in forced labour on fishing vessels globally. The MSC has engaged in evolving efforts to support the elimination of forced and child labour in supply chains, but critics argue that more needs to be done.

Warner Bros' new take on The Mummy, directed by Lee Cronin, has been met with criticism for its grandiose approach and lackluster execution. The film's attempt to distance itself from Universal's upcoming return to the franchise and capitalize on the current trend of auteur-driven horror films has been seen as unearned and indulgent. Cronin, an Irish filmmaker with only two previous films under his belt, has been praised for his visual talent, but his Mummy has been criticized for being absurdly overlong at 134 minutes and tonally unsure. The film's attempt to blend elements of classic monster movies with modern horror tropes has resulted in a messy and unoriginal product. The film's plot, which revolves around a creepy kid who returns from the dead with a malevolent presence, has been compared to other horror films such as The Exorcist and The Omen. However, the execution falls short, with rubbery prosthetics and an exhaustingly loud finale that fails to deliver scares. Despite its bold ambition and stunning visuals, the film ultimately feels like a lesser imitation of other horror films. The lack of character development, suspense, and logic makes it difficult to become invested in the story. The Mummy is set to release in Australian cinemas on April 16 and in the US and UK on April 17.

The heads of Amazon MGM Studios used Wednesday’s CinemaCon trade show to temper expectations surrounding the next James Bond film. Executives confirmed that the iconic spy has not yet been cast, citing a deliberate, respectful approach to the decision.Courtenay Valenti, Amazon MGM’s head of film, addressed the crowd with a measured tone: “We know you’re eager to learn who will embody James Bond, but we’re taking the time to do this with care and deep respect.” She stressed that the role is “a lifetime dream” and a responsibility the studio does not take lightly.Valenti highlighted the caliber of talent attached to the project, noting that the franchise will be paired with renowned director Denis Villeneuve, acclaimed producers Amy Pascal and David Heyman, executive producer Tanya Lapointe, and screenwriter Steven Knight. This combination, she argued, sets the stage for a film worthy of the Bond legacy.The upcoming installment is slated for a 2028 release, implying that principal photography is likely to commence in late 2026. The timeline follows earlier announcements in June 2025 (Villeneuve as director) and August 2025 (Knight as writer).Speculation about potential leads has centered on three actors: Callum Turner, Aaron Taylor‑Johnson, and Jacob Elordi. If Elordi were chosen, he would become the youngest, tallest, and second Australian to portray the famed spy.Despite his recent Oscar‑nominated turn in Frankenstein and a high‑profile role in Wuthering Heights, Elordi’s schedule appears unusually open, fueling further conjecture.Valenti concluded with confidence: “The film is coming, and when the time is right, we’ll have much more to share.”

Crystal Palace, once the 'hallowed turf' of British athletics, is on the verge of a major transformation. The stadium, which has hosted iconic athletes like Sir Mo Farah, Dave Bedford, and Steve Backley, had fallen into disrepair but is now set to be revitalized with a £130m redevelopment plan. The London Mayor, Sadiq Khan, announced the plans in May 2023, declaring Crystal Palace a 'national asset.' The proposed redevelopment includes a vastly upgraded 25,000-seat stadium that could open as early as 2030, along with a new 200m running track for community use. The journey to this point has been long and arduous. Jim Powell, a former sprint coach and founder of the Met-Track charity, recalls the despair that had settled over the venue years ago. 'There were trees growing out of the main stand and on the indoor track and no one was doing anything about it,' he says. The formation of the Crystal Palace Sports Partnership in 2014 marked a turning point, with Powell and others fighting to save the venue. 35,000 people signed a petition to reopen the site's swimming pools, which had been closed due to a leak. The partnership's efforts eventually led to the current redevelopment plans, with Morgan Sindell appointed as developers in 2024. The new sports centre will feature a padel centre, basketball courts, football pitches, and a full-size artificial multi-sports pitch. While the project is already fully funded, the search is on for commercial investment to complete the stadium bowl and boost its capacity from 16,000. Powell, who was given an MBE in 2013 for his services to athletics, is ecstatic about the plans. 'This is a historic and much-loved national sporting and community facility, where many UK sporting stars have started their careers and trained, but it needs major investment and refurbishment,' Khan said when the application was submitted. The potential return of big events like the Diamond League to Crystal Palace has Powell hopeful. 'It used to be the hallowed turf or the hallowed tartan,' he reminisces. 'If this new stadium doesn’t give athletics a shot in the arm, nothing will.'

The Australian federal court has taken a strong stance on the use of generative artificial intelligence (AI) in legal proceedings, warning lawyers about the potential dangers and issuing new rules for its use. The court's chief justice, Debra Mortimer, emphasized that the presentation of false or inaccurate information to the court is “unacceptable” and can lead to serious consequences.The warning comes amid a surge in court filings in Australia and globally that have included false citations generated by AI. The court has noted that AI can generate fictitious cases, citations, quotes, and factual errors, which can frustrate the just resolution of proceedings and lead to financial or legal consequences.Under the new rules, lawyers and solicitors are required to confirm if AI has been used in the preparation of documents and ensure that any legal authorities cited exist and support the proposition made. They must also disclose the use of AI in documents, including where and how it has been used.Mortimer cautioned that caution should be taken when putting confidential, suppressed, or private information into AI tools, as there may be serious consequences for entering information into generative AI tools, even if sharing that information was not intended.The court “embraces” the use of technology in proceedings and recognizes that generative AI has the potential to increase efficiency in the conduct of litigation. However, Mortimer stressed that AI “must be used appropriately and with due care” to avoid risks to the proper administration of justice and public confidence in the legal system.Those who use generative AI in ways that go against the new rules can expect consequences such as adverse costs orders and issues with compliance with legal and professional obligations. There have been at least 73 identified cases in Australia where courts have discovered the use of generative AI had resulted in false citations, made-up quotes, or other errors.

Cédric Klapisch’s new film, Colours of Time, is an entertaining sentimental fantasy that invents a romantic backstory to the career of Claude Monet and his contemporary, the pioneering photographer Félix Nadar. The film follows Adèle, a fictional young woman who makes a fateful journey to find her errant mother in Paris during the belle époque, leaving behind her sweetheart and the village where she was brought up, in the countryside near Monet’s home town of Le Havre.The story intercuts enjoyably between past and present, as Adèle's life and times are rediscovered by her descendants. In the present day, dozens of descendants of Adèle are contacted by lawyers and PRs working for a property company that wants to build a vast new shopping mall, which would mean bulldozing Adèle’s derelict cottage. This garrulous ragtag bunch must give their collective consent, leading to a journey of discovery that uncovers historical secrets: photos, letters, and even what might be a painting.The film takes a pretty un-subversive view of art and artists but is executed with brio and comic gusto, particularly in the “past” sections. Suzanne Lindon’s performance has charm, and the detective work is interspersed ingeniously with what Adèle in her own day discovers about her errant mother. The film culminates in a wacky climax when the present-day claimants have an Ayahuasca psychoactive experience, sending them back in time to encounter historical culture icons in person at an exhibition.Colours of Time is a film that requires a sweet tooth, but it’s tasty. It’s set to hit UK cinemas from 17 April.