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The Artist's Journey Through Love and LossFalling in and then out of love is a universal experience that often brings sadness, grief and heartbreak, and with time, hope and healing. Photographer Diana Markosian used her camera lens to document these complex feelings in her new project, Replaced.She brings the viewer on her journey of having, losing and reclaiming love, in a project that blurs documentary and fiction. "[The moments] no longer existed in the way they had, and I wanted to reclaim them," she says. "I wanted to feel that I could exist in my own story again."Recreating Intimate Moments Through ArtTo document their relationship, Markosian and her team worked with an actor to play her ex-partner. Each intimate image from the series, taken over three months, is a replica of an exact moment once shared with her ex and now shared between her and the actor. Her connection to him deliberately led to his being cast as her partner in the series so that the experience would feel as real as possible.With the actor, she visited Miami, Paris, Naples, Capri and Nice, all places she had once traveled to with her ex-partner. "These locations carry an existing weight of romantic myth," she says. "They are already shaped by cultural narratives of love, desire and idealized experience."The Emotional Toll of ReenactmentShe stayed at the same hotels and did the activities they had once done together, describing the experience as painful but cathartic. "It hurts so much, watching myself be replaced, watching those memories erased, and I didn't want to live in this any more," she says. "I'm so grateful that the project happened quickly."One of the most tender moments she recreates with the model appears in an image of them seated in a bathtub, holding one another with a red light glowing around them. Their vulnerability allows the viewer to reflect on a delicate moment between two people whose past love no longer exists, fostering empathy and prompting the audience to reflect on their own past relationships.Art as a Tool for Processing EmotionsCreating these intimate photographs enabled her to contemplate her journey. "I wanted to acknowledge how these same spaces can be reoccupied," she says, before adding: "If anything, [the project] just showed me how much I loved this person."For the past 16 years, Markosian has not let go of her camera, often using it to reach back and understand her past. "Art has given me a way of processing. I was studying writing, and suddenly found myself holding a camera and not wanting to let go of it; it became just a friend in my life," she says.A Career Built on Memory and ReconnectionShe first picked up a camera at 20, during graduate school at Columbia University. After graduating with a master's degree in journalism, she wanted to see the world, so she moved back to Moscow, Russia, where she was born. There she taught herself how to use the camera.Today, her lens serves as a tool for reconnecting with her past life and reclaiming it as her own. In her previous, highly regarded photo monograph Inventing My Father, she demonstrates her unique ability to reveal the unseen past through her images. Working on the book for 10 years, she depicts her journey of finding her father after 15 years of no contact, following her move to California in 1996 from Armenia, where he lives."Father, my previous work of the past decade, it's all rooted in memory, and I think what's beautiful about memory, there's a blend of fiction, interpretation, and it's very subjective," she says. "So I think I love existing in that territory because none of it is really real."

Manchester City Women have moved into a purpose‑built, £10 million complex at the City Football Academy, featuring everything from personalised chopsticks to an underwater treadmill, and the upgrade is already paying dividends with a WSL title and an FA Cup final appearance.State‑of‑the‑art facility gives Manchester City Women a performance edgeThe 17,000 sq ft headquarters includes a barista‑style coffee machine, three chefs crafting bespoke recovery shakes, and a canteen where Japanese players receive individually engraved chopsticks. Players can test hamstring strength in a dedicated gym, use non‑invasive shock‑wave therapy, and unwind on an underwater treadmill while watching Sky Sports News.£10 million investment and 17,000 sq ft of purpose‑built spaceCost: £10 millionSize: 17,000 sq ftOpening date: 10 March 2026 (after the international break)Key amenities: gender‑specific gym equipment, specialist recovery drinks, personalised lockers, three‑chef canteenRaising the bar for women’s football infrastructure across the leagueClub captain Alex Greenwood hailed the hub as the best she’s seen, even compared to England’s St George’s Park. The facility follows Brighton’s £8.5 million centre and signals a shift toward dedicated women’s venues, potentially prompting other WSL clubs to invest similarly.What the next season could hold for City and the wider WSLWith a deep, youthful squad already in place, City’s managing director Charlotte O’Neill expects strategic summer signings rather than a wholesale overhaul. The new hub may also enable City to field an academy side in the Women’s National League from 2027, further strengthening the club’s talent pipeline and influencing league‑wide development.

The Cultural Phenomenon Returns On a chilly morning at a Silvertown studio behind London City airport, the sunburst intro to Jimmy Cliff's The Harder They Come is on repeat. Dancers run through a routine studded with reggae and dancehall moves. "Get high," commands associate choreographer Neisha-yen Jones with a smile. "Get low!" The ensemble rise and dip. They do the bogle and whine around each other as their watchful director Matthew Xia nods along. They circle Natey Jones who breaks out the opening line: "Well, they tell me of a pie up in the sky." In the distance, a plane leaves the ground. From Film to Theatrical Celebration It's eight months since The Harder They Come's full-throttle takeoff at Stratford East, where the musical was so popular that it is now returning for a second run which will also serve as a eulogy for Cliff who died in November. Playwright Suzan-Lori Parks' adaptation of Perry Henzell's 1972 Jamaican film is bolstered by a handful of her own songs as well as classics including Israelites and Wonderful World, Beautiful People – plus every number on the film's monumental soundtrack. Jones is reprising the role of Ivan (played on screen by Cliff and inspired by real-life outlaw Rhyging), who arrives in Kingston from the country and is dismissed and exploited, before becoming both a hit singer and a fugitive. The Evolution of a Cultural Narrative The original was akin to cinéma vérité, directly evoked spaghetti westerns and veered into blaxploitation territory; Ivan's tale has gained greater warmth, humour and protest spirit on stage. It was the best musical I saw in 2025. "The story is a tragedy but the theatrical event is a celebration," says Xia of his production. Twenty years ago, the film was adapted as a musical with a book by Henzell, also at Stratford East. "It all started at Ivan's Nine Night," Xia recalls. "There was a massive poster of Ivan on the wall, with everyone coming, and it was told in retrospect with vignettes." Choreography and Cultural Connection Shelley Maxwell, recently arrived from Jamaica, was watching the musical in the audience one night and has since become the choreographer of the new production. She has fused the folk dance forms of revivalism and pocomania, learned in her childhood, with reggae, dancehall and moves that today's teenagers can recognise. "I wanted to tap into the youth market," she says. It's brought some enthusiastic feedback from audience members who may not know the film. "Like: 'Oh my God, they did that step I always do at a party!' It allows them to form a connection." Authenticity and Cultural Representation Xia, wearing trainers in the Jamaican flag's colours, and Maxwell, whose tracksuit has the same black, green and gold trim, were intent on instantly transporting their audience to Kingston. The opening, says the director, is an "establishing shot" with characters coming and going on Simon Kenny's magnificent multi-level set, accompanied by Toots and the Maytals' hit Funky Kingston. To borrow from its lyrics, you really can believe everything they do. Even each move in the dominoes game we see is scripted, explains Maxwell, who mapped out the market scene with precision: "Where are you going to? How heavy is the item that you're holding? This is the swing of the hips." Social Commentary Through Performance Xia, whose father came to England from Jamaica in the 1970s, praises the freewheeling realism of the film. "Lots of the background performers are just whoever happened to be in the market that day, or walking through the shantytown. Lots of the actors were people that Perry knew, they had no training." Henzell, says Xia, showed "the part of Jamaica that had always been hidden, people living hand to mouth". The musical depicts a "quartet of oppression" against Ivan, as he takes a stand against individuals representing hypocrisies of the church, law, drugs trade and music industry. Universal Themes and Contemporary Relevance The Harder They Come was both a pioneering example of independent film-making for Jamaicans and a portrait of a newly independent country. Maxwell, who grew up glued to Hollywood musicals, says it was empowering to discover a film full of the Jamaican songs she loved. "I was probably way too young when I saw it. But what I saw was the world around me." She traces how different forms of music played a pivotal part in the country establishing its identity, moving from African forms and American R&B; to mento, ska, rocksteady, reggae and the rise of Bob Marley and Jimmy Cliff. Maxwell captures that chain reaction with a tantalizing question: "What's this groove becoming?" Transforming the Narrative for Modern Audiences The musical also makes its hero's actions more understandable. "In the film, Ivan becomes a kind of wanton murderer," says Xia. In the musical, "he accidentally shoots a police officer when he's under threat, is remorseful, yet also knows that if he gives himself in then that's the end of his journey". Another significant change is the depth given to the principal women – Ivan's mother Daisy and Elsa, with whom he falls in love under the eye of her authoritarian guardian, the preacher. "The moral heart of the piece now resides in those two women," says Xia. Maxwell transforms a brief sequence from the film, in which Ivan imagines a tryst with the devout Elsa, into a floor-trembling set piece when the preacher's congregation lose their robes to indulge in lustful fantasy. The male gaze of the original scene is duly excised: "it had to be like it was both of them in partnership in that fantasy world," says Maxwell, who adds that the nature of dancehall – "grinding, gyrating on another body" required her to use her skillset as an intimacy director.

The LeadVictor Wembanyama returned from suspension with a dominant performance, scoring 27 points and grabbing 17 rebounds to lead the San Antonio Spurs to a commanding 126-97 victory over the Minnesota Timberwolves. The win gives the Spurs a 3-2 lead in their Western Conference semifinal series, positioning them one win away from advancing to the conference finals.The Wembanyama RedemptionWembanyama's return was highly anticipated after he was ejected in Game 4 for elbowing an opponent, which resulted in an automatic suspension. The young star expressed his eagerness to return, saying "Very, very much" when asked how anxious he was to get back on the court. He delivered in spectacular fashion, scoring 16 of the Spurs' first 24 points and finishing with a double-double in just the first half alone (21 points, 11 rebounds)."I think one thing, the one word I'd like to use, just 'mature,'" Spurs coach Mitch Johnson said of Wembanyama. "There's a lot that's happened in the last 48 hours, in the last game, and I think how that young man came out tonight and played in a variety of ways, in a variety of situations, not just in terms of his production, was extremely mature and then defensively, start to finish."The Statistical BreakdownThe Spurs received balanced scoring beyond Wembanyama's performance:Keldon Johnson: 21 points off the benchDe'Aaron Fox: 18 pointsStephon Castle: 17 pointsDevin Vassell: 12 pointsDylan Harper: 12 points, 10 reboundsFor the Timberwolves, Anthony Edwards led with 20 points, while Jaden McDaniels and Julius Randle each had 17 points. Ayo Dosunmu contributed 16 points and Naz Reid added 12.The Spurs led by as many as 18 points in the second quarter before settling for a 12-point advantage at halftime. After Minnesota tied the game at 61-all early in the third quarter, San Antonio responded with a 30-12 run to take control of the game.The Series ImplicationsThis victory gives the Spurs significant momentum and a 3-2 series lead. The team showed resilience and maturity, particularly from their young star Wembanyama, who channeled his frustration from Game 4 into a dominant performance."We played with the appropriate fear, discipline, execution, physicality, poise," Spurs coach Mitch Johnson said. "And I thought we had it from an array of people tonight, and it was really good to see. We needed everybody, because at different moments of the game, different guys stepped up."The Timberwolves, meanwhile, struggled with consistency, particularly on defense. "We went away from what was working, and then, you know, defence just cratered," Timberwolves coach Chris Finch said. "In the last six minutes of the third quarter, lot of it was just ball contain stuff. And, you know, offensively found stuff that was working, then we just started breaking off plays, you know. And that's my job. I gotta get us back on track. That's on me."The Path ForwardThe series now shifts to Minneapolis for Game 6 on Friday, with the Timberwolves facing elimination. If necessary, Game 7 would be back in San Antonio on Sunday."I don't see nobody in our locker room that [is] worried at the end of the day," Timberwolves star Anthony Edwards said. "Man, it's another basketball game. So you come out, put your boots on and get ready to go work."

The World's Longest Football DerbyCarlisle and Barrow will play each other next season in the Cumbrian derby in the National League. The clubs are located at opposite ends of Cumbria and the distance between the two grounds is some 78 miles by car. But this is not the greatest distance between two teams involved in a 'derby'.When considering derbies, we are looking for matches between teams that are linked based upon their proximity or geography, rather than simply historical rivalries like the 'clásico' between Real Madrid and Barcelona.UK Derbies: The Cumbrian ContenderWithin the UK, the Cumbrian derby certainly looks the furthest derby by distance. If we are staying in England, the closest we can get to 78 miles is the A49 derby between Shrewsbury Town and Hereford United, separated by 51 miles, although it should be said that the two teams have not met since the latter was dissolved in 2014.In England, thoughts immediately go to Crystal Palace and Brighton, dubbed the M23 derby, but a quick search reveals that Selhurst Park is a mere 46 miles from the Amex Stadium. It is also 46 miles that separate the stadiums of Plymouth Argyle and Exeter City, the Devon derby. Just behind are Ipswich and Norwich – the East Anglian derby (AKA El Tractico or the Old Farm) – with Portman Road and Carrow Road 45 miles apart.International Long-Distance DerbiesFarther afield, we must mention the derby between Persib Bandung and Persija Jakarta, who take part in the Indonesia derby, or Laga Klasikal as it is locally known, with Persib's Gelora Bandung Lautan Api Stadium lying 108 miles away from Persija's Jakarta International Stadium in Indonesia's capital.Italy is fertile ground for a host of famous derbies, and it is here that we find some of the longest-distance derbies. Of course there is the Derby d'Italia between Milan and Juventus, with 85 miles separating San Siro and Juve's Allianz Arena in Italy's north-west. The Derby di Sicilia between Palermo and Catania spans a whopping 134 miles across the breadth of Sicily, while the Derby delle Isole (Derby of the Islands) between Palermo and Sardinian club Cagliari goes even further – a full 250 miles across the Tyrrhenian Sea.The Champion: New Zealand's 386-Mile DerbyOur winner, though, comes from New Zealand's North Island. With Auckland FC only entering the A-League Men in 2024-25, the New Zealand derby between themselves and Wellington Phoenix is still very much in its infancy but has already blossomed into something substantial. In February, just the sixth edition of the derby, a comical own goal from Wellington goalkeeper Josh Oluwayemi sparked a 5-0 thrashing by Auckland, prompting Phoenix coach Giancarlo Italiano to resign immediately after the defeat. With 386 miles between the two grounds, the NZD is our clear winner.The Evolution of Geographic DerbiesThe existence of such long-distance derbies challenges our traditional understanding of what constitutes a local rivalry. In an era where football has become increasingly globalized, these geographic matchups represent unique connections between communities separated by vast distances. The New Zealand derby, in particular, showcases how even in a country with a relatively small population, football can create intense rivalries across significant geographical divides.The Future of Long-Distance DerbiesAs football continues to evolve, we may see more long-distance derbies emerge, particularly in regions with expanding leagues or where new clubs are formed to serve underserved areas. The New Zealand derby between Auckland and Wellington Phoenix is a prime example of how modern football infrastructure and scheduling can create meaningful rivalries regardless of distance. With the increasing popularity of travel and fan engagement, these long-distance derbies may become even more significant in the future of football culture.Double Winners in FootballDeji Elerewe has won the title with both Bromley (League Two) and Lincoln (League One) this season. Has any other player managed the same feat?We covered this answer 10 years ago in a previous Knowledge, but regular contributor Dirk Maas has come in clutch with some additions, although he does clarify that he has limited his search to the top five leagues in Europe in this century.There are several examples of players winning titles with different teams in the same season, including:Jonas Urbig with Köln (2. Bundesliga) and Bayern Munich (Bundesliga) in 2024-25Leigh Griffiths with Celtic (Scottish Premiership) and Wolverhampton (League One) in 2013-14Urby Emanuelson with Ajax and Milan in 2010-11Daniel Amartey with Leicester City and FC Copenhagen in 2015-16Timothy Weah with Paris Saint-Germain and Celtic in 2018-19Khvicha Kvaratskhelia with Napoli and PSG in 2024-25There are also alternative cases where seasons happen at different times of year, such as David Beckham achieving this by picking up an MLS winner's medal with LA Galaxy and a Ligue 1 winner's medal with Paris Saint-Germain in 2012-13.

In a recent Guardian column, Jonathan Liew reframes Sir David Attenborough as a quiet radical whose public persona masks a long‑standing critique of capitalism and a call for wealth redistribution, juxtaposing this stance with the largely apolitical tone of his 2026 centenary celebration.Attenborough’s Radical Economic Vision RevealedDuring a 2020 BBC interview, the 100‑year‑old naturalist argued for a “utopian future” where “those who have a great deal, perhaps, will have a little bit less, and those that have very little will have a little more.” This stance aligns with broader eco‑socialist ideas and contrasts sharply with the profit‑driven narrative of contemporary capitalism.Centenary Broadcast: Celebration Over Substance?The BBC One tribute featured celebrity tributes, a royal birthday letter delivered by CGI fauna, and a polished showcase of Attenborough’s wildlife footage, yet the climate crisis was not mentioned once. The event’s focus on spectacle over policy underscores how his radical views are often sidelined in mainstream media.Quantifying Attenborough’s Media Reach and TrustPolls repeatedly rank Attenborough as the most trusted figure in the United Kingdom, granting him a unique platform to shape public opinion. However, the absence of concrete policy advocacy in his high‑profile appearances limits the translation of that trust into measurable political pressure.Implications for Environmental Advocacy and Public DiscourseAttenborough’s depoliticised image makes him an appealing messenger for a broad audience, but it also allows powerful interests to co‑opt his environmental narrative without demanding systemic change. The tension between his activist instincts and the sanitized public persona raises doubts about whether his influence can drive the “tough and bloody compromises” needed for climate mitigation.Future Role: From Symbolic Figure to Policy Catalyst?As Attenborough enters his eleventh decade, the key question is whether future broadcasts will integrate his radical economic ideas with concrete climate policy proposals. If his platform begins to foreground systemic redistribution alongside biodiversity storytelling, he could shift from a symbolic guardian of nature to a catalyst for substantive environmental legislation.

The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.

The Lead The documentary 'Wrestling With Trump' draws parallels between Donald Trump's campaign style and professional wrestling, suggesting that Trump's approach to politics is more akin to a WWE match than a traditional political campaign. The Event Details The documentary, created by comedian and satirist Munya Chawawa, examines how Trump's team used the same playbook as World Wrestling Entertainment (WWE) to craft their campaign and style of government. Chawawa explores the use of hyperbole, smack talk, and kayfabe – the pretence that everything is real – in Trump's approach to politics. The Data Analysis No specific data is provided in the article, but it highlights how Trump's use of wrestling-style rhetoric and tactics has been successful in inflaming the crowd and rousing bloodlust. The Impact Analysis The documentary suggests that Trump's approach to politics has contributed to the blurring of lines between truth and lies, creating a reality that suits him better. This has led to a polarized political landscape and has been criticized for promoting a divisive and aggressive style of politics. The Prediction The documentary concludes that Trump's style of politics is likely to continue, with former Trump campaign adviser Sam Nunberg stating that Trump abides by his own code and that we can expect more slamming of the body politic in the years to come.

The Lead: Australia's Spin Strategy for World Cup RedemptionAustralia's women's cricket team has unveiled a squad for the T20 World Cup with a clear focus on spin bowling, featuring captain Sophie Molineux's return alongside world-class spinners Ashleigh Gardner, Alana King, and Georgia Wareham. The team aims to bounce back from recent semi-final exits in major tournaments with this strategic selection.The Spin Selection DilemmaThe return of a fully fit Sophie Molineux from a lower back issue has created a selection squeeze for Australia, who already boast a formidable spin trio. Molineux, who has succeeded retired captain Alyssa Healy, will be a lock in the side despite the abundance of spin options. Chief selector Shawn Flegler confirmed that all four spinners could potentially play in the same side, with conditions determining the final combination.The Spinners' CredentialsAustralia's spin options are exceptionally strong. Alana King took a record 7-18 against South Africa in last year's 50-over World Cup and was player of the series after collecting 23 wickets in last year's Ashes triumph. King returned to the side after being left out of the India tour and took five wickets at an average of 11 in the West Indies, conceding just 5.5 runs an over while bowling in the powerplay.The Pace Attack ChangesThe pace bowling options have seen changes, with 20-year-old left-arm quick Lucy Hamilton included in the 15-player squad, while Darcie Brown was the surprise omission. Hamilton, who debuted in all three formats for Australia in March, brings a rare left-arm pace option in women's cricket. Coach Shelley Nitschke praised Hamilton's ability to get good bounce and bowl a heavy ball, noting it's a real point of difference for the attack.Squad Composition and ExperienceThe squad blends experience with new energy. Ellyse Perry will feature in her 10th T20 World Cup, having been part of every edition since the inaugural tournament in 2009. Allrounder Nicola Carey returns after a three-year absence, while Grace Harris is back after being left out of the recent West Indies tour. Annabel Sutherland also returns after missing the West Indies tour.Tournament Preparation and OutlookAustralia will play five warm-up games in England and Wales before their T20 World Cup campaign begins against South Africa on June 13. They'll play three warm-up matches at Arundel Castle against South Africa, starting on May 31, before a pair of practice games against England in Cardiff. The team is motivated by recent semi-final exits in major tournaments and aims to perform better in those crucial moments.