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Harry Magunei believes the relentless spotlight at Manchester United would have broken many players, noting that the club’s demanding environment can overwhelm even seasoned professionals.After signing a new one‑year contract with an option for a further season, the 33‑year‑old defender extended a tenure that began with a then‑world‑record £80 million fee paid to Leicester in 2019.During his 266 appearances for United, Maguire helped the club win the FA Cup and Carabao Cup, captained the side from 2020 under Ole Gunnar Solskjær, and endured a dip in form that saw him lose his place after Erik ten Hag took over. He even flirted with a move to West Ham in the summer of 2023 before re‑establishing himself as a key figure.“I see a lot of players come into this club and, frankly, it’s just too big for them,” Maguire said. “The eyes on you, the scrutiny, the analysis… there are ex‑players commenting on every goal. That’s part and parcel of playing for this club.”He added that many would have quit early under such pressure: “Probably. I think there’ll be a lot who want to close the book and restart their career. It’s probably broken them a little bit earlier.”Reflecting on his own ordeal, Maguire described the period of intense mockery and abuse as a low point that forced him to adopt a “laid‑back attitude” and ignore outside noise to regain form.Since Erik ten Hag’s appointment, United have climbed to third place in the Premier League, reviving hopes of Champions League qualification. Maguire is optimistic about the club’s trajectory: “If we get the recruitment right and keep the momentum, there’s no ceiling to where we can reach. We have to be in the conversation for the big trophies.”On the international stage, Maguire hopes to feature for England at the 2026 World Cup. Although manager Thomas Tuchel currently ranks him behind Ezri Konsa, Marc Guéhi, John Stones and the injured Trevoh Chalobah, Maguire remains determined: “I’m desperate to go, whether I start or come on late. I still believe I’m arguably one of the best defenders in the world in both boxes.”

Cornish film-maker Mark Jenkin has brought his latest film, Rose of Nevada, to his hometown of Newlyn in Cornwall. The film, a ghostly time travel tale, has received excellent early reviews and features Jenkin's signature authentic storytelling.Jenkin, who is from Newlyn, expressed his pride in Cornwall, stating, “This is the greatest town in the world. I see Cornwall as being at the centre of the world.” He emphasized the importance of showcasing Cornwall's culture and community in his films.The film was shot entirely in Cornwall, using a clockwork Bolex camera and featuring a working fishing boat. Jenkin's vision for his homeland is central to the film, rather than using it as a backdrop.Jenkin's success has put a spotlight on Cornwall, with other filmmakers, such as Brett Harvey and Dan Simpkins, highlighting the growing recognition of regional film-making. Laura Giles of Screen Cornwall noted that Jenkin is a “talisman for Cornish film-making” and that there are other emerging filmmakers in the region.The film's producer, Denzil Monk, emphasized the importance of sustainability and inclusivity in the production, stating, “We try to step very lightly” in terms of impact on the environment and community.

Harry Styles has announced the full programme for this year’s Meltdown Festival at the Southbank Centre, positioning the pop star as curator of a multi‑genre celebration that runs from 11 June to 21 June. In addition to headlining a solo show on 16 June at the Royal Festival Hall, Styles will perform amid his ongoing Wembley Stadium tour, while the festival showcases a broad spectrum of talent ranging from jazz to electronic dance music. The jazz segment features two sets by acclaimed US saxophonist Kamasi Washington: one dedicated to his album Fearless Movement and another titled “Jazz Legends Reimagined,” where he will reinterpret classic jazz compositions. Ethiopian‑born pioneer Mulatu Astatke returns after a farewell‑tour appearance, and the UK scene is represented by drummer Yussef Dayes and reed virtuoso Shabaka, who will join a collective of collaborators. Indie and rock offerings include LA band Warpaint (performing their sole gig of the year), British singer‑songwriter Nilüfer Yanya, and a mix of emerging and veteran acts such as Bar Italia, Stephen Fretwell and Getdown Services. Former Maccabees frontman Orlando Weeks will deliver a hybrid set of music and storytelling, while Devonté Hynes (known as Blood Orange) will present a classical‑inspired performance with musicians Adam Tendler, Cæcilie Trier and Tariq Al‑Sabir. On the pop front, rising stars Erika de Casier and Fousheé will provide some of the season’s most forward‑thinking tracks. The electronic roster spans ambient pioneer Beverly Glenn‑Copeland, an improvised collaboration featuring Jon Hopkins, Maddie Ashman and Leo Abrahams, high‑tempo EDM from Australia’s Ninajirachi, and a DJ set by James Murphy of LCD Soundsystem. A parallel programme of free, family‑friendly events will showcase “a mix of appearances from Styles’ favourite artists beyond music,” according to the Southbank Centre. Speaking about the festival, Styles said: “Music is my life; every artist involved in this year’s Meltdown festival means so much to me, both as a fan, and a musician. It’s a true honour to host legends who have paved the way for the generations that follow them, as well as new acts that have inspired me to push my creative boundaries.” Tickets become available on 9 April for Southbank members and 10 April for the general public, with the event promising a unique blend of established icons and cutting‑edge talent.

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.

Friko, the Chicago‑based indie outfit, is gearing up for the launch of their second LP, Something Worth Waiting For, slated for 24 April. The record, described as a “radiant ramble” through modern indie rock, reflects the band’s recent touring experiences and explores themes of yearning, growth, and stability.The lead single, "Choo Choo", bursts with a road‑trip vibe, pairing vocalist‑guitarist Niko Kapetan’s urgent, quavering delivery with guitarist Korgan Robb’s atmospheric riffs. Critics note a vocal timbre reminiscent of Modest Mouse’s Isaac Brock and Sparks’ Russell Mael, while the track’s lyrical nods to classic American road food add a playful, homespun charm.Since their 2024 debut Where We’ve Been, Where We Go From Here, Friko has expanded from a duo (Kapetan and drummer Bailey Minzenberger) to a full four‑piece, adding Robb and touring bassist David Fuller. The new album also benefits from the touch of Grammy‑winning producer John Congleton, known for work with Mannequin Pussy, The Mountain Goats, and St Vincent. His influence shines on the Bowie‑esque chamber‑pop ballad "Seven Degrees", underscoring the group’s evolving sound.In addition to the album news, the Guardian’s weekly Add to Playlist roundup spotlights a curated selection of fresh tracks. Highlights include Wallis’s techno‑laden “Biscuit,” Beth Orton’s intense “The Ground Above,” Toronto pop‑star Chxrry’s catchy “Hall of Fame,” and a collaborative anti‑immigrant‑detention compilation track by Wendy Eisenberg’s trio Darlin’. The list also features Jeff Parker’s hopeful “Like Swimwear (Part One)”, a dubstep‑rap hybrid “Duro” from Skrillex and Young Miko, and Cass McCombs’s garage‑rock anthem “Seeing the Elephant”.Listeners can stream the full playlist on Spotify, Apple Music, Tidal, or other services, ensuring the week’s most inventive indie and electronic releases are just a click away.

The Unicorn Theatre's production of 'A Midsummer Night's Dream' is a playful and punchy adaptation of Shakespeare's romantic comedy, made accessible to a young audience. Co-directors Rachel Bagshaw and Robin Belfield have trimmed down the original language while incorporating slapstick comedy and playful captions.The production feels like the start of a brilliant venture, still finding its feet. The editing is smart, but could have been more radical. The framing story in Athens has been cut down but not excised, making it harder to understand.The magical elements are kept low-key and gently engaging, with Titania's fairies conjured up using childlike voiceovers, Holly Khan's delicate soundscape, and Will Monks' entrancing word projections. Joséphine-Fransilja Brookman's Puck is an impish schoolkid who climbs up balconies, jumps on tyre swings, and causes mischief.The standout star is Emmy Stonelake as Bottom, a natural comic and talented Shakespearean who raises big laughs without compromising the language. When Bottom is turned into a donkey, Stonelake cries out: “This is to make an ass of me!” and is met with big laughs and heavy sighs.The most lucid and enjoyable scenes are those with the rude mechanicals as they rehearse their (terrible) play. There's a whiff of the CBeebies panto to these encounters, with the actors dressed in neon costumes and delivering their gags with gusto. The hard-working ensemble jump from playing heartsick lovers to hammy actors with real aplomb.At the Unicorn theatre, London, until 10 May.

Acclaimed filmmaker Danny Boyle is set to unleash a sprawling, one‑off pop‑culture spectacle at London’s Southbank Centre on 3 May 2026. Titled “You Are Here”, the event will weave together 75 years of British youth movements—from teddy boys and punk to rave and Brit‑pop—across the venue’s historic spaces. Marking the 75th anniversary of the Royal Festival Hall’s 1951 opening, the production anticipates 1,000 performers and more than 10,000 attendees. Boyle, who directed the iconic 2012 Olympic opening ceremony, describes the show as an antidote to the “hi‑tech curation” that dominates modern life, likening today’s media overload to “5,000 channels with everything on”. The immersive experience will unfold in five distinct beats, each spotlighting underground music scenes, sub‑cultural fashion, activism and spoken‑word performance. Poets, MCs and rappers will narrate stories that are then translated by choirs and dancers, creating a “kaleidoscopic narrative” that moves audiences from a high‑energy Northern Soul floor to a communal house‑party atmosphere. Boyle emphasizes that the event is deliberately free of celebrity headliners, allowing the chaos of the performance itself to become the focal point. He calls the Southbank a “gargantuan labyrinth of opportunity” and urges young people to seize the chance to experience culture beyond the “aquarium of indifference” offered by on‑demand streaming and food delivery services. Organisers stress that the show is not a traditional pageant or seated theatre; instead, the entire Southbank site becomes a living stage, inviting visitors of all ages to wander, engage, and reflect on Britain’s evolving identity. Tickets for “You Are Here” go on sale now at southbankcentre.co.uk. The event promises to be a landmark moment for London’s cultural calendar, blending history, music, fashion and activism into a single, chaotic celebration.

When billionaire hedge‑fund manager Chris Rokos announced a £190 million contribution to the University of Cambridge, the move instantly became the largest single donation to any UK university in modern history. The funds will establish a new “school of government” aimed at bridging policy, science and emerging technologies. Rokos, a 55‑year‑old Oxford graduate, has amassed an estimated £2.6 billion fortune, primarily through his firm Rokos Capital Management (RCM), which he founded in 2015 after a high‑profile stint at Brevan Howard. RCM now oversees **over £22 billion** in assets, employs roughly 350 staff, and operates from offices in London, New York, Singapore and Abu Dhabi. In the most recent fiscal year ending March, Rokos paid himself nearly £500 million, according to Companies House filings, reflecting the firm’s strong performance amid volatile markets. Beyond finance, Rokos has kept a remarkably low public profile. He famously declined to provide a photograph when launching a £500 million fund in 2007, and he has avoided media attention despite owning one of England’s most expensive private residences. The £175 million refurbishment of the Grade I‑listed Tottenham House in Wiltshire – featuring a tennis pavilion, private cinema, basement squash court and a proposed “subterranean family link” to a pool house – has drawn local council scrutiny but stands as a tangible testament to his wealth. Rokos’s career trajectory began in banking at UBS and Goldman Sachs, moving to Credit Suisse where he was recruited by Alan Howard. He later joined the founding team of Brevan Howard in 2002, generating roughly $4 billion (≈£3 billion) in investor profits and about £600 million for himself before departing in 2012. His philanthropic philosophy emphasizes diversity of thought. In a video released by Cambridge, Rokos warned that a school populated only by “centrist, socially liberal” voices would be a failure, insisting on a broad spectrum of intellectual viewpoints. Earlier this year, RCM’s exploratory talks to bring former UK business secretary Peter Mandelson onto its advisory board collapsed after revelations about Mandelson’s connections to the late Jeffrey Epstein. Rokos also ranks among the UK’s biggest taxpayers and maintains a family office in Mayfair. A lingering legal dispute over a five‑year non‑compete clause with a former employer was settled out of court, clearing the way for his current venture. Overall, the record‑breaking Cambridge donation not only reshapes the university’s academic landscape but also underscores how hedge‑fund wealth is increasingly channeled into high‑impact philanthropy, blurring the lines between finance, education and public policy.

The Guardian’s newest photo feature puts the spotlight on Finnish photographer Claire Aho, whose recent work erupts in vivid hues, heralding what many describe as a colour revolution in the nation’s visual culture.Through a series of carefully composed shots, Aho captures everyday Finnish scenes transformed by bold palettes, inviting viewers to reconsider familiar landscapes through a more expressive lens.Critics note that the images not only celebrate aesthetic innovation but also reflect a broader cultural momentum toward brighter, more optimistic artistic expressions across Finland.