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Concert Overview: Doja Cat’s Manchester ShowThe Guardian’s review captures a night where Doja Cat turned a 20‑metre train‑laden prelude into a statement of artistic freedom, delivering a set that spanned her early pop‑rap roots and the darker tones of Scarlet. The performance, held on 23 May 2026 at Co‑Op Live, positioned her as both a commanding bandleader and a self‑styled “true freak”.Stagecraft and Setlist: A Fusion of Pop and RockDoja arrived in a purple‑clad ensemble, complete with pasties, a high‑waisted bodysuit, and zebra‑print microphone, evoking a “scene‑kid Prince” aesthetic. Backed by a ten‑person band, she navigated a setlist that wove together tracks from Vie, 2021’s Planet Her, and the 2023 album Scarlet. Highlights included a muscular live rendition of “Make It Up”, the swagger of “Ain’t Shit”, and a metal‑infused take on “Tia Tamera”.Audience Metrics and Ticket DemandThe review does not disclose specific ticket sales or revenue figures, but notes that the venue’s capacity was filled and the audience responded enthusiastically to the eclectic showmanship. No concrete financial data were provided in the source article.What the Performance Signals for Pop‑Rap’s EvolutionDoja’s seamless shift between polished pop and raw rock challenges the conventional separation of genre‑specific tours.The theatricality—long train, shoulder‑pad hover, and acrobatic floor work—suggests a growing appetite for immersive, narrative‑driven concerts in mainstream pop.By integrating “freak” elements without sacrificing mainstream appeal, she sets a template for artists seeking authenticity alongside commercial viability.Looking Ahead: Doja Cat’s Tour and Future DirectionsFollowing Manchester, the artist will continue touring the UK until 29 May 2026. The review implies that future shows will likely maintain the dual‑mode approach, further blurring the line between pop spectacle and avant‑garde performance, and potentially influencing peers to adopt similarly bold stage concepts.

The Performance We know that Aeneas is going to sail away. We know it before he arrives, before he declares his love to Dido, and certainly before the Sorceress and her witchy acolytes get all eye-of-newt about it. But when your opera house is the great hall under the Cutty Sark, and the clipper’s 200ft copper hull is rearing up over your head, it’s impossible to forget the tragedy that Purcell’s compact drama has in store. The Staging So you have to wonder why Andrew Staples, director of the Monteverdi Choir’s semi-staging, felt the need to work quite so hard? The space is the staging. You can try to ignore it (no mean feat when the museum’s collection of antique figureheads flanks the stage in a surreal guard of honour: Florence Nightingale rubbing painted wooden shoulders with Disraeli, Sir Lancelot and a selection of buxom lovelies), but you can’t work against it; you simply won’t win. The Musical Performance Close your eyes, though, and this was a rich account. Conductor Jonathan Sells rode every darting, eddying current in the score, the English Baroque Soloists a colourful, abandoned force in celebration, infinitely restrained elsewhere. Best of all were unaccompanied choral moments – “With drooping wings”, or the two interpolated Funeral Sentences – where movement and time stilled together, voices absolutely unified in their inflection, carving the music’s emotions with devastating clarity. The Vocal Performances The space’s natural resonance allied to some big voices made for an exciting central drama. German-Egyptian mezzo Karima el Demerdasch (definitely one to watch) was a voluptuous-voiced Dido, her suicidal queen still coming into focus. Johanna Wallroth’s radiant, exuberantly ornamented Belinda and Bethany Horak-Hallett’s sumptuous Sorceress supplied the rival musical poles, tugging us from good to ill and back again. And what a treat to have a properly baritonal Aeneas in Hubert Zapiór – a worthy lover and sparring partner for Demerdasch, a hero almost worth dying for. The Future of the Performance Next month the show travels to Norway for the Bergen festival. Cut loose from its nautical anchor, I suspect it’ll pick up several dramatic knots.

Tonight’s Must‑Watch TV HighlightsThe Guardian’s latest TV guide showcases a mix of drama, comedy and culinary spectacle across Britain’s major broadcasters. From a stylish Cold‑War thriller on Sky Atlantic to the nation’s biggest curry restaurant on Channel 4, the line‑up promises both intrigue and comfort food for viewers.‘Ponies’: A Cold‑War Thriller Starring Emilia ClarkeEmilia Clarke headlines ‘Ponies’, a star‑filled, stylish and surprisingly fun Cold‑War drama airing at 9 pm on Sky Atlantic. Clarke plays Bea, a highly educated Russian‑speaking secretary who teams up with street‑smart Twila (Haley Lu Richardson). Together they investigate the mysterious deaths of their husbands in Moscow, operating as “persons of no interest”. The cast also includes Adrian Lester and Harriet Walter.Scheduling Slots and Audience Reach Estimates9 pm – Sky Atlantic: ‘Ponies’ (Cold‑War thriller)8 pm – Channel 4: “World’s Biggest Curry Restaurant” – a behind‑the‑scenes look at the Royal Nawaab in Stockport.9 pm – BBC Two: “Hidden Treasures of the National Trust” – cultural‑heritage documentary narrated by Toby Jones.10 pm – BBC Three: “Smoggie Queens” – comedy sketch series.10:05 pm – Sky Atlantic: “Hacks” – penultimate episode of the AI‑satire comedy.11:40 pm – BBC One: “St Denis Medical” – double‑bill US mockumentary.While exact viewership figures are not yet released, prime‑time slots on Sky Atlantic and Channel 4 typically attract 1–2 million live viewers, with additional streaming audiences on platform‑specific apps.Why Cold‑War Drama Is Resurfacing on UK TVThe renewed interest in Cold‑War narratives aligns with a broader cultural fascination for geopolitical tension and espionage, spurred by recent successful series such as *The Americans* and *Killing Eve*. By pairing a high‑profile star like Clarke with a genre that blends thriller, period intrigue and dark humor, broadcasters aim to capture both legacy audiences and younger viewers seeking fresh takes on historic settings.What This Means for Next Season’s Programming ChoicesGiven the strategic placement of *Ponies* alongside eclectic factual and comedy offerings, networks appear to be betting on a diversified schedule that balances prestige drama with accessible reality‑TV formats. If *Ponies* secures strong live and on‑demand numbers, we can expect more star‑driven, genre‑hybrid projects to fill prime‑time slots in the coming months, potentially nudging streaming services to compete with similar high‑budget, historically‑rooted series.

The Lead The Royal Exchange's 50th anniversary season production, 'Even These Things', is a bold attempt to encapsulate the complex history of Manchester. The play explores themes of identity, community, and belonging through three seemingly unrelated scenes. MAPPING MANCHESTER'S HISTORY The play is built from three scenes, each set in a different time period. The first scene is set in 1846 and features a heavily pregnant Irish immigrant, Annie Donovan, who brushes shoulders with Friedrich Engels on her way to a fist fight. The second scene is set in 1996 and describes the city-centre life of an ordinary Saturday, with a community cast playing out whimsical vignettes. The final scene takes place after the IRA bomb outside the Arndale Centre and features a tender exchange between two strangers of Irish heritage. THE POWER OF COMMUNITY The play's cumulative meaning may be tricky to grasp, but as the scenes rub up against each other, what emerges is a thoughtful, rich and complex picture of home. The connections between the scenes are elliptical, but they ultimately reveal a city with a shared history and a strong sense of community. THE FUTURE OF MANCHESTER The play suggests that, however difficult, a future is possible. The final scene's chat about miscarriage and childbirth between two strangers of Irish heritage meeting in the park some months after the attack on an Ariana Grande concert brought the city together, implies that the city can heal and move forward. CONCLUSION 'Even These Things' is a bold and ambitious production that successfully maps Manchester's complex history. The play's themes of identity, community, and belonging are timely and thought-provoking, making it a must-see for anyone interested in theatre and the city of Manchester.

The Journey of a Reject to Liverpool LegendThere was the Barcelona comeback on the night he ruffled Lionel Messi's hair, the Champions League triumph in Madrid, winning Liverpool's first league title in 30 years and pressing five Manchester City players in one career-defining run at Anfield when 4-1 up. But the best feeling Andy Robertson experienced at Liverpool was "climbing the mountain" with Jürgen Klopp's all-conquering team. Nobody climbed higher or harder.The boy who was rejected by Celtic at 15 and tweeted: "Life at this age is rubbish with no money" after his debut for Queen's Park aged 18 became the man many consider to be Liverpool's finest left-back, and arguably the best in the world at his peak. With 377 fiercely committed appearances in a Liverpool shirt behind him, Robertson will say goodbye on Sunday. The 32-year-old Scotland captain leaves "with no regrets, no bitterness" and "glad that one of our Egyptian friends might take a bit more of the limelight. I can just sneak underneath that."The Climbing of the Mountain Together"We were on the most amazing journey ever, all together," he reflects. "When we started out Mo Salah didn't sign as the best player in the world or the best winger in the world. Virgil van Dijk had the potential to be but wasn't the best centre-back in the world. Alisson wasn't the best goalkeeper in the world. Trent [Alexander-Arnold] wasn't the best right-back in the world. Hendo [Jordan Henderson] was still trying to find his feet as captain. We were all just on this journey from the bottom to the very top together and climbing that mountain was the best feeling ever."Every day we came in knowing we were getting better and better and starting to click as a team. We'd beat teams in the tunnel. Genuinely. When I speak to my Scotland teammates, they were lining up in the tunnel and looking over thinking: 'We're going to need to run our socks off today to get anything.' And more often than not they didn't get anything."We had an unbelievable environment to express ourselves, to play with freedom, but in our minds we knew we had to work at 100%. That was obviously from the manager, from the coaches, and I think then all the staff and people behind the scenes bought into it and you had the whole training ground determined to achieve all our dreams. Everyone was on the same page and we just made magical things happen thankfully."The Impact of Tragedy and TransitionRobertson's reminiscence prompts an inevitable follow-up. Why does Liverpool not feel like that now? His reply stops everyone in their tracks, and brings home the tragic reality of what this season has entailed for the now deposed Premier League champions. "In terms of the club I am leaving behind I think we are not at the 2017 stage, we are at the transition stage," begins one of Diogo Jota's closest friends. The Liverpool forward's death in a car crash alongside his brother in north-western Spain last July cast a dark pall over the campaign."This year hasn't worked out for a variety of reasons. We can't hide away from it, and it is not an excuse, but what we went through in the summer no team will ever go through. No member of staff will go through. I hope they never go through it because the devastation we went through … football didn't matter. We didn't care about football for weeks. None of us wanted to train. You were getting treatment off physios and physios didn't want to treat you. That is the reality of it."As footballers we of course have a duty, we have to move on and we managed that. We started the season fairly well although it was still an emotional time for us. The [season-opening] Bournemouth game was ridiculously emotional with all of Jots' family being there. I think after the 20th minute you saw a real dip in performance because of the emotional impact that it had on all of us.The Future of Liverpool FC"But then the season has been inconsistent. We bought players that we all got excited about, and they will all have an unbelievable career at Liverpool. I have no doubt about that. But they are also young. The one thing I get annoyed about in football is that footballers do not control their price tag. The market controls it. These players will be successful for Liverpool but they probably need a bit of time."Then some players who have played at a ridiculously high level haven't played to that level. If you add all that in then we have had an inconsistent season and that is the huge frustration for us. We have been too easy to play against. There is no hiding away from that but I believe they have more than enough in that changing room to be successful for Liverpool again."

Alec Segaert stole a march to win stage 12 of the Giro d’Italia on Thursday and his Bahrain Victorious teammate Afonso Eulálio snatched bonus seconds in the intermediate sprint to extend his overall lead.Stage 12: Segaert’s Late Attack Secures VictoryThe 175 km ride from Imperia to Novi Ligure looked set for a sprint finish until the Belgian rider launched his move with 3 km remaining. He held off the chasing pack to take the win on his Giro debut, edging out compatriot Toon Aerts (Lotto‑Intermarche) who claimed second, and former race leader Guillermo Thomas Silva (XDS Astana Team) in third.Time Gains and Bonus Seconds: Quantifying the Lead ShiftEulálio earned an extra 6 seconds at the intermediate sprint, widening his gap over favourite Jonas Vingegaard to 33 seconds.The stage featured a decisive climb at Colle Giovo, where Movistar’s pace brought the peloton back together.Key breakaway rider Johan Jacobs remained over two minutes ahead after 100 km, but was eventually caught.Strategic Implications for Bahrain Victorious and the General ClassificationThe dual success underscores Bahrain Victorious’s tactical acumen. Segaert’s attack forced rival teams to chase, while Eulálio’s bonus seconds reinforce his position as the pink‑jersey holder, putting pressure on Vingegaard and other GC contenders.What This Means for the Rest of the GiroWith the race now entering its second week, the time gaps are tightening. Teams that missed out on stage wins, such as Movistar, will need to animate the race on upcoming climbs to challenge the Bahrain duo.Looking Ahead: Stage 13 and the Battle for PinkFriday’s stage 13 will cover 189 km from Alessandria to Verbania, featuring another climb that could further test the resilience of the GC leaders. All eyes will be on whether Eulálio can defend his lead or if a new attacker, perhaps Segaert, will emerge to reshape the podium.

The Play's Concept Imagine if One Day was set in Long Eaton. Now, take its sweeping, time-spanning love story, but make it platonic, and about two theatre-obsessed best mates. That’s the foundation for Jane Upton’s luminous, heart-exploding play, which catches Jess and Billy in a series of snapshots across their friendship. The Story Unfolds Beginning in the early 90s, during their school days, and then moving through their 20s, 30s and into their mid-40s, the play threads together teenage crushes, career decisions, breakups, marriages, births and children. Jess (Katie Redford) is an oversharer while Billy (Benedict Salter) has secrets. Their early years together pass through play rehearsals, parties, personal revelations and betrayals, but even in their lowest moments, the two are always pulled back to each other’s side. The Evolution of Friendship As their lives move in different directions, with Billy heading to London for drama school and later building a career as a high-flying agent, and Jess staying at home in a “suburban bubble” before eventually tiptoeing her way back into the creative scene as a playwright, they turn their noses up at the other’s choices. Still, in times of turmoil, they can’t help but pick up the phone or race across the country just to be there for their old friend. Their dialogue accurately captures people who know each other’s lives inside out. The Production Directed by Hannah Stone, the production shows friendship as something defining. Redford and Salter make their characters people we want to stay with across the decades. In fact, time here slips through our fingers. One moment they’re 15 in 1995, and Jess is getting advice from More! magazine; the next it is 2022, and a 42-year-old Billy is considering surrogacy for his next child. Abby Clarke’s design evokes nostalgia, with the back wall composed of white, Polaroid-inspired squares that shift from photographic outlines to mirrors. The Verdict With so much life to fit into 95 minutes, there are inevitable gaps in Billy and Jess’s stories. We could learn more about the structure of their families and the other relationships in their lives. But really, this is a play about the complicated, beautiful bond between two people. It leaves you desperate for more days with them. Where to Watch At Nottingham Playhouse until 12 June

A Historic Return: The Refugee Team's ItineraryAfghanistan's displaced female cricketers are set to return to the international stage with a tour of England beginning June 22. This initiative, organized by the England and Wales Cricket Board (ECB), brings together players who were previously contracted to the Afghanistan Cricket Board but were systematically excluded from sport and public life following the Taliban's return to power in 2021.Start Date: June 22Format: Twenty20 (T20) matchesKey Event: Attendance at the Women's T20 World Cup final at Lord's on July 5Support: Training opportunities and deepening connection to the global gameStrategic Milestones and Global ReachThe tour serves as a critical data point in the ongoing struggle for women's representation in sport. While the players have been playing domestic cricket in Australia, the lack of access to international competition highlights a significant gap in the International Cricket Council's (ICC) current regulatory framework, which requires member nations to support both men's and women's teams.The itinerary is not merely a series of matches but a strategic effort to reintegrate the players into the global cricket community. By featuring in T20 matches and attending the final at Lord's, the team aims to bridge the five-year gap in their professional careers and demonstrate their continued competitiveness on the world stage.Breaking Barriers: Sport as a Tool for InclusionThis tour carries profound cultural and sporting significance, acting as a testament to the resilience of Afghan women. The ECB has emphasized that the event represents a moment for cricket to stand for inclusion and the protection of women's participation in sport.The involvement of former Australian international Mel Jones, through her consultancy firm "It's Game On," underscores the professional infrastructure required to support such a complex transition. The players' repeated requests for the ICC to recognize them as a refugee team have finally borne fruit, validating their struggle for recognition and highlighting the urgent need for the sport's governing body to adapt its rules to protect displaced athletes.Future Outlook: Beyond the TourMel Jones has called for "sustained and meaningful action beyond this year," signaling that this tour is just the beginning of a longer journey. The success of this initiative could set a precedent for how international sports bodies handle displaced athletes, potentially leading to more structured pathways for refugee teams in the future.As the team prepares to compete, the cricketing world watches closely, hoping that this tour will not only provide the players with the opportunities they deserve but also catalyze a permanent shift in how sport addresses human rights and inclusion on a global scale.

The LeadEleven weeks after the start of the Iran war, the Strait of Hormuz has remained closed to naval traffic, bleeding the global economy far beyond the Gulf. Iran's Islamic Revolutionary Guard Corps (IRGC) maintains an iron grip over this narrow, strategic waterway, while a corresponding United States naval blockade on Iranian ports has failed to reopen it.Before the war began, between 120 and 140 ships travelled through the strait each day, about half of them oil tankers carrying some 20 million barrels of oil between them. Now, only a few vessels whose owners have negotiated with the IRGC are permitted to pass.The Strategic Control of HormuzOn Wednesday, Iran said it coordinated the transit of 26 vessels through the Strait of Hormuz in 24 hours, two days after announcing the formation of the Persian Gulf Strait Authority (PGSA), a new body to provide "real-time updates" on operations in the strait.Since the announcement of a temporary ceasefire between the US and Iran in April, Iran has been working on formalising a mechanism to charge a transit fee from ships crossing the critical chokepoint, through which 20 percent of the world's oil and liquefied natural gas (LNG) are shipped during peacetime.Tehran has reportedly already charged fees as high as $2m per ship for transit since the war started. Even though countries opposing Tehran say this is illegal, it may still be less expensive than the overall cost of the closure of the strait each day.The Economic Cost of BlockadeNearly one-fifth of global oil and LNG exports were shipped by Gulf producers through the Strait of Hormuz before the US and Israel bombed Iran on February 28, triggering the Iranian closure of the waterway. The strait is the only waterway linking Gulf producers to the open ocean – there is no other route through which they can ship exports.About 20.3 million barrels per day of oil passed through the Strait of Hormuz in peacetime – nearly 27 percent of global maritime oil trade. The lion's share of that crude went to Asian markets.Global LNG trade has been similarly hard hit. On the day before the war broke out, Brent crude – the global benchmark for oil prices – closed at $72.48 per barrel. After Iran closed the waterway on March 4 and began attacks on vessels attempting to sail through, traffic came to a standstill, stranding about 2,000 ships on either side of the strait.In terms of lost oil revenues, this amounts to $114.8bn of losses per day. About 10 billion cubic feet of LNG per day also used to pass through the strait, worth a further $7.8bn.The Cost-Benefit Analysis of Transit FeesFor hundreds of ships stranded in the Gulf with thousands of sailors on board, the cost of remaining anchored is steep, including crew wages, loan repayments, repair and management, coupled with inflated war risk premiums.In turn, Iran has reportedly been charging up to $2m for authorisation to pass. Experts say many will see this as worthwhile purely in terms of monetary cost."There is no doubt that paying Iran is cheaper than a continuous blockade because a sitting tanker bleeds money," said Nader Habibi, an Iranian American economist."It makes sense from an economic point of view, but it is not politically feasible," he added. "The companies are under pressure from the US sanctions and not to make arrangements with Iran. This is not just a purely economic cost-benefit analysis, but long-term considerations that are taken into account."International Legal PerspectivesInternational law protects free transit through strategic waters such as natural straits like Hormuz, barring countries from imposing passage tolls even where the waterways fall entirely into territorial waters, like in the case of Hormuz.However, services such as security controls, inspections and insurance regimes can be charged for. Chargeable fees also partly depend on whether a waterway is a man-made passageway or a natural one.These are three different precedents in maritime traffic flow:Panama Canal: An artificial waterway connecting the Atlantic and Pacific oceans. Vessels pass through a unique system of locks that raise and lower vessels across elevated terrain. Since Panama built, maintains and operates the canal, it can charge transit fees based on vessel size, cargo capacity and booking priority. These range from several hundred thousand dollars per transit to some slots sold for millions of dollars.Suez Canal: Another artificial canal, linking the Mediterranean and Red seas. Egypt charges transit fees for the use of canal infrastructure, maintenance and traffic management services through the narrow waterway. Container ships and oil tankers pay from several hundred thousand dollars to more than one million dollars per voyage.Turkiye's Bosporus Strait and Dardanelles: These are different because they are natural straits, rather than man-made canals. Turkiye charges for navigation-related services such as lighthouse operations, rescue readiness, medical support and traffic management – and tightly controls ship scheduling and navigation.Regional Cooperation PossibilitiesIran's newly-formed PGSA published a new map of Hormuz, stretching from Kuh-e Mubarak in Iran to south of Fujairah, in the UAE, at the eastern entrance of the strait, and from the tip of Qeshm Island to Umm al-Quwain at the western entrance.Given how the Iran war has spilled over into the Gulf region – with the UAE taking the brunt of Iranian strikes – economist Mohammad Reza Farzanegan said "regional cooperation with Iran is the most realistic path to stable transit through the Strait of Hormuz."The UAE, Oman, Qatar and Iran will have to work together because their economies require it, he argued. A workable arrangement could include a joint maritime authority, shared monitoring, emergency coordination, environmental protection and service-based contributions for maintaining safe passage."This would give Iran a recognised role in the security of the waterway while giving Persian Gulf economies more predictability," Farzanegan added. "Such a framework is also more realistic than relying on external military enforcement, which has been more a source of trouble for these states."The Future OutlookWhile it may seem that the economics of the closure of the strait are currently skewed towards Iran, Aniseh Tabrizi, an associate fellow on the Middle East and North Africa Programme at think tank Chatham House, noted that "the economics by itself is not going to be the driver to change calculation or move from the current standpoint."She emphasized that Iran and the US need to reach a "diplomatic compromise, with other calculations linked in to the economic factor", before there can be an end to the energy supply crisis.Farzanegan added that if the world expects stable access to the Strait of Hormuz, then paying Iran could well be accepted as the price of keeping the vital waterway predictable. "From an economic perspective, a negotiated transit arrangement [with Iran] now makes more sense than continued closure," he concluded.