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The Departure of a 'Working Machine': Sesko Laments Casemiro's ExitBenjamin Sesko has publicly lamented the impending departure of Casemiro, describing the Brazilian midfielder as an indispensable 'working machine' whose leadership and experience will be sorely missed as Manchester United secure Champions League qualification.A Final Tribute on the PitchDuring a commanding performance in a 2-1 victory over Brentford, Casemiro delivered one last statement of intent before his exit. The match was pivotal, as the win ensured Manchester United would secure Champions League qualification, a feat achieved despite the midfielder's impending departure.The Carrick Factor and United's ResurgenceUnited's form under interim manager Michael Carrick has been statistically impressive. The team has won nine of their last 13 Premier League games, accumulating more points in this period than any other club. This surge has created an 11-point cushion in the race for the top four.Leadership Void and Mentorship LossSesko highlighted the specific qualities Casemiro brings beyond just footballing ability. The 22-year-old striker emphasized that Casemiro sets a standard for work rate and professionalism that younger players must emulate. His departure leaves a significant gap in the dressing room's culture.The Search for a New EngineAs United look to the summer transfer window, replacing a player of Casemiro's caliber—defined by his 'working machine' mentality—will be a top priority. The club must find a player who can not only provide defensive solidity but also maintain the high standards of leadership Carrick has helped instill.

The Concept of a Salon Exhibition The gallery appears to have been set for a party. Mismatched chairs are scattered through the space – ornate gothic throne, wing-backed recliner, stackable school chair. Each points towards a white window painted on to the wall, into which one of 43 equally miscellaneous paintings has been inserted. These paintings are the other party guests, and you must decide who to sit with. Engaging with the Artworks It is a ragtag bunch, and so I decide to start with the people I recognise. But on my way to meet a portrait by Denzil Forrester of the young Haile Selassie, its surface resembling scuffed and polished stone, I am distracted by the glitter of light from a small work by Andrew Cranston. It comes from a young woman who seems to have been transplanted from Dumbarton into a glamorous late Vuillard, her coat shimmering like the scales of a fish caught by late summer sun. The Curator's Vision The host of this “salon”, and the person whose sensibility knits it together, is Matthew Higgs, director of New York’s White Columns gallery and magpie impresario. Some of these artists he has worked with for years, while others, such as Adam Keay, who contributes an oddly compelling beach scene, were invited on the strength of a chance encounter. The Experience of Discovery If you can stick it out to the 40-minute point at which things get really psychedelic, you will discover that you have attracted the attention of security guards. This is because exhibitions are not, for the most part, designed to encourage you to spend a long time in front of art works so much as move you through to the gift shop. But Higgs understands that to have a meaningful experience with a painting requires no technical expertise but only time, an open mind and, ideally, a chair.

The LIV Golf Event Postponement LIV Golf's inaugural tournament in New Orleans scheduled for the end of June is likely to be postponed until the autumn, according to multiple local reports. Event Details and Financial Implications New Orleans television station WDSU and nola.com were among the first to report Monday that the Bayou Oaks event at City Park planned for late June was being moved to later in the year. An announcement by LIV Golf and the Louisiana Economic Development agency was expected on Tuesday. The swap would mean that LIV Golf would not have any tournaments in the United States for a three-month period from northern Virginia on 7-10 May at Trump National until the 6-9 August event at Trump Bedminster in New Jersey. The Impact of Saudi Funding Concerns The development comes two weeks after LIV Golf CEO Scott O'Neil assured staff and players the season would continue “uninterrupted and at full throttle.” O’Neil was responding to speculation the Public Investment Fund of Saudi Arabia would no longer provide financial support to a league that already has spend more than $5bn since it began in 2022. Reasons for the Postponement LIV Golf is said to be looking to move the New Orleans event to the autumn to avoid peak summer temperatures, ensure the course is in championship shape and to avoid attendance and viewership conflicts with the World Cup. New Orleans is not hosting any World Cup matches. Financial Agreements and Repercussions Louisiana officials stated last August when the tournament was announced they had agreed to pay LIV Golf $5m and spend an additional $2.2m on improvements to the Bayou Oaks course in City Park. WDSU reported Louisiana will be repaid $1m, which the state had already paid to LIV in advance of the tournament.

The Rise of Rugby's Elite Speedsters The world of rugby union is witnessing a paradigm shift with the emergence of exceptionally gifted young players who are redefining the sport. Noah Caluori, a 19-year-old winger for Saracens, has been making waves with his incredible speed and agility on the field. Caluori's Record-Breaking Performance Caluori's recent performance against Leicester was nothing short of phenomenal. He scored a try that was described as 'from another planet' by commentators, showcasing his deft skills and searing acceleration. This is not an isolated incident, as he has consistently impressed with his speed and agility, including registering five tries in a game against Sale. The Data Behind the Phenomenon Caluori has scored 18 tries in just nine Premiership matches. He is two tries short of Sam Simmonds' all-time league record. The Impact on Rugby Union The emergence of Caluori and other young speedsters like Louis Bielle-Biarrey and Immanuel Feyi-Waboso is having a profound impact on the sport. They are bringing a new level of excitement and athleticism to the game, which could potentially attract a new, younger audience. The Future of Rugby As these players continue to impress, it is likely that they will play a significant role in shaping the future of rugby union. With their exceptional skills and charisma, they have the potential to launch rugby's image into the stratosphere and transform it into the most compelling fast show in sport.

The Lead: From Sheffield Pub to Hollywood Film ScoreLast year, Jim Ghedi was having a chicken dinner at his mother's house in Sheffield when he checked his phone. A director had started following him on Instagram, and as a joke, Ghedi messaged him saying he wanted to do his next film score. To his surprise, the director, Michael Sarnoski, responded immediately, offering him the job to score the forthcoming A24 production "The Death of Robin Hood," starring Hugh Jackman and Jodie Comer.The Breakthrough: A Working-Class Folk Musician's Unexpected Hollywood OpportunityDespite having never scored a film before, Ghedi was given the gig. He bonded instantly with Sarnoski through video calls and a shared love of Steeleye Span, and ended up writing the songs and score. He describes the finished material as "quite doomy, earthy and dark" but also "quite light and orchestrated." Ghedi was invited out to LA to work on the project there, but instead chose to stay rooted in Sheffield. Even so, he had moments of impostor syndrome, acknowledging that "it's very rare for someone like me, and where I'm from, to get those kinds of opportunities."The Musical Journey: From Hip-Hop to Folk with Working-Class RootsGhedi, 35, was given a guitar when he was eight and quickly became a skilled player, but his teenage years were lit up by hip-hop and punk. The lyrical output of hip-hop proved formative for him. "Hearing people talk about being raised by a single mum was like, whoa," he recalls. "Here's someone artistically talking about something that I'm also experiencing in my life." Then came the revelatory discovery of Bert Jansch. "It was the first time I'd heard someone who played an acoustic guitar and it was not pretty," he says. "It was really heavy and aggressive."The Class Divide: Folk Music's Middle-Class DominanceWhile Ghedi favours metaphor and nuance rather than state-of-the-nation-style delivery, class is central to his music and ethos. "When I was younger, I was really naive and I tried to assimilate," he recalls. "But I realised: I need to own where I'm from. I'm not trying to be a spokesperson, but the folk scene is very middle class. The divide and the drop-off is huge, and in some ways, the disparity is worse now than when I started."The Future Outlook: Authenticity Over Commercial SuccessGhedi's trajectory to landing a huge project such as "The Death of Robin Hood" is a rare but heartening one. Despite having a memorable time working on the film, with a team on whom he heaps praise, he appears resolutely unmoved by the idea that he now needs to play any kind of game. "As long as I stick to focusing on creativity, nothing else matters," he says. "Whether I'm playing to 10 people in a room or 1,000, it's the same for me."

A three‑season Arabic comedy series, Smatouha Minni (You Heard It From Me), is turning a rented flat in Beirut’s Gemmayzeh neighbourhood into a satirical battlefield against the region’s rising “red‑pill” misogyny.The Rise of Smatouha Minni: A Feminist Satire from Beirut’s GemmayzehCreated by Amanda Abou Abdallah, the show features actress Maria Elayan in a series of exaggerated characters that mock patriarchal advice, from “change the diapers” jokes to absurd “second‑wife” recommendations. Filmed in a modest living‑room studio, each episode blends comedy sketches with pointed commentary on gender‑based online subcultures.Viewership Metrics and Social ReachInstagram podcaster “Dr Abdullah Mohammed” – 749,000 followers.Series launch: June 2020, now in its third season.Audience: hundreds of thousands of YouTube viewers, with strong engagement from young Arab women.Shifting Gender Narratives in the Arab Media LandscapeThe series arrives amid a “re‑intensification” of patriarchal backlash, fueled by the “red pill” ideology popularised by figures like Andrew Tate. By using humor, Smatouha Minni disarms defensiveness, giving viewers a vocabulary to challenge misogynistic tropes and encouraging dialogue on topics traditionally considered taboo.What Lies Ahead for Satirical Feminist Content in the RegionWith its German registration allowing circumvention of local censorship and an online‑first distribution model, the show is poised to expand its reach. If audience growth continues, similar productions may emerge, further pressuring regional platforms to address gender equity and potentially prompting regulatory responses.

AI Encroaches on DIY Zine CultureThe self‑published zine, a staple of queer activism, Black feminism, and the riot‑grrrl movement, now faces a technological shift: creators are experimenting with artificial intelligence for layout, artwork, and even code. While some see it as a tool, many view it as antithetical to the handmade, scrappy ethos of zines.Scale of AI Adoption in Zine Production97‑page 90s‑inspired zine produced by Jesse Pimenta and Cheyce Batchelor using Figma’s AI tools.92‑page anti‑AI zine "I Should Be Allowed To Think" by Maddie Marshall, sold on Etsy.Online‑only zines increasingly rely on AI for design, layout, and website generation (e.g., Steve Simkins’s photo zine built with ChatGPT‑generated HTML).Implications for Underground Publishing and Creative AutonomyVeteran zine retailer Jeremy Leslie notes that AI‑generated zines are typically experimental statements about the limits of machine creativity. Creators like Rachel Goldfinger argue AI erodes critical thinking and threatens jobs for artists who rely on manual craft. Meanwhile, platforms such as Polyester now run AI‑detectors on submissions, underscoring a growing gatekeeping response.Future of Handmade Zines in an AI‑Driven LandscapeDespite the tension, many acknowledge that AI’s existence is inevitable. Ione Gamble suggests coexistence may be possible but warns it could undermine the low‑barrier, grassroots nature of zine making. The community’s next steps will likely involve hybrid workflows, clear ethical guidelines, and continued advocacy for the tactile, personal value of handmade publishing.

Weekly Overview: Ceasefires Mask Intensified Israeli OperationsIsrael has signed ceasefires in Gaza, Lebanon and Iran, yet Israeli forces and settlers expanded their presence in the occupied West Bank, deepened incursions in Gaza and intensified actions in East Jerusalem during the week of April 20‑27, 2026.Escalation of Israeli Military Actions Across Gaza, West Bank, and East JerusalemIn Gaza, drone and air strikes killed 40 Palestinians, including three police officers and three children.In the West Bank, settler‑linked shootings and vehicle attacks resulted in the deaths of teenagers in al‑Mughayyir, Hebron, Nablus and Deir Dibwan.In East Jerusalem, demolition of 17 homes in Silwan’s al‑Bustan neighbourhood accelerated, targeting a total of 115 homes by October.Municipal elections were held for the first time in Gaza since 2006, with a 23 % turnout in Deir el‑Balah.Casualty and Displacement Statistics for the WeekTotal Palestinian deaths in Gaza since the October 11 ceasefire: 817; injured: 2,200+.Cumulative Gaza death toll since October 7, 2023: 72,593.Movement obstacles recorded by OCHA: 925, the highest in 20 years (43 % above the two‑decade average).Displacement incidents: demolition of a school and homes in Hammamat al‑Maleh, displacing the last three households.Political Ramifications and Settlement Expansion Amidst CeasefiresThe week coincided with the formation of a Naftali Bennett‑Yair Lapid alliance that will challenge Benjamin Netanyahu in the upcoming October elections, while the alliance’s leader has ruled out Arab parties in any future coalition. Settler violence surged, with coordinated calls to “cancel Oslo with your feet” and attacks in multiple Area A and B locales, underscoring a strategic push to reshape facts on the ground before any political settlement.Outlook: Prospects for De‑escalation and Regional StabilityGiven the pattern of using ceasefires as a cover for intensified operations, humanitarian aid inflows remain insufficient despite the reopening of the Zikim crossing. Unless diplomatic pressure curtails settlement expansion and protects civilian infrastructure, the cycle of violence and displacement is likely to continue, further complicating any ceasefire‑based peace initiatives.

The Film's Premise and ExecutionPeel back the layers and sadly there is nothing much going on inside this American indie drama from director Zeshaan Younus; it's a movie that's aiming for noir, but ends up more of a shade of drab grey. It's contrived and frustrating, with a painfully pretentious voiceover by its lead character Parker (Renee Gagner). She's an actor in Los Angeles who returns to her home town after her sister Indiana (Rosie McDonald) is killed. "Sister, you were right." muses Parker. "I am never fully anything or anyone. Instead, I am practically everyone and everything."Character Development and Dialogue IssuesIt's film in which actors shot in closeup deliver lines looking pensive, with an air of meaning and depth, while not actually saying anything meaningful. Before her death, we watch Indiana brokering some kind of dodgy deal with a biker. She leaves a voicemail for Parker: "I'm in pretty deep out here ... If anything happens to me don't come looking." Which is advice promptly ignored by her sister after Indiana is killed. Instead, Parker searches for answers, although this is a film with loftier intentions than solving a murder.Visual Style and Cinematic ApproachIn places it feels like a film school project, self-conscious without much thought for the audience. There are echoes of David Lynch, though this has none of the danger or strangeness, despite some murky, atmospheric camerawork by cinematographer Justin Moore.Release InformationI've Seen All I Need to See is in UK cinemas from 1 May.