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The Lead: Stokes' Defense of Archer's IPL Commitment Ben Stokes has defended England's decision to excuse Jofra Archer from the start of the Test summer so he could compete in the Indian Premier League, saying a more militant approach risks a situation where "players like him might not play for England again." While Stokes admitted he "totally understands people's frustrations around the situation," particularly given that Archer is tied to an ECB central contract which runs until 2027, he suggested its most high-profile critics were stuck in the past. The Modern Cricket Landscape: Player Opportunities and Expectations "There's another side to it, and a lot of it's got to do with the landscape of cricket and where it is at the moment," England's Test captain said. "I think a lot of the points that people have been making around Jof and that situation are to do with the landscape when they were playing. But it's completely different now. There's opportunities for cricketers now that there wasn't 10, 15, 20 years ago. "Yes, in an ideal situation it would be unbelievably great to have everyone you want available at every single opportunity. That is not the way of cricket at the moment. There is so much more out there for players. There are other opportunities and you want players to be able to do them, and also to play for England. The Archer Situation: IPL Success and Test Uncertainty Archer has just completed his most successful IPL season, taking 25 wickets for Rajasthan Royals as they reached the playoffs, putting him third in this year's bowling rankings. He played his last game on Friday, before flying to Barbados for what Brendon McCullum, the England coach, described as "a little bit of a break". He is expected to play some part in the Test series against New Zealand but will not be at Lord's when the first Test starts on Thursday, and it is not yet known whether he will be available for the second game, which begins at the Oval on 17 June. Criticism and Counterarguments: Former Players vs. Current Leadership "It's ludicrous, absolutely ludicrous," Doull told Sky. "How are you paying this guy up to £1m a year and he's not available for your first Test match? There's no reason that Jofra Archer couldn't have been bowling six or seven overs [with the red ball] in between [games]. The fact that he is not doing that tells me he has no interest in playing Test cricket. And why are the ECB not then having discussions with the [Royals] team, saying: 'We need him to be ready for Test match cricket'? I think it's completely wrong." But while Stokes acknowledged the criticism, he maintained his position: "There is a situation where it could get messy, and players like Jofra might not play for England again if you handle it in a different way, and that is not good for anyone. Jofra has shown that he's committed and loves playing for England. Just because he's not available for this first Test match does not change that." England's Performance Issues: Need for a Smarter Approach Stokes admitted that his team had developed a habit of "consistently letting ourselves down" at crunch moments in Test matches, a trend which their much-trailed reset is intended to address. "It's not a massive change, to be honest," he said. "As much as people want to hear us say that, it's not. It's being a lot smarter in those big moments in games, because I will admit that consistently when [they] were in the balance, when it was neither one way nor the other, we let ourselves down. The decisions we thought were the right ones to make let the opposition get ahead of us. Especially over the past 18 months, we've contributed towards losing games of cricket on too much of a consistent basis."

Lead: The launch of Restore Britain – a hard‑line anti‑immigration party founded by former Reform UK MP Rupert Lowe – has injected a new competitor into the UK far‑right, prompting questions about whether it will erode Nigel Farage's support base ahead of a crucial Makerfield by‑election.The Rise of Restore Britain and Its Challenge to Reform UKLess than four months after its inception, Restore Britain claims more than 96,000 members and 13 councillors, most of whom defected from Reform. The party positions itself as the “only leader willing to take decisive action against immigration,” a stance amplified by a public endorsement from tech billionaire Elon Musk on X.Poll Numbers Reveal a Fragmented Far‑Right VoteMakerfield by‑election (June 18): Labour incumbent historically holds the seat, but a Survation poll shows Keir Starmer’s ally Andy Burnham at 43 %, Reform UK candidate Robert Kenyon at 40 %, and Restore Britain candidate Rebecca Shepherd at 7 %.Membership: 96,000+ members and 13 councillors have joined Restore since its launch.Implications for the Makerfield By‑Election and National PoliticsThe narrow margin between Labour and Reform suggests that Restore’s 7 % share could tip the balance, potentially preventing Reform from consolidating the anti‑immigration vote. Analysts from King’s College London and Queen Mary University warn that the split may hinder Farage’s ambition to become a king‑maker in Westminster, especially if Restore continues to attract the “more extreme” faction of the far‑right.What the Split Means for Future UK ElectionsExperts predict a multi‑party right‑wing landscape where Restore Britain may secure “a few seats here or there,” siphoning votes from Reform and complicating any coalition‑building effort. If the Makerfield contest demonstrates Restore’s ability to win marginal constituencies, the party could force Reform to either harden its rhetoric or risk further marginalisation, reshaping the dynamics of UK far‑right politics for the next general election.

The Collapse A building in New Delhi collapsed on June 2, 2026, leaving several people feared trapped. Rescue operations are underway. Rescue Efforts Some people have been rescued, but the exact number of those still trapped is not known. Emergency services are working to locate and rescue anyone still inside. The Incident's Impact The collapse has raised concerns about building safety and construction practices in the region. Authorities are likely to investigate the cause of the collapse. The Future Outlook As rescue efforts continue, the focus will shift to ensuring such incidents do not recur. This includes reviewing and possibly strengthening building codes and enforcement in New Delhi.

Executive Summary: Lawsuit Over Ring’s Facial‑Recognition Feature Amazon is being sued in Seattle by Charles Sigwalt over its Ring doorbell’s Familiar Faces feature, which allegedly records images of passersby without consent. Class Action Targets Ring’s Familiar Faces Rollout Filed: June 2, 2026 in Washington State Superior Court. Plaintiff: Charles Sigwalt, a Virginia resident. Allegation: Ring stores facial‑recognition data of “millions” of non‑consenting individuals. Feature launched: December 2023 after announcement in September 2023. The feature lets users opt‑in to identify regular visitors, but critics argue that anyone walking past the camera is scanned without permission. Financial and Regulatory Stakes Highlighted by Prior FTC Settlement 2023 FTC settlement: $5.8 million fine for improper video access. Ring’s privacy track record includes staff access to all customer videos and warrant‑less police requests. Recent backlash over AI‑powered “Search Party” pet‑finding tool and canceled partnership with Flock Safety. Privacy Concerns Prompt Wider Scrutiny of Smart‑Home Surveillance The lawsuit adds to pressure from groups like the Electronic Frontier Foundation and lawmakers such as Senator Ed Markey, who have called for stricter oversight of AI‑driven home security devices. Potential Outcomes and Industry Ripple Effects If the class action succeeds, Ring may be forced to redesign or disable Familiar Faces, set stricter consent mechanisms, and face additional regulatory audits. Competitors could pre‑emptively adjust their own AI features to avoid similar litigation.

A Critical Portrait of George MichaelIn 1998, George Michael was arrested for public lewdness in an LA lavatory, an incident that finally led the singer to publicly come out. The following day, Sathnam Sanghera found himself unable to leave his room at university: the doorway had been mockingly plastered with tabloid newspaper headlines – "ZIP ME UP BEFORE YOU GO-GO!" – by fellow students aware of his longstanding fandom. As a writer, Sanghera is best known for a series of award-winning books on the British empire, which he calls his "specialist subject". Judging by Tonight the Music Seems So Loud – not a biography so much as a miscellany, a set of themed essays that tend to digress in all kinds of intriguing directions – the life and work of one Georgios Panayiotou runs imperialism and its legacy a very close second.The Complex Legacy of a Pop IconIt is an unashamedly partisan book, although not an uncritical one. Sanghera is as alive to Michael's personal and professional failings (whether the naffness of some of his early work as one half of Wham! or his high-handed treatment of the duo's other half, Andrew Ridgeley) as he is in love with his artistic triumphs. These, of course, range from Careless Whisper and Wham!'s annually inescapable Last Christmas to the 1996 solo masterpiece Older, a peculiar and peculiarly effective cocktail of raw grief at the Aids-related death of his lover Anselmo Feleppa and unrepentant horniness.The Evolution of Critical ReceptionSanghera's love for his subject is evidently sharpened by the opprobrium of others. Indeed if the book has a flaw, it's that the author is old enough to remember an era when George Michael was deemed insufferably uncool by some arbiters of taste (incredibly, when Wham! performed at a 1984 benefit show for striking miners, the only mainstream pop act to show support for the cause, they were received stone-faced by the audience and savaged by the music press for their trouble), and thus has a tendency to underestimate how much both he and his music have been critically re-evaluated in the 21st century.The Artistic Journey of George MichaelHe says one of the spurs to write the book was his belief that "most truly popular music is not generally deemed worthy of serious analysis and George Michael's music most certainly is not". That might have been true once, but certainly not of late: when he died, this newspaper alone ran six features by critics analysing different aspects of his music. "He sang so exquisitely about the marrow of life, about the vital, corporeal things", wrote one, which definitely doesn't amount to taking George Michael insufficiently seriously.double quotation markEven as he skinned up in front of journalists and discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed himFamily Background and Cultural IdentitySanghera is very good on the climate of homophobia in the 80s, which might have given any gay public figure serious qualms about coming out, and fascinating on Michael's family background: how growing up embedded in north London's Greek Cypriot community impacted on everything from Wham!'s image – not camp, Sanghera suggests, but "the vision of two children of immigrants imagining a kind of glamour they had not actually experienced before" – to his work ethic and control freakery. His dad made good in England by working exceptionally hard, running such a tight ship at his restaurant that he summarily fired his only son for messing up the drinks orders. The fact that the same son went on to hire 12 different saxophonists before finding one that could play the solo on Careless Whisper to his satisfaction doesn't come as a huge surprise.The Perfectionist and Contradictory ArtistThis my-way-or-the-highway perfectionism could yield hugely impressive results – Careless Whisper's sax hook may well be the most famous in pop history – but it could equally lead to intransigence and self-sabotage. Michael worked incredibly hard to transform himself from a member of a teen pop band into a more adult-facing solo artist, but having sold a staggering 25m copies of his 1987 solo debut Faith, he refused to promote its follow-up Listen Without Prejudice Vol. 1, or even make videos for its singles: a better album than its predecessor, it achieved only a fraction of its sales as a result. It was evidence of a deeply contradictory nature that occasionally has Sanghera throwing up his hands in bewilderment.The Public and Private Faces of George MichaelMichael was a polymath, keen to be duly credited as the sole singer, writer, producer and musician on a succession of tracks, but also had a weird habit of talking down his abilities, claiming he couldn't play instruments he was perfectly capable of playing. He was a Stakhanovite who increasingly worked at an agonisingly glacial pace, endlessly fussing over details, a state of affairs not much helped by his gargantuan appetite for marijuana: coupled with bouts of writers' block, it meant he released only six albums of original material in a career that lasted 34 years. He was a Labour voter, booster of the NHS and famously generous philanthropist who also engaged in tax avoidance. After being publicly outed, he became a notoriously frank interviewee ("as if nothing can embarrass him anymore" the Guardian's Simon Hattenstone suggested when he met him in 2009). But even as he skinned up in front of journalists and freely discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed him.The Decline and Final YearsMichael emerges as a messy, unpredictable but ultimately hugely likable figure, which makes the essay about his demise particularly tough reading. Listed starkly on the page, the facts of his final 10 years make it obvious that he was a deeply unwell man whose life had spun wildly out of control: drug busts, medical emergencies, visits to rehab, rumours of breakdowns and suicide bids and seven incidents in which he either crashed his car or was found comatose at the wheel.The Professional Mask of Personal StruggleThat it somehow didn't appear obvious at the time – that his death at 53 felt like a shock rather than a grim inevitability – seems remarkable, but as Sanghera points out, Michael's professionalism did a lot to paper over the cracks. He was always available to the media and always smart, funny and self-effacing: to use a modern turn of phrase, he controlled the narrative. He was punctilious about his appearance – the star certainly never looked like an ailing drug addict – and unfailingly superb onstage.The Hidden Realities Behind the FameBehind the scenes, it was a different story. He struggled to make new music: at one juncture he booked six months of recording sessions but never turned up to the studio once. His once-acute commercial instincts seemed to desert him: even Sanghera can't muster much enthusiasm for the handful of still-unreleased songs he completed in his final years. He cut off close friends and family who tried to intervene. No one who knew him seems to have been particularly surprised by his death: the list of adjectives used to describe him on his official website now includes not just "icon" "legend" "soul singer" and "philanthropist" but "addict" "repeat offender" and "depressive".An Imagined Alternative LegacyAs the book draws to a close, Sanghera offers a heartbreaking alternative history. He imagines Michael conquering his addictions, coming to a complete accommodation with his musical past (to the end of his life, he was dismissive of Wham!, describing their oeuvre as an exercise in "ignoring my own intelligence" and declining to play most of their hits live) and headlining Glastonbury, "getting pleasure from the audience reaction to Club Tropicana".The Enduring Power of George Michael's MusicIt's affecting because you can imagine it so vividly: the endless succession of hits that anyone with even a passing interest in pop music knows, the pandemonium in the crowd when he breaks out Careless Whisper, the encore of Freedom '90. You don't have to be a fan on Sanghera's level to understand what a triumph it would have been. Tonight the Music Seems So Loud: The Meaning of George Michael by Sathnam Sanghera is published by Picador (£22). To support the Guardian, buy a copy at guardianbookshop.com. Delivery charges may apply.

The Appointment of João Saldanha In January 1969, João Saldanha was appointed as Brazil's coach. Saldanha was a charismatic and popular football journalist who claimed to have played a role in key historical moments, often in the service of international communism. His appointment was a bold move by João Havelange, the president of the Brazilian sports confederation, as Saldanha had no prior coaching experience. The Event Details Saldanha's tenure was marked by controversy, including his communist views and erratic behavior. He announced his starting lineup and reserves without consulting anyone, which initially worked well, and Brazil sailed through qualification for the 1970 World Cup. However, his politics and behavior eventually led to his downfall, and he was replaced by Mario Zagallo. The Data Analysis The article highlights the challenges faced by Zagallo, who had to repair the relationship between Saldanha and Pelé, who was questioning Pelé's fitness and contribution to the team. Zagallo reassured Pelé of his importance and began to build a team around him. The Impact Analysis Zagallo's preparation and tactics played a crucial role in Brazil's success. He introduced a more flexible formation, using Tostão as a centre-forward and Jairzinho on the right wing. The team's physical preparation, which included working with specialists and using data to manage their performance, also gave them an edge. The Prediction The article concludes that Brazil's preparation and tactics under Zagallo ultimately led to their World Cup victory. The team's ability to adapt to the conditions in Mexico, including the heat and altitude, was also a key factor in their success.

The Incident During the Performance Rosamund Pike has criticised an audience member for texting during the climax of her West End performance, saying she hoped the message was “very important”. After a performance of Inter Alia on Saturday, Pike returned to the stage after the final bows. She told the audience at Wyndham’s theatre in London: “I just wanted to say for anyone going to the theatre, it’s a huge thing that we’re trying to give you. I am trying to tell you a story, and I’m feeling you, and I hope you’re feeling me too.” Pike's Address to the Audience “Somebody was texting in this part,” she said, gesturing towards a section of the audience. “You know who you are and I’m not going to single you out. “Maybe it was very important, and maybe you’re a doctor, and you’re saving someone’s life, and I hope you are, but we do see these, we do feel them. I’ve got you, I feel like I’ve got to hold you all, so when I feel that and see it, it’s hard.” The Growing Trend of Actors Speaking Out Pike joins a growing number of actors who have criticised audience etiquette and phone usage during theatre performances. Last month, Lesley Manville told BBC Radio 4 that audiences should not take photos and videos during curtain calls. “Clap or don’t clap, but don’t just stick up your phone in our faces,” she said, “I find it insulting.” In April, Cynthia Erivo interrupted her performance of Dracula in the West End after spotting an audience member filming the show. During a performance of Hamlet in 2024, Andrew Scott halted the “to be or not to be” soliloquy when he saw an audience member had taken out a laptop to send emails. Background on the Play Pike, 47, won an Olivier award in April for her role as Jessica Parks in Inter Alia. The play follows Parks, a crown court judge dedicated to challenging the legal system’s approach to sexual violence, who is forced to contend with her own son being accused of rape. Inter Alia was written by the Australian playwright Suzie Miller, who also wrote one-woman-play Prima Facie starring Jodie Comer.

The Lead: A Record-Breaking CareerJames Milner has etched his name into football history by breaking the Premier League appearance record, a remarkable achievement that speaks volumes about his longevity, consistency, and unwavering dedication to the sport. The 40-year-old veteran has demonstrated an extraordinary level of professionalism throughout his career, earning admiration from teammates and rivals alike for his commitment to excellence both on and off the pitch.The Professional Profile: Beyond Ordinary DedicationFormer teammates paint a picture of a player who was exceptional from his early days. Michael Bridges, who roomed with Milner during his time at Leeds, recalls: "James Milner was the most dedicated and professional young player I've met. He also took the not inconsiderable transition from being at school to playing in the Leeds first team totally in his stride. Nothing fazed him. He was very level-headed."This level-headedness extended to Milner's lifestyle choices. While teammates socialized with alcoholic drinks, Milner remained steadfast in his commitment to peak physical condition, often opting for Ribena Toothkind instead. His dedication was so complete that teammates nicknamed him the "hydration monster" due to his intense focus on maintaining optimal hydration levels.The Technical Mastery: Versatility Across PositionsWhat sets Milner apart is not just his longevity but his remarkable versatility. Throughout his career, he has excelled in multiple positions, adapting his game to suit different tactical systems and managerial philosophies. Bridges notes: "Above all he's a very intelligent footballer who reads the game well and has the versatility to play in different positions for different types of managers. That's helped him."This adaptability has allowed Milner to remain relevant across different eras of football evolution. From his early days at Leeds to his current role, he has consistently demonstrated an ability to read the game and position himself effectively, even as the tactical demands of the sport have evolved.The Impact Analysis: Redefining ProfessionalismMilner's career offers a fascinating case study in modern professionalism. In an era where footballers often face intense scrutiny and shorter careers, Milner has bucked the trend through his extraordinary discipline and commitment. Steve Harper, who worked with Milner at Newcastle, draws a direct comparison: "His level of professionalism is right up there with Cristiano Ronaldo's. It's no coincidence that they're both still going strong."This approach has had ripple effects throughout the sport. Younger players now have a role model for how to maintain peak performance over an extended career. Milner's career demonstrates that longevity in professional football is not merely about talent but about lifestyle choices, work ethic, and mental fortitude.The Legacy: More Than Just AppearancesAs Milner surpasses Gareth Barry's previous record of 653 Premier League appearances, his legacy extends far beyond the numbers. Curtis Davies, who played with Milner at Aston Villa, emphasizes: "Breaking the appearance record will be testament to him and the way he has lived his life, and if anyone is going to go past Gareth Barry, another former Villa teammate, there's no better person than James to do so."Milner's career represents a different kind of greatness in modern football—one built on consistency, adaptability, and unwavering professionalism rather than just fleeting moments of brilliance. As he continues to add to his record, he stands as a testament to the values that can sustain a career at the highest level for more than two decades.

The Dance Challenge: A Weekend Immersion As I wait for my first Cuban salsa class to begin, I have the distinct feeling that I am poorly prepared. I'm wearing heavy jeans, a bulky woollen sweater and boots. I have never done a dance class in my life – or any kind of exercise class. I don't know anything about salsa, Cuban or otherwise. Standing alone, I notice that everyone has come with at least one friend, and begin to suspect that it takes two to Cuban salsa. This year, Rising festival – Melbourne's winter arts offering – has consolidated its longstanding dance focus into a mini-festival: the inaugural Australian Dance Biennale, showcasing Australian and international work. There's also a series of dance classes, romantically titled The Land of 1000 Dances, held in the romantically decrepit Flinders Street Ballroom. Running daily until 7 June, with classes costing $29 a pop, the diverse schedule includes Afro-fusion, ballroom, voguing, waltz and K-pop for teens and tweens. From Salsa to Shuffle: A Dancer's Journey As an audience member, I am an avid appreciator of dance; as a participant, I can most kindly be described as "curious" but uncoordinated. What if I went to a bunch of dance classes and then wrote about it? Precisely 24 hours before my first class, the misgivings begin – doing my first dance class while dressed for the show I'm seeing directly afterwards sounds like a bad idea. At the ballroom, I am briefly reassured: the crowd is a diverse mix of ages, genders and bodies, and hardly anyone is wearing dance-appropriate clothing. But the class itself is a blur – sometimes literally – as I try to learn and enact the cucaracha, the guapo and other basic Cuban salsa moves; attempt to locate the beat, my hips, any sense of coordination at all. Every time I feel as though I'm starting to get the hang of something, the instructor adds a new step. Then he corrals us into pairs – and a series of new moves, yelling "change partners!" every three minutes. Going solo, it turns out, is fine: everyone is friendly; many seem as unsure as I am. Some are nailing it but there's a sense of camaraderie: we're all in this together. That said, we're all a bit too sweaty to be holding each other. The Social Dynamics of Dance Classes I move from absolute befuddlement, through occasional moments of triumph, to a sense of quiet despair. A move that involves a 360-degree rotation to an eight-count almost breaks my spirit and I consider quitting. To my surprise, this awakens a latent fighting spirit: screw the rules, I'm doing it my way. I experience brief elation. Then we change partners and I find myself in a cursed duet involving four left feet. The elation shrivels. The class ends and I run to the theatre feeling like a dank, demoralised biohazard. I spend the next hour watching a show by the Irish choreographer Oona Doherty featuring a mix of professional, student and untrained dancers – and I mentally salute them all, with a newfound appreciation for the dark art of dance. Finding Joy in Movement I approach my next class, Melbourne shuffle, with a sense of dread. Not only do I now know how bad I am but I have agreed to be photographed. And I made the choice without knowing anything about the Melbourne shuffle, mistakenly assuming it was somewhere in the ballpark of the city's other great cultural tradition. This feeling I am experiencing, I discover, is known as "endorphins". The physical exertion, the mental focus required, the social connection – it all combines to create a chemical cocktail that makes the experience worthwhile despite the occasional humiliation. By the end of my dance weekend, I haven't become a dancer, but I've gained a profound respect for those who are. The Australian Dance Biennale and The Land of 1000 Dances offer not just entertainment, but an invitation to participate, to challenge oneself, and to discover new dimensions of movement and expression.