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Capturing the Unseen Lives of Coastal Youth Documentary photographer Polly Braden had her big idea while reading a landmark report about the poor health of people living on the English coast. The report blew her away, and she thought: 'This is about England. And it affects all of us.' The Against the Tide Series Braden collaborated with The Guardian's Seascape section to produce the 'Against the tide' series, a wide-reaching year-long journalism project reporting on the lives of young people in coastal communities across England and Wales. The project aims to shine a spotlight on 16- to 25-year-olds growing up on the neglected fringes of England and Wales. Photographing Resilience and Beauty Braden's work includes a photograph of Libby, a young woman from Whitehaven, Cumbria, depicted on a beach underneath a gloomy sky, holding a bag of oranges. A rainbow is faintly visible in the centre of the image, behind her right shoulder, giving her a slight halo as she looks down, away from the camera. 'There's beauty in it,' says Braden. 'And there is bleakness.' The Exhibition Braden's work will form a touring exhibition which opens at Arnolfini gallery in Bristol in June and moves to Colchester's Firstsite gallery in October.

The Paradox of Growth: Datacentres, GDP, and ClimateThe latest March GDP figures reveal a troubling disconnect between economic expansion and environmental reality. While the economy grew by 0.3% in the quarter, the primary driver of this growth is a boom in datacentre investment. This creates a scenario where economic success is being achieved at the expense of the climate and long-term employment stability.The Datacentre-Driven GDP SurgeThe core of this economic shift lies in the massive private investment in machinery and equipment, which actually exceeded total GDP growth. This surge is largely attributed to the information technology and communications industry, specifically the construction of datacentres.Net Trade Deficit: Australia's net trade went backwards, with imports of datacentre equipment outpacing exports.Jobless Growth: Unlike traditional infrastructure, datacentres are designed to minimize human labor, meaning the construction boom does not translate into a sustainable jobs boom.Investment Shift: Without datacentre investment, non-mining investment would have actually contracted in March.The Hidden Cost of Household SpendingWhile the headline GDP number looks positive, the underlying data for households tells a different story. The rise in household spending was largely artificial, driven by a jump in electricity and gas bills following the end of government rebates.Per Capita Decline: When accounting for population growth, average household spending actually fell.RBA Impact: The Reserve Bank of Australia (RBA) raised rates, contributing to a 0.7% drop in real per capita disposable income.Living Standards: Nearly half of the income decline was due to increased interest rate payments.Why GDP Metrics Fail to Reflect RealityThe Climate Council warns that the datacentre boom will drastically increase Australia's electricity consumption. Currently accounting for 2% of national electricity use, this sector is projected to jump to 6% by 2030 and 12% by 2050.This growth threatens to derail progress on climate goals. As electricity emissions are currently the main reason for falling greenhouse gas levels, the rapid expansion of datacentres—requiring massive amounts of power—could effectively destroy the nation's ability to reach net zero targets.The Future of Energy and EmploymentThe current economic trajectory suggests a future where growth is decoupled from both job creation and environmental sustainability. To avoid a climate catastrophe, Australia must urgently integrate massive renewable energy capacity and battery storage to power these datacentres without relying on polluting coal or gas.

Discovering New Voices in Poetry A recent review roundup from The Guardian showcases a diverse selection of poetry collections, each offering unique perspectives and styles. The review highlights six exceptional works, providing insight into the world of contemporary poetry. Haunting the Black Air by Anthony Joseph Joseph's follow-up to his TS Eliot prize-winning Sonnets for Albert sees his poetic approach become more radical. He pays homage to avant-garde writers such as Will Alexander and Nathaniel Mackey, while exploring themes of nostalgia, grief, and magnetic feelings. Selected Poems by Leontia Flynn Flynn's collection is a glorious reintroduction to her mordant wit, imaginative image-making, and unerring ability to puncture pretension. Her poems remain fresh and relevant, even after more than 20 years of publishing. You Must Live: New Poetry from Palestine This anthology features over 30 poets living in Gaza and the West Bank, with work written in the last few years. The poems testify to the resilience of the artists and the role that poetry still has to give voice and bear witness in times of crisis. Melete by Jennifer Lee Tsai Lee Tsai's debut is a sprawling mix of poetry and prose exploring second-generation Chinese identity in the UK. The book feels roughly hewn, fiercely articulating the need to write and create something beautiful. Sparrow on the Rooftop by Rachel Long Long's second collection has replaced the playfulness of her debut with a directness of diction and image. The poems pull you up with their unflinching gaze, tackling topics such as alcoholism, eating disorders, and grief. Somebody Should Have Pressed Record by Galia Admoni Admoni's narrative poem explores the premise of starting a relationship with an imaginary version of an actor. Her tone is reminiscent of Georges Perec, both in its jabs at contemporary living and in what it reveals about the difficulties we have in making sense of ourselves in the absence of others.

The LeadA former chair of an influential parliamentary committee has expressed shock that the public spending watchdog has not established how much money Prince Andrew made from subletting properties on his Windsor estate.Transparency Concerns Over Royal FinancesMargaret Hodge, who led the public accounts committee, told BBC Radio 4's Today programme she was "very concerned" that the National Audit Office (NAO) was not able to find out how much money the former prince had made from letting properties. She also raised concerns that a report by the NAO did not cover all of the crown estate properties.Financial Arrangements at Windsor EstateHodge made her comments after the NAO revealed Prince Andrew received private income from subletting three cottages on his Windsor Royal Lodge estate while paying a "peppercorn rent" to the crown estate. The Labour peer emphasized that "we all want a royal family to be continued to be respected, valued and treasured" but "in a modern era that does require proper transparency and accountability."Questions About Non-Working RoyalsHodge raised concerns about other royals including Princess Beatrice and Eugenie and Prince Michael of Kent and his wife, who were "subsidised in the way that they were living on the estate, they weren't paying rent, and yet they're not working royals." She questioned whether it was appropriate for non-working royals to be subsidised by taxpayers from a fund that belongs to the taxpayer.The Crown Estate's PositionThe crown estate is "our money, it's taxpayers' money, it's not theirs," Hodge stated, adding that "whoever runs that has to always ensure the taxpayers' interest." The review also shows that King Charles pays an "adjusted" rent from his private Duchy of Lancaster income, below open market value, for his disgraced brother's non-working royal daughters to live in royal palaces.Prince and Princess of Wales Property DetailsMeanwhile, the Prince and Princess of Wales's Forest Lodge home in Windsor underwent £400,000 repairs carried out by the crown estate before the couple moved in with their three young children last year. William and Catherine took out a 20-year lease on the Grade II-listed Georgian house and pay £307,200 rent a year, reviewed every five years. They paid no upfront premium and are responsible for internal refurbishments and alterations.Official ResponsesA spokesperson for the crown estate stated that "the crown estate welcomes the National Audit Office's review, which confirms its leases with members of the royal family were agreed in line with independent, professional advice and open market valuations." Buckingham Palace also responded, saying they were "grateful to the National Audit Office for this report, which is in line with the royal household's commitment to transparency."

The Comeback That Never MaterializedJust over a year ago, Lizzo appeared on Saturday Night Live, announcing a new album called Love in Real Life in grandstanding style. Wielding an electric guitar, clad in a Trump-baiting T-shirt that read Tariffied, she performed its title track and two other new songs, Still Bad and Don't Make Me Love U. As with her appearance earlier the same week on a late night talkshow – during which she ran into the audience to high-five fans who were yelling "we love you Lizzo!" – it looked very much like a defiant comeback, fit to drag her out of the controversy that erupted at the end of her hugely successful 2023 world tour. Three former backing dancers and a costume designer filed lawsuits against the singer alleging harassment and discrimination: damaging claims given how Lizzo's songs have preached a message of inclusivity, body positivity and self-confidence. Some of the allegations were dismissed by a judge but others are ongoing; Lizzo has refused to settle out of court, saying: "I'm fighting the case because I know that it's not true."The Album That Never WasBut the Love in Real Life single, a pivot towards rock that owed a little to Tom Petty's American Girls – or the Strokes' American Girls-indebted Last Nite if you prefer – failed to make the charts, a far cry from the period between 2018 and 2022 when Lizzo's singles seemed to go multi-platinum as a matter of course. The same fate befell Still Bad, a track much more in the vein of her big hits, prompting a rethink. The album was pulled, Lizzo apparently taking control of her own destiny – "I need to do shit my way". A mixtape that returned her more-or-less to where she started, before pop stardom came calling – punchy hip-hop, albeit tricked out with guest appearances from Doja Cat and SZA – appeared in its place: My Face Hurts from Smiling received mixed reviews and underwhelming streaming figures.A Career at a CrossroadsAll of which means that Bitch, her fifth album proper, lands at a deeply peculiar juncture in Lizzo's career. Given that the public apparently don't want her going rock, nor rapping in the style of her 2013 debut Lizzobangers, nor indeed making the kind of music they were buying in their millions three years ago, the question of what they actually do want has presumably hung heavy over its making.Musical Identity CrisisLizzo hasn't come up with a definitive answer. Bitch tries a bit of everything, from pastiching Tame Impala on Happy 2 Be to making clipped new-wave rock decorated with Cure-like guitars on She Stole My Man; Sexy Ladies is a girls-night-out-soundtracking reiteration of the old body positivity message. This scatter-gun approach makes Bitch a disjointed listen.The Subdued ToneMoreover, there's something oddly subdued about its tone, whether it's dabbling in 80s retro – Don't Make Me Love U brings to mind the arena-rousing keyboard hook from Tina Turner's The Best, but renders it into a distant, affectless backing vocal – or delving into jazzy R&B; on Too Nice. The vibraphone-heavy beat on the latter is fantastic, rich in small-hours atmosphere, but the actual song feels nondescript: it only really comes to life in its dying moments, when Lizzo stops singing and starts playing a flute solo. The title track interpolates the chorus from Meredith Brooks' 1997 pop-grunge hit of the same name, but somehow flattens it in the process. Crooned over smooth, G-funky R&B;, it feels stripped of its fiery power, less of a snarl and more of a shrug.Equivocal LyricsThe lyrics often seem similarly equivocal. You don't want for apparent references to Lizzo's recent woes – "I hope it makes you happy to hurt somebody else", "the thing about depression, you think your life is over", "you'd still be working at the mall if it wasn't for me" – but they ultimately feel neither pugilistic nor racked, just confused and sore: "I have feelings too," she sings on piano ballad A Toast.Highlights Amidst the StruggleNot everything here is underwhelming: Whose Hair Is This is a great southern soul pastiche, home to an impressively raw vocal and a snappy plot twist at the end of the lyrics; That Grrrl employs an old-school Chicago house bassline to energising effect. But what's definitely lacking is an unequivocal pop smash, the kind of thing that Lizzo once seemed to be able to write to order.A Changing Cultural LandscapePerhaps that's inevitable. One of the reasons Lizzo hit so big in the first place was that she made pop music that perfectly captured a zeitgeist, and that zeitgeist has moved on: the era of body positivity has been displaced by the era of Ozempic and Mounjaro; the kind of post-pandemic, post-Trump optimism embodied on 2022's About Damn Time now sounds like a transmission from a distant lost age. We're living in a different world now, and Bitch suggests Lizzo has yet to work out how to respond to it: "I'm doing my best," she sings on A Toast, which feels like the most telling lyric of all.

The Encounter with the 'Queen of Trees' I breathe in the bluebells as a blackcap sings. At the crescendo, a flash of yellow breaks up the blue – a brimstone butterfly flies up to my face, then moves back, approaches, then draws back, repeating the fluttered action until I follow. A Moment of Connection in the Forest Together, we weave through fresh-scented firs before my companion flits away and I realise that I have come further into the forest than intended. My feet start to throb and the wind, as the sky grows overcast, brings a chill. I see the leaves of a vaulted canopy stir overhead and feel the softest carpet of fallen catkins underfoot. Although the threat of rain urges me forwards, a tree, an imposing common beech, makes me stay. The Majesty of the Common Beech Looking up through the domed crown, I think of the beech’s moniker as the queen of British trees. The long-living, high‑growing beech can grow over 40 metres tall and – with age, perhaps spanning multiple centuries – provide habitats for deadwood specialists like wood‑boring insects and hole‑nesting birds. This tree’s girth speaks of a long life that I find myself imagining; how many winds have run through the leaves, how many birds have been held in the branches, how many foot‑sore humans have found relief sinking into fallen catkins? A Shared Moment with a Tawny Owlet Thinking myself alone, it takes a confused moment to disentangle my eyes from another’s, to realise that – deep in the tree’s crevice – a tawny owlet is watching me. My eyes take small circuits around the white patches of the bird’s face: first the beak, then over the left eye, the right, then back again. I blink. It blinks. I blink. It blinks. We are reaching some kind of accord. A Peaceful Goodbye I move back a little and wait. Every now and then, its eyes meet mine. It blinks. I blink. It would be easy to fall asleep, as no doubt it was before my approach. But I know that I cannot stay. As I edge away, I mutter thanks to the brimstone for taking me on a different route, for leading me to this sheltering beech and the secrets that it keeps.

The Lead: Knicks' Historic Finals Return Echoes Inside Rikers IslandOn 3 June 2026, as the New York Knicks stepped onto the court for Game 1 of the NBA Finals, a group of roughly 30 men in tan uniforms settled into the common area of the George R. Vierno Center on Rikers Island to watch the same broadcast that was filling bars, living rooms, and streets across the five boroughs.Inside the George R. Vierno Center: A Prison “Honors House” Turns Into a Fan ZoneThe inmates gathered around a folding table piled with snacks, dragged plastic chairs closer to the flat‑screen televisions, and settled into a space that also houses classrooms, a recording studio, and a barbershop. The area, described by correction officials as an “honors house,” is reserved for those who have gone at least 120 days without violence or disciplinary incidents and have shown a sustained commitment to rehabilitation programs.Numbers That Frame the Moment: Capacity, Time Since Last Finals, and Inmate Eligibility850‑bed jail complex, one of eight active facilities on Rikers Island.Approximately 30 inmates watching the game.The Knicks’ first NBA Finals appearance since 1999, ending a 27‑year drought.Inmates qualify for the “honors house” after 120 days of good behavior; many have gone six months or longer without an infraction.Why This Matters: Sports Unity Extends Into New York’s Most Isolated InstitutionThe event turned a notoriously hidden correctional facility into a participant in a city‑wide civic ritual. Inmates like Luis Guzman, a 43‑year‑old from the Bronx, voiced the same optimism and rivalry heard on the streets, illustrating how sports can foster a sense of community and shared identity even behind razor‑wire fences.Looking Ahead: What the Knicks’ Success Could Mean for Incarcerated CommunitiesIf the Knicks capture the title, the moment may reinforce the value of “honors house” programs that reward good behavior with privileges such as extended lock‑in times and communal activities. The shared experience could encourage correctional authorities to expand similar initiatives, using major cultural events to boost morale and support rehabilitation efforts.

Executive Snapshot: Waterfront Properties Capture Buyer AttentionThe Guardian’s latest photo feature showcases a curated collection of homes for sale that boast direct water views in both England and Scotland. The visual tour reflects a broader trend of heightened interest in premium waterfront living.Rising Tide of Listings: What the Gallery RevealsAcross the featured regions, agents are promoting a variety of property types—from historic cottages on the Scottish lochs to modern apartments overlooking English rivers. The diversity of styles indicates that waterfront appeal cuts across price bands and buyer preferences.Market Premiums: How Water Views Influence PricesIndustry data consistently shows that properties with water access command a price premium of roughly 10‑20% over comparable inland homes.Buyers are often willing to pay higher deposits to secure locations that offer scenic vistas and recreational opportunities.Limited supply of prime waterfront parcels intensifies competition, especially in sought‑after regions such as the Lake District and the Scottish Highlands.Implications for Regional Real Estate DynamicsThe surge in waterfront listings is reshaping local markets. In England, coastal towns are experiencing increased buyer traffic, while in Scotland, lochside communities are seeing renewed interest from both domestic and international investors. This shift may spur new development projects aimed at preserving natural views while meeting demand.Looking Ahead: Forecast for UK Waterfront HousingAnalysts anticipate that the appetite for water‑view properties will remain strong, driven by lifestyle aspirations and limited land availability. Expect continued price appreciation and a potential rise in niche financing products tailored to high‑value waterfront transactions.

The LeadPrice is not a reliable indicator of whether a T‑shirt is ethically made or durable. Researchers and industry experts explain why a higher price tag does not guarantee better labour or environmental standards, and why a very low price should raise suspicion.Price vs Ethics: What the Research ShowsGood on You founder Gordon Renouf notes that their rating of over 7,000 brands shows no clear link between price and ethical performance. Dr Eleanor Scott of the University of Leeds adds that higher retail prices often reflect branding, marketing and retailer margins rather than improved standards.University research, in partnership with the Waste Resource Action Programme, tested the top 10 best‑performing T‑shirts and found that six of them cost less than £15, outperforming many expensive alternatives, including one priced at £395.Numbers Behind the Claim7,000+ brands rated on worker and animal welfare, plus sustainability.Top 10 tested T‑shirts: 6 priced under £15, 1 priced at £395.Low‑price fast‑fashion items such as £3 or £5 T‑shirts cannot cover living wages or responsible material sourcing.Affordable ethical examples: Yes Friends starts at £12; Rapanui from £18; Brothers We Stand at £20; THTC at £30.Implications for Consumers and BrandsFor shoppers, a very low price should be treated as a warning sign, while a higher price is no guarantee of ethical credentials. Brands that adopt large‑scale production, low margins and direct‑to‑consumer models—such as Yes Friends—demonstrate that ethical standards can coexist with competitive pricing.However, experts caution that scaling such models is challenging, especially for smaller sustainable labels that lack buying power.Looking Ahead: How the Market May EvolveAs transparency tools like Good on You gain traction, consumers are likely to rely more on verified ratings than price cues. The industry may see a gradual shift toward business models that decouple ethical outcomes from premium pricing, while regulators and NGOs push for clearer price‑floor guidelines to protect workers and the environment.