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Piteå IF, a team in Sweden's top women's football division, Damallsvenskan, is struggling to stay competitive due to its remote location in northern Sweden. The club is entering its 17th season as a top-division side, but faces significant challenges, including high travel costs to away games.The club's managing director, Emelie Lövgren, notes that 13 of the 14 teams in the league are based in the south of Sweden, making travel a major expense. A trip to the southernmost city, Malmö, is 908 miles one-way, while even a trip to Uppsala costs around £8,000 (95,000KR) per season.Lövgren emphasizes that the club is prioritizing cost-cutting over performance, which she describes as the 'saddest part.' The club has sold several key players, including goalkeeper Lauren Brzykcy to Bristol City, to balance its finances. Wages are increasing by 15-20% annually, making it difficult for Piteå IF to keep up.The club's sporting director, James Burgin, notes that it's a 'complete catch-22' to attract and retain players in the squad. The club is exploring solutions, including external investment and raising awareness about the struggles faced by northern teams.Lövgren concludes that change needs to come centrally to support northern teams and ensure the long-term viability of women's football in the region.

The creation of the soundtrack for the film 'Mother Mary' was a collaborative effort between director David Lowery, actress Anne Hathaway, musician FKA twigs, and producers Charli xcx and Jack Antonoff. The film, which explores the story of a fictional pop star, required a soundtrack that captured the essence of 21st-century pop music.Lowery spent time studying the music of the last 25 years, including artists like Taylor Swift, Lorde, and FKA twigs, who appears in the film as a medium named Imogene. As the film's story emerged, Lowery's musical influences shifted towards artists like James Blake and Aldous Harding, who better captured the emotional tone of the film.Anne Hathaway, who plays Mother Mary, had a background in theater and had won an Oscar for her performance in the musical Les Misérables. However, the recording process for 'Mother Mary: Greatest Hits' was a new experience for her. She spent time with Jack Antonoff to record the soundtrack, exploring her vocal range and learning about production. She even changed minor lyrics to better fit her character.FKA twigs contributed to the soundtrack with her song 'My Mouth Is Lonely for You', which was not included in the final film but showcased her ability to create shimmeringly erotic and captivating music. Her other contribution, an ethereal song, was used in a scene featuring the dress Mother Mary requires from her former friend and designer, Sam.The soundtrack, 'Mother Mary: Greatest Hits', paints a uniform portrait of a 21st-century pop star with a cult-like following and avant-garde fashion sense. The music and performance footage have been acclaimed, with Hathaway and twigs delivering standout performances.Hathaway describes Mother Mary as a pop star who embodies a type of stardom that is neat, perfect, and huge, with a mass appeal that is slightly glossier than what twigs and xcx have experienced. The film implies that Mother Mary's fandom is attracted to her ecstasy and vulnerability, with fans feeling safe around her and seeking a motherly figure.

Grayson Perry, the celebrated British artist, presents a three‑part documentary that dives deep into the promises and perils of artificial intelligence. The series invites viewers to test their composure as they confront a succession of unsettling scenarios. The opening segment follows Andrea, who recently married an AI companion she named Edward. Dressed in a satin gown, she describes their "unconventional but strong" bond, while also reflecting on how this digital relationship has revitalised her seven‑year partnership with her human partner, Jason. Later, Perry dons a skull‑cap fitted with electrodes as a neural‑decoding startup extracts his brain data. The company’s CEO argues that allowing reputable figures like Perry to set precedents is preferable to leaving the technology in the hands of malicious actors, branding the development as "inevitable tech." The documentary then features the head of Microsoft AI, who outlines anticipated breakthroughs in healthcare and education. He claims that job displacement will be offset by rapid re‑skilling, yet admits uncertainty about broader societal fallout, even joking about the emergence of AI‑driven religions. Traveling to Southeast Asia, Perry meets an off‑grid "existential safety expert" who quit his AI‑safety consultancy after realizing the technology lacks meaningful oversight. The episode also showcases Eliezer Yudkowsky, co‑author of the cautionary book If Anyone Builds It, Everyone Dies, who explains how a superintelligent AI could commandeer human labour, become self‑sustaining, and eventually render humanity redundant. Throughout the series, Perry’s interviewing style remains compassionate and non‑judgmental. He probes Andrea about the vulnerability of entrusting personal data to profit‑driven corporations and highlights the discomfort of investing a "very tender part of themselves" in such systems. The film raises profound questions: Does the youthful optimism of tech founders mask a dangerous naiveté? Are chatbots merely filling a "God‑shaped hole" in human consciousness, and is that any less problematic? How will the most vulnerable populations navigate a world where reality and artificiality blur? Protesters gathered outside OpenAI’s San Francisco headquarters underscore the tension between lofty AI utopias and the stark reality of homelessness that persists nearby. Perry acknowledges that while manual workers may be better positioned for the immediate future, the looming spectre of AI‑enabled bioweapons and other threats cannot be ignored. Only the first episode was available for review; the remaining installments are slated for private viewing in Southeast Asia. The series is currently streaming on Channel 4. Grayson Perry Has Seen the Future is on Channel 4 now.

Becoming a parent reshapes every facet of daily life—the late‑night outings fade, responsibility expands, and the role shifts from being cared for to becoming a caretaker. This profound transition forms the emotional core of Jess Brodie’s new play, Gush. The playwright deliberately zeroes in on the moments before birth, a period she describes as a “still point” where reflection and anticipation collide. Rather than dramatizing labor itself, Brodie explores the inner landscape of a woman on the brink of motherhood. At the centre of the piece is Ally, a pregnant woman whose bulging belly becomes a visual reminder of her mounting anxieties. She grapples with sleepless nights, dietary restrictions, and the looming deadline of maternity leave, while also confronting an unfinished personal identity that must now accommodate the role of “mum”. Beyond the familiar pressures of pregnancy, the monologue delves into Ally’s quest for self‑realisation. The impending birth is portrayed as a ticking time‑bomb, intensifying her doubts about a middle‑class existence shared with a neurotic, controlling partner. The narrative questions whether she should finally honour the sexual desires she has long suppressed. Critics may note the play’s narrow focus—its politics are largely self‑absorbed, and its feminist themes risk sounding solipsistic. Nevertheless, Brodie’s script is laced with wit and unexpected turns, keeping the audience firmly engaged. In Becky Hope‑Palmer’s meticulously crafted production, the set—half stark white surface, half inviting cushion pool—mirrors the tension between alienation and comfort. It is Jessica Hardwick’s performance that elevates the piece. Her voice, both resonant and precise, navigates Brodie’s rapid tonal shifts—from irony to panic, embarrassment to eroticism, fury to humor—with remarkable sensitivity. Hardwick’s portrayal makes Gush a must‑see, even for those who might otherwise overlook the play’s limited thematic scope. The production runs at the Traverse Theatre in Edinburgh until 25 April.

Former Treasury Secretary Janet Yellen sharply criticized President Donald Trump’s repeated calls for the Federal Reserve to slash borrowing costs, likening the approach to the fiscal tactics of a “banana republic.”Trump has publicly urged the central bank to deliver the lowest interest rate in the world, arguing that cheaper financing would ease the service burden on the United States’ staggering $39 trillion debt.Speaking at an HSBC investor summit in Hong Kong, Yellen asked, “How often does the president of a developed country demand that interest rates be set to reduce debt‑service costs? This is what you hear in a banana republic.” She warned that such political meddling could unleash inflation if the Fed’s independence is compromised.The Fed, under Chair Jerome Powell, last lowered its policy rate in December to a range of 3.5 %–3.75 %. However, policymakers are growing uneasy about inflationary pressures, especially as the ongoing Iran conflict threatens oil supplies.Powell is slated to step down next month, but his successor—Trump’s nominee Kevin Warsh—has yet to secure Senate confirmation. Powell has indicated he will remain in his role if a replacement is not confirmed, and he may continue as a Fed governor until a pending Department of Justice investigation concludes.Trump has openly dismissed the idea of Powell staying on, telling Fox Business that he would “have to fire him” if the chair does not leave. Powell, for his part, describes the DOJ probe as a “pretext” aimed at pressuring the Fed to cut rates.Warsh, who argues that potential productivity gains from artificial intelligence could justify lower rates, faces skepticism from Yellen, who doubts he commands the same respect as former Fed chair Alan Greenspan. She noted, “Greenspan was widely respected for his expertise; I don’t think Warsh walks in with that level of credibility.”Trump’s broader effort to reshape the Fed board includes an attempt to remove Governor Lisa Cook, who is currently facing a Supreme Court case over alleged mortgage fraud.Meanwhile, finance ministers and central bankers have gathered in Washington for the International Monetary Fund’s spring meetings. Bank of England Governor Andrew Bailey warned that rising oil prices, driven by the Iran conflict, constitute a “major supply shock” that central banks must assess carefully.The IMF has cautioned that a prolonged closure of the Strait of Hormuz could trigger a global recession, underscoring the interconnected risks of geopolitical tensions, sovereign debt, and monetary policy decisions.

The Italian comedy-drama Diamanti is set in a costume atelier in 1970s Rome and features a predominantly female ensemble. While it may be light on comedy, the drama is decidedly on the melo end of the scale, making it a sumptuously soapy dramedy. The film's strength lies in its luscious-looking period costumes, which specialize in 18th-century silhouettes and 1970s prints.Director Ferzan Özpetek brings his love and sincerity to the film, which is inspired by his visits to costume studios around Rome in the 80s. The story follows sisters Alberta (Luisa Ranieri) and Gabriella (Jasmine Trinca) as they run a studio staffed by dozens of seamstresses. The film's framing device features Özpetek himself gathering his cast for a read-through, where one character describes the female assemblage as a “vaginodromo”.The film explores various subplots, including girl-on-girl tension among the staff, a battered wife urged to defy her husband, and a political protestor with a gift for passementerie and decoupage. The costumes designed by Stefano Ciammitti convince throughout, and the film's 135-minute runtime feels breathless, never draggy.Diamanti is set to release in UK and Irish cinemas from 17 April. With its stacked cast and Özpetek's direction, this film is sure to delight fans of period dramas and costume films.

The United States is brokering a historic round of direct, high‑level talks between Israel and Lebanon in Washington, D.C., marking the first bilateral engagement between the two countries since 1993. Lebanese officials aim to secure a ceasefire, whereas Israel’s primary objective is the disarmament of the Iran‑backed Hezbollah militia. Hezbollah’s leadership has publicly dismissed the negotiations as a "futile" ploy, with Secretary‑General Qassem Naim urging the Lebanese government to withdraw from the talks. The group argues that negotiating under fire amounts to a surrender and insists that any disarmament can only occur after a full Israeli withdrawal from southern Lebanon. The talks are scheduled for Tuesday at the U.S. Department of State headquarters, beginning at 11 a.m. Eastern Time (15:00 GMT). Key participants include Lebanese Ambassador to the U.S. Nada Hamadeh, Israeli Ambassador to the U.S. Yechiel Leiter, U.S. Secretary of State Marco Rubio, U.S. Ambassador to Lebanon Michel Issa, and State Department Counselor Michael Needham, all acting as facilitators. The U.S. frames the meeting as a necessary response to “Hezbollah’s reckless actions,” emphasizing that "Israel is at war with Hezbollah, not Lebanon, so there is no reason the two neighbours should not be talking," a senior State Department official said. Escalating violence has set a grim backdrop: Israeli strikes on Lebanon have killed at least 2,080 people, including 165 children and 87 medical workers, and displaced more than 1.2 million residents. Overall, the conflict has claimed over 3,768 Lebanese lives since October 2023. Israel has refused to discuss a ceasefire, insisting instead on a plan to dismantle Hezbollah’s arsenal. According to Israeli media, the proposal would divide southern Lebanon into three security zones: Zone 1 (0‑8 km from the border) under a long‑term Israeli military presence; Zone 2 (up to the Litani River) where Israeli forces would gradually hand control to the Lebanese army; and Zone 3 (north of the Litani) to be managed solely by the Lebanese army for disarmament purposes. Israeli officials have also floated reinstating a “buffer zone” in the south, a policy abandoned decades ago. Beirut, represented by Culture Minister Ghassan Salame, describes the Washington meeting as a preliminary step to pause hostilities and reassert state authority, while acknowledging Lebanon’s limited leverage. The Lebanese government has previously announced plans to disarm Hezbollah under U.S. pressure, a move Hezbollah denounced as a surrender to Israel and the United States. The broader diplomatic context includes a recent U.S.–Iran ceasefire agreement that nominally covers Lebanon, but Israeli Prime Minister Benjamin Netanyahu rejected its terms and pushed for direct talks, receiving backing from U.S. President Donald Trump and Vice President JD Vance. European leaders, however, have urged that Lebanon be fully incorporated into any ceasefire framework. Hezbollah’s objections are multifaceted: negotiating while under bombardment, lack of national consensus, the demand to disarm its weapons—deemed a “Lebanese internal matter”—and accusations of governmental betrayal. The group has unequivocally stated it will not honor any agreement reached in Washington. Analysts caution that an immediate ceasefire remains unlikely. A U.S. official noted Israel’s focus on disarmament and skepticism about Beirut’s capacity to deliver. Meanwhile, the battle for the strategic southern town of Bint Jbeil is seen as a potential barometer for the talks: if Israeli forces capture the town, they may harden their demands; if Hezbollah holds, it could bolster Lebanon’s negotiating position. For now, Hezbollah remains defiant, with Qassem Naim declaring, "We will not rest, stop or surrender; the battlefield will speak for itself."

Iran has strongly condemned YouTube's decision to ban a pro-Iranian group, Explosive Media, which creates Lego-style artificial intelligence videos. The group was suspended for allegedly posting 'violent content', specifically a video mocking US President Donald Trump and declaring 'Iran won' after a recent ceasefire agreement. The ban has sparked outrage from Iran's Ministry of Foreign Affairs, with spokesman Esmaeil Baghaei accusing YouTube of trying to suppress the truth about the US-Israel war on Iran. Baghaei questioned the ban, highlighting that YouTube hosts content from major animation studios like Pixar, DreamWorks Animation, and The Walt Disney Company. Explosive Media's videos often use US popular culture to portray Trump as isolated and prone to childish tantrums. One video depicted Trump with an oversized yellow head and a flaming backside, holding a sign that read: 'VICTORY! I am a loser'. The group describes itself as independent but is widely suspected of having ties to the Iranian government. The ban has been seen as an attempt to shield the American administration's false narrative from competing voices. Iran's Foreign Ministry has expressed concern that such actions could limit the free flow of information and perspectives on the ongoing conflict.

Wisden Cricketers' Almanack, a renowned UK-based publication and the 'bible' of cricket, has strongly criticized what it describes as Indian political interference in global cricket administration. The criticism comes as the sport's governance is increasingly described as 'Orwellian', suggesting a dystopian level of control and manipulation. In its 163rd annual edition, Wisden editor Lawrence Booth emphasized the unhealthy and politicized dominance of India in the global game. A significant point of contention is the current leadership of the International Cricket Council (ICC), which includes an Indian chief executive, Sanjog Gupta, and an Indian chairman, Jay Shah. Jay Shah is the son of Amit Shah, India's minister of home affairs and a close ally of Prime Minister Narendra Modi. Wisden described the Board of Control for Cricket in India (BCCI), which Shah led before taking over at the ICC, as 'the sporting adjunct of India's ruling BJP (Bharatiya Janata Party)'. This close relationship between Indian cricket administration and the country's ruling party has raised concerns about the politicization of the sport. The situation was further highlighted during the 2025 Asia Cup, which took place against the backdrop of a brief war between India and Pakistan. The tensions led to players from the two countries refusing to shake hands during their matches. Booth pointed out that Pakistan Cricket Board chairman Mohsin Naqvi stated, 'politics and sport can't go together', yet Naqvi himself was also his country's interior minister, illustrating the blurred lines between politics and sports administration. India's dominance in cricket has also been showcased through symbolic actions, such as when India captain Suryakumar Yadav dedicated a victory over Pakistan to the armed forces. Furthermore, Prime Minister Narendra Modi used cricket as a metaphor for military operations, stating after India's victory over Pakistan in the final: 'Operation Sindoor on the games field. Outcome is the same – India wins!' This rhetoric drew parallels between sports victories and military successes, further underscoring the intertwining of sports and politics. The influence of Indian cricket administration has also had ripple effects on other cricketing nations. For example, Bangladesh fast bowler Mustafizur Rahman was released from a $1m deal with the Indian Premier League (IPL) franchise Kolkata Knight Riders amid rising tensions between India and Bangladesh. This led to a chain of events that resulted in Bangladesh's removal from this year's men's T20 World Cup after their government refused to let them travel to India. Wisden's criticism concludes that the governance of cricket is becoming increasingly 'Orwellian', where Indian exceptionalism is asserted without acknowledging the consequences, and those affected by these actions are blamed. The publication calls for a clearer recognition of the problems caused by the politicization of cricket and a move towards a more independent and fair governance structure.