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Israel has intensified its military campaign in southern Lebanon, conducting deadly strikes on several towns, resulting in significant casualties. The attacks occurred just a day after Lebanese and Israeli envoys held rare talks in Washington, DC, facilitated by US Secretary of State Marco Rubio. These talks marked the first direct contact between the two countries in decades.According to Lebanon's state-run National News Agency (NNA), Wednesday's attacks killed at least 13 people, including a family of four in the town of Jbaa. The strikes also targeted other towns, including Ansariyeh, Qadmus, Saadiyat, and Jiyeh. The escalation has sparked anger among the Lebanese population, with many questioning the government's decision to engage in diplomatic talks with Israel while attacks continue.Al Jazeera's Zeina Khodr, reporting from Beirut, noted that residents are demanding an end to the attacks and expressing frustration over the government's handling of the situation. The Lebanese government has faced criticism for its concessions and perceived weakness in dealing with Israel. Hezbollah lawmaker Hassan Fadlallah accused the government of squandering Lebanon's political and military strength and criticized its decision to withdraw the army from the south.The conflict between Israel and Hezbollah, an Iran-aligned group, has resulted in over 2,000 deaths in recent weeks. The situation remains volatile, with ceasefire talks being a key point of contention. Hezbollah is seeking a comprehensive ceasefire, while Israel has ruled out discussions on a ceasefire in the latest war.

"The failure is big," Liverpool midfielder Ryan Gravenberch declared after the Champions League loss to Paris Saint-Germain. The defeat not only eliminates Liverpool from Europe but also seals a season that will finish trophyless. Manager Arne Slot has repeatedly insisted that the future looks very bright for Anfield, yet the club’s reality is starkly different. A business model built on lucrative broadcasting and commercial revenues now faces a potential top‑five miss, a scenario that would be financially and reputationally humiliating for a side that spent nearly £450 million on its squad last summer. Slot’s request for three seasons to steer Liverpool’s transition is under intense scrutiny. In the past 16 days Liverpool have played five matches: three defeats, two aggregate exits totalling 8‑0, and a solitary league win sparked by 17‑year‑old Rio Ngumoha. The pattern underscores a season riddled with setbacks. Sporting director Richard Hughes observed that despite a respectable xG of 1.94 against PSG, Liverpool’s performance fell short, a symptom of deeper issues. The situation worsened when forward Hugo Ekitiké collapsed with a suspected Achilles injury in the 27th minute, likely ruling him out for the remainder of the campaign. His absence further hampers the newly assembled £320 million front line of Alexander Isak, Hugo Ekitiké and Florian Wirtz, who have barely featured together. Slot’s tactical gamble of starting Isak after a four‑month hiatus and deploying a back five at the Parc des Princes backfired. Isak managed only five touches before being substituted at halftime, illustrating that a Champions League quarter‑final is not the venue for experimentation. After the second leg, Slot attempted to inject optimism, stating, "The good thing is Alex is back" and reiterating that the club can compete with Europe’s champions on home soil. Critics argue this positivity is misplaced, especially as Liverpool scrambles through the run‑in with key players missing. With six league games remaining, a fit Isak could be the difference between securing Champions League qualification and enduring further humiliation. Both Isak and Wirtz must begin to justify their hefty transfer fees, despite recent injury concerns and underwhelming output. In a candid interview with Ziggo Sport, Gravenberch summed up the mood: "No, actually not. It’s disappointing. We have to pick ourselves up as Sunday is waiting. We still have six matches in the league and we just want to play in the Champions League next year as well." He added that the season feels plagued by setbacks—late goals conceded and missed chances—making this a tough, failure‑laden campaign from which the squad must learn.

Just a decade ago, cord‑cutters imagined a utopia where any game could be streamed on any device for a single, affordable price. Today, that vision has morphed into a bewildering web of platforms, blackouts and fees that strain even the most devoted fans. Major League Baseball illustrates the chaos. The Yankees’ local market now requires fans to juggle seven different providers, from traditional broadcasters to Apple TV and niche apps. A season‑long Gotham Sports App pass costs $119.99, while Amazon’s Prime Video charges $14.99 per month (or $139 annually) for exclusive rights to 21 Wednesday games. Netflix, at $19.99 per month, aired the opening‑night matchup between the Yankees and Giants. Adding these together, a die‑hard fan could face a bill of roughly $800 to watch every Yankees game this year, according to a calculation by The Athletic. Even Apple’s own streaming chief, Eddy Cue, admitted the market has regressed: “You used to buy one subscription, your cable subscription, and you got pretty much everything they had. Now, there’s so many different subscriptions, so I think that needs to be fixed.” MLB commissioner Rob Manfred proposes centralising local rights by 2028, hoping to curb the splintered landscape. Yet legacy broadcasters and tech giants continue to chase lucrative deals. The NBA’s recent 11‑year, $76 billion media contract with Disney/ESPN, Amazon and NBC underscores how high the stakes have become. Rights fees are increasingly volatile. ESPN reportedly paid $550 million annually for Sunday Night Baseball, only to see MLB strike a $10 million per‑year deal with Roku for the same slot. Netflix is said to spend $50 million per season for three years to air marquee events such as Opening Night and the Home Run Derby. The NFL, the most valuable league, embraces fragmentation as a revenue strategy, distributing games across CBS, Fox, NBC, ESPN/ABC, Prime Video, the NFL Network, YouTube and Netflix. By packaging boutique game bundles for streamers, the league extracts “significantly more money” beyond its core media rights. Beyond cost, the viewer experience is eroding. In‑game advertising now blankets pitches and ice rinks, while “hydration breaks” at the World Cup will feature mandatory ad slots. Streamers counter with ad‑free premium tiers, but those come at a premium comparable to airline baggage fees. Financial pressures are evident. Peacock added 44 million paying subscribers in Q4 2025, yet reported a staggering $552 million loss, largely due to expensive NBA and NFL rights. Dazn, another global sports streamer, has accumulated billions in operating losses since launch. Industry analysts warn that over‑commercialisation could alienate casual viewers, especially younger audiences with shrinking attention spans who prefer short‑form clips on platforms like TikTok. As Anthony Palomba of the University of Virginia notes, “The prospect of watching a three‑hour game versus getting bite‑sized highlights on TikTok is difficult.” Data‑driven, AI‑powered programmatic ads promise higher monetisation, turning moments—like Steph Curry’s game‑winning three‑pointer—into instant shopping opportunities. Amazon, for example, leverages its ecosystem to track the full consumer journey from view to purchase. One potential remedy is a consolidated “one‑stop‑shop” that bundles multiple sports feeds, aiming to reverse the so‑called “enshittification” of streaming services—a term coined by Cory Doctorow to describe platforms that sacrifice quality for profit. While nostalgia for the era of a single cable package persists, experts caution against romanticising the past. As former NBA commentator Jon Lewis observes, “The old days were complicated in their own ways; today’s challenge is to balance revenue with a sustainable, fan‑friendly experience.”

Narwhal Labs, a UK-based AI firm, has been accused of running a misogynistic and sexist advertising campaign. The company's ads, which include a woman next to the strapline 'She outworks everyone. And she'll never ask for a raise,' have sparked outrage and garnered at least seven complaints to the Advertising Standards Authority (ASA). The ASA is assessing the complaints to determine whether there are grounds for further action, although a formal investigation has not been launched. The ads, which can be found online, had been displayed on large banners at Bristol airport but were taken down after concerns were raised. Critics, including Kate Bell, assistant general secretary of the Trades Union Congress, and Rebecca Horne, head of communications and campaigns at Pregnant Then Screwed, have condemned the ads as sexist and misogynistic, perpetuating toxic stereotypes about women in the workplace. Narwhal Labs, which recently secured £20m in investment funding, has defended its campaign, stating that it was not intended to be perceived as misogynistic or racist. The company is calling for legislation to regulate the use of AI and protect workers' rights. The controversy highlights the need for greater accountability and regulation in the AI industry, particularly when it comes to advertising and its potential impact on society.

When the U.S. men’s national team (USMNT) arrived in France for the 1998 World Cup, 16 Major League Soccer (MLS) players featured in the 22‑man squad – a deliberate move by the fledgling league to showcase its talent after its 1996 launch.Since that high point, the MLS presence has steadily receded: the 2002 quarter‑final run averaged 5.4 MLS starters per match, 2006 fell to 3.33, 2010 to 2, and the 2022 tournament saw only oneno MLS players at all, a first since the league’s inception.The 2014 World Cup in Brazil was an outlier, with an average of 4.75 MLS starters across four matches. That spike reflected a brief MLS push to lure high‑profile Americans – Clint Dempsey from Tottenham and Michael Bradley from Roma – back to Seattle and Toronto.Looking ahead to the 2026 World Cup on home soil, the realistic outlook is that only two MLS players could start: goalkeeper Matt Freese (NYC FC) or, less likely, Matt Turner (New England Revolution), alongside veteran defender Tim Ream (Charlotte FC). Even head coach Mauricio Pochettino’s favored midfielder Diego Luna (Real Salt Lake) is unlikely to displace established stars such as Christian Pulisic, Weston McKennie or Malik Tillman.This contraction raises the question of whether the World Cup serves as a referendum on MLS’s quality. With the tournament split between the United States and Canada, the scarcity of MLS starters will be starkly visible, yet it does not mean the league’s influence has vanished.Indeed, the league’s impact now lies in its academy pipeline. Of the 27 players the Guardian’s US soccer desk identified as “on the squad” or “in contention,” 19 were products of MLS academies – up from 16 in the 2022 roster. Including Tim Weah’s brief stint with the New York Red Bulls youth set‑up would raise that figure to 20.The only non‑academy players are dual nationals who grew up abroad, with the notable exception of Christian Pulisic, who left the U.S. as a teenager to develop at Borussia Dortmund.Unlike 2014, MLS has not supplied any established national‑team regulars for the 2026 campaign (aside from Toronto FC’s Josh Sargent, whose World Cup chances appear slim). Consequently, American fans may not see the tournament’s stars on their local MLS pitches, a factor that could challenge fan‑base growth.Nevertheless, this aligns with MLS’s long‑term strategy: investing in the development of domestic youth and promising talent from the wider hemisphere rather than chasing marquee signings. The forthcoming USMNT may lack a pronounced MLS imprint on the field, but its DNA will still be rooted in the league’s developmental system.

Vaibhav Sooryavanshi, a 15-year-old Indian cricketer, has been making waves in the cricket world with his impressive batting skills. During a recent Indian Premier League match, Sooryavanshi faced off against Jasprit Bumrah, widely regarded as one of the world's top bowlers. Sooryavanshi hit Bumrah's first ball over wide long-on and his third over deep-backward square, outperforming the world's best batters by nearly 1,900%.Sooryavanshi's talent has sparked debate about whether he could be cricket's next superstar. However, David Court, head of player identification at the England and Wales Cricket Board, cautions that it's too early to tell. Court emphasizes that mental toughness and adaptability are crucial for a player's success, and that Sooryavanshi still has a long way to go.Sooryavanshi's impressive performance in the Under-19 World Cup, where he scored 439 runs with a strike-rate of 169.49, has drawn praise from coaches. Paul Adams, a former South African wrist-spinner turned coach, notes that Sooryavanshi's unique style and ability to hit big shots will be tested as top bowlers start to figure him out.The article highlights the challenges young players like Sooryavanshi face in today's cricket landscape, where social media fame and pressure to perform can be overwhelming. With 3.8 million followers on Instagram, Sooryavanshi's fame has outpaced his cricket achievements, and he will need to navigate these challenges to reach his full potential.

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.

UK officials have entered exclusive talks with a Norwegian startup, Blastr, to buy the former Liberty Steel works in South Yorkshire, in a significant step towards its rescue. Blastr, owned by Vanir Green Industries, a Norwegian investor in renewable industries, is understood to be the bidder preferred by the government’s official receiver to take on ownership of the UK’s largest existing electric arc furnace in Rotherham and other works in Stocksbridge, both in South Yorkshire.The business, formally named Speciality Steel UK (SSUK), has been under the official receiver’s control since August, after the previous owner Sanjeev Gupta lost ownership in London’s high court. Finding a new buyer would remove a headache for the government, which also a year ago took control of the Chinese-owned British Steel blast furnaces in Scunthorpe, Lincolnshire.Blastr is run by Mark Bula, who has worked for and run large steel businesses in India and the US. The company does not yet operate any steel plants, although it is developing a site in Finland to use green hydrogen to produce iron and steel. It is likely to have to secure financing to take on the SSUK sites in South Yorkshire, but it would allow them to progress rapidly.Union officials welcomed the news after employees were informed. Charlotte Brumpton-Childs, a former steelworker and a national secretary of the GMB union, said Liberty Steel workers “have been at the sharp end of years of uncertainty at this point – this needs to be a deal that secures the long-term future of steelmaking in South Yorkshire”. She added: “Any sale of SSUK must include due diligence which guarantees ongoing operations and stability of the sites.”

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.