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Enzo Fernández will miss Chelsea’s upcoming FA Cup quarter‑final against Port Vale and the Premier League clash with Manchester City, after manager Liam Rosenior announced a two‑match suspension for the Argentine midfielder. Rosenior said Fernández had “crossed a line” during the international break by questioning his future at Stamford Bridge and expressing a desire to live in Madrid – comments widely interpreted as a hint toward a move to Real Madrid, a club he has long been linked with. “It’s disappointing to speak in that way,” Rosenior added. “The sanction protects our culture; the door remains open for Enzo, but a line was crossed during the break.” Despite the ban, Fernández will continue training with the first‑team squad. The midfielder joined Chelsea from Benfica in January 2023 for a British record fee of £107 million. His agent, former Argentine international Javier Pastore, condemned the punishment as “completely unfair”, arguing that the two matches are crucial for Chelsea’s Champions League qualification hopes and that Fernández never indicated a desire to leave the club. Fernández’s remarks were not the only source of controversy during the break. teammate Marc Cucurella sparked headlines by suggesting he might be open to a return to Barcelona, prompting Rosenior to reassure that Cucurella remains fully committed to Chelsea. Chelsea entered the break on a four‑match losing streak, having suffered an 8‑2 aggregate defeat to Paris Saint‑Germain in the Champions League last‑16 – a period Rosenior described as “the most difficult ten days of my career as a player or a coach”. Head coach Pochettino insisted there is no division in the dressing room, urging the squad to unite and regain form after the international hiatus. Rosenior also hinted that other senior players, including captain Reece James, may soon reaffirm their commitment by signing new contracts, signalling a push to stabilise the club’s project. Injuries also loom: James, Trevoh Chalobah and Levi Colwill are unavailable for the Port Vale tie, while newcomers Estêvão and Jamie Gittens are fit to feature.

US senators have strongly rebuked Ticketmaster for increasing ticket fees following a regulatory crackdown on hidden charges. This move has been described as a 'bait and switch' tactic, leaving consumers with higher costs.The Federal Trade Commission (FTC) had mandated Ticketmaster to disclose all concert ticket fees upfront, known as all-in pricing, starting last May. In response, the company removed the order processing fee charged at the end of a transaction. However, documents obtained by the Guardian reveal that Ticketmaster simply raised other fees to offset the loss, potentially violating the FTC's ban on misleading fees.Senator Richard Blumenthal from Connecticut expressed his concerns, stating, 'Ticketmaster seems to believe it has a get-out-of-jail-free card to ignore antitrust and consumer protection laws. The FTC is going to have to choose whether to protect consumers and enforce the law, or cave to Ticketmaster lobbyists.'The FTC had sued Ticketmaster and its parent company, Live Nation Entertainment, last September for hiding mandatory fees until the end of the transaction. Ticketmaster claims it complies with the FTC's all-in pricing rules.In response to the criticism, Ticketmaster stated, 'Since May 2025, tickets on Ticketmaster.com have displayed the full price upfront in line with the FTC's all-in pricing rule. We also provide explanations of fees during the purchase process and maintain a dedicated page with additional information.'Senator Elizabeth Warren from Massachusetts also criticized Ticketmaster, saying, 'Too many giant monopolies think the law doesn’t apply to them, and it’s American families who are forced to pay the price.'An ongoing federal trial is examining whether Ticketmaster operates an illegal monopoly in the live music industry. The company denies these allegations.

Several ships have successfully navigated the Strait of Hormuz, a vital waterway that has been effectively closed since the start of the war in Iran. The development comes as shipping companies and international leaders work to ensure the passage of critical cargo, including oil and gas supplies that account for about a fifth of the world’s total. A French container ship owned by CMA CGM, the CMA CGM Kribi, which sails under the flag of Malta, is reported to have passed through the strait with cargo. This marks a significant development as it is believed to be the first ship owned by a western shipping line to make the journey. The blockade has led to increased oil and gas prices globally and growing concerns about food security, as a third of the global trade in raw materials for fertiliser normally passes through the strait. International leaders are expected to meet next week to discuss possible solutions, including clearing sea mines and rescuing trapped ships. The UK’s Foreign Secretary, Yvette Cooper, has stated that coordinated action is needed to pressure Iran into reopening the strait. The US President, Donald Trump, has claimed that the US could “easily” open up the strait but that it would require “a little more time”.

Millwall secured a vital win over Middlesbrough in the Championship, with Josh Coburn scoring twice to propel his team into second place in the promotion race. The victory, marked by a 2-1 scoreline, sees Millwall just one point ahead of Middlesbrough, with Coventry currently leading the table. The match was characterized by Middlesbrough's possession dominance, but their inability to convert chances into goals. Dael Fry's 26th-minute header gave Boro an early lead, but Millwall equalized in the 58th minute when Coburn's powerful volley found the net after a corner was poorly defended. Coburn, a 23-year-old striker and former Middlesbrough academy graduate, doubled Millwall's lead in the 86th minute with a beautifully angled shot, securing the win. This performance underscores Coburn's impressive form, having scored five goals in his last five games. Alex Neil's Millwall demonstrated resilience and composure, particularly in the second half, to outmaneuver Kim Hellberg's Middlesbrough. Neil praised his team's performance, highlighting their defensive solidity and clinical finishing. In contrast, Hellberg expressed disappointment, noting that his team's possession-heavy approach failed to yield results in critical areas. This win boosts Millwall's prospects for Premier League promotion, although fourth-placed Ipswich still has two games in hand and remains a strong contender. The result marks a significant setback for Middlesbrough, who are now under pressure to regain their position in the promotion race.

Alan Cumming’s latest theatrical venture – The High Life: The Musical, Still Living It! – bursts onto the stage as a gleeful, pantomime‑style extension of the cult 1994 TV sitcom. Co‑written by series creator Johnny McKnight alongside Alan Cumming and Forbes Masson, the production is deliberately overloaded with jokes, ranging from references to Andrew Mountbatten‑Windsor to a tongue‑in‑cheek nod to Sheena Easton. The show’s panto DNA runs deep. Audiences are addressed directly, invited to sing along, and treated to an underwater neon‑tube dance. The set, a whimsical take on a Brigadoon‑style hotel, features tartan wallpaper designed by Colin Richmond, a life‑size dog, and multiple costume changes that heighten the spectacle. Returning to the stage, Cumming reprises the role of flight attendant Sebastian Flight, while Masson appears as his counterpart Steve McCracken. They are joined by a “legacy cast” that includes Siobhan Redmond as the exacting supervisor Shona Spurtle and Patrick Ryecart delivering a delightfully unhinged performance as Captain Hilary Duff. Supporting them are high‑energy performers Rachael Kendall Brown, Louise McCarthy and Kyle Gardiner, who navigate Masson’s clever, rhyming songs that swing from Broadway flair to Eurovision sparkle. Beyond the slapstick plot – a cartoonish battle over the fictional airline Air Scotia and a detour to the “Lower Largo Triangle” – the musical hints at deeper questions about ageing, national identity and the need for cultural renewal, echoing themes raised in earlier Scottish adaptations. Directed by Andrew Panton, the production is a joint effort between Dundee Rep and the National Theatre of Scotland. It runs at Dundee Rep until 4 April before embarking on a UK tour that concludes on 23 May. In the end, the show is less a philosophical treatise and more a big, joyous laugh‑fest that celebrates the spirit of pantomime.

A Malaysian tree climber, Jami, shares their extraordinary experience of climbing the world's tallest tropical tree, a 100.8-meter yellow meranti in Borneo's rainforest. Growing up around logging camps, Jami developed a passion for conservation while working with the South East Asia Rainforest Research Partnership in the Danum Valley. Jami's journey into tree climbing began when they saw colleagues measuring tree heights and monitoring wildlife from the canopy. Despite an initial fear of heights, Jami was determined to challenge themselves and contribute to conservation research. The climb, which took over two hours, was a slow and meticulous process. Jami had to carefully assess the tree's branches for strength and watch out for potential dangers like snakes, scorpions, and insects. At one point, Jami was attacked by bees and received over 100 stings. Upon reaching 70 meters, Jami's fear subsided, and they began to appreciate the wider landscape. The view from the top was breathtaking, with the rainforest's canopy resembling the sea and clouds peeking over the forest. Jami measured the tree's final height using a pole and confirmed it to be 100.8 meters tall. Jami emphasizes the importance of preserving the world's forests, stating that every tree tells a unique story about our history. For Jami, the experience of climbing the tallest tropical tree was a reminder of the serenity and beauty of nature, and they hope to inspire others to join conservation efforts.

The world of Major League Baseball has witnessed a significant transformation in pitching, with velocity and accuracy reaching unprecedented levels. This arms race is largely attributed to advances in pitching analytics, often developed by individuals without a traditional baseball background.Rob Friedman, known as PitchingNinja online, has authored a new book titled 'Unhittable: How Technology, Mavericks and Innovators Engineered Baseball's New Era of Pitching Dominance.' The book explores how technology and data analysis have revolutionized the art of pitching.In the past, pitchers like Bob Feller were renowned for their speed, but today's pitchers routinely exceed triple digits on the radar gun. Friedman notes that technology brings out the best in everybody, allowing pitchers to refine their skills and achieve remarkable results.The use of heat maps, slow-motion cameras, and AI has become commonplace in analyzing pitching performance. These tools help quantify not just velocity but also accuracy, enabling pitchers to deliver the ball to the plate with precision.Paul Skenes of the Pittsburgh Pirates, last year's National League Cy Young winner, and Nolan McLean of the New York Mets are examples of pitchers benefiting from analytics. Friedman praises McLean's exceptional skills, describing his stuff as 'absolutely nasty.'The debate surrounding pitcher-friendly conditions continues, with some arguing that the game has become too favorable to pitchers. Friedman counters that pitchers are on offense, and their performance is a reaction to the hitter's actions.Injuries to pitchers are on the rise, and while there is no consensus on the cause, Friedman suggests that excessive velocity may contribute to the problem. He cites Trevor Bauer as an example of a pitcher who successfully adopted analytics and training methods to enhance his performance.The intersection of analytics and tradition remains a contentious issue, with some players and coaches skeptical of data-driven approaches. Friedman advocates for a bridge between both sides, emphasizing that analytics provide valuable information to inform pitching decisions.

Friko, the Chicago‑based indie outfit, is gearing up for the launch of their second LP, Something Worth Waiting For, slated for 24 April. The record, described as a “radiant ramble” through modern indie rock, reflects the band’s recent touring experiences and explores themes of yearning, growth, and stability.The lead single, "Choo Choo", bursts with a road‑trip vibe, pairing vocalist‑guitarist Niko Kapetan’s urgent, quavering delivery with guitarist Korgan Robb’s atmospheric riffs. Critics note a vocal timbre reminiscent of Modest Mouse’s Isaac Brock and Sparks’ Russell Mael, while the track’s lyrical nods to classic American road food add a playful, homespun charm.Since their 2024 debut Where We’ve Been, Where We Go From Here, Friko has expanded from a duo (Kapetan and drummer Bailey Minzenberger) to a full four‑piece, adding Robb and touring bassist David Fuller. The new album also benefits from the touch of Grammy‑winning producer John Congleton, known for work with Mannequin Pussy, The Mountain Goats, and St Vincent. His influence shines on the Bowie‑esque chamber‑pop ballad "Seven Degrees", underscoring the group’s evolving sound.In addition to the album news, the Guardian’s weekly Add to Playlist roundup spotlights a curated selection of fresh tracks. Highlights include Wallis’s techno‑laden “Biscuit,” Beth Orton’s intense “The Ground Above,” Toronto pop‑star Chxrry’s catchy “Hall of Fame,” and a collaborative anti‑immigrant‑detention compilation track by Wendy Eisenberg’s trio Darlin’. The list also features Jeff Parker’s hopeful “Like Swimwear (Part One)”, a dubstep‑rap hybrid “Duro” from Skrillex and Young Miko, and Cass McCombs’s garage‑rock anthem “Seeing the Elephant”.Listeners can stream the full playlist on Spotify, Apple Music, Tidal, or other services, ensuring the week’s most inventive indie and electronic releases are just a click away.

NASA's Artemis II mission has reached a critical phase as the four astronauts on board have successfully fired up their spacecraft's engine to break away from Earth's orbit and embark on a trajectory towards the moon. This historic moment marks the first crewed lunar flyby in over half a century. The Orion capsule's engine blasted off on Thursday, propelling the astronauts on their 10-day mission, which includes looping around the moon. The burn, lasting just under six minutes, provided enough thrust to accelerate a stationary car to highway-driving speed in less than three seconds. The mission control team in Houston confirmed the successful burn, stating, 'Looks like a good burn, we're confirming.' The astronauts, consisting of Americans Reid Wiseman, Victor Glover, and Christina Koch, along with Canadian Jeremy Hansen, are now on a 'free return' trajectory, utilizing the moon's gravity to slingshot around it before heading back towards Earth without propulsion. The Artemis II mission is a crucial step towards establishing a permanent human presence on the moon, with the ultimate goal of landing humans on the lunar surface by 2028. This mission also marks a series of historic firsts, including the first person of color, the first woman, and the first non-American on a lunar mission. The spacecraft's crew spent their initial hours in space performing checks and troubleshooting minor issues, including a communications problem and a malfunctioning toilet. They also began their fitness routine on the spacecraft's 'flywheel exercise device' to minimize muscle and bone loss in microgravity. NASA's Artemis program has been portrayed as a competitive effort with China, which aims to land humans on the moon by 2030. The program has faced pressure from various quarters, including former President Trump, who has pushed for an accelerated pace. The mission's commander, Reid Wiseman, described the breathtaking view of Earth from space, saying, 'You can see the entire globe from pole to pole... It was the most spectacular moment and it paused all four of us in our tracks.'