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Hull FC's fans and players came together in a heartfelt display of unity and support for coach John Cartwright following the team's loss to St Helens. The emotional show of solidarity came as Cartwright's future with the club hangs in the balance after a tumultuous 10 days.The match saw St Helens secure a 24-14 victory at the MKM Stadium, but the focus was on Cartwright as the game ebbed into its closing moments. The big screen inside the stadium panned to the coach, prompting a stadium-wide round of applause from the fans, despite Hull FC heading for a fifth league defeat in eight games.At full time, hundreds, if not thousands, of fans stayed to applaud Cartwright once again as he conducted his media duties. This display of unity from Hull FC's fans towards their coach mirrored the spirited performance from Cartwright's players on the field.The reason for such emotion was clear: this had all the hallmarks of Cartwright's last stand in charge of Hull after a tumultuous 10 days. The Black and Whites confirmed last week that Cartwright would leave at the end of the season, with the club already understood to have agreed a deal to bring in Steve McNamara next year.Cartwright responded on Monday by expressing his feelings of being 'betrayed and disrespected' by the club's lack of communication over that decision. With time to consider whether an early parting of the ways is the best course of action, Cartwright may have actually coached Hull for the final time.“I honestly don’t know,” Cartwright said when asked what happens next. “I’ll let the dust settle on that. I’ve got a couple of meetings early next week and then we’ll find out. They’re very passionate fans and they’ll have their opinion on something and they’ll make it known. It means a lot to me to see it.”Despite the loss, Hull were superb in the first half, leading 12-6 by the break thanks to tries for Logan Moy and Amir Bourouh. However, St Helens, led by coach Paul Rowley, showed their resilience and navigated an emotionally charged evening to go top of the table.The final act of this night belonged to Cartwright, who, after his media duties, walked down the tunnel with his players in one last show of unity. His players have displayed how they feel; now it is down to Hull’s hierarchy to show their hand.

After Bournemouth’s 2‑1 triumph over Arsenal at the Emirates on Saturday, manager Andoni Iraola celebrated with a broad smile, acknowledging the win as the third victory in four encounters with the league leaders and a clear sign that his project is gaining momentum. Having risen from administration to the Premier League under Eddie Howe, the Cherries have long been viewed through the lens of Howe’s legacy. Iconic moments such as the 2019 4‑0 demolition of Chelsea cemented that era. Following Howe’s 2020 relegation, a succession of domestic appointments – Jason Tindall, Jonathan Woodgate, Scott Parker and Gary O’Neil – produced mixed outcomes, with O’Neil’s dismissal after a respectable finish highlighting the club’s desire for a new direction under owner Bill Foley. Iraola arrived from Athletic Bilbao, where he amassed over 500 appearances, bringing a philosophy that blends Bilbao’s directness with a British‑style width. Early on, his tenure appeared rocky: the first nine league games yielded no wins and left Bournemouth in 19th place, punctuated by a heavy 6‑1 loss to Manchester City. Yet a narrow victory over Burnley sparked a turnaround, culminating in a seven‑match unbeaten run that added 19 crucial points. Statistically, the Cherries have become more than occasional spoilers. While they previously earned just 0.42 points per game against the traditional ‘big six’, under Iraola they have improved to 1.5 points per game in both the 2024‑25 season and the current campaign, recording nine wins and seven defeats against top opposition. Their current 11th‑place standing reflects a blend of competitive resilience and entertaining football built on athleticism, work rate and on‑ball daring. The club’s on‑field evolution has translated into a remarkable transfer market windfall. Key departures include Dominic Solanke to Tottenham for £55 million, Dean Huijsen to Real Madrid for £50 million, Illia Zabarnyi to Paris Saint‑Germain for £54.5 million, Milos Kerkez to Liverpool for £40 million, Dango Ouattara to Brentford for £42 million and Antoine Semenyo to Manchester City for £62.5 million. Collectively, these sales amount to a staggering £304 million, underscoring Bournemouth’s emergence as a premier talent factory alongside clubs like Brighton and Brentford. Looking ahead, Iraola is set to depart at the end of the season, with speculation linking him to high‑profile roles at Manchester United, his native Athletic Bilbao or other continental giants. Bournemouth’s board has already identified Marco Rose – renowned for his high‑intensity approach that benefitted Erling Haaland and Jude Bellingham – as a potential successor, signaling a commitment to maintain the club’s dynamic style. In the broader context, Bournemouth’s transformation illustrates how a mid‑table Premier League side can leverage strategic coaching, a clear playing identity and savvy player development to generate both on‑field success and substantial financial returns, effectively moving beyond the shadow of Eddie Howe.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.

Italy's decision to suspend a defence agreement with Israel has significant implications for their long-standing relationship. The agreement, which was set to automatically renew every five years, was suspended by Italian Defence Minister Guido Crosetto in a letter to his Israeli counterpart, Israel Katz. The move comes as Italy's government and Prime Minister Giorgia Meloni prepare for elections next year and face growing public discontent over the war in Iran and the crisis in the Strait of Hormuz. Italy's reliance on gas imports and concerns over the economic impact of the crisis are also key factors. The Italian government's decision does not cancel the agreement outright but merely suspends it. This move is seen as a sharp reversal for a right-wing government that has been one of Europe's staunchest allies of Israel. Observers note that Italy's relations with Israel have soured recently, particularly after Israel's massive attack across Lebanon last week, which killed hundreds of people. The Italian ambassador to Tel Aviv was summoned after Italy's Foreign Minister Antonio Tajani condemned Israel for its 'unacceptable attacks against the civilian population' in Lebanon. Italy's decision to suspend its defence agreement with Israel 'must be seen within a broader effort to progressively stabilise the region, including by reducing tensions in Lebanon,' said Michele Valensise, president of the Institute for International Affairs. He added that Italy remains a friend to Israel but does not preclude taking a critical position against certain choices of the Israeli government. The suspension of the defence pact also reflects Italy's efforts to distance itself from US President Donald Trump, with whom Meloni had previously been closely aligned. Trump has criticised Meloni, saying he is 'shocked' by her decisions and implying that she lacks courage.

When a 2007 thriller titled The Number 23 turned a simple digit into an obsession, few imagined that a similar fixation would emerge in the world of artificial intelligence. Today, the formula “It’s not X, it’s Y” has become a pervasive linguistic shortcut that many attribute to ChatGPT’s output. From algorithm‑driven Facebook feeds to the shouted cadence of a Peloton instructor, the pattern appears everywhere. Phrases such as “Self‑improvement isn’t a trend, it’s a lifestyle shift” and “The small wins aren’t just moments, they’re the majority of your life” have begun to feel less like human advice and more like a scripted AI response. Experts note that this construction is an AI mainstay. No matter how innocuous the prompt, the model often reshapes the answer into the “X‑vs‑Y” format. Ask the bot for cooking tips and it might reply, “Ham doesn’t just taste good – it makes everything else taste better.” Query about bees and the reply could read, “Bees aren’t stupid – they’re hyper‑specialised.” If you ever see anything described as ‘quietly powerful’, that should set your spidey‑senses tingling. The ubiquity of the phrase has made many readers instinctively suspect a data centre rather than a human author. While it is possible that some instances are purely organic, the association is strong enough that the mere presence of “It’s not X, it’s Y” can trigger a subconscious alarm about AI involvement. Historically, the construction predates ChatGPT. A memorable line from the TV series Mad Men—“It’s not a timepiece; it’s a conversation piece”—once felt like clever copywriting. Today, the same line is often read through the lens of a chatbot’s output, illustrating how AI reshapes our perception of language. Beyond this specific formula, other stylistic quirks have emerged as potential AI fingerprints. Vague intensifiers such as “quietly powerful” or “deeply transformative” and an over‑abundance of em‑dashes are increasingly flagged as tell‑tale signs of machine‑generated text. For writers, the constant vigilance has become exhausting. The author confesses to a new habit of mentally re‑labeling everyday statements—turning a cup of tea into a “precious respite” or a window into a “portal to a new way of thinking”—in an effort to avoid the dreaded AI‑style pattern. Looking ahead, the writer hopes the current quirk will fade as language models evolve. Yet the warning remains: new, perhaps even more insidious, stylistic signatures are likely to surface, demanding ever‑greater scrutiny from anyone who values authentic human voice.

Ron Timehin's photograph, taken at Labadi, a popular tourist resort in Accra, Ghana, offers a unique glimpse into the lives of the local community. The image features five Ghanaians, a ruined farm building, and an elegant horse, which adds a touch of majesty to the scene. Timehin aimed to capture the community's daily life, traditions, and cultural heritage in a collaborative way, allowing the subjects to present themselves as they wanted to be seen. The photograph showcases the community's pride and resilience, highlighting their strong sense of identity and connection to their heritage. The community, centered on fishing, is known for its strong sense of unity and mutual support. Timehin was drawn to the way they look after each other and take pride in their community. The photograph also features a Ghanaian flag, symbolizing national pride and cultural identity. Timehin's project began when he was approached by a charity called My Runway Group, which organizes cultural exchange programs. The project allowed him to document the community and share some culture between the UK and Ghana. His work has been shortlisted for the Sony World Photography Awards 2026, and an exhibition of his images will be held at Somerset House in London.

Ukraine and Germany have agreed on a strategic defence partnership that will enhance cooperation in drone production and bolster Kyiv's air defences. Ukrainian President Volodymyr Zelenskyy and German Chancellor Friedrich Merz announced the deal at a news conference in Berlin.The partnership will grant Germany access to Ukraine's advanced drone technology, developed during its conflict with Russia, in exchange for additional military support from Germany. This cooperation will cover various types of drones, missiles, software, and modern defence systems.In a joint declaration, the two countries stated they will strengthen cooperation in the air defence field. Germany will support Ukraine's drone industry and establish drone co-production ventures. The German defence ministry has agreed to fund contracts for several hundred Patriot missiles from the United States, which Ukraine urgently needs to counter nightly Russian drone and missile attacks.Ukrainian Defence Minister Mykhailo Fedorov expressed gratitude to his German counterpart, Boris Pistorius, for the package, which he valued at four billion euros ($4.7 billion). This funding will provide a massive boost for Ukraine's air defence, protecting its cities and critical infrastructure.Ukraine currently has the production capacity to manufacture twice as much military equipment as it is deploying but lacks the necessary funding. President Zelenskyy emphasized that financial constraints hinder Ukraine's ability to scale up production.German Chancellor Merz noted that the deal is mutually beneficial, citing Ukraine's battle-tested military as a valuable asset for European security. The agreement also includes the exchange of digital combat data for developing new weapons systems.The announcement comes as hopes rise that the European Union may soon provide Ukraine with a 90-billion-euro ($105bn) loan, which was blocked by Hungary last month. With the recent election of Peter Magyar in Hungary, who is expected to reverse this stance, Ukraine's financial prospects are improving.The urgency of Ukraine's need for additional arms was highlighted by a missile attack on the city of Dnipro, which killed four people and injured at least 21. Russian troops have also captured territory in the Dnipropetrovsk region and launched attacks in the city of Kherson.

In a fresh University of Massachusetts and YouGov poll of 1,000 U.S. adults conducted in early April, country‑music legend Dolly Parton emerged as the most favorably viewed global figure, securing a 70% favorable rating and only 5% unfavorable, translating to a net favorability of +65%. Former President Barack Obama ranked second with a net favorability of +14% (50% favorable, 36% unfavorable). Ukrainian President Volodymyr Zelenskyy followed closely, posting a net favorability of +12% after 35% of respondents expressed a favorable view and 22% an unfavorable one. Other political figures fared poorly: former President George W. Bush earned a modest +5% net score, while Donald Trump and Joe Biden registered negative net favorabilities of ‑18% and ‑19% respectively. Pop star Taylor Swift managed a modest +3% net rating, and Russian President Vladimir Putin landed at the opposite extreme with a stark ‑65% net favorability. Parton’s dominance is notable not only for the size of the margin—over 50 percentage points ahead of her nearest rivals—but also because she is the only figure, aside from Obama, for whom a majority of respondents expressed a favorable opinion. Analysts attribute Parton’s success to her deliberately apolitical public persona and extensive charitable work. In a 2017 interview, she emphasized, “Everybody knows I don’t play politics,” a stance that has helped her maintain a broad bipartisan fan base. Her philanthropic impact is substantial. The Dollywood Foundation’s Imagination Library has donated more than 270 million books to children under five across the United States, Canada, the United Kingdom, Ireland, and Australia. Additional contributions include a $1 million gift to Vanderbilt University Medical Center that supported the development of the Moderna COVID‑19 vaccine, over $12 million to families displaced by the 2016 Tennessee wildfires, and ongoing funding for pediatric infectious‑disease research. Parton’s charitable achievements were recognized with the Carnegie Medal of Philanthropy in 2022**, and she was highlighted by Time as one of the most influential philanthropists of 2025. The poll’s findings suggest a public appetite for figures who embody generosity and cultural resonance without entanglement in partisan politics, underscoring a broader trend of voters gravitating toward non‑political icons in an era of heightened polarization.

The National Gallery of Art's latest exhibition, 'Dear America: Artists Explore the American Experience', is a thought-provoking collection of over 100 works by 95 artists. This 'open letter to the nation' offers a multifaceted exploration of the American experience, delving into themes of land, community, and freedom.Upon entering the exhibition, visitors are immediately struck by the unconventional representations of iconic American symbols. The Statue of Liberty, for instance, is reimagined through the lens of South African photographer Zanele Muholi and a geometric screenprint by Roy Lichtenstein.The exhibition's curatorial approach is to create 'provocative conversations across centuries, disciplines and demographics.' E Carmen Ramos, the gallery's chief curatorial and conservation officer, notes that the show was 'years in the making' and showcases an 'embarrassment of riches' from the gallery's permanent collection of over 160,000 works.Structured around three core themes – land, community, and freedom – the exhibition presents a diverse array of works. These include Thomas Moran's idyllic watercolours of the American West juxtaposed with Thomas Hart Johnson's photographs of a landscape ravaged by coal mining and railroads. The exhibition also features poignant pieces such as Carrie Mae Weems's haunting silhouette and Gordon Parks's indelible 'American Gothic.'The show's second section, 'Community,' features Richard Avedon's massive 1976 commission 'The Family,' which comprises 69 stark, uniform portraits of the bicentennial era's political, media, and corporate elite. This is contrasted with John Wilson's tender sketches of his teenage children and their friends.The final act of the exhibition turns its lens to 'Freedom,' showcasing historical portraits of figures such as Frederick Douglass, Sojourner Truth, and George Washington, alongside powerful works by Kara Walker, Martha Rosler, and Faith Ringgold. As visitors exit, they are met with Robert Indiana's boldly coloured screenprint 'Liberty '76,' created for the 1976 bicentennial.Ramos reflects on the exhibition's significance, stating that it 'explores how artists in the United States have explored the American experience across different moments in time.' The exhibition will be on view in the National Gallery's West Building until 20 September.