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The Grand National continues to be a major highlight in the horse racing calendar, with its enduring popularity and cultural significance in the UK. Despite ongoing concerns about horse welfare, the event has seen a decrease in serious injuries and fatalities in recent years, thanks in part to modifications made to the course.The Grand National has a long history dating back to 1839 and remains one of the most-watched and highly bet-on events in the sport. While animal rights groups continue to criticize the race, citing concerns over horse safety, the sport's governing bodies have implemented various measures to minimize risks.In recent years, there has been a steady reduction in the number of fallers in the National, with data showing a decline from 8-8-4-4-6-4-5-4-4-0-3 fallers between 2014 and 2025. The 2024 and 2025 runs, with easier fences and a maximum field of 34, recorded the lowest and third-lowest numbers of fallers this century.Despite these improvements, fatalities still occur, and the RSPCA has called for lessons to be learned from recent incidents, emphasizing that 'one death is too many.' The organization has highlighted the need for continued vigilance and improvement in horse welfare and safety protocols.The racing community continues to evolve, with jockeys and trainers working to balance the thrill of competition with the imperative of protecting the animals involved. As the sport prepares for upcoming events, including the Grand National, there is a renewed focus on safety, welfare, and the integrity of the sport.

At Augusta National, Justin Rose’s name appears twice on the bronze winner’s list beside the victories of Sergio García (2017) and Rory McIlroy (2025) – both wins coming after playoffs that Rose lost. Only Ben Hogan shares the dubious distinction of losing two Masters playoffs, though Hogan later won the tournament twice outright.Rose’s record also includes a second‑place finish in 2015, four strokes behind Jordan Spieth. The only player with more runner‑up finishes without ever winning is Tom Weiskopf, who was second four times in seven years.Now 45 years old and entering his 21st Masters, Rose cannot predict if he will ever get as close again as he did last year, when McIlroy’s birdie putt on the 18th sealed a one‑stroke playoff defeat.“When you realise you’re that close, you can taste the victory,” Rose says. “I lived it as if I’d won, but without the real positive emotion – I sensed everything.” He acknowledges the mental rehearsal of the “what‑if” scenario while maintaining that he “did everything he could” and can live with the result.Rose explains his mental formula: “You can’t make a major win too important in the moment,” because a career inevitably includes “a little bit of heart‑ache and heartbreak.” He believes that to win, a player must also be prepared to be on the losing side.Despite the setbacks, Rose feels he has already demonstrated the necessary skill set. “I’ve pretty much done what it takes to win. I just haven’t walked over the line,” he asserts, emphasizing that he does not feel the need to change his approach.Recent form offers optimism. Earlier this year Rose set a new course record at Torrey Pines and became the first player in 71 years to win the Farmers Insurance Open wire‑to‑wire. He notes that eight players have captured the Masters after finishing second the previous year, suggesting his odds improve when the field is considered.Rose is also mindful of external narratives. “People are wishing me well and thinking it’s my year,” he admits, adding that he must manage expectations and craft his own story rather than buying into others’ predictions.

Nicola Jennings, a renowned cartoonist for The Guardian, has created a thought-provoking cartoon illustrating the Artemis II mission's achievement of reaching the far side of the moon.The cartoon, published on April 6, 2026, showcases Jennings' unique perspective on space exploration and the advancements made by NASA through the Artemis program.The Artemis II mission marks a significant milestone in space travel, as it ventures further into the lunar environment, paving the way for future manned missions to the moon and beyond.

Tadej Pogacar, the winner of the Tour of Flanders for a record-equalling third time, is among the riders under investigation for allegedly running a red light at a railway crossing during the race on Sunday. The incident occurred when Pogacar, along with a group of riders, proceeded through the crossing without stopping, while most of the peloton behind them had to halt before the railway. Belgian officials have confirmed that an investigation is underway into the riders who allegedly ran the red light. Although no further details were provided immediately, local media reports suggest that the riders could face fines ranging from €320 to €4,000 (£279 to £3487) and a driving ban of eight days if found guilty. Pogacar, who rides for UAE Team Emirates-XRG, explained after the race that the signal to stop came too late for them. He described the situation, saying, “Suddenly three guys jump on the middle of the road and start waving to stop. How can you stop in one second? I think they could prevent this by stopping us before, no? Not 10 metres before the crossing. I was thinking: ‘Maybe it’s like some protesters or something crazy is going on.’” The Belgian newspaper Het Laatste Nieuws reported that the East Flanders public prosecutor’s office intends to prosecute the riders. Riders could face significant penalties, including fines and a driving ban, if convicted. Race officials ordered the riders who went through the red light to slow down so the rest of the peloton could catch up. The Tour of Flanders, also known as De Ronde (the Tour), is one of cycling’s most challenging one-day races and a “monument” of the sport. This year’s 278km route featured 16 short but punishing climbs and several cobblestone sections. Pogacar’s victory was notable, but the incident has overshadowed his achievement.

The recent commentary on Donald Trump's presidency has highlighted a critical concern: the world cannot afford to wait for him to leave office. Trump's administration has effectively eroded central tenets of the US legal and civic structure, rendering the traditional checks and balances on political power ineffective.Waiting for the downfall of one individual raises two crucial questions. Firstly, will others with similar politics simply take his place? Secondly, if the country and the world wish to move in a different direction, when can we expect to see a plan?It is essential to remember that changes brought about by Trump's presidency cannot always be easily abolished or replaced. The implications of his actions, and those of his administration, are far-reaching and have significant consequences for global stability.Some argue that faith in the November midterm elections may be too optimistic, as Trump and his administration are already preparing to undermine them. The concern is that he will not allow himself to lose.Others suggest that the media and public have a role to play in puncturing Trump's pride and casting doubt on his legacy. Keeping a running count of the death toll of civilians, children, aid workers, and journalists killed since his presidency began could be one way to hold him accountable.The situation has drawn comparisons to the fall of the Roman Empire, with some warning that the current instability could lead to a similar collapse of political structures. As such, there is an urgent need for a plan to address the consequences of Trump's actions and to work towards a more stable future.

Conservationists and scientists have warned that the Minerals Council of Australia’s proposal to employ artificial intelligence for faster national environmental approvals could generate “Robodebt‑style” failures, further endangering already vulnerable species.The council has asked the federal government to allocate $13 million for a pilot that would use AI to help companies draft assessment applications and assist regulators in decision‑making.The Biodiversity Council – a consortium of independent experts from eleven universities – told Guardian Australia that while AI may assist with routine tasks, automating whole environmental assessments could lead to opaque, flawed decisions that push threatened species closer to extinction.“Robodebt” refers to the automated welfare‑debt recovery scheme that, between 2015 and 2019, wrongly accused hundreds of thousands of Australians of overpayments, highlighting the danger of opaque algorithmic judgments.Lis Ashby, the Biodiversity Council’s lead on policy and innovation, noted that the cornerstone of Australia’s environmental protection, the Environment Protection and Biodiversity Conservation (EPBC) Act, is riddled with vague language and broad ministerial discretion, which hampers rule‑based decision‑making and would be even more problematic for an AI tool.She added that establishing clear rules in the National Environmental Standards, including explicit definitions of unacceptable outcomes, would accelerate assessment times even without AI and is essential for any future automation.Brendan Sydes, national biodiversity policy adviser at the Australian Conservation Foundation, expressed scepticism, stating that “technology can be a good servant but a poor master.” He urged the government to focus on closing existing data gaps on threatened species and habitats rather than relying on AI.Prof. David Lindenmayer, a forest ecologist at the Australian National University and Biodiversity Council member, highlighted that one‑third of Australia’s threatened species have not been monitored and many others suffer from patchy data, gaps traditionally filled by expert consultation.He warned that AI decisions are only as reliable as the data they are fed, and most threatened species lack publicly available information, even basic location data, risking decisions based on outdated or incomplete evidence.The Albanese government recently passed reforms to the EPBC Act after a 2020 review found the legislation failing to protect species and habitats.Prof. Hugh Possingham, a leading conservation biologist at the University of Queensland, argued that AI models need robust training material, and the past two decades of EPBC approvals are “clearly unsuitable” because the Act has demonstrably failed to safeguard the environment. He suggested that hiring more human assessors would be a more effective way to speed up evaluations.Tania Constable, chief executive of the Minerals Council, dismissed the Robodebt comparison as “disappointing,” insisting the proposal is innovative and could strengthen environmental protection while improving efficiency. She said the AI tools would support human decision‑making for both regulators and project proponents, helping navigate the complexity of EPBC assessments.A federal government spokesperson said budget decisions on the AI trial will be made “in due course,” but the environment department is exploring how AI could simplify application processes. The statement emphasized that “decisions about whether to approve projects must, and will, always be made by assessment officers, not by AI.”Nonetheless, officials acknowledged that AI tools have the potential to save time, reduce uncertainty, and translate technical language for stakeholders.

Billy Livsey, an American musician who arrived in England in the 1970s, transitioned from touring with Slim Chance and Gallagher & Lyle to writing hits for Shakin’ Stevens, Elkie Brooks and Paul Young before being tapped to write for the teen pop group Five Star. In the mid‑80s Livsey co‑wrote the chart‑topping single “System Addict” with Gary Bell, and a few months later his publisher suggested a partnership with lyricist Peter Sinfield. After a brief exchange of a rough melody, Sinfield asked Livsey to pen the words over the phone, resulting in the lyric sheet for what would become “Rain Or Shine.” The demo featured the renowned session vocalist Tessa Niles, whose résumé includes touring with The Police and singing on Eric Clapton’s “Layla” on his Unplugged album. Livsey recalls that her effortless delivery set the tone for the final recording. Recording took place at London’s iconic Mayfair Studios, a venue that had hosted legends such as George Michael and Tina Turner. Livsey admits he “stole” a sequencer fragment from Donald Fagen’s “New Frontier” to give the track a subtle, progressive‑pop edge. Five Star’s lead vocalist Deniece Pearson remembers the demo’s female vocal as a revelation compared to an earlier male‑sung version of “All Fall Down.” Her father and manager, Buster Pearson, urged her to “listen to the lady on the demo and articulate your words.” Because she was wearing braces, Deniece deliberately over‑enunciated to keep the metal from sticking to her lips – a quirky detail she still laughs about. Studio sessions were far from smooth. Frequent electrical glitches prompted Livsey to joke, “Gremlin. Gremlin.” Yet he remained confident, insisting that such hiccups often precede a hit record – a prediction that proved accurate. Upon release, “Rain Or Shine” became a staple of Five Star’s live repertoire, earning spots on Top of the Pops, the Royal Variety Performance and the Miss World stage. During a tour, a fan pulled Deniece into the audience pit, only to be rescued by her “hunky Italian” security guard, a moment she now recounts with affection. Today the song closes the group’s concerts as an encore, with audiences singing along and often moving Deniece to tears. She credits Livsey’s melodic craftsmanship, noting that the 80s songwriting formula – a strong melody followed by soaring vocals – remains the song’s enduring charm.

The Artemis II astronauts are on course to set a new distance record on Monday when they fly by the moon without stopping, then swing around for planet Earth. The crew consists of Reid Wiseman, Victor Glover, and Christina Koch of NASA, and Canadian Space Agency astronaut Jeremy Hansen.During the flyby, the astronauts will travel 5,000 miles (8,047km) beyond the moon, exceeding the distance record set by the ill-fated Apollo 13 mission in 1970. The Apollo 13 astronauts reached a maximum of 248,655 miles (400,171km) from Earth before making their turn, while the Artemis II crew is expected to exceed that by about 4,000 miles (6,437km).The Orion capsule's roughly six-hour flyby on Monday promises views of the moon's far side that were too dark or too difficult to see by the Apollo program astronauts who preceded them more than half a century ago. A total solar eclipse also awaits them as the moon blocks the sun, exposing snippets of shimmering corona.“We'll get eyes on the moon, kind of map it out and then continue to go back in force,” flight director Judd Frieling said. The astronauts will take turns capturing the lunar views out their windows and will be able to make out “definite chunks of the far side that have never been seen” by humans.Once the capsule rounds the moon, it will take four days to return to Earth. NASA is aiming for a splashdown in the Pacific Ocean near San Diego on 10 April, nine days after its Florida launch.

Aisling Bea, 42, finally steps onto the solo stand‑up circuit with a 75‑minute show titled “Older Than Jesus.” The title, a tongue‑in‑cheek nod to the mid‑life milestone of outliving the biblical figure, hints at the personal reflections that anchor the performance. Although Bea is best known for TV hits and a stint on Taskmaster, this is her inaugural headline tour. The material draws heavily on her recent “accidental pregnancy” and the ensuing transition to motherhood, offering a candid look at the chaos and comedy of late‑stage parenthood. True to her reputation, Bea’s humor remains delightfully reckless. She riffs on childhood memories of crafting DIY Dairylea spreads with second‑hand “bodies of Christ,” reenacts a disastrous Take That movie wrap‑party, and even masquerades as a dad in her sister’s antenatal class. Each anecdote is delivered with a cartoonish egotism that celebrates her own absurdity. Physical comedy spikes the night: a deliberately over‑the‑top “slut drop” followed by a playlist curated for her own C‑section. These moments juxtapose the glamour‑obsessed persona she projects on Instagram with the far less polished reality of a new mother, underscoring the show’s central tension. In the closing segment, Bea pivots from pure silliness to a more earnest commentary, using pregnancy and parenthood as lenses to critique entrenched gender expectations. The moral—delivered with a sincere, if slightly unexpected, earnestness—offers a satisfying resolution to a set that otherwise revels in delightful immaturity. The premiere took place at De Montfort Hall in Leicester on 8 April, with the tour set to continue across the UK in the weeks ahead.