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Ballon d’Or prospects are wider than ever after more than a decade dominated by Lionel Messi and Cristiano Ronaldo. This season’s Champions League quarter‑finals could tip the balance as the 103‑day run‑in to the World Cup final approaches. Harry Kane leads the conversation, having netted 54 goals across club and country – a tally that includes Bayern Munich’s recent 2‑1 win over Real Madrid. A Champions League triumph with Bayern and a World Cup victory with England would make him the first English Ballon d’Or winner since Michael Owen in 2001. Other candidates include Kylian Mbappé, currently the top scorer in both the Champions League and La Liga, and teenage sensation Lamine Yamal, whose creativity for Barcelona and Spain adds a different flavour to the race. The field remains open enough that a surprise performer – perhaps an Arsenal double‑winner or a PSG‑Portugal combo – could leapfrog the traditional favourites. Folarin Balogun’s USMNT future is under scrutiny. The 24‑year‑old Monaco striker has scored in five consecutive Ligue 1 matches, highlighted by a spectacular chip against Marseille that showcased his peak form. Yet head coach Mauricio Pochettino opted to start Christian Pulisic at centre‑forward in the final warm‑up against Portugal, limiting Balogun’s chance to cement his role. While Pulisic displayed moments of flair, his hold‑up play was described as “more like a winger than a No 9”, underscoring the coach’s dilemma. Balogun’s club form, however, argues that the United States already possess a striker capable of leading the line. Roberto De Zerbi faces a seven‑game deadline at Tottenham Hotspur. Signed on a five‑year deal, the Italian tactician inherits a side that struggled to adapt to his possession‑based philosophy under previous managers. Tottenham rank 12th for touches inside the opposition box and 14th for big chances created (Opta), indicating a lack of the creative outlets De Zerbi favours. He achieved his first win at Brighton after six games and impressed at Marseille with four wins in five, but both successes came after a full pre‑season and targeted transfers – luxuries Tottenham lack at the moment. The upcoming Sunderland clash will be his first real test of whether his style can be implemented quickly enough to steer the club away from relegation danger. In summary, the next three months will decide not only who lifts the 2026 Ballon d’Or, but also whether Balogun can secure a starring role for the USMNT and if De Zerbi can reverse Tottenham’s fortunes before his contract’s short‑term clause expires.

Arthur Rosenfeld, 73, and Meryl Tankard, 70, open the performance by introducing themselves as “sprightly old geezers,” setting a tone of candid humor that runs through the evening. The production, ‘Kontakthof – Echoes of 78,’ is a fresh staging of Pina Bausch’s iconic 1978 work, now re‑imagined by Australian choreographer Meryl Tankard. Unlike the 2010 London run that split the piece between teenagers and senior amateurs, this rendition features the eight surviving members of the original cast—all now in their late sixties to early eighties—performing the very roles they created half a century ago. A ninth dancer was absent due to illness. Their live movements are mirrored on a large screen by the black‑and‑white film of the 1978 performance, creating a visual palimpsest where past and present dance together. The choreography, set to 1930s dance‑hall songs, remains a wry commentary on courtship, power dynamics and consent. Tankard’s direction emphasizes the passage of time, allowing audiences to witness the same steps executed by bodies that have aged, yet retain a striking vitality. Dancers such as Josephine Ann Endicott, now in her seventies, glide across the stage in silk dresses, their frames more fragile but their confidence undiminished. Moments of poignancy arise when the film shows cast members who have since passed away. Onstage, John Giffin reaches for his late partner’s face, only to grasp empty air—a visual metaphor for loss that resonated deeply with the audience. Personal revelations punctuate the performance: Beatrice Libonati, 71, describes herself as “paranoid and a misanthrope,” while Tankard admits, “I wish I’d had children; I miss my mother every day,” underscoring the undercurrent of longing that runs through the piece. Beyond its narrative, the production offers a meditation on continuity. Bausch’s signature walking patterns—slow circles and linear traverses—are repeated, suggesting that despite changing bodies, the human species continues to tread familiar social routes. The music, unchanged from the original, carries on until the final dancer pauses, symbolising the inevitable end of the dance of life. The show runs at Sadler’s Wells, London through 11 April, offering a rare glimpse into how art can bridge generations and celebrate the endurance of the human spirit.

Bruce Miller returns as showrunner to bring Margaret Atwood’s 2019 novel The Testaments to the screen, positioning it as a direct sequel to the acclaimed series The Handmaid’s Tale. The new eight‑part drama, now streaming on Disney+, shifts the narrative focus to the next generation of women living under Gilead’s regime. While the series adopts a lighter, almost YA‑ish tone compared with its predecessor, the underlying brutality remains unmistakable. Viewers are confronted with “bloody punishments, rotting corpses on gibbets and relentless indoctrination,” now filtered through the eyes of teenage protagonists. The visual palette expands beyond the iconic red, white and green of the original. Young girls of privileged status appear in pink dresses and cloaks, older students—dubbed “Plums”—wear purple headpieces that are more stylish than the oppressive bonnets of the handmaids, and menstruating women are marked by a teal hue, signaling a grim rite of passage. Central to the story is Agnes (Chase Infiniti), the adopted daughter of Commander MacKenzie and the secret first child of June/Offred. Her journey intertwines with that of Daisy (Lucy Halliday), a “Pearl Girl” recruited from outside Gilead, whose mysterious background fuels the series’ central mystery. Ann Dowd reprises Aunt Lydia, now presiding over an elite preparatory school where she tasks Agnes with mentoring Daisy. Their evolving relationship, alongside flashbacks that flesh out Aunt Lydia’s own history, anchors the ten‑episode arc. Beyond the personal dramas, the series continues to examine groupthink, systemic corruption and the subjugation of women. Scenes such as Agnes kneeling before her father in newly‑colored robes starkly echo real‑world teenage experiences of power dynamics, albeit in a far more visceral setting. Occasional moments of dark humour provide brief relief, but the overarching message remains clear: the mechanisms of oppression are timeless, and the fight for autonomy persists across generations. The Testaments is now available on Disney+, offering both fans of the original series and newcomers a stark reminder of how dystopian fiction mirrors historical and contemporary tyrannies.

Australian cricket selector Shawn Flegler has acknowledged that the decision to appoint Sophie Molineux as team captain may need to be reassessed if she continues to struggle with injuries. Molineux, a bowling allrounder, was handed the captaincy ahead of Tahlia McGrath and Ash Gardner despite concerns over her fitness.Molineux has played for Australia since 2018 but has been plagued by injuries, including a serious knee issue that forced her to miss the recent Ashes series. Her injury problems resurfaced during the recent multi-format series against India, where she took on the T20I captaincy.Flegler described the latest setback as 'not ideal' but emphasized that the plan had always been to take a conservative approach to Molineux's fitness ahead of this year's T20 World Cup. He acknowledged that it was 'unprecedented' for Australia to bestow the captaincy upon a player subject to such uncertainty around her fitness.Despite the concerns, Flegler has not had any second thoughts about the captaincy decision, stating that the team is 'comfortable internally that it was the right decision for this group at this time.' However, he conceded that Australia would have to remain open to change should more long-term injuries arise.Molineux will take part in upcoming training camps with the squad and is on track to be fit for the World Cup that begins in the UK in June. The team's national contract list was also revealed, featuring uncapped Chloe Ainsworth and teenage allrounder Lucy Hamilton for the first time.

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.

Barcelona coach Hansi Flick has expressed his commitment to protecting teenage sensation Lamine Yamal from criticism, following the 18-year-old's recent displays of frustration on the pitch. Yamal, a rising star in Spanish football, has been making waves with his impressive skills, but his emotional reactions have sometimes drawn negative attention. Flick emphasized that Yamal's youth and inexperience are factors to consider, highlighting his exceptional talent and potential to become one of the best players in the future. The coach acknowledged that while Yamal's outbursts can create unwanted headlines, he will continue to support and defend him against criticism. Yamal's recent behavior was on display during Barcelona's 2-1 victory over Atletico Madrid in La Liga on Saturday. The teenager was visibly irritated after being admonished by a member of the Barcelona coaching staff for shooting instead of passing. This incident, along with his reactions to being substituted, has sparked concerns about his temperament. Flick also discussed the upcoming Champions League quarterfinal against Atletico Madrid, describing it as a tough and intense matchup. He praised Atletico's defensive capabilities and emphasized the need for Barcelona to perform at their best to secure a positive result. In other news, Marcus Rashford is expected to start on the left flank in place of the injured Raphinha. Flick noted that while Rashford has improved defensively, he still needs to work on his defensive work rate to fully integrate into the team.

The UK has witnessed a significant surge in online sextortion attempts reported by children, with a record 394 cases in 2025, representing a 34% increase from the previous year. The majority of victims, 98%, were boys aged 14 to 17.Sextortion involves a person being manipulated into sending explicit selfies or videos to a predator, who then threatens to publish them online unless the victim sends money or further intimate images. This crime has been linked to the suicides of several British teenagers who have taken their own lives after receiving extortion threats.Campaigners, including the Molly Rose Foundation and the Internet Watch Foundation, are calling on tech companies to take more decisive action to disrupt blackmail attempts. They argue that social media platforms, where initial grooming of victims often occurs, should introduce nudity-detection technology to prevent the spread of explicit content.The parents of 16-year-old Murray Dowey, who took his own life after being duped by criminals online, are suing Meta, the owner of Instagram and Facebook, for allegedly failing to implement adequate safeguards. The company continues to challenge the suit.The Report Remove service, which allows children to flag intimate images or videos that have appeared or could appear online, reported a 66% increase in under-18s seeking help in 2025, with 1,175 out of 1,894 reports classified as child sexual abuse material.Tech companies, including Google and Apple, have invested in protections against sextortion, but campaigners argue that more needs to be done. Google has implemented sensitive content warnings in its messaging app, while Apple has a communication safety system that warns under-18s about potentially explicit content.

South Korean intelligence officials say Pyongyang is deliberately stepping back from its long‑standing partnership with Iran as it seeks to open a diplomatic channel with the United States.The National Intelligence Service (NIS) found no evidence of weapons or material transfers to Tehran since the US‑Israel conflict over Iran erupted at the end of February.Unlike its allies China and Russia, which have issued frequent statements on the Middle‑East war, North Korea’s foreign ministry has released only two muted comments, condemning the US and Israeli attacks but remaining silent on internal Iranian leadership changes.Analysts interpret this restraint as a strategic move to position North Korea for a new diplomatic chapter with Washington once the regional conflict subsides.In a separate revelation, the NIS disclosed that Kim Jong Un appears to be grooming his teenage daughter, Ju Ae—estimated to be around 13 years old—as a potential successor, citing recent footage of her driving a tank.The display mirrors Kim’s own early‑2010s public military appearances, which were designed to showcase his readiness to inherit power.Previously, Kim’s sister Kim Yo Jong was considered a leading heir candidate. She recently praised South Korean President Lee Jae Myung for apologising over a January drone incursion, calling the gesture “wise” and “fortunate.”Lee admitted that government officials were involved in the drone incident and expressed regret, part of his broader effort to repair inter‑Korean ties since taking office.Despite these overtures, North Korea has largely ignored Seoul’s diplomatic initiatives, with Kim labeling South Korea the “most hostile state” in a March policy address.

A24 marketed Kristoffer Borgli’s second English‑language film as a darkly comic romance, pairing Zendaya and Robert Pattinson as a seemingly picture‑perfect couple on the brink of marriage. The studio’s teaser, a faux wedding announcement in the Boston Globe, amplified the buzz that began with the trailer’s release and even earlier Reddit speculation. The narrative follows Charlie (Pattinson) and Emma (Zendaya) through a series of sun‑lit flashbacks that culminate in a tense pre‑wedding dinner. During a “worst‑thing‑you’ve‑done” game, Emma confesses that, as a depressed teenager in Louisiana, she once planned a mass shooting and even practiced with her father’s rifle, though she never pulled the trigger. This revelation serves as the film’s central twist and propels the story into a moral quandary about forgiveness and trust. Critics note that the film’s premise is deliberately provocative. Borgli, known for his satirical take on cancel culture in Dream Scenario, uses Emma’s confession to interrogate America’s obsession with gun violence. By placing the “thought crime” in the hands of a Black woman—contrasting with statistics that over 95% of mass shooters are male and more than half are white—the director forces a reversal of the usual gendered narrative surrounding firearms. The twist has provoked strong reactions from survivors and advocacy groups. Tom Mauser, who lost his son in the 1999 Columbine shooting, called the plot “awful” in a TMZ interview, while 2019 school‑shooting survivor Mia Tretta told USA Today that such a storyline “shouldn’t be joked about.” Parkland survivor Jackie Corin offered a more measured view, urging the film’s stars to use their platforms responsibly and questioning whether the project rises to the ethical standards their influence demands. Beyond the controversy, the film boasts technical strengths. Arseni Khachaturan’s cinematography creates a lush visual palette, and the editing maintains a brisk pace as the wedding day approaches. The climactic ceremony—described by many reviewers as the film’s “pièce de résistance”—forces Charlie and Emma to confront the fallout of Emma’s secret amid a chaotic, alcohol‑fueled toast that lays bare the fragility of their relationship. In the final scene, the couple reconvenes at a diner, echoing the opening “can we start over?” motif. The ambiguous resolution suggests that exposing one’s darkest thoughts may either deepen intimacy or foreshadow further turmoil. Overall, ‘The Drama’ is both a compelling watch and a flashpoint for debate about how cinema engages with the United States’ endemic gun‑culture. Whether the film succeeds as a thought‑experiment or merely courts outrage remains a divisive question that will likely fuel discussions well beyond its theatrical run.