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Glass Lewis, a leading proxy adviser, has advised investors to vote against BP's chair Albert Manifold because the board chose to exclude a climate‑strategy resolution from the upcoming annual general meeting.The resolution, put forward by activist shareholder group Follow This, sought a discussion of BP's long‑term strategy under scenarios of declining oil and gas demand.BP, currently pivoting back to oil and gas after a faltering renewable push, appointed Manifold in October with a promise to help the company “reach its full potential”.In a parallel leadership change, the firm named Meg O’Neill, a former ExxonMobil executive, as chief executive – making her the first woman to lead BP and its fourth CEO since 2023.Glass Lewis argued that the board’s decision to drop the climate proposal raises serious questions about transparency, shareholder communication and responsiveness, according to a note first reported by Reuters.Manifold responded on BP’s website, stating that the board concluded the Follow This proposal was invalid and would be ineffective if passed.Another proxy adviser, ISS, also recommended voting against BP’s request to retire two older climate‑impact reporting resolutions, contending that the proposals remain relevant despite newer reporting frameworks.Follow This disclosed that 12 institutional investors plan to oppose BP’s move to scrap its climate disclosures, and its CEO Mark van Baal warned that more than 25% of shareholders could vote against the resolution, enough to block it.O’Neill, addressing staff, highlighted the “significant complexity” of today’s environment – geopolitical tension, rapid technological change, and shifting global energy demand – and reaffirmed BP’s mission to deliver energy safely, reliably and efficiently.

A sharp political row has ignited between the central government in Madrid and the Basque regional authorities over a request to display Picasso’s Guernica at the Guggenheim Museum in Bilbao from 1 October to 30 June, coinciding with the 90th anniversary of the town’s devastating aerial attack.The masterpiece has been housed in Madrid’s Reina Sofía museum since 1992, and previous appeals to relocate it to the Basque Country have been consistently rejected.The latest demand has seen Isabel Díaz Ayuso, the outspoken conservative president of the Community of Madrid, and Aitor Esteban, leader of the Basque nationalist party, exchange barbed remarks, each accusing the other of a “provincial” outlook.Ayuso argued that moving the painting “doesn’t make sense” and quipped that, if origin mattered, “all of Picasso’s works should be sent to Málaga,” the artist’s birthplace. She also warned that the Reina Sofía fears the relocation could damage the delicate canvas.Esteban shot back, suggesting that Ayuso’s notion of national identity was reduced to “drinking beer on a terrace bar,” a jab at her stance on keeping Madrid’s bars open during the pandemic.Basque president Imanol Pradales challenged the Spanish government’s resolve, asking whether it could muster the courage to move Guernica after having “dragged Franco out of his tomb.” He framed the decision as a test of political will.The Basque administration proposes to exhibit the work at the Guggenheim for eight months, framing the display as a tribute to the victims of the 1937 bombing of the town of Guernica.The black‑and‑white canvas captures the horror of the attack carried out by the German Condor Legion and the Italian air force on 26 April 1937, an early example of strategic aerial bombardment of civilians during the Spanish Civil War.Casualty estimates for the raid vary widely—from as few as 126 to as many as 1,654 dead—yet the painting has become an enduring global symbol of the atrocities of war.After its debut at the 1937 Paris International Exposition, Guernica toured Europe and the United States. Picasso, who opposed its return to Spain under Franco’s dictatorship, later allowed it to reside at New York’s Museum of Modern Art (MoMA) for several decades.Art historian Francisco Chaparro cautioned that, while the Spanish government cannot entirely rule out a move, the risk of damage must outweigh any political motivations. He likened the situation to the Mona Lisa’s permanent stay at the Louvre and Velázquez’s *Las Meninas* at the Prado, noting that Guernica has been “rolled and unrolled on numerous occasions.”Artist José Manuel Ballester reminded observers that Picasso himself had envisioned the painting hanging in the Prado, a position he never assumed during the civil war.In 2000, the Reina Sofía rejected a request from MoMA to loan Guernica, declaring that the “great icon of our museum must remain, without exception, separate from the policy on lending works to other museums.”Note: The article was amended on 7 April 2026 to include the German Condor Legion alongside the Italian air force in describing the 1937 bombing.

Opening night of the Pet Shop Boys’ Obscure tour turned the Electric Ballroom in Camden into a shrine for deep‑cut enthusiasts. Frontman Neil Tennant opened with a cheeky promise – “no hits tonight” – and the crowd responded with delighted roars, eager for the rare material the duo had promised.The Obscure moniker is no accident. Tennant and synth‑master Chris Lowe rehearsed 35 songs from their 42‑year catalogue, deliberately sidestepping the familiar chart‑toppers in favour of B‑sides, album tracks and fan‑favourite deep cuts. A fan‑compiled Spotify playlist of 226 non‑single tracks illustrates just how vast the selection pool is, yet even that list fell short of the band’s final set.Two songs made their live debut: a never‑performed track from the unreleased stage show Naked titled “I Dream of a Better Tomorrow,” and the 1986 B‑side “Jack the Lad” from the Suburbia era, which had never before been heard on stage. Phones rose in the audience as Tennant sang the cheeky tale of a ne’er‑do‑well, capturing a moment that will likely become a new fan legend.Highlights included a soulful rendition of the 1990 ballad “To Face the Truth,” where Tennant’s hand‑over‑stomach gesture added a rare glimpse of vulnerability, and the 1987 piano‑driven “Do I Have To?” showcasing Lowe’s most tender synth‑piano work. The set also featured “King of Rome” (2009), its horn‑laden refrain enveloping the room in a warm, nostalgic glow.Interspersed with the music, Tennant acted as an urbane quizmaster, prompting the audience to shout B‑side titles and rewarding them with trivia – for example, a medley that combined 1993’s “One in a Million” with Culture Beat’s “Mr Vain,” performed for the first time since its original 1994 Latin America appearance.Closing the main set, the 2005 anthem “The Performance of My Life” evoked the duo’s early club‑scene roots, while the encore opened with the poignant B‑side “Your Funny Uncle” (1989), a lament that still resonates with listeners who first found solace in its lyrics during the AIDS crisis.In a final, forward‑looking moment, Tennant introduced “I Dream of a Better Tomorrow,” a brand‑new song taken from the unreleased stage production based on *The Emperor’s New Clothes*. He declared, “change is coming… the start of something new,” hinting at fresh creative directions beyond the archival focus of the tour.The Obscure run, part of the broader Dreamworld tour that began in 2022, demonstrates the Pet Shop Boys’ mastery of both pop craftsmanship and archival curation, offering fans a rare chance to hear the hidden gems that have long lived in the shadows of their massive catalogue.

Effective September, the UK will limit interest on Plan 2 and Plan 3 student loans to 6%, announced by ministers amid growing concerns that higher inflation could push repayments sharply higher for graduates.Currently, borrowers on Plan 2 pay an interest rate equal to the Retail Prices Index (RPI) – presently 3% – plus up to an additional 3% once they earn more than £29,385. While studying, both Plan 2 and Plan 3 loans already attract RPI + 3%.Plan 2 loans cover undergraduate courses and Postgraduate Certificates of Education taken out since 1 September 2012 in Wales and between that date and 31 July 2023 in England. Plan 3 loans apply to postgraduate master’s or doctoral programmes for borrowers in England and Wales.Skills Minister Jacqui Smith linked the decision to global instability, noting that “the conflict in the Middle East is causing anxiety at home… Capping the maximum interest rate will provide immediate protection for borrowers, supporting those most exposed within this already unfair system.”The repayment threshold will remain frozen at £29,385 for the next three years, until 2030, a policy that could raise annual repayments by up to £300 for many graduates.Labour MPs have pressed the government to reconsider this freeze, arguing it will erode real‑term earnings as the threshold approaches the minimum wage by 2030.National Union of Students president Amira Campbell welcomed the cap as “a huge win” for the more than 5 million people on Plan 2 loans, but warned that “the change cannot come alone” and called for a rise in the repayment threshold in line with incomes.Prime Minister Keir Starmer has pledged to explore ways to make the student‑loan system fairer, echoing criticism from Conservative leader Kemi Badenoch, who described the scheme as a “debt trap” at “breaking point”.

Meg Jones has been appointed as the new captain, with Amy Cokayne and Alex Matthews as her deputies. Jones expressed her pride in leading the team, emphasizing continuity and a shared vision for success. Despite the changes, England remains a strong contender for the Six Nations title.

François Ozon's The Stranger is a lustrously beautiful and superbly realised modern take on Albert Camus's classic novella L'Etranger. Set in 1940s French Algeria, the film follows the story of Meursault, a sensitive white European who commits a racist act under the unbearable noonday sun.The film, shot in Morocco, boasts an almost supernaturally detailed sense of period and place. Ozon's adaptation brings a contemporary perspective to the book's themes of empire and race, making changes that include a critique of the original text. This approach perhaps loses some of the source material's brutal, heartless power and arguably some of the title's meaning.Meursault, played by Benjamin Voisin, is portrayed as a character with an unreadable expression of listless unconcern. His story unfolds through flashbacks, showing his dull office job in Algiers, his blank reaction to his mother's death, and his relationship with Marie, played by Rebecca Marder.The film's climax features Meursault's fatal encounter with the vengeful brother of Raymond's girlfriend, Djemila. When asked for a motive, Meursault simply says: “C’était à cause du soleil” – “It was because of the sun”. This response highlights the absurdity of the situation and the racist undertones of the act.Ozon's adaptation softens the argument presented in Camus's original work, and Meursault is ultimately condemned to death. The film emerges as a passionate act of ancestor worship in honour of a renowned French artwork, while also critiquing the original text and its representation of imperialism.

UK manufacturers are facing a significant increase in business rates, with a projected annual hike of £940m due to changes introduced by Chancellor Rachel Reeves. These changes, effective this month, have sparked concerns among industry leaders.The increase is attributed to the government's decision to raise business rates at the budget in November, which included an additional surcharge on buildings with a rateable value of more than £500,000. This move has been criticized by MakeUK, an industry lobby group, as it disproportionately affects manufacturers with large factory floors.According to MakeUK, factories account for a fifth of England and Wales's property by rateable value, despite manufacturers only contributing a 10th of economic output. The lobby group argues that the current system of business rates is outdated and unfair, leaving manufacturers paying disproportionately more than other sectors relative to their size.Verity Davidge, policy director at MakeUK, stated: "The current system of business rates is outdated and is a blunt instrument that leaves manufacturers paying disproportionately more than other sectors relative to their size. This increase couldn’t come at a worse possible time and is set to hammer one of the government’s key strategic sectors which is already facing existential threats from increased energy and employment costs which are completely out of their control."The government has faced backlash from various sectors, including pubs and live music venues, and has made some concessions, such as announcing £80m in discounts in January. However, MakeUK is calling for further support, including a year's notice before raising rates and a more nuanced system that takes into account business turnover, size, and type.A government spokesperson responded to MakeUK's analysis, stating: "We have the right economic plan - we’re reforming business rates to back manufacturing, with a £4.3bn support package to limit bills rises, alongside capping Corporation Tax at 25%, cutting red tape and taking action on energy by reducing electricity bills by up to 25% for over 7,000 businesses."

Universal Music Group (UMG), the world's largest music company, has received a takeover offer from billionaire Bill Ackman's hedge fund, Pershing Square. The deal values UMG at over €50bn (£44bn). Pershing Square, based in New York, has offered a cash and stock deal to acquire the business, which is home to renowned artists such as Taylor Swift and Elton John.Ackman stated that while UMG, led by British-born Sir Lucian Grainge, has done an excellent job in nurturing its artist roster and generating strong business performance, its share price has lagged due to issues unrelated to the performance of its music business. He specifically mentioned the delay in UMG's US listing, underutilization of its balance sheet, and uncertainty around the French conglomerate Bolloré Group's 18% stake in the company.Shares in UMG, listed in Amsterdam since 2021, have lost more than a quarter of their value in the past year. The company is one of the 'big three' record labels, alongside Sony Music Entertainment and Warner Music Group, with a diverse roster ranging from classical music to stars like Adele, Drake, and Ariana Grande.Ackman also cited a 'lack of investor credit' in the company's valuation of its €2.7bn stake in the music streaming service, Spotify. Pershing Square, which Ackman established in 2004, controls over $26bn in assets and bought a 10% stake in UMG in 2021.As part of the proposed deal, Pershing Square would add Michael Ovitz, a veteran talent agent, as chair, along with two representatives from Pershing Square to UMG's board. The deal would also involve a new employment contract and compensation arrangement for Sir Lucian Grainge. Under the terms, UMG would merge with a blank-cheque company set up by Pershing Square and then list on the New York Stock Exchange. Shareholders would receive a total of €9.4bn in cash and 0.77 shares in the new company for every Universal share they own, representing a 78% premium compared to the company's closing share price on Thursday.

When Kristyna Janku answered a police call, she could not have imagined the revelations that would follow. The defender learned that her former coach, Petr Vlachovsky—once celebrated as the Czech Republic’s top women’s football coach—had been secretly recording Slovacko players in the changing room for four years and was in possession of child‑sexual‑abuse content. Vlachovsky’s arrest in 2023 led to a court ruling last May that handed him a one‑year suspended sentence, a fine and a five‑year ban from all football‑related activity in the Czech Republic. However, the Czech FA has yet to lodge a complaint with FIFA’s ethics committee, leaving the door open for him to coach abroad, a prospect that unsettles Janku, now playing in Poland. According to Alex Phillips, secretary‑general of FIFPRO, this scandal is merely "the tip of the iceberg," noting that many victims remain silent because they lack trusted reporting channels. He stresses the need for an independent, funded international body to investigate and sanction abuse, rather than relying on national federations that often view the issue as low priority. The Czech case mirrors a recent incident in Austria, where a man received a seven‑month suspended prison term and a €1,200 fine for covertly filming the Altach women’s team, also paying €625 compensation to each victim. Both cases underscore a pattern of inadequate safeguarding across European women’s football. For Janku, the trauma extends beyond the courtroom. She describes a lasting hyper‑vigilance in dressing rooms and public spaces, and acknowledges that while she has declined therapy offered by the Czech players’ union, the psychological scars remain. FIFPRO’s women’s football director Alex Culvin warns that the lack of decisive action fuels a culture where abuse is minimized, citing parallels with the Me Too movement and high‑profile scandals such as the Luis Rubiales incident in Spain. Victims of Vlachovsky’s misconduct report a range of consequences—from nausea and the need to change clubs to long‑term body dysmorphia—highlighting how non‑contact sexual abuse can devastate athletes whose bodies are their livelihood. While the Czech federation is reportedly revising its safeguarding policies, critics argue that without a global enforcement mechanism, perpetrators like Vlachovsky can continue coaching elsewhere, perpetuating risk for future generations of female footballers.