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Michael Rosen, celebrated poet and author of titles such as We’re Going on a Bear Hunt and Chocolate Cake, has been awarded the 2026 Hans Christian Andersen Award in recognition of his lifelong impact on children’s literature.The accolade makes him the fourth Briton to receive the honor, joining the ranks of Eleanor Farjeon, Aidan Chambers and David Almond.The International Board on Books for Young People (IBBY) praised Rosen’s work for echoing the rhythms of children’s language, blending playfulness with emotional depth and social awareness. IBBY highlighted his ability to foster empathy and spark conversations about history, family, loss, identity and society across poetry, novels and non‑fiction.The companion illustration prize was bestowed upon Chinese artist Cai Gao, whose distinctive visual language and high artistic quality expand the possibilities of children’s illustration. Past illustration laureates include Quentin Blake, who won in 2002.Rosen missed the award announcement at the Bologna Children’s Book Fair after being denied boarding on a flight from Stansted to Bologna due to post‑Brexit passport regulations. The rule requires UK passports to have been issued within the previous ten years and to retain at least three months’ validity on the day of departure.He later posted on X (formerly Twitter), noting the irony of being turned away because his passport was issued in March 2016 despite an expiry in August 2026, calling it a “Brexit benefit”.Despite the setback, Rosen received a call from an Italian woman informing him of his win, which he described as a “happy ending”.From a pool of 78 candidates across 44 countries, the jury evaluated the “distinctive literary and artistic qualities” of each entrant and their capacity to view the world through a child’s eyes. The formal award ceremony is slated for August in Ottawa.

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 author of the article, a self-proclaimed lifelong Nintendo fan, recently watched the new Super Mario Galaxy movie with their children over the Easter break. The film received harsh reviews from critics, with The Guardian's Peter Bradshaw calling it 'worse than AI' and Empire deeming it a 'humourless, hysterical trudge'. Despite this, the author's children loved the movie, which sparked a reflection on its strengths and weaknesses.The film is criticized for its lack of depth and originality, launching into an unrelated storyline that fails to develop the characters or plot. The author notes that the movie relies heavily on action sequences and lacks humor, with Jack Black's Bowser being a notable exception. However, the film's attention to detail and commitment to accurately representing the Mario universe are praised.The author argues that the movie's creators, including many from Nintendo itself, genuinely care about the Mario games and have ensured that the details are accurate. This love for the source material is evident throughout the film, even if it's not always successful in translating to the screen. The author also criticizes the film for feeling like an advertisement, particularly with the inclusion of Fox McCloud from Star Fox, which seems to be a promotional move.Ultimately, the author concludes that while the Super Mario Galaxy movie is not great, it's not as bad as critics make it out to be. The film's shortcomings are largely due to its shallow storytelling and reliance on familiar elements rather than innovative ideas. The author hopes that future Nintendo movies will be more enriching and engaging for young audiences.

The Guardian’s latest photo feature offers a vivid look at Steve McQueen’s exhibition titled “Grenada”, a work that intertwines art and history through a series of compelling images.Central to the visual narrative are flowers that have “witnessed horrific things”, serving as silent witnesses to the island’s turbulent past. The photographs juxtapose the natural beauty of the flora with the lingering shadows of colonial trauma, inviting viewers to contemplate the complex legacy of Grenada.Each picture is carefully composed to highlight the contrast between the bountiful landscape and the weight of historical memory, underscoring McQueen’s intent to provoke reflection on how beauty can coexist with suffering.By presenting the exhibition in a picture‑rich format, the article allows readers to experience the emotional depth of the work without leaving the page, emphasizing the power of visual storytelling in contemporary art.

Nelson Mandela once claimed sport could spark hope where despair prevailed – a sentiment that now feels overly optimistic as climate change threatens every arena, from football pitches to alpine slopes.Extreme weather events are already cancelling competitions and rendering venues unplayable through floods, wildfires and storms. Rising heat and air‑pollution expose athletes to heat‑related illnesses, asthma and cardiovascular strain, while also increasing injury risk and diminishing performance for officials and spectators alike.Countries most vulnerable to climate impacts face the harshest sporting challenges. As Barbados Prime Minister Mia Mottley warned, athletes must compete on the conditions that exist, not on idealised pitches, while wealthier nations and governing bodies often look the other way.Historian David Goldblatt estimates sport’s carbon footprint rivals that of a small‑ to medium‑sized nation – roughly the emissions of Cuba to Poland. Yet the industry continues to chase growth, attracting sponsorship from fossil‑fuel giants and even entities reminiscent of the tobacco era.A 2024 “Dirty Money” report by the New Weather Institute revealed that state‑owned and private fossil‑fuel companies have poured at least $5.6 billion (£4.2 billion) into global sport across 205 active deals. The recent Milan‑Cortina Winter Olympics relied on oil major Eni to fund artificial snow, while the upcoming men’s football World Cup – labelled the “most polluting ever” by Scientists for Global Responsibility – will be plastered with ads from Aramco, the world’s largest corporate greenhouse‑gas emitter, with emissions projected to be 92 % higher than typical tournaments between 2010‑2022.Fans and grassroots organisations are pushing back. Groups such as Surfers Against Sewage, Fossil Free Football, FrontRunners and Protect Our Winters are mobilising, while clubs like Forest Green Rovers and athletes such as Australian cricket captain Pat Cummins are publicly denouncing fossil‑fuel ties.Alternative sponsorships are emerging: Northern Rail backs the Rugby Super League, Metrobank partners with cricket, and Oxford United’s limited‑edition shirt celebrates John Ruskin’s “Study of a Wild Rose,” linking sport to environmental heritage.“The Hotspot” aims to surface the most compelling stories, analyse data, and chart a path forward for sport in a warming world. As the planet races toward a climatic finish line, sport must deliver its own last‑second victory.This excerpt is from the inaugural issue of The Hotspot newsletter. To subscribe, visit this page and follow the instructions.

Scientists have confirmed that March 2026 was the hottest March on record in the United States, underscoring the urgency of the climate crisis. Yet, a weekend gathering in a hotel basement near the White House, organized by the climate‑denying Heartland Institute, celebrated a very different narrative.The audience—predominantly middle‑aged men in suits—cheered the claim that the world is finally “waking up” to the idea that there is no climate crisis. Heartland Institute president James Taylor described the atmosphere as “wonderful” and declared that “the truth is winning out.”The event’s headline speaker was Lee Zeldin, the EPA administrator—a figure also rumored to be under consideration for the role of attorney general. Zeldin framed the conference as a day of “vindication,” accusing a “cabal of elites” of using climate science to push a political agenda.Booths and banners, sponsored by groups such as the CO2 Coalition, displayed slogans like “CO2 is a lifesaver” and “There is no climate crisis.” Pamphlets touted fossil fuels as the “greenest energy source” and dismissed net‑zero targets as unfounded.While some attendees denied the existence of global warming outright, others conceded that temperatures were rising but insisted it was not a human‑caused emergency. Taylor later clarified that “humans have played a role in climate change, but that is not the same as a ‘climate crisis.’”Harvard historian Naomi Oreskes noted that think tanks like Heartland portray themselves as underdogs, even though they receive substantial backing from powerful interests. The institute has historically been funded by major oil companies—including Shell and ExxonMobil—and by the Mercers, a prominent Republican donor family.When asked about current funding sources, Taylor dismissed the inquiry as “curious and disappointing,” insisting that the organization is supported by individuals who value “freedom and affordable energy.” He added that the institute has not received oil money for nearly two decades, though he would “gladly accept” it again.Under the Trump administration, groups such as the Heartland Institute, the CO2 Coalition, and the Committee for a Constructive Tomorrow (CFACT) have secured unprecedented policy influence. Their agenda includes the repeal of the EPA’s “endangerment finding,” a legal basis for most U.S. climate regulations. During Zeldin’s introduction, CFACT president Craig Rucker announced the rollback to a cheering crowd.CFACT’s lobbying helped cancel a California offshore‑wind project, while the CO2 Coalition’s founder helped establish a White House committee that questioned climate science during Trump’s first term. Most recently, the coalition succeeded in placing an ophthalmologist with no air‑pollution expertise on a key EPA advisory panel.Despite the deniers’ confidence, polling consistently shows that a **vast majority of Americans**—including 42 % of young Republicans—acknowledge climate change and view it as a pressing issue. Taylor countered by citing a 2019 survey indicating limited willingness to pay higher electricity bills for climate action, but the broader data suggest strong public concern.Younger activists disrupted a youth‑focused panel, arguing that the conference’s “geriatric white‑male” audience was out of touch with the climate realities that will affect their generation. One protester shouted, “There’s no such thing as fossil‑fuel‑caused climate change!” before being removed.The clash highlighted a growing divide: while right‑wing think tanks are consolidating power within the federal government, public opinion and scientific consensus continue to affirm the reality and urgency of global warming.

The UK government's ambitious plans to create 400,000 green jobs by 2030 seem to be failing to deliver for young people in England's coastal communities. Despite being surrounded by offshore windfarms, 44% of the UK's offshore windfarms are located in the east of England, areas like Lowestoft and Great Yarmouth are struggling with high unemployment and limited job opportunities.Jake Snell, a 19-year-old from Lowestoft, is a prime example. With high grades in maths and physics A-levels, a distinction in BTEC engineering, and work experience at an engineering company, he seemed like the perfect candidate for a role in the green energy sector. However, out of his 14-person cohort, only two people ended up with apprenticeships, and only one of these was in engineering.Rachel Wilde, a social anthropologist at University College London, notes that the term 'green jobs' is nebulous and that there is little concrete evidence of what these jobs actually are. She argues that there is a gap between politicians and policymakers promoting green jobs and people on the ground trying to talk to young people about job opportunities.Avril Keating, a professor of youth studies at UCL, suggests that the focus on high-profile roles in green energy is misleading and that more investment in continuing careers support for people in coastal and economically deprived areas is urgently needed.The government has announced plans to establish five technical excellence colleges that will focus training around the green energy sector, which could provide hope for the next generation of young people in these areas. However, for now, many young people like Snell are struggling to find employment and are feeling frustrated and disillusioned with the lack of opportunities.

Luis García, the former Atlético Madrid, Barcelona, and Liverpool player, thought he had left the intense emotions of football behind when he retired in 2016. However, while watching his current club, Johor Darul Ta'zim, celebrate a historic win in Malaysia, he found himself overcome with emotion. "I was always very competitive and once I had left football, I thought I wasn’t going to have those feelings I had before," García says. "I still enjoy football, still play seven-a-side with my friends – every Saturday at 10am, Los Jareños Club de Futbol – but I thought I had lost that and it wasn’t coming back. In fact, I was trying to avoid it; I didn’t want it. So when it happened, it surprised me. I didn’t expect football to give me that again. But there I was, crying."García is now the chief executive of Johor Darul Ta'zim, a Malaysian club that has made history by reaching the quarter-finals of the Asian Champions League. He credits the club's success to its strong structure, including coaches, analysis, assistants, fitness staff, and a digital team.The club's owner, Tunku Ismail Idris, the crown prince of Malaysia, has been instrumental in its growth, taking the team to 12 league titles. García says that Idris is "very active, inquisitive" and has a good understanding of the game.García's role as CEO involves implementing the club's vision, finding ways to improve, and liaising with the operations manager. He also travels with the sporting director to scout players and has been involved in school visits and hospital engagements.The team's success has been built on a strong squad, including Australians, New Zealanders, Americans, Koreans, Portuguese, Spaniards, Argentinians, Brazilians, a Colombian, and the former Wolves midfielder Hong Wan. Arif Aiman, a Malaysian player, has been described by García as "the pearl of Malaysia" due to his quick skills, goal-scoring ability, and potential to play in Europe.

The UK government has unveiled a significant investment in England's cultural sector, with over 100 venues set to share a £130m funding package under the Arts Everywhere scheme. This initiative is part of a broader £1.5bn package aimed at supporting cultural infrastructure projects throughout the current parliament. The funding will be administered by Arts Council England on behalf of the Department for Culture, Media and Sport. It comprises three main funds: the Creative Foundations Fund (£96m for 74 arts and cultural venues), the Museum Estate and Development Fund (£28m for 28 museums), and the Libraries Improvement Fund (£6.3m for 28 library services). Beneficiaries of the funding include the Lowry Centre in Salford, which will receive £8.5m to upgrade critical infrastructure such as replacing escalators with new lifts and providing step-free access to galleries. The Royal Shakespeare Company in Warwickshire and the Hexagon in Reading are also among the recipients. Culture Secretary Lisa Nandy emphasized the importance of local arts, museums, and libraries in bringing communities together and reflecting the country's identity. She stated, 'Arts and culture aren’t a luxury for a privileged few. They are for everyone, everywhere.' The funding package represents a significant injection into a sector that has faced challenges in recent years. Arts Council England chair Nicholas Serota noted that the investment will help organizations secure their futures and continue to provide access to excellent art and culture. This investment follows a previously announced £270m and is part of a broader effort to repair the UK's cultural infrastructure. It marks one of the biggest resets in the arts for a generation, particularly after ACE funding was cut by 30% in 2010.