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The latest Cannes lineup reveals a clear pivot from the usual Hollywood glamour toward a roster dominated by celebrated world‑cinema auteurs such as Pedro Almodóvar, Cristian Mungiu and Asghar Farhadi. While last year’s festival was anchored by a Mission: Impossible spectacle starring Tom Cruise, this edition offers a more eclectic mix, including debut features from Andy Garcia (who also stars in his crime drama Diamond) and John Travolta, who directs the aviation‑themed Propeller One‑Way Night Coach based on his own novel.Under the stewardship of director Thierry Frémaux, Cannes continues to bar films that are exclusive to streaming platforms, a stance that has been vindicated by recent Oscar successes for festival selections. The festival also entered the AI debate: Steven Soderbergh’s documentary John Lennon: The Last Interview employs artificial intelligence to reconstruct visual elements of the legendary interview, sparking both fascination and unease among attendees.Gender representation remains skewed, with a noticeable predominance of male directors in the competition slate, although the final list is still pending. Notably absent are any British filmmakers, despite the inclusion of Polish auteur Paweł Pawlikowski, whose biopic of Thomas Mann, Fatherland, could be loosely claimed as a UK entry given his long residence there.Geopolitical undercurrents are hard to ignore. Russian director Andrey Zvyagintsev returns with Minotaur, a film about a beleaguered Russian businessman. Zvyagintsev, once favored by Vladimir Putin, now lives in exile in France, adding a layer of political intrigue to his work amid the ongoing war in Ukraine.The competition also features a strong historical thread: László Nemes’s Moulin revisits occupied France, Emmanuel Marre’s Notre Salut explores Vichy‑era France, and Lukas Dhont’s Coward follows a Belgian soldier’s harrowing experience in World‑I trenches.Among the more provocative entries, Nicolas Winding Refn’s Her Private Hell promises shock value in the out‑of‑competition slot, while the Un Certain Regard section showcases Jane Schoenbrun’s queer slasher Teenage Sex and Death at Camp Miasma, likely to become a festival highlight.

Emma Sing, a 25‑year‑old Rugby World Cup winner and multiple Six Nations grand‑slam champion, says she is aiming to secure the England full‑back jersey for the upcoming Women’s Six Nations. Despite her impressive résumé – three Premiership Women’s Rugby titles with Gloucester‑Hartpury, 13 England caps since 2022 and three appearances at the 2025 World Cup – Sing insists there is no personal rivalry with fellow full‑back Ellie Kildunne, the Harlequins star who finished second in the BBC Sports Personality of the Year awards after her breakout World Cup performances. "The media love to pit us against each other, but in camp we lift each other up," Sing explained. "She is incredibly fast and agile, while I bring a more physical presence – I’m roughly 10 kg heavier – and I add reliable goal‑kicking to the mix." Sing’s background is equally diverse: she holds a degree in bio‑veterinary science from Hartpury University and grew up on a Devon farm, a heritage she jokes gives her "farm strength" on the field. Statistically, Sing has been a prolific scorer. Over the past two league campaigns she topped the points table, primarily through accurate place‑kicking, and currently sits as the second‑highest points scorer in the season, trailing only Zoe Harrison. Her consistency earned her four player‑of‑the‑match awards, even after a recent knee injury sidelined her for a few games. Coach John Mitchell acknowledges the competition at full‑back but hints at a broader role for Sing. "We may explore her in the midfield," he said, noting her strong ball‑carrying and defensive fend. The prospect gains urgency after regular No 12 Tatyana Heard was ruled out with a foot injury. Former England captain Katy Daley‑McLean echoed the sentiment, observing that Sing’s traditional full‑back skill set – solid defence and dependable kicking – offers a different dynamic to Kildunne’s "X‑factor" flair. As the tournament approaches, Sing remains focused on translating her club form – highlighted by Gloucester‑Hartpury’s 22‑17 victory over Saracens in March – into more England starts. "I’m training hard and leaving the selection to Mitch; whichever style suits the game will win the shirt," she affirmed.

Liverpool's recent performances have been under scrutiny, particularly their slump in form following a promising start to the season. Manager Arne Slot's tactics and team selection have come under fire, with some questioning his ability to lead the team to success.Slot's romantic connection with Paris Saint-Germain is well-documented, with the manager often citing the French club as an inspiration for his playing style. Liverpool's upcoming match against PSG in the Bigger Cup has generated significant interest, with Slot's team looking to bounce back from a disappointing FA Cup loss to Manchester City.In the midst of this turmoil, Slot's past performances against PSG have been recalled, including a thrilling match last year that ended in a penalty shootout. Slot's passion for the game and his desire for an open and entertaining match have been praised, but his team's recent form has raised concerns about their ability to compete at the highest level.The pressure is on Slot to turn things around and lead Liverpool to a strong finish in the season. With a 20th league title already secured, the team's focus now shifts to the Bigger Cup and a chance to make a statement against one of Europe's top clubs.

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.

The Bay FC forward Keira Barry has earned her first senior England cap, being named by manager Sarina Wiegman for the Women’s World Cup qualifying matches against Spain and Iceland. She joins Chelsea full‑back Niamh Charles, who has recovered from a recent injury, in the squad.The selections come after London City Lionesses striker Freya Godfrey withdrew due to a shoulder problem. Barry, a product of the Manchester United academy, was promoted from the Under‑23s and has previously turned out for Crystal Palace and Sunderland before signing with Bay FC in February.At 20 years old, Barry has already featured in four NWSL matches, netting a goal against the North Carolina Courage in March, underscoring her rapid adaptation to the American league.The England squad will convene at St George’s Park on Tuesday to begin preparations for hosting the world champions Spain at Wembley on 14 April, before traveling to Reykjavik for the Iceland fixture four days later.

The quest to find Australia's oldest playable musical instrument has led to the discovery of several remarkable pieces. A 16th-century double bass crafted by Gasparo da Salò, a renowned luthier, has been found to be one of the oldest playable instruments in the country. Currently on loan to Max Bibeau, principal double bass for the Australian Chamber Orchestra (ACO), this instrument was made around 1580 in Brescia, Italy. Only a handful of such instruments exist globally, and Bibeau's relationship with the double bass was not immediate. He notes that it took considerable time and effort to 'wake it up' and make it playable again. The instrument had been stored in an abbey in northern Italy for centuries before being discovered by German bass player Prof Günter Klaus in the late 1960s. Culturally, the yidaki (didgeridoo), a sacred instrument to the Yolŋgu people, is likely Australia's oldest instrument, with a history spanning thousands of years. For an exhibition in 2017, curators at the South Australian Museum worked with Yolŋgu community members to restore a selection of the oldest and most unique yidaki to playing condition. The oldest restored yidaki was made around 1890. Another contender for the oldest instrument is a piano from the First Fleet, a 'square' piano made by Frederick Beck in 1780. This instrument, now housed at the Western Australian Academy of Performing Arts, has a softer and smaller sound compared to modern pianos. The oldest instrument found in Australia is an ocarina from Colombia, estimated to have been made around AD 1200. This ancient vessel flute is part of a collection of 830 musical instruments donated to the Queensland Museum. While it can produce a sound, its original sound and playability are uncertain due to its fragility and age. The wood used for the front of Bibeau's da Salò bass has been dated to a tree growing as early as 1266. According to Bibeau, age can enhance an instrument's sound, but it requires careful preservation and play to maintain its quality. He notes that 'instruments need to be played' and that 'the more it vibrates, the better it vibrates.'

Courtney Lawes, the 37‑year‑old former England captain, is slated to return to the English Premiership after completing two seasons with French club Brive. His departure will be announced at the close of the 2025‑26 season.Lawes, who retired from international rugby following the 2023 Rugby World Cup, moved to France after helping Northampton Saints clinch the 2023‑24 Premiership title. During his 17‑year tenure at Saints, he secured two Premiership championships and two European Challenge Cup trophies.While the specific English club he will join remains undisclosed, the move would render him eligible once again for England selection. Brive’s management expressed support for his decision, noting the club’s appreciation for his contributions.Brive president Thierry Blandinières praised Lawes, stating: “We are very proud to say that Courtney Lawes will have been a Brive player for two seasons. He arrived here with humility and ambition and has shown the full extent of his talent since his first day in Brive.” The club added that Lawes is “one of the legends of world rugby and one of the best back‑row forwards of his generation.”Lawes’ international résumé includes 105 caps, three Six Nations titles, and participation in four Rugby World Cups. He was part of the England side that finished runner‑up in 2019 and secured third place in 2023.Reflecting on his time in Corrèze, Lawes said: “I’m having an experience in Brive that I’ll never forget, both on and off the pitch. I’m going to give it my all until the end of the season to finish this adventure with CAB in the best possible way. My family and I have been very warmly welcomed in Corrèze and we will always have Brive at heart.”

Fans flooded Madison Square Garden on April 6, 2026, to witness the Professional Women's Hockey League (PWHL) shatter the United States' women's hockey attendance record. The packed arena highlighted a surge in interest for the sport, with spectators filling every available seat.According to The Guardian, the event not only set a new benchmark for attendance but also demonstrated the league's expanding market appeal. Breaking previous records signals a pivotal moment for women's professional hockey, suggesting stronger commercial opportunities and increased media coverage.League officials and players hailed the milestone as a testament to years of grassroots development and strategic promotion. The record‑setting crowd reflects broader trends of rising viewership for women's sports across the United States.While exact figures were not disclosed in the brief report, the achievement is expected to influence future venue selections, sponsorship deals, and broadcast negotiations for the PWHL.

The Guardian’s weekly podcast roundup highlights a varied selection of new audio series, offering listeners everything from light‑hearted celebrity banter to hard‑hitting investigative journalism.Funny You Ask – In a delightfully candid moment, Mindy Kaling exclaims, “Oh, this is a quizshow?!” upon hearing Ike Barinholtz’s latest podcast, which blends trivia with rambling conversation about topics as eclectic as Chevy Chase and New Jersey Italian cuisine. The show positions itself as a breezy, low‑stakes alternative to the crowded celebrity‑interview market.Assume Nothing: What Happened to Mary Glasgow? – Host Nathan Edgar revisits the 1991 tragedy at Stradreagh mental hospital, where nursing assistant Mary Glasgow died after a patient altercation. Through interviews with Glasgow’s daughter Emma, the series treats the case as both a detective narrative and a memorial, probing whether the incident was an isolated mishap or a symptom of systemic failures.Single Ladies in Your Area – Comedians Amy Gledhill and Harriet Kemsley continue their third series, a witty exploration of 30‑something singledom. Recent guests have included Jameela Jamil and Catherine Bohart, who discuss topics ranging from “mean flirting” to the quirks of a “lesbian louche life.”The Overturn – Partnering with the Future Justice Project charity, Marnie Duke examines potential wrongful convictions, notably the case of former sub‑postmaster Robin Garbutt, imprisoned for his wife’s murder. The series asks whether the broader Post Office scandal could cast doubt on the prosecution’s narrative.Amityvilleville – Host Alex Goldman (of Hyperfixed and Reply All) teams up with Vice writer Caroline Thompson to watch all 91 films inspired by the Amityville haunting, beginning with the 1979 classic The Amityville Horror. Their commentary blends humor with genuine enthusiasm for the genre’s most bizarre entries.