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West Bromwich Albion has denied any wrongdoing regarding the EFL's financial rules, despite growing fears of a points deduction that could significantly impact their relegation battle in the Championship. The Daily Telegraph reported that the EFL's Club Financial Reporting Unit (CFRU) had filed a compliance report against West Brom, alleging a breach of the loss limits for the 2024-25 season under the profitability and sustainability rules (PSR). If a points penalty were imposed, it would affect West Brom in the current campaign, with the club currently sitting 20th in the Championship, just two points above the relegation zone. West Brom responded by stating, “The club considers that it has fully complied with the rules.” They emphasized their commitment to cooperating with the EFL and resolving the matter, while also thanking fans for their support. Under PSR rules, Championship clubs are required to keep losses under £39m over a three-year assessment period. Certain expenditures, such as investments in infrastructure, youth, and women’s football, are ‘added back’ in the PSR calculation. West Brom, having competed in the Championship last season, was required to submit their annual accounts for 2024-25 by December 31. The EFL has declined to comment on the matter, and decisions on sanctions by the Club Financial Reporting Panel (CFRP) are typically published after discussions between the club and the EFL remain confidential.

Riki Lindhome's 'Dead Inside' is a refreshing and emotionally involving comedy that chronicles her journey to become a mother. The show is a beautifully judged hour of entertainment, tackling topics such as pregnancy loss, IVF, and surrogacy with humor and sensitivity.Lindhome's modesty and unassuming approach make the show feel less like a typical autobiographical performance. She signs off most of her songs with a demure 'that's it,' and the production values are similarly understated. The show features witty and bittersweet numbers, including a parody of Disney princesses and a song asking 'will you be my bio-dad?'The show also touches on awareness-raising dimensions, including the challenges of surrogacy and the importance of transparency in the process. Lindhome's performance is compelling and persuasive, engaging the audience's heart, head, and funny bone.'Dead Inside' is a must-see comedy that will leave you entertained and moved. It is currently running at Soho theatre, London until 18 April.

Chala Chala Nav Bala (Maze Baal, 1943) marks the debut of Asha Bhosle, who entered the film world at ten years old. Paired with her sister Lata Mangeshkar, her bright falsetto captures the youthful innocence of the Marathi romance, foreshadowing the emotive style that would define her career. Aaiye Meherbaan (Howrah Bridge, 1958) showcases Bhosle’s rise during Hindi cinema’s golden age, thanks to her partnership with composer O.P. Nayyar. The song’s sultry vibrato and lush orchestration set the tone for the film’s noir atmosphere, establishing her as a leading‑lady playback voice. Aao Huzoor Tumko (Kismat, 1968) became a chart‑topping hit, featuring intricate vocal runs over a flamenco‑style guitar. Bhosle’s lower‑register chorus broke the conventional shrillness of female playback, while her nuanced phrasing added depth to the on‑screen heroine’s drunken allure. Dum Maro Dum (Hare Rama, Hare Krishna, 1971) stands out as her most successful crossover, later sampled by Western rappers. The track, produced with R.D. Burman—her future husband—blends psychedelic Beatles‑inspired grooves with Hindi lyrics, demonstrating her ability to bridge Eastern and Western pop sensibilities. Piya Tu Ab To Aaja (Caravan, 1971) pushes the fusion further into jazz‑cabaret territory, with bold horn sections and cinematic guitar reverb. Bhosle’s breathy, suggestive delivery sparked controversy, yet the performance remains a masterclass in balancing sensuality with technical agility. Chura Liya Hai Tumne Jo Dil Ko (Yaadon Ki Baaraat, 1973) epitomises the “masala” film soundtrack, merging drama, romance, and crime. Over a gentle guitar backdrop, Bhosle’s tender humming conveys quiet longing, contrasting with the film’s high‑octane narrative. In Ankhon Ki Masti (Umrao Jaan, 1981) sees Bhoske venture into Urdu ghazals with composer Khayyam. Her lower, huskier timbre—adjusted a half‑step down—highlights her continued artistic experimentation even as she approached fifty. Bow Down Mister (1991) illustrates her early 1990s foray into international collaborations, lending wordless, soaring vocals to Boy George’s post‑Culture Club project. The track transforms into a rave‑infused anthem, underscoring Bhosle’s versatility across genres. Radha Kaise Na Jale (Lagaan, 2001) pairs Bhosle with a young A.R. Rahman, reaffirming her status as an elder stateswoman of Indian music. The duet with Udit Narayan blends tabla and flute with powerful vocal runs, marrying traditional Hindustani scales to contemporary film scoring. The Way You Dream (2002) features an unexpected partnership with REM frontman Michael Stipe on the 1 Giant Leap project. The eight‑minute piece weaves tabla rhythms, subtle guitar, and a dramatic breakbeat, proving that Bhosle’s voice can seamlessly inhabit New Age and electronic soundscapes.

Sam Neill, the veteran actor celebrated for his memorable performances on screen, is set to answer readers' questions in an upcoming interview with The Guardian. Neill's iconic roles include his portrayal in Jurassic Park, where he famously removes his sunglasses and gazes at a towering Brachiosaurus, a scene that has become etched in cinematic history.Born in Northern Ireland and raised in New Zealand, Neill's diverse filmography showcases his versatility as an actor. He has appeared in a range of films, from period dramas like My Brilliant Career to thrillers such as Dead Calm, which is set to be released in 4K later this year. His recent projects include Godzilla x Kong: Supernova, alongside Kaitlyn Dever and Matthew Modine.Neill's career has been marked by his ability to take on idiosyncratic, director-led projects, often playing characters with a unique blend of gruffness and warmth. His performances in Sweet Country and Rams have been particularly noted for their depth and nuance.In addition to his film work, Neill has also made headlines for his memoir, Did I Ever Tell You This?, in which he openly discusses his experience with stage-three blood cancer and his journey towards remission. When asked about his mortality, Neill expressed a pragmatic view, stating, “I’m not afraid to die, but it would annoy me”.Readers are invited to post their questions for Sam Neill by 6pm BST, Thursday 16 April, and The Guardian will publish his answers in their reader interview series. This provides a unique opportunity for fans to engage with one of cinema's most beloved actors and gain insight into his life and career.

Rachel Zegler has hailed the accessibility of Evita's free balcony scene, which became a landmark moment for London sightseers during the show's run last summer. The scene, which featured Zegler performing 'Don't Cry for Me Argentina' from the balcony of the London Palladium to crowds gathered on the street below, was a groundbreaking moment in theatre. At the Olivier awards on Sunday night, Zegler delivered the song again – this time on the stage of the Royal Albert Hall – and took home the award for best actress in a musical. Host Nick Mohammed noted that Zegler had become 'a new landmark for London sightseers' during Evita's run, allowing people who hadn't bought a ticket to watch the performance live for free on a giant screen. Zegler described Evita's director, Jamie Lloyd, as a 'genius' for staging the scene in such a way, giving 'a piece of theatre, just in the street' to young people who may not be able to afford West End ticket prices. 'It's so beautiful that Jamie Lloyd made such an accessible moment of theatre for people to walk by and witness something really, really cool,' she said. The actor, whose musical films include West Side Story and Snow White, praised Londoners for making her feel welcome and described those who had waited outside to watch the balcony scene as being 'so giving with their energy and love'. Zegler also acknowledged the difficulty of replicating the balcony scene, but she and Andrew Lloyd Webber have spoken of their hope that Evita will transfer to Broadway. Evita picked up two awards from five nominations at the Olivier awards, with choreographer Fabian Aloise also recognised for his work. The show was beaten to the prize for best musical revival by Into the Woods at the Bridge theatre.

Recent CDC data reveal a dramatic 1,200% increase in kratom‑related poisonings across the United States over the last ten years, with the most pronounced surge recorded in 2025. Researchers link this rise to the growing presence of 7‑hydroxymitragynine (7‑OH), a synthetically produced compound that mimics kratom’s effects but carries opioid‑like risks. Walter Prozialeck, pharmacology professor at Midwestern University, said the trend was expected, noting that the synthetic alkaloid has entered the market through energy drinks and other products since 2024. Christopher McCurdy of the University of Florida warned that marketing 7‑OH as “enhanced kratom” blurs the line for consumers, turning poison‑control calls into a conflated metric for both natural and synthetic products. By contrast, natural kratom (Mitragyna speciosa)—a Southeast Asian plant used for centuries as a pain reliever—has demonstrated a relatively favorable safety profile in animal and human studies. A 2018 statement from then‑HHS Secretary Brett Giroir rejected the DEA’s push to schedule kratom as a Schedule I substance, citing insufficient evidence of harm. Despite the scientific distinction, several states have moved to implement or propose blanket bans on all kratom products, prompting concern from clinicians and patient advocates. A recent user survey indicated that about 50% of respondents rely on kratom for chronic pain, while roughly 40% use it during addiction recovery. Personal testimonies underscore the plant’s therapeutic role. Jeff Maslan, a 68‑year‑old Californian with severe osteoarthritis, credits kratom with easing opioid withdrawal after multiple surgeries. Similarly, “Steven,” a disabled California resident, describes how kratom eliminated unbearable oxycodone withdrawal symptoms without producing the euphoric “warm fuzzy” feeling typical of opioids. Researchers emphasize that 7‑OH carries genuine opioid hazards, including addiction, severe withdrawal, and respiratory depression that can lead to fatal overdose. In animal models, 7‑OH demonstrated the same respiratory‑depression risk as classic opioids, whereas kratom’s primary alkaloid did not. Prozialeck and colleagues explain that kratom’s pharmacology is more nuanced: it partially activates opioid receptors while also engaging adrenergic and serotonin pathways, resembling a hybrid of a weak opioid and an SNRI‑type antidepressant. This multimodal action likely accounts for its lower euphoric potential and the reported boost in energy among users. Nevertheless, experts caution that kratom is not without risk. Fatal poisonings often involve co‑ingestion of potent opioids such as fentanyl, suggesting that some users may cycle between kratom and stronger substances, raising overdose danger due to reduced opioid tolerance. Additionally, heavy‑metal contamination has been detected in certain kratom batches, though the source—soil, processing, or storage—remains unclear. Given these complexities, the consensus among scholars like Austin Zamarripa (Johns Hopkins) is that natural kratom should remain accessible, while concentrated 7‑OH products merit stricter regulation. “These products may offer meaningful benefits to some individuals, and those benefits could be lost if access is restricted too broadly,” Zamarripa said, urging a differentiated policy approach. As the debate unfolds, patients like Steven worry that a sweeping ban would ignore the nuanced safety profile of the plant. “There’s corn on the cob, there’s high‑fructose corn syrup, there’s whiskey— all derived from corn but fundamentally different,” he remarked, highlighting the need for targeted, evidence‑based regulation rather than a one‑size‑fits‑all prohibition.

‘Departures’ arrives in UK and Irish theatres on 17 April, offering a sharply observed portrait of a man navigating the aftermath of a breakup. The story centers on Benji, a thirty‑something who, after parting ways with his charismatic trainer Jake, plunges into a haze of parties, substance use and fleeting encounters in an attempt to dull the ache of lost love. The film tackles weighty subjects—body‑image insecurity, familial rejection and the pressures of toxic masculinity—yet it avoids sentimentality by leaning into a darkly comic tone and a poppy visual palette. Its elliptical editing stitches together present‑day self‑destruction with fragmented memories of Jake, creating a nonlinear rhythm that mirrors the disorienting experience of a broken heart. Ey​re‑Morgan not only co‑writes and co‑directs but also embodies Benji, delivering a performance that feels both self‑deprecating and raw. His on‑screen chemistry with David Tag’s Jake provides the emotional anchor of the film, allowing the audience to glimpse the genuine connection that fuels Benji’s subsequent turmoil. Despite its strengths, the movie leans heavily on voice‑over narration, which at times hampers momentum, especially during emotionally charged scenes. The tendency to verbalise feelings rather than let the cinematography speak can feel redundant, and the multiple flashbacks occasionally drift into over‑exposition. Overall, ‘Departures’ stands as a thoughtful exploration of love, identity and the search for authenticity, while also showcasing the burgeoning talent emerging from northern England’s film scene.

Scientists at London's Institute of Cancer Research and the RCSI University of Medicine and Health Sciences in Dublin have announced a new AI-driven approach to identify how patients with advanced bowel cancer will respond to bevacizumab, a drug recently introduced by the NHS. The method uses PhenMap, an AI tool that integrates complex data on the genetic makeup of tumors, allowing researchers to track patterns of how different patients react to the drug. This development aims to spare potentially thousands of patients from being given drugs that would be ineffective in fighting their cancers. In the UK alone, nearly 10,000 cases of advanced bowel cancer are identified every year, with young adults seeing a particular rise in diagnoses. Bowel cancer has the second-highest mortality rate of any cancer, behind only lung cancer. While survival rates can be as high as 98% when caught early, the five-year survival rate for advanced bowel cancer can be as low as 10%. The study tracked 117 European bowel cancer patients who had been treated with chemotherapy and bevacizumab. Researchers identified a group of patients who all had the same gene mutation and were at a high risk of having negative reactions. The scientists behind the tests now hope to expand the number of patient samples and see if the results can be used in treatments for other types of cancer. Anguraj Sadanandam, a professor in stratification and precision medicine at the ICR, said: “Once bowel cancer spreads to other parts of the body, there are very few treatment options available for patients. It is therefore positive that patients can now access the targeted drug bevacizumab on the NHS. However, we know that the majority of patients won’t benefit from the drug, meaning thousands of people in England could be facing unpleasant side effects unnecessarily.” Sadanandam added that while the findings were encouraging, the tool would need to be tested on a larger cohort to be validated. “In future, I hope this approach will lead to a test that can be used by clinicians, to ensure patients receive personalised care that has the highest chance of working against their cancer.”

History’s Greatest Fails pairs author Elizabeth Day with historian Dan Jones to explore celebrated historical missteps. After a witty reunion anecdote about their Cambridge days, the duo tackles the myth of Richard III’s villainy and promises a future episode on Henry VIII and Anne Boleyn, dubbed the "Ross and Rachel of early modern history."Strangely follows presenters Poppy Damon and Luke Jones as they plunge into off‑beat news stories, such as the macabre tale of a surgeon who amputated his own legs and the obscure origin of Neil Hopper’s "eunuch‑maker" moniker. The show balances factual depth with a tongue‑in‑cheek tone.Passenger Seat is a slow‑burn true‑crime podcast produced by Pennsylvania writer Tom Joudrey. The inaugural season recounts the 2012 kidnapping of Jennifer Hurst in Ohio, unraveling the puzzling motive behind the crime and the surprising gratitude she later expressed in court.Big Bro With Kid Cudi marks rapper Kid Cudi’s entry into the "celebrity podcast industrial complex". His first interview features Kylie Jenner, who drops the usual Kardashian PR veneer to discuss family dynamics, her upcoming acting role in the film The Moment, and a brief nod to Timothée Chalamet.Northern News reunites comedian Amy Gledhill with Ian Smith to spotlight odd and delightful headlines from the north of England that often slip under the radar. Regular contributors such as Stevie Martin, Alison Spittle and Phil Wang add extra comic flair.