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When the traditional photo of the world’s top 16 was taken outside Sheffield’s Crucible Theatre on Friday, Ronnie O’Sullivan and Judd Trump were conspicuously absent. Their failure to attend the press event—required by player contracts—cast a shadow over the opening weekend of the World Snooker Championship.Organisers have not explained the duo’s absence, but the snooker community worries it could trigger disciplinary measures. Financial penalties are unlikely, yet the mood shift was palpable among players and journalists.Defending champion Zhao Xintong arrives as the clear favourite, with bookmakers offering odds reminiscent of Stephen Hendry’s dominance in the 1990s. The tournament’s long‑term deal with the Crucible is no longer the headline; instead, the focus is on whether Zhao can break the “Crucible curse” that has plagued first‑time champions.World No 8 Shaun Murphy, a 2005 champion, voiced his disappointment: “It’s become normal that they don’t turn up for these things… It’s a real shame, and they could have done more to promote the game.” Murphy stressed that the absence reflects on the players themselves rather than on snooker as a whole.Beyond the headline names, the championship showcases a historic record 11 Chinese players in the 32‑man field, underscoring China’s growing influence on the sport. Zhao’s 2025 triumph marked the first world title for a Chinese player, and his presence continues to boost the game’s profile in Asia.At the same time, fresh British talent is emerging. Nineteen‑year‑old Stan Moody of Halifax and twenty‑year‑old Liam Pullen from York have qualified for the first time, while Antoni Kowalski, aged 22, becomes Poland’s inaugural Crucible competitor. World No 14 Mark Allen praised the “strength in depth” these youngsters bring, and Murphy echoed the sentiment, suggesting that visible success could inspire a new wave of UK players.All eyes will eventually turn to O’Sullivan, who is slated to begin his campaign on Tuesday against qualifier He Guoqiang. Until then, the tournament balances the allure of established stars with the promise of a new generation poised to seize the spotlight.

Olivia Rodrigo returns with “Drop Dead,” a single that instantly grabs listeners with a razor‑sharp lyric about online stalking and instant infatuation. The opening couplet—“One night I was bored in bed / And stalked you on the internet”—sets a tone of modern romance that feels both playful and unnervingly catchy.The 23‑year‑old, who burst onto the global stage in 2021 after a Disney Channel stint, has built a reputation for “acute, obsessive” love songs that balance self‑awareness with raw emotion. Her debut “Drivers License” cemented her as a heartbreak anthem, while the pop‑punk edge of her first album Sour and the riot‑grrrl‑infused follow‑up Guts displayed her versatility.“Drop Dead” marks a decisive pivot from the punk‑kiss‑off expectations that surrounded her recent breakup. Instead of a straightforward revenge track, the song delivers a “gorgeous rush of romantic intensity,” aiming to freeze a fleeting moment before plunging back into it with relentless momentum.The track’s production, helmed by longtime collaborator Dan Nigro, layers lush strings and bright power‑pop guitars, creating a sound that feels “one bauble short of festive.” Critics note a vocal delivery that stays in Rodrigo’s highest register throughout the chorus, with melodic bends that echo both Chappell Roan’s maximalism and Taylor Swift’s signature style.Visually, the music video—directed by Petra Collins and filmed at the Palace of Versailles—portrays Rodrigo as a runaway figure reminiscent of Sofia Coppola’s “Marie Antoinette” and Emma Corrin’s Diana in “The Crown.” The lavish setting amplifies the song’s theatricality.Adding a rock pedigree, the single includes a subtle nod to Rodrigo’s friendship with The Cure’s Robert Smith, referencing his classic “Just Like Heaven.” Their rapport, highlighted in a recent Vogue cover story, underscores Rodrigo’s expanding artistic circle.Overall, “Drop Dead” blends maximalist pop production, romantic lyricism, and rock‑infused credibility, delivering a track that feels both instantly addictive and deliberately chaotic—mirroring the messy emotions it portrays.

The relationship between comedy and politics has always been complex, but during Donald Trump's presidency, it has become increasingly clear that satire may not be enough to combat the enormity of his actions. While comedians like Stephen Colbert have made it their goal to remind audiences of reality, there is growing concern that political comedy may be having the opposite effect, allowing people to laugh away the severity of the situation.Weak mockery of authoritarian leaders can have unintended consequences, as it may permit them to solidify their power while appearing more relatable or human. This phenomenon has been referred to as 'clownwashing,' where comedy sanitizes the targets of satire rather than challenging their actions.However, comedians and writers argue that humor can be a powerful tool for social commentary and change. By using comedy to deflate the image of a strongman and challenge societal norms, comedians can create a 'persuasion window' that allows people to reconsider their opinions and take action.Effective comedy can penetrate people's psyches and create a sense of safety, allowing them to reconsider their views without feeling defensive. For example, costumes worn at anti-ICE protests have been used to ridicule the agency and challenge its actions, making it harder to maintain a narrative of serious law enforcement.Ultimately, the article suggests that comedy must be used thoughtfully and strategically to challenge systems of power and promote change. While personality-driven satire may be entertaining, it may not be enough to combat the slippage toward totalitarianism. Instead, comedy must ruthlessly target policies and systems to create a more just and equitable society.

Over 1,000 workers in Kenya have been laid off by Sama, a company contracted by Meta for content moderation and AI training work. The layoffs came after Meta terminated its contract with Sama, citing that the company did not meet its standards.The sacked workers, many involved in AI training, were given only six days' notice, according to the Oversight Lab, an organization advocating for fair regulation and deployment of technology across Africa. The lab is advising the workers on legal options.This move has been criticized by activists, who argue that it exposes the precariousness of tech jobs in the global south. Kauna Malgwi, a former worker at Sama, stated that "this issue is not confined to one company or contract. It shows how the global AI industry is shaped. Power sits with large technology companies. Risk flows downward, affecting outsourced workers, often in the global south, who have the least protection and highest exposure."Sama has stated that it recognizes the impact on its team and is supporting affected employees with care and respect, highlighting that its teams receive living wages and full benefits.The layoffs have been described as devastating and shocking by the Oversight Lab, which called for recognition that current strategies are harming youth, hurting the economy, and not advancing Kenya's participation in the AI ecosystem.

The most iconic sequence in wildlife filmmaking history has been revisited in a new documentary, 'A Gorilla Story: Told By David Attenborough'. The film, directed by Oscar-winning James Reed and produced by Leonardo DiCaprio, follows up on Attenborough's 1970s encounter with a family of gorillas in Rwanda. During the filming of 'Life on Earth,' Attenborough had a playful and profound encounter with the gorillas, which he described as having 'more meaning and mutual understanding in exchanging a glance with a gorilla than with any other animal I know.' The documentary reveals that while conservation efforts have led to a significant recovery of Rwanda's gorilla population, the specific family Attenborough met has undergone significant changes. The dominant silverback, Gicurasi, is aging, and a new challenger, Ubwuzu, is asserting his dominance, leading to power struggles and violence within the family. The film beautifully captures the personalities and social dynamics of the gorillas, but its short runtime of just over an hour leaves some storylines underdeveloped. Despite this, the documentary shines when Attenborough reflects on his past experiences and the gorillas he has come to know. As Attenborough approaches his 100th birthday, his appearance in the documentary adds an emotional and elegiac tone. His reflections on Pablo, a gorilla who protected his family to the end, are particularly poignant, showcasing Attenborough's ability to articulate moments with 'exactly the right weight.' 'A Gorilla Story: Told By David Attenborough' is now available on Netflix, offering a unique blend of natural history and personal reflection.

Britain is bracing for its most severe economic contraction in decades, a side‑effect of the United States’ escalating conflict with Iran and the resulting shutdown of the Strait of Hormuz. The British Treasury and the IMF warn that the nation’s growth could be crushed, public confidence in the government is eroding, and the prime minister’s position may become untenable. The original aim of sanctions was to punish hostile states and force leaders like Vladimir Putin to change course. Yet, data shows that in the years following the sanctions, Russia’s growth outpaced that of the United Kingdom. Similarly, the 2010s sanctions on Iran, intended to halt its nuclear programme, appear to have accelerated it, and current measures aimed at toppling the ayatollahs show little prospect of success. The United States now enforces economic restrictions on around 30 countries, including North Korea, Myanmar, Belarus and Afghanistan. Despite the breadth of these measures, the targeted regimes have largely remained in power, indicating a systemic failure of sanctions to destabilise entrenched governments. Beyond their limited impact on regime change, sanctions have unintentionally bolstered the Sino‑Russian trade bloc and driven many nations toward the BRICS alliance, positioning it as a counterweight to the G7. This realignment underscores the counter‑productive nature of the policy. Academic research, such as Nicholas Mulder’s The Economic Weapon, reinforces the historical pattern: except for very small states, trade restrictions are easily circumvented, and authoritarian regimes insulated from democratic pressures are largely immune. Mulder concludes that “the history of sanctions is a history of disappointment,” a sentiment echoed by critics who warn that each new round of sanctions repeats the same mistakes. One of the most damaging side‑effects is the exodus of skilled professionals. Iran, for example, has seen a diaspora of over four million people as of 2021, many of whom belong to the educated middle class that could have fueled internal reform. The brain drain weakens any potential opposition and inadvertently benefits Western economies that absorb this talent. Russia experienced a similar talent flight after the 1990s, when a vibrant civil society briefly flourished. Today, the remaining dissenters face both Kremlin repression and Western ostracism, creating an atmosphere reminiscent of McCarthy‑era loyalty tests. Given these outcomes, the article argues that the West must abandon blunt economic coercion in favour of nuanced, soft‑power strategies. Supporting opposition groups through academic, cultural, and diplomatic channels could nurture the very alternatives that sanctions have helped to erode. In sum, sanctions have proven illiberal and counter‑productive, reinforcing authoritarian borders while draining the human capital needed for genuine change. Restoring constructive relationships with societies like Iran and Russia, rather than relying on punitive trade measures, may offer a more viable path to long‑term stability.

Colombia, the largest coal and fourth biggest oil exporter in the Americas, is hosting a groundbreaking global conference this month to drive the long-awaited 'transition away from fossil fuels'. The conference, co-hosted with the Netherlands, aims to break the deadlock in UN climate talks and bring together countries willing to forge ahead with the energy transition.The conference comes at a critical time, with nations embroiled in another oil-inflected war and fuel prices soaring worldwide. Irene Vélez Torres, Colombia's environment minister, said the conference comes in the best possible moment, highlighting the stark choice world leaders face between oil, gas and coal and cleaner, safer renewable energy.Countries are paying the price for oil addiction, not just in their energy bills but in food prices, consumer inflation, shortages, and businesses threatened with collapse. The oil crisis, sparked by the US-Israeli attack on Iran, is spotlighting the risks of fossil fuel dependency.Some countries, like the UK, are already making the switch to renewable energy, with record numbers of households turning to solar panels, electric vehicles and heat pumps. Global power generation from coal and gas has fallen, while renewables have surged ahead, with solar generation up 14% and wind by 8%.The conference aims to bring together countries that want to forge ahead with the energy transition, with 54 countries confirmed to attend, representing about a fifth of global fossil fuel production and a third of demand. However, some of the world's biggest economies and biggest polluters, including the US, China, India, Russia and the Gulf petro states, will be missing.Colombia and the Netherlands hope to create a 'coalition of the willing' to drive the transition away from fossil fuels, with a focus on tangible outcomes, including a report by scientists on how countries can make the transition and a report from finance experts on how funding can be made available.

Mr Cobra arrives as the latest statement from Korean‑American experimental musician Lucy Liyou, translating her solo music‑theatre piece into a full‑length album that confronts the corrosive nature of desire. From the opening track, listeners are greeted by a fractured piano motif that feels like shattered glass against an empty canvas, immediately setting a tone of tension and vulnerability.The record refuses to settle into any single genre. Liyou’s soundscapes swell into glossy disco bursts, dissolve into a tongue‑in‑cheek Taylor Swift skit, and even collapse into farmyard noises and text‑to‑speech monologues. This kaleidoscopic approach mirrors the emotional volatility of the central character, Babygirl, who oscillates between yearning and revulsion as she navigates a predatory romance.Key moments illustrate the album’s thematic focus on shame and power dynamics. On “Constrictor (Haha)”, Babygirl’s submissive cravings are drenched in cold‑water imagery, only to be abruptly repelled in the whimsical “Old MacDonald Had a Charm”. By the close of the track she is once again flirting, underscoring the cyclical trap of abusive attraction. Liyou also toys with celebrity culture; the track “Romeopathy” reworks Swift’s “Love Story” into a desperate plea for validation, repeatedly urging Mr Cobra to “just say yes”.While the album’s nursery‑rhyme hooks and disco interludes can momentarily distract from its darker undercurrents, they are integral to the smart, playful chaos that defines Liyou’s artistic vision. Mr Cobra stands as a daring, semi‑autobiographical exploration of how desire can both enthrall and erode, offering listeners a richly layered experience that rewards repeated, attentive listening.

The cyberpunk genre is renowned for its arresting imagery, with petroleum flares illuminating the perpetually rainy landscapes of movies like Blade Runner. Replaced, a new 2D action-platformer from Belarus-based Sad Cat Studios, adopts a similar visual style but with a unique twist: it incorporates softly diffusing sepia and warm primary colours, creating a comforting rather than ominous atmosphere.The game's story follows Warren, a scientist who merges with a powerful AI, becoming a man-machine entity. The gameplay involves platforming and combat, but the article notes that Replaced relies heavily on familiar action-platformer tropes in its early stages. However, as the game progresses, it introduces a refugee encampment with a more relaxed pace, allowing players to explore and interact with the environment.Despite its beautiful visuals, Replaced's generic irradiated wilds often detract from the experience. The game's most memorable section involves sneaking back into a heavily guarded facility, where the atmosphere and tension are palpable. This section stands out for its powerful evocation of real-world issues, such as the Mexico-US border wall and the West Bank barrier.Replaced is now available for £16.99/$19.99, offering a unique blend of cyberpunk nostalgia and action-platforming gameplay, albeit with some familiar flaws.