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Andy Farrell's Contract Extension Andy Farrell has signed a new deal to remain as Ireland's head coach until 2031, removing any chance of England luring him back to Twickenham after next year's Rugby World Cup. Instead, Farrell has opted to stay put in Dublin and will now preside over Ireland's next two World Cup campaigns. Farrell's Achievements with Ireland Farrell, who led the British & Irish Lions to a series win in Australia last year, has steered Ireland to two Six Nations titles, including a grand slam in 2023, and a historic Test series win over the All Blacks in New Zealand since replacing Joe Schmidt in late 2019. The Impact of Farrell's Contract Extension The announcement was hailed as “a hugely positive step for Irish rugby” by Kevin Potts, the Irish Rugby Football Union (IRFU) chief executive, clearly thrilled to have retained the 51-year-old Farrell's services. “We are delighted to secure Andy through to 2031,” said Potts. “He is a truly world-class coach and an exceptional leader who has helped shape Ireland as one of the most exciting and consistent teams in the world. Reaction from IRFU and Farrell The IRFU's performance director, David Humphreys, underlined the importance of continuity in the role. “This commitment to Irish rugby gives us real confidence as we look ahead and allows us to keep developing our playing group, strengthen our high-performance systems, and ensure alignment from the pathway right through to the senior team. Above all, it provides a stable platform to keep Irish rugby competing with the very best in the world over the coming years.” “I am incredibly proud to continue this journey with Irish rugby,” said Farrell. “It is a privilege to work with such a talented group of players and staff, and to represent the supporters whose passion and unwavering support drive this team forward and inspire us every time we take the field.

The Historic North American World CupWith less than a week to go until the FIFA World Cup 2026 begins, football's most prestigious tournament is set to make history. The monthlong spectacle will be the longest and biggest edition in the tournament's 96-year history, featuring 48 teams competing across 104 matches in 39 days.The First Three-Nation TournamentAll men's World Cup editions between 1930 and 2022 were held in a single host nation, with the exception of 2002 when Japan and South Korea cohosted. This year marks the first time a FIFA World Cup – men's or women's – will be played across three countries: the United States, Mexico and Canada. Sixteen stadiums in 16 cities across North America will host matches, with the 2030 World Cup also spanning three nations: Spain, Portugal and Morocco.Expanded Format and CompetitionThe upcoming World Cup will be the most diverse edition so far, featuring 48 teams. Among those, nations from UEFA (Europe) had the most direct slots (16), followed by CAF (Africa) with nine and AFC (Asia) with eight. More teams mean more matches, and thus the addition of an extra phase. For the first time in World Cup history, teams that make it past the group stage will begin the knockouts with a round of 32 clash. The World Cup winners will have to go through eight games en route to title victory – one more than the seven games Argentina won to lift the World Cup in Qatar four years ago.North American Spectacle: NFL-Style Half-Time ShowThis year's World Cup has a distinctly North American touch. For the first time in history, a football World Cup final will feature a half-time show inspired by the NFL's Super Bowl. Expect fireworks to light up the New York skyline when a pop party kicks off during the July 19 final at MetLife Stadium. K-pop supergroup BTS, Madonna, and Colombian star Shakira will co-headline the programme, while British rock band Coldplay's lead singer Chris Martin will curate the 11-minute half-time show.Design Revolution: The Beautiful KitsThe hype around the World Cup this year first started when the teams' kits dropped in late March. Jerseys by sportswear giant Adidas emerged as the people's favourite, featuring beautiful designs: from the concentric ribbed pattern spreading across Japan's bright blue home kit to the lemon yellow away shirt of Curacao, inspired by the colourful buildings found in the island's capital, Willemstad. Other notable designs include Argentina's black and blue away kit featuring Fileteado folk art style, France's dark blue home kit with a pristine white collar, and South Africa's lush gold and forest green away kit adorned with vertical stripes made up of triangular hand-drawn tile patterns.Fan Experience Evolution: New Pre-Game CeremonyFIFA has announced a new pre-game ceremony that will take place before every World Cup match. All players in the matchday squad – not just the starting 11 – will line up around the centre circle before the national anthems are played. The ceremony, which FIFA said "transforms the stadium into a shared stage", will include extra-large country flag banners and will see players enter the pitch through a dedicated arch closest to the tunnel. This innovation aims to provide "each [fan] with a distinct and engaging perspective, with extra-large country flag banners and on-pitch elements carefully positioned to involve the crowd in an authentic and meaningful way."

The Launch of The Guardian's Breakdown NewsletterThe Guardian has introduced its new Breakdown newsletter, representing a strategic move in the rapidly evolving digital media landscape. This new initiative aims to provide readers with curated, in-depth analysis and breaking news in a digestible format that caters to modern reading habits.Revolutionizing News DeliveryThe Breakdown newsletter leverages The Guardian's renowned journalistic expertise while adapting to contemporary digital consumption patterns. By focusing on concise yet comprehensive reporting, the publication aims to bridge the gap between traditional long-form journalism and the demand for quick, accessible information in today's fast-paced media environment.Industry Impact and Reader EngagementThis development signals a broader trend in the media industry toward specialized newsletter formats that foster deeper reader relationships. The Guardian's entry into this space with the Breakdown newsletter demonstrates how established media organizations are innovating to maintain relevance and audience engagement in an increasingly competitive digital ecosystem.The Future of Newsletters in MediaAs digital platforms continue to reshape how audiences consume information, newsletters have emerged as a powerful tool for media organizations to deliver direct, unfiltered content to their readers. The Guardian's Breakdown newsletter is positioned to become a key player in this growing segment, potentially setting new standards for quality digital journalism in newsletter format.

The Plant-Based Paradox: Growing Alternatives vs. Meat Dominance Should I tuck into a juicy steak or stick a tofu patty in a bun and call it a burger? Twenty years ago, that question was largely seen as a moral dilemma influenced by grim conditions in factory farms and slaughterhouses. Back then, animal rights activists were the loudest campaigners arguing for people to abstain from meat. They had limited success because vegetarians and vegans made up less than 5% of the population in rich countries – and the best fake meats were bland replicas of real flesh. The word flexitarian had not yet made it into the dictionary. The debate has shifted sharply. The pollution from animal agriculture, which makes up 12-20% of planet-heating gas, is now part of public discourse around eating meat. A dramatic rise in rates of obesity and diseases linked to red meat have made health concerns part of individual decisions to eat less of it. Meanwhile, some plant-based alternatives have improved in texture and taste to the point where even meat lovers struggle to tell that they did not come from an animal. The Rise of Plant-Based Alternatives: Market Transformation In one sense, there is a powerful story of personal action to tell. The tiny market share of vegetarians in the early 2000s provided the demand that companies needed to invest in making substitutes taste better. These alternatives are now helping meat eaters reduce their intake – an easier sell than convincing people to give it up entirely. Add that to a growing awareness about the environmental harm that livestock cause, and a rise in public support for stopping climate breakdown, and you have the ingredients for what could be a major societal shift away from damaging levels of meat-eating. Early signs of the trend are visible in countries such as Germany, a sausage-hungry nation where about one in 10 people are vegan or vegetarian and a further 37% describe themselves as flexitarian. Plant-based alternatives have become so common that a third of the population buy them regularly, a government survey found in November, and discount supermarkets have launched their own brands. Village cafes in far-right regions seem perfectly happy to serve oat milk with coffee. The Meat Consumption Data: Global Trends and Statistics The broader picture, though, is still dominated by animals. Data in a new report from the UN's Food and Agriculture Organisation suggests the average person eats six times as much chicken and twice as much pork as their grandparents did, with global meat supply having risen fourfold in the last 60 years. Much of the growth has taken place in poor countries in which better access to meat has helped counter hunger and malnutrition. But consumption is projected to keep rising, albeit at a slower rate, even in rich countries, where climate scientists and doctors recommend cutting down. Livestock are expected to contribute the vast majority of the projected 7.6% rise in global agricultural emissions over the next decade, at a time when global emissions from other parts of the economy, such as electricity generation, are set to fall. Industry Resistance and Consumer Behavior Patterns It is too early to tell whether the backlash signals a reversal or stalling of efforts to shift diets toward plants. In the UK, YouGov data shows the proportion of people who are vegetarians and vegans peaked in 2021 at 10% and has since fallen to 7%, while survey data in many other European countries suggests little change or even continued growth. The meat industry, meanwhile, is working hard to safeguard its dominance. In March, EU politicians voted to ban meaty names such as steak and bacon for plant-based alternatives. In the US, the "Make America Healthy Again" campaign from the Trump administration has enthusiastically promoted eating more meat, including many cow products such as beef tallow, going against medical advice. The pro-meat movement may also benefit from the protein obsession that has gripped rich countries, as well as growing fears about the health risks of ultra-processed food. Doctors are sceptical of the former – protein deficiencies in rich countries are rare, unlike fibre deficiencies – while there is little evidence to say much about the health impacts of processed plant-based products compared with processed meat ones. Future Outlook: Environmental and Health Implications The calculation is made more concerning by the indirect health impacts of meat-heavy diets, which stretch well beyond the risks to the person following them. Knock-on effects from the livestock industry range from stronger extreme weather events caused by climate breakdown to antimicrobial resistance that spreads superbugs. On Wednesday, an FAO report found that the use of antibiotics on livestock would rise by nearly a third in the next 15 years without government intervention, with potentially disastrous consequences for protection from disease. Health research is full of contradictory studies, and some advocates of meat-free diets have made sweeping claims that are not supported by the science. But what is clear, at a population level, is that people in rich countries are eating more meat and fewer plants than doctors consider healthy. And at a global level, the environmental harm from animal agriculture is likely to rise at a time when the planet needs it to fall.

The LeadThis week's top picks for TV include a mix of classic films and recent releases. From Pixar's latest to classic Hammer horrors, there's something for everyone. Pick of the Week: Hoppers“We’re all in this together.” It may seem an obvious eco message to be pushing at the kids who will flock to watch the latest Pixar animation. But when it’s done as charmingly as in Daniel Chong’s sci-fi comedy adventure, you’d be hard-pressed not to cheer along with the film’s endangered animals. Mabel (voiced by Piper Curda) is our teenage human guide to a biodiverse nook of woods and water near Beaverton. But when a proposed freeway causes the wildlife to scatter, she “hops” her mind into a robotic beaver (invented by her biology teacher) so she can track them down and save their glade. Crammed with neat gags, relatable villains and a shark assassin named Diane, it’s cute propaganda. Out now, Disney+ The Curse of FrankensteinThe first in what would be a distinguished line of colourful “Hammer horrors”, Terence Fisher’s 1957 adaptation of Mary Shelley’s novel still packs a punch. Unable to copy the pathos-tinged Boris Karloff look, the film-makers fashioned a creature with a grey, clammy pallor and irredeembly violent tendencies. He doesn’t even turn up until halfway, but luckily Peter Cushing – in his first movie starring role – commands the screen as the hubristic Baron Frankenstein, a monomaniac diving gleefully off the ethical deep end. Saturday 6 June, 9.05pm, Talking Pictures TV VermiglioThe simple, traditional life of an Italian mountain community butts up against the frictions exposed by the second world war in Maura Delpero’s sensitive, beautiful drama. Tommaso Ragno wields his forbidding white moustache well as local teacher, and father of eight, Cesare. He is harbouring two army deserters: his nephew and the lad’s Sicilian friend Pietro. But then his eldest daughter Lucia falls for Pietro, disturbing the family’s balance of power and stress-testing parental and gender norms to the brink of collapse. Saturday 6 June, 9.20pm, BBC Four The Beautiful GameFor better or worse, out come the footie films for the World Cup. Thea Sharrock’s quirky comedy is one of the niftier ones. Based on a true story, it revolves round the Homeless World Cup. Bill Nighy is his usual wryly comic self as Mal, the manager of the England squad – young men all with tragic backstories – as they head to the tournament in Rome. Mal’s secret weapon is Vinny (Micheal Ward), who nearly made it as a pro but is now a bundle of resentment. The social issues are only touched on, but the “no I in team” moral is loud and clear. Sunday 7 June, 3.35pm, Channel 4 NomadlandChloé Zhao’s moving 2020 drama is one of those rare Oscar winners that feels like an instant classic. It is a portrait of America’s “nomads” – mostly middle-aged loners whose home is their RVs, as they seek out seasonal work and form temporary communities. Acting among an array of real-life travellers, Frances McDormand is a case study in less is more as widow Fern, who heads out into the wide vistas of her nation to discover if this is a meaningful life or merely existing. Sunday 7 June, 1am, Channel 4 The ChoralTODO

Breathing Earth's Ancient PastMore than 2bn years ago, during the Paleoproterozoic era, the Earth's atmosphere began to fill with free oxygen, enabling the rise of aerobic life and, ultimately, humans. This Great Oxidation Event is now being experienced firsthand by visitors to the Museum of Old and New Art (Mona) in Tasmania, where French-Swiss conceptual artist Julian Charrière has created an extraordinary installation that allows people to inhale oxygen that has been trapped in iron ore since that ancient time.When Charrière came up with the concept for what would become 'Breathe,' Mona's owner David Walsh not only approved the project but created a bespoke space for it, recognizing the unique intersection of science, art, and human experience that the installation represents.The Science Behind the Ancient OxygenThe installation is a marvel of scientific ingenuity and artistic vision. Charrière has sourced ancient iron ore from Australia's Pilbara region, which is processed daily in an on-site laboratory. The water is extracted from the ore using specialized machinery, then put through a Hofmann apparatus—a piece of scientific equipment that electrolyzes water—to liberate the trapped oxygen molecules.This pure, ancient oxygen is then released into a specially designed room where visitors can breathe it in, creating a direct connection to the beginning of life on Earth. As Charrière explains: 'I want people to get all the way back to the beginning of the earth. It's like a time machine.' The installation is designed as a solitary experience, with visitors accessing a vault-like corridor reminiscent of a mining drift, flanked by raw sandstone and lined with deep red rocks from the Pilbara.The Immense Timescale of the InstallationThe timescale involved in 'Breathe' is almost incomprehensible. The oxygen visitors inhale has been trapped in iron ore for over 2.4 billion years—since the Great Oxidation Event that transformed Earth's atmosphere and enabled the development of complex life forms. This installation literally connects each visitor to the primordial beginnings of our planet's atmosphere.As visitors walk through the tunnel, the temperature drops as they approach a high-ceilinged cylindrical room, an underground windowless tower where lighting depends on the amount of sun that can be reflected through a small opening above. Walking over tiles made of polished ancient tiger ore, they circle a floor-to-ceiling clear glass tube that houses the Hofmann apparatus. It is here, at a small opening, that visitors have their closest access to Charrière's pure, ancient oxygen.Redefining the Art-Science Experience'Breathe' represents a groundbreaking fusion of scientific methodology and artistic expression, challenging traditional boundaries between disciplines. The installation creates a profound personal experience that connects visitors not just to art, but to the very essence of life on Earth.What makes this installation particularly powerful is its claim that each visitor is the first human being to ever inhale that specific oxygen. As Charrière explains: 'You are breathing something which is so pure and has not been touched by any being before you... And the beauty of the piece is you will carry it until you die. You're going to become a small part of this installation and you become a big part of the great oxygen cycle, and you will only finally free this oxygen once... once you're going in the other world.'This installation is part of a broader trend in contemporary art that incorporates scientific processes and concepts, creating works that are both intellectually stimulating and viscerally impactful.The Future of Scientific Art Installations'Breathe' is opening alongside Charrière's major new exhibition 'Hard Core,' which showcases both the ambition and scientific curiosity of the Berlin-based artist. Individual elements of 'Hard Core' have been exhibited elsewhere in the world, including at the Venice Biennale, but the full exhibition finds its perfect home at Mona, with its exposed rock, industrial aesthetic, and fusion of science with art.As museums and galleries continue to seek innovative ways to engage audiences, installations like 'Breathe' point to a future where art and science are not just displayed together but are fundamentally intertwined in the creative process. This approach has the potential to create more immersive, educational, and thought-provoking experiences that challenge visitors to see the world—and their place in it—in new ways.Charrière's work demonstrates how art can make abstract scientific concepts tangible and personal, creating connections across vast stretches of time and space. As our understanding of the universe expands, art installations like 'Breathe' will play an increasingly important role in helping us process and relate to these profound concepts.

Escalating El Niño Probability and UN WarningThe United Nations has warned that the world must prepare for the imminent return of El Niño, a powerful weather pattern that raises global temperatures and drives extreme weather. The World Meteorological Organization (WMO) reported an 80% chance of El Niño forming before September and a 90% chance before November.Projected Climate Impacts Across Key Asian RegionsIndia: Expected below‑average monsoon rainfall, extending the current heatwave and threatening wheat and mustard crops.China: Anticipated 20% higher rainfall in southern regions, with some areas forecast to receive over 200 mm of rain; the Qinghai‑Tibetan plateau warned of “unpredictable and extreme” conditions.General: Intensifying heat and drought could stress agriculture, power grids, and water supplies across the continent.Sectoral Vulnerabilities: Agriculture, Power Grids, and Water SuppliesExperts highlight a “deadly combination” for India, where delayed monsoon rains could exacerbate the ongoing energy crisis and jeopardise food security. In Mumbai, the city’s seven rain‑fed lakes hold only enough water for 45 days, raising the risk of a severe water shortage if rains are delayed. In China, flood‑prone regions face heightened storm risk, while drought‑sensitive areas worry about power‑grid strain.Looking Ahead: Preparedness Measures and Uncertain OutlookNational climate agencies in both India and China are urging stockpiling of emergency supplies and issuing weather warnings. The UN stresses that El Niño’s impacts will be “super‑charged” by human‑driven climate change, making the upcoming summer and autumn seasons especially unpredictable for the region.

The Return of Mira Murati to the Public StageMira Murati, former CTO of OpenAI and current CEO of Thinking Machines Lab, has made her first major media appearance in approximately 18 months, sitting down with Bloomberg in San Francisco. This rare public appearance comes as Murati's company, which has been operating largely in the background, seeks to establish its presence in an increasingly competitive AI landscape.Thinking Machines' New Approach: Interaction ModelsDuring the interview, Murati previewed what Thinking Machines is calling "interaction models," described as a fundamentally different kind of AI interface. Unlike the traditional turn-based, prompt-and-response dynamic common in most AI products today, the company's models are designed to process continuous streams of audio, text, and video in 200-millisecond intervals. This approach aims to capture the nuances of human communication—including interruptions, mid-thought corrections, and pauses—in something closer to real time.Murati emphasized that this approach aligns with her lab's core thesis that the path to powerful AI runs through closer human collaboration, not around it. She was careful to frame it as a first step rather than a finished product, declining to specify a release date.The Competitive AI LandscapeThe timing of Murati's public return is strategic. While Thinking Machines has spent the past year and a half operating in the background—raising capital, hiring researchers, and shipping one product, Tinker (an API for fine-tuning open-source AI models)—its competitors have grown more omnipresent. OpenAI, where Murati spent six years as CTO, remains constantly in the news cycle. Anthropic has gained significant momentum, and Elon Musk's xAI has been folded into SpaceX ahead of what is expected to be a massive public offering.In this environment, Murati acknowledged that staying heads down has diminishing returns, and at some point, a company must make noise to remind the market it exists.Reflections on OpenAI's Leadership CrisisMurati also addressed the chaotic week in November 2023 when OpenAI's board fired Sam Altman, and she became interim CEO—an event referred to internally as "the blip." She expressed clarity about her decisions during that period, stating that protecting the mission and team guided her choices even as the situation appeared to be unraveling externally. Murati claimed the company would have "imploded" without her involvement during those five days and their immediate aftermath.In retrospect, she acknowledged she would have pushed harder for more information, a better transition plan, and more transparency. When asked if she still trusts her former boss, she sidestepped the question, instead focusing on her broader concern about the concentration of consequential decisions in too few hands across the industry.Talent Challenges and Compensation CultureChang pressed Murati on the departures of several high-profile researchers from Thinking Machines in recent months, a subject Murati has largely avoided in public. She explained that building a frontier AI lab from scratch compresses years of normal organizational volatility into months. Regarding compensation—the nine-figure packages that have become standard in the AI talent war—Murati suggested it isn't usually the whole story behind talent decisions."When I wake up in the morning, I am not thinking about how to kill the competitor," Murati quipped, drawing audience laughter and highlighting her competitive approach to building rather than destroying.The Future of AI and Human AgencyWhen asked about the future of AI and its impact on humanity, Murati pushed back on both inevitable dystopia and inevitable utopia scenarios. She argued that neither outcome is predetermined and that the current period will determine which direction things go. However, she warned that if humans "take their hands off the wheel too soon," the future will look very different, and not better.Born in Albania and speaking with a slight Eastern European accent, Murati emphasized the importance of maintaining human agency in AI development, reflecting on concerns about mass job displacement and potential misuse of AI for harmful purposes like creating chemical weapons.

The LeadA supernatural play based on the Iranian horror movie 'Under the Shadow' explores the terror of life in Iran during the 1979 revolution and the Iran-Iraq war. The Event DetailsThe play, adapted by Carmen Nasr from Babak Anvari's 2016 film, is set in Tehran in 1988. It tells the story of Shideh, a woman who hides in her apartment with her terrified daughter as the Iraq-Iran war rages on. The play explores themes of fear, survival, and the supernatural. The Data AnalysisThe play's creative team, including director Nadia Latif and actress Leila Farzad, bring their own experiences of war and displacement to the production. Latif's family has experience in Sudan, while Farzad's family is from Iran. The play's themes of hope and survival are universal, resonating with audiences from different backgrounds. The Impact AnalysisThe play's use of horror as a genre allows it to tackle complex themes like politics and collective suffering. By making the horrors of war personal, the play aims to bring the audience closer to the experiences of those living through conflict. The PredictionThe play is expected to be a powerful and thought-provoking production, exploring the complexities of life in Iran during a time of war and revolution. With its talented creative team and timely themes, it is likely to resonate with audiences and leave a lasting impact.