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Renowned Formula One journalist Giles Richards was ejected from a Max Verstappen press conference at the Japanese Grand Prix, a rare occurrence in the sport. The incident stemmed from a question Richards asked Verstappen at the end of last season regarding an incident involving Verstappen and George Russell at the Spanish Grand Prix.Verstappen had collided with Russell's car during the Spanish Grand Prix, resulting in a 10-second penalty that dropped him from fifth to 10th place and cost him nine points. When Richards asked Verstappen about the incident during the season finale in Abu Dhabi, Verstappen took umbrage, suggesting Richards was biased and only focused on negative aspects of his performance.Richards recounts that when he encountered Verstappen at the Japanese Grand Prix, the Dutch driver refused to speak until Richards left the press conference. Despite attempts to clarify the situation, Verstappen remained resolute, telling Richards to 'get out'.The incident has sparked a heated debate about driver-journalist interactions in Formula One, with many colleagues expressing shock and concern for Richards' wellbeing. While Richards admits to feeling uncomfortable about being the story, he emphasizes the importance of asking difficult questions in his line of work.Richards has covered Formula One for over a decade and has interviewed Verstappen on multiple occasions, describing their interactions as generally friendly and good-humored. He hopes that he and Verstappen can have a better relationship in the future.

A landmark verdict in a social media trial has held Meta and YouTube accountable for deliberately designing addictive products that harmed a young user. The jury awarded the plaintiff $6m in damages, with Meta to pay 70% and YouTube the remainder.Human rights groups, including Amnesty International and Human Rights Watch, have praised the decision, calling it a "watershed moment" for corporate accountability in the digital age. They argue that social media companies must change their design features to ensure children's safety.The plaintiff, a 20-year-old who went by the initials KGM, testified that she became addicted to YouTube at age six and Instagram at nine, which led to a long cycle of depression, self-harm, and body dysmorphia. Plaintiffs have taken issue with features such as infinite scroll and autoplay, arguing that they prioritize engagement over users' well-being.However, not all tech freedom and human rights groups agree on the verdict's implications. Fight for the Future, a US-based digital rights group, has expressed skepticism, worrying that the decision could be used to justify legislative solutions that raise free speech concerns.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

The connection between boxing and cinema dates back to the early days of film, with the first sports film being a 1894 short of a six-round match between Mike Leonard and Jack Cushing. Since then, boxing has been a staple of the big screen, captivating audiences with its high-stakes emotion, physical intensity, and personal turbulence.The British Film Institute's new season, The Cinematic Life of Boxing, curated by Clive Chijioke Nwonka, an amateur boxer since his childhood in London, explores this symbiotic relationship. Nwonka believes that an uncompromising hunt for realism is central to the relationship between the sport and artform, with films that interact with human experience, poverty, struggle, triumph, and boxing as a way of life.Boxing films often capture a political zeitgeist, as seen in the 1974 'Rumble in the Jungle' heavyweight championship match between Muhammad Ali and George Foreman, which was not just a fight but a referendum on ideology during the civil rights era. This fight was documented in the 1996 film When We Were Kings, described by Nwonka as 'probably the greatest sports documentary of all time'.The Rocky franchise, which has spanned six films and a spin-off series, Creed, under the direction of Ryan Coogler, is a barometer for all the films captured in its wake. The first film remains the hallmark of sporting cinema, successfully capturing the habitual experience of the sport outside its more glamorous moments.Despite the genre's popularity, boxing films are not immune to clichés, with many relying on stock characters and familiar arcs. However, the best film-makers are able to return to the core of these films: the stakes of signing up for a fight, and the physical, psychological, and real monetary costs of endurance.

A recent study conducted by researchers at Adelaide University has revealed that sperm in microgravity environments become disoriented and struggle to navigate through a simulated female reproductive tract. This finding has significant implications for the future of human reproduction in space, particularly as plans for lunar and Mars settlements gain momentum. The researchers used a machine to mimic microgravity, similar to the conditions experienced by astronauts on the International Space Station. They found that sperm tumble around like untethered astronauts, unable to determine their direction. This disorientation resulted in a 40% reduction in the number of microgravity-exposed human sperm that successfully navigated the maze compared to the control group. The study, published in the journal Communications Biology, highlights the challenges of reproduction in space. Dr. Nicole McPherson, the lead researcher, noted that understanding the effects of microgravity on sperm navigation is crucial for the success of future space missions. The study also found that adding progesterone helped overcome the sperm's disorientation, suggesting a potential solution for improving fertility in space. The research has broader implications for both space exploration and earthly reproductive science. As NASA's Artemis mission and private companies like SpaceX plan for human habitats on the moon and Mars, understanding the effects of microgravity on reproduction becomes increasingly important. The study's findings also contribute to the ongoing discussion about the feasibility of human settlements on Mars and the need for sustainable reproductive technologies. The Adelaide researchers collaborated with the university's Andy Thomas Centre for Space Resources to conduct the study. Their work builds on a history of research into reproduction in space, including NASA's 2018 mission to study the effects of weightlessness on human sperm. As space exploration advances, the need for further research into reproductive health in space becomes increasingly urgent.

An Israeli airstrike targeted the Deir al-Balah camp in Gaza, killing at least one person. The incident occurred in a region that has seen significant conflict in recent times.The airstrike is part of a broader context of ongoing tensions in the Middle East, particularly between Israel and Gaza. The Deir al-Balah camp, like many areas in Gaza, has been affected by the conflict's escalation.The situation in Gaza remains volatile, with humanitarian concerns continuing to mount. The international community has been closely monitoring developments in the region, calling for de-escalation and peace.

The relationship between Maher and Trump reignited earlier this year when Trump claimed on social media that he wasted time sitting down for a meal with Maher last year. Maher described the dinner as a “good time” and noted that Trump was “gracious and measured”.

Dash Crofts, the renowned musician from the soft rock duo Seals and Crofts, has died at the age of 85. His passing was announced by the duo's producer, Louie Shelton, on social media. Crofts succumbed to complications following heart surgery, as confirmed by a family member. Crofts and his musical partner, Jim Seals, crafted some of the most iconic hits of the 1970s, including 'Summer Breeze' and 'Diamond Girl'. Their 1972 album 'Summer Breeze' reached the top 10 in the US and featured the hit single 'Hummingbird'. The duo's gentle musical style, characterized by breezy soft rock, became a staple of the decade. The duo faced controversy with their 1974 album 'Unborn Child', which reflected their Bahá’í faith. The title track sparked a backlash and was banned by some radio stations following the landmark Roe v Wade ruling. Despite this, their music continued to resonate with audiences, and they remain celebrated for their contributions to the soft rock genre. After the duo disbanded in 1980, Crofts pursued a quieter life in Nashville, focusing on country music. Yacht rock, the genre they helped define, has seen a recent resurgence in popularity, with a 2024 HBO documentary highlighting its importance. Crofts' legacy continues to inspire new generations of music lovers.

The recent story of Julie Maughan, a grieving mother who lost her eight-year-old daughter Heather Preen due to exposure to polluted water, has left an indelible mark. The Channel 4 docudrama Dirty Business brings to light the struggles of campaigners and families fighting against privatised water companies and a system that often fails to protect them.In a poignant meeting, Julie Maughan's emotional testimony, marked by grief, dignity, and determination, underscored the human cost of water privatisation. Her story starkly contrasts with the detached world of statistics and policy debates, illustrating the moral failure of a system that prioritises profit over people's lives.Clive Lewis, Labour MP for Norwich South, argues that the water industry's model, which allows private companies to profit from a basic necessity while the public bears the risk, is fundamentally flawed. This has led to billions being paid to shareholders while investment falls short and pollution becomes routine.The article highlights the broader implications of water privatisation as a microcosm of a larger systemic problem. With millions of households facing another wave of pressure on their living standards due to an impending energy price surge, the question remains whether the current economic framework can adapt to address these challenges.Lewis emphasises that Labour must decide whether it stands with the electorate or the water companies, advocating for a fundamental reorientation of the economy that prioritises the public interest over profit. The story of Julie Maughan and her daughter Heather serves as a powerful reminder of the human cost of policy failures and the urgent need for change.