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Michael Jordan, the legendary basketball player, has found a new winning formula in Nascar. His team, 23XI Racing, has stormed to the top of the Cup series standings in 2026, with Tyler Reddick claiming four wins in the first six events, including a victory in the Daytona 500.Jordan's foray into Nascar ownership began in 2021 with a joint venture with Denny Hamlin, a prominent driver and Jordan Brand ambassador. The team's rapid rise to prominence has been fueled by Jordan's competitive drive and leadership style, which he attributes to his basketball background. "I'm cursed with this competitive gene, that anything I do is from a competitive lens," Jordan explained in an interview with CBS's Gayle King.The team's success has not been limited to Reddick, with Bubba Wallace, the No 45 car driver, consistently finishing in the top 11 through the first five races. Jordan's leadership approach, which emphasizes performing at the highest level and taking calculated risks, has drawn comparisons to his basketball career. "He emphasizes doing what you need to do to make sure you're performing at your highest level and taking that game-winning shot," said Dave Rogers, 23XI's senior director of competition.Jordan's entry into Nascar was not without controversy. In October 2025, 23XI Racing filed an antitrust lawsuit against Nascar, challenging the sport's charter system and revenue distribution model. The lawsuit led to the resignation of Nascar commissioner Steve Phelps in January 2026 and ultimately resulted in a settlement between Jordan and Nascar.Jordan's impact on Nascar extends beyond his team's on-track success. He has been instrumental in promoting diversity and inclusion in the sport, launching 23XI Racing with Bubba Wallace, a trailblazer for racial equality in Nascar. Jordan has also engaged with fans and artists, including rappers Fat Joe and Jadakiss, to help bring Nascar into the 21st century.As Jordan told King, "I'm excited that I'm connected to this sport. I feel like I watch it through the lens of my father, or with my family – and that matters to me." With 23XI Racing's impressive start to the season, it's clear that Michael Jordan has found a new passion and a winning formula in Nascar.

Les Kiss is set to take over the Wallabies in July, inheriting a side desperate to climb back to the top of world rugby. He faces a tight schedule – 14 months and 19 Tests – before the 2027 Rugby World Cup that Australia will host. Describing his mandate, Kiss stresses that he is not aiming for a radical overhaul. "It's not a revolution, it's evolution," he told the Guardian. "Core values like discipline, accountability and strategic planning stay firmly in place." What makes Kiss an outlier is his background: a former rugby league international who never played union at senior level. He says this forced him to "earn his stripes" in the union code, learning that culture and standards in the locker room drive performance on the field. His personal story is rooted in a family that escaped the Hungarian Revolution and settled in Bundaberg, and a playing career that saw him sprint down the wing before a knee injury sidelined him for four years. Those experiences, he believes, forged the resilience he now brings to coaching. After a stint in marketing and junior coaching, Kiss transitioned to union coaching, first as a defence coach for the Springboks (2001‑02), then as an assistant with Ireland (2009‑15), director of Ulster Rugby, and finally a three‑year spell with London Irish in the Premiership. Returning to Australia in 2024 to lead the Queensland Reds, he guided the franchise to its most prolific try‑scoring season in three decades, back‑to‑back quarter‑final appearances and record crowd numbers. The Reds sit 4‑2 in the 2026 Super Rugby Pacific season and are eyeing a top‑four finish. Kiss’s coaching philosophy centres on connection. "Coaching is about rapport and building something strong together," he says, adding that he is fully invested and treats every team like family. His transition to the Wallabies will be smoothed by a close partnership with current head coach Joe Schmidt. The two have shared roughly 40 Tests, developing a strong rapport that Kiss believes will help him "understand the breakdown" and set the right structures for success. The emerging "Kiss army" already includes former All Blacks staffer Scott McLeod as defence coach, analyst Eoin Toolan, set‑piece specialist Tom Donnelly, scrum guru Mike Cron, and consultant Laurie Fisher. Skills coach Mick Byrne and U20s boss Chris Whitaker also remain on board. While his new responsibilities grow, Kiss assures fans he remains 100% committed to the Reds, vowing not to let the franchise down despite his expanding duties. On the player front, Kiss highlights a blend of seasoned talent and fresh faces that could power Australia’s World Cup campaign. The likes of Mark Nawaqanitawase, Max Jorgensen, former winger Dylan Pietsch, and NRL convert Zac Lomax are poised to add dynamism, while 18‑year‑old prodigy Treyvan Pritachard offers a glimpse of the future. Ultimately, Kiss believes the Wallabies embody a uniquely Australian style – inventive, physical, and expressive – forged in backyard games and a culture of resilience. "The Australian way isn’t formulaic; it’s about solving problems on the field in our own special way," he concludes.

On 30 December 2023, Brooklyn‑based musician Wendy Eisenberg emerged from an all‑night rave in Bushwick feeling physically ill and mentally rattled. A spontaneous, anxiety‑driven walk that lasted the entire day became the catalyst for what Eisenberg later described as a personal “exorcism”.During the trek, an old friend suggested Eisenberg pick up a guitar, prompting the artist to return home and begin writing the material that would become their self‑titled album. Eisenberg recalled the intensity of Cat Power’s rapid‑fire creation of Moon Pix, noting that many of the new songs were drafted in a similar dream‑state over the following three to four months.Since the debut Time Machine, Eisenberg has built a reputation as a multi‑instrumentalist who oscillates between confessional folk and avant‑garde improvisation. Collaborator Bill Orcutt praised their guitar work as “musical MSG”, capable of elevating any ensemble. Yet the forthcoming record deliberately steps back from experimental excess, drawing instead on the playful melodies and graceful harmonies of 70s folk‑rock while retaining the ambition of earlier projects.The album’s orchestration, co‑produced with partner Mari Rubio (aka More Eaze), emphasizes beauty through complexity. Eisenberg explains that the “harmonic vocabulary reflects a newfound sense of comfort and happiness”, aiming for an “earned, adult sound of happiness” that mirrors the messy process of self‑acceptance.At the heart of the record lies a deeply personal narrative. A breakup that shattered Eisenberg’s sense of identity forced them to confront both heartbreak and the pressure to conform to “straight” norms. The experience sparked a decisive embrace of their queer, non‑binary, lesbian identity, a transformation Eisenberg describes as a “revelatory moment”.Music has long served as Eisenberg’s refuge; their father’s lullabies and an early fascination with Joni Mitchell, Gram Parsons, and the Everly Brothers laid the groundwork for a lifelong devotion to songcraft. After years of intensive study at the New England Conservatory and experimental collaborations, Eisenberg’s new work channels those influences into a more accessible, yet still richly textured, sound.Beyond the music, the album’s backstory includes an unexpected romance sparked by the British quiz show Only Connect. After meeting Rubio in August 2023, the pair bonded over the show on Valentine’s Day, leading to their first kiss and, months later, cohabitation. Eisenberg credits this partnership with providing the emotional stability needed to complete the album.Critics have already hailed the record as “one of the best things you will hear this year”, noting its blend of 70s singer‑songwriter sensibility with modern lyrical honesty. Tracks such as “Meaning Business” confront PTSD and past trauma, while others explore the joy of self‑realization.The album will be released on Joyful Noise on 3 April 2024, offering listeners a window into Eisenberg’s journey from “exorcism” to artistic renewal, and solidifying their place as a compelling voice in contemporary indie folk.

Islamabad has re‑emerged as a pivotal conduit between Washington and Tehran, delivering a U.S. 15‑point cease‑fire proposal on March 25, 2026, as the US‑Israeli campaign against Iran enters its second month. Foreign Minister Ishaq Dar confirmed that Pakistan is transmitting the proposal, with Turkey and Egypt offering additional diplomatic backing. Chief US negotiator Steve Witkoff later verified Pakistan’s role as a messenger, and President Donald Trump announced a 10‑day pause on planned strikes against Iranian power plants, citing a request from Tehran. Iran has denied direct talks, yet the pause marks the second deferment of Trump’s original threat, underscoring Pakistan’s function as a key diplomatic facilitator in a high‑stakes conflict. The pattern is not new. In August 1969, President Nixon tasked Pakistan’s military ruler Yahya Khan with opening a channel to Beijing. Two years later, a secret flight carried U.S. Secretary of State Henry Kissinger from Islamabad to China, paving the way for Nixon’s historic 1972 visit and the eventual U.S. recognition of the People’s Republic of China. Analysts note that Pakistan’s unique position—maintaining working ties with both Washington and Beijing—made it the only trusted intermediary capable of handling such a sensitive mission, a view echoed by former ambassador Masood Khan. Beyond the Cold‑War episode, Pakistan has repeatedly leveraged its geography and Muslim‑world connections. It served as the primary conduit for U.S., Saudi and Chinese support to the Afghan mujahideen in the 1980s, helped broker the 1988 Geneva Accords that ended the Soviet occupation, and hosted the 2015 Murree talks between the Taliban and the Afghan government. During the 2020 Doha Agreement, Pakistani pressure on the Taliban was cited by U.S. envoy Zalmay Khalilzad as instrumental, though the rapid U.S. withdrawal and subsequent Taliban takeover left Pakistan’s long‑term interests ambiguous. Efforts to mediate Saudi‑Iran tensions have been less fruitful. In 2016, Prime Minister Nawaz Sharif’s shuttle diplomacy failed to produce a formal agreement, and a 2019 outreach by Prime Minister Imran Khan, prompted by President Trump, yielded no concrete outcome. When China facilitated the 2023 Saudi‑Iran rapprochement, Pakistan’s foreign office claimed it had laid the groundwork, but analysts still view the result as a Chinese‑led success. Pakistan’s brief 2005 overture to Israel, led by Foreign Minister Khurshid Mahmud Kasuri, similarly collapsed under domestic opposition, illustrating the limits of its diplomatic reach when internal politics intervene. Since the launch of Operation Epic Fury—the US‑Israeli air campaign that began in late February 2026 and resulted in the death of Supreme Leader Ali Khamenei—Pakistan’s leadership has intensified back‑channel activity. Prime Minister Shehbaz Sharif has held multiple calls with Iranian President Masoud Pezeshkian, while Army Chief Field Marshal Asim Munir spoke directly with President Trump. Both officials have also visited Saudi Arabia, where Pakistan signed a mutual defence pact in September 2025. Former ambassador Naghmana Hashmi observes that Pakistan’s diplomatic narrative is often eclipsed by conflict, yet a “quieter, more consistent thread” persists: the state’s effort to turn its strategic location and Muslim‑world ties into a lever for peace. Whether the current cease‑fire talks will yield a durable settlement remains uncertain. What is clear, however, is that Pakistan enjoys a rare blend of trust from Washington, Tehran and Gulf capitals—a leverage few regional actors possess.

The Orange Tree theatre in London is currently hosting a captivating production of Nicholas Wright's 2002 play, Vincent in Brixton. This poignant piece imagines a lesser-known chapter in the life of Vincent van Gogh, who spent a year in south London pursuing a career as an art dealer and possibly had a romantic relationship with his landlady or her daughter.In Georgia Green's tender production, the play blossoms into more than just a footnote in art history. The story revolves around Vincent, portrayed by Jeroen Frank Kales, and his landlady Ursula, played by Niamh Cusack. Their characters share a deep mental perturbation, uncovering a kinship in misery that eventually blossoms into romance.The setting, designed by Charlotte Henery, is a cozy kitchen on the Orange Tree stage, perfect for quiet confidences. The sound design by Donato Wharton adds a sensory layer with birdsong, the sound of pans on the stove, and the rush of Vincent's blood during his first kiss. The chemistry between the leads is palpable, with Cusack's rich-layered voice conveying Ursula's distraught emotions.The play is remarkable for its non-judgmental writing, allowing the characters to express their feelings in personal and poetic ways. The cast delivers full-hearted performances, including Rawaed Asde as the other lodger and Ayesha Ostler as Ursula's vigilant daughter. The relationship between Vincent and Ursula is portrayed as a brief, radiant interlude, offering a glimpse into Van Gogh's life before he found his vocation as an artist.This production of Vincent in Brixton runs at the Orange Tree theatre, London, until 18 April, offering audiences a chance to experience a unique and emotional exploration of restless souls.