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The LeadAs Eurovision celebrates its 70th anniversary, some of the most iconic figures from the competition share their untold stories. Not many 70-year-olds spend their nights with pop singers in sparkly catsuits or nightmarish monsters barking out heavy metal, but these Eurovision veterans have experienced it all. From winning while sick with fever to becoming internet memes overnight, their tales reveal the unique magic and challenges of Europe's most beloved music competition.The Metal Monster's VictoryMr Lordi, frontman of Finnish metal band Lordi and winners in 2006, recalls how their journey began with no expectations: "When we were invited to enter the Finnish national contest to be the Eurovision entry, we thought we had absolutely no chance. We just wanted some free TV for our new album." Despite their casual approach, they won the popular vote by a landslide.Their arrival in Athens created a media frenzy: "We'd arrive in the press room in our full costumes, you know, just minding our own business. Then the press would go: 'Oh, fucking hell, that's Lordi!' and run to us." Their unconventional approach drew both attention and complaints from other contestants.Despite their eventual victory, Lordi's performance was far from perfect: "On the night, that performance was one of the worst versions I personally have ever delivered of Hard Rock Hallelujah. I was sick with a fever. And it's so hot in that costume you have your own mobile sauna with you."The aftermath was unexpectedly harsh: "Within a year, the backlash started. A lot of metal and rock people really resented us for winning. They thought we had sold out. But then, surprisingly fast, normal people started joining in."The Saxophone SensationSergey Stepanov, saxophonist of Moldovan band SunStroke Project who placed 22nd in 2010 and 3rd in 2017, shares how Eurovision changed his life completely. "Going to Eurovision was always a dream for me. When I was young, I would watch with my mother, and the artists performing seemed so different from us they were like spacemen."Their first experience in Oslo was modest but impactful: "We did not have a lot of money. All we had to make people remember us was our energy, our music – and how much fun we had." Their unexpected fame came later: "After we came back, my friend called me and said: 'You are a meme: Epic Sax Guy. You are famous in the United States!' Until that moment, I had no idea what a meme was."Their return in 2017 brought even greater recognition: "When we went back in 2017, we were about to go on stage when our producers gave me the phone. It was the president of Moldova. He said: 'Guys, are you ready to do a miracle?' We went out and came third."Steppanov describes the transformative power of that moment: "The moment I started to do my moves in 2017, the crowd got so loud I couldn't even hear what I was playing. At that point, I knew my life wouldn't be the same afterwards."The Zero Points ExperienceJames Newman, who represented the UK in 2021 and became the second British act to score nul points, shares his experience of the competition. While the article cuts off before detailing his full story, the heading suggests a dramatic experience that contrasts with the triumphs of other Eurovision participants.

The LeadRenowned actress Linda Bassett reflects on her distinguished career spanning decades of theatre work, her celebrated collaboration with playwright Caryl Churchill, and her upcoming role in Alexander Zeldin's "Care" at the Young Vic. Known for her understated yet powerful performances, Bassett shares insights into her approach to acting and the profound impact of theatre on her life.The Career JourneyBassett's path to acting wasn't conventional. Despite coming from a non-theatrical family, she discovered her passion at age four when she was unexpectedly thrust into a Sunday school Easter play. "I was in bliss," she recalls. Her formative years included ushering at the Old Vic during Laurence Olivier's legendary tenure, where she witnessed groundbreaking performances and even sold ice creams during intermissions.After briefly studying English at Leeds University, where she focused on drama rather than academics, Bassett began creating devised work in Leeds and Coventry. This experience, she suggests, "made me a bit gobby," developing her confidence to make suggestions as an actor, though she admits she sometimes oversteps when working with certain playwrights.The Churchill ConnectionBassett's most significant artistic relationship has been with playwright Caryl Churchill, beginning with "Fen" in 1983 and continuing through to "What If If Only" in 2021. She describes auditioning for Churchill as "enormous" because it launched her on a particular trajectory. Her disconcerting clarity has made her a peerless interpreter of Churchill's work, which some audiences find forbidding."They're not hard to watch," Bassett protests of Churchill's plays. She recalls her iconic monologue in "Escaped Alone" where the phrase "terrible rage" is repeated 25 times in succession. "It was the only thing to say at that point. The words fed the feeling, and it was the audience who felt it, not me, which is ideal." Churchill's writing, she notes, is "so distilled, no excess baggage," requiring actors to find "the one way" to play them.From Call the Midwife to CareDespite notable film roles including "East Is East" and "Calendar Girls," many audiences know Bassett as stern nurse Phyllis in the BBC's "Call the Midwife." "Complete strangers come up and say, I love you. My wife loves you, my mother loves you. It's extraordinary," she remarks of the public's connection to the character. Despite playing Phyllis for over a decade, she found fresh aspects to explore, learning "how to be" more matter-of-fact and practical than her natural disposition.Currently rehearsing Alexander Zeldin's "Care" at the Young Vic, Bassett plays Joan, a woman who after caring for her family begins showing signs of dementia and needs care herself. "She's convinced, as many people are, that she's just in for respite. She never loses the idea that she's going home," Bassett explains. The role draws from personal experience; after a heart attack, she spent two weeks recuperating in a care home, giving her "an insight into what it's like when you become helpless."The Actor's Philosophy"Every part is an education," Bassett states. "That's the glory of being an actor. You learn about human feelings and frailty and rottenness. The writer puts their soul on the page, and you inhabit that. I've always felt I was a writer's actor." This philosophy has guided her selective approach to roles, resulting in a "remarkably free of crap" CV despite turning down numerous opportunities.Though she hasn't performed as many classics as she might have hoped—"I think I'm seen as a working-class actress"—Bassett values the authenticity she brings to her roles. With Zeldin directing "Care," she appreciates his desire for "absolute truthfulness," which "suits me down to the ground." As she prepares for this new challenge, she acknowledges the nerves: "Every new part you're starting again. It's a bit scary, but I think we'll be all right."The Future of TheatreAs a veteran performer who has witnessed theatre's evolution, Bassett remains committed to the medium's power. She recalls the impact of Ronald Pickup's messenger speech in Peter Brook's production of Seneca's "Oedipus": "People fainted every night. You didn't see anything, his voice was enough. That's the power of theatre, isn't it?"Looking ahead, Bassett continues to seek roles that challenge her and explore the human condition. Whether through her meticulous interpretation of complex playwrights like Churchill or her willingness to portray the vulnerability of aging in "Care," she remains dedicated to the craft that has defined her life. "Every part is an education," she reiterates, and with each new role, Linda Bassett continues to learn, grow, and enrich the theatrical landscape.

The LeadJinkx Monsoon, the celebrated Drag Race winner, brings her unique perspective to the role of Judy Garland in "End of the Rainbow," revealing how personal history and artistic vision converge in this portrayal of the iconic performer's final months.The Personal Connection to GarlandMonsoon's journey to embodying Garland goes beyond mere impersonation. Growing up in Portland, Oregon, in a Catholic family dominated by women, Monsoon found early acceptance despite being gender non-conforming. "My whole family were very liberal," she recalls. "The women in my life saw who I was at an early age and told the men in my life: 'You will accept this kid or you won't be here.'" This environment, despite "a lot of addiction, a lot of trauma," fostered the "complete candour" Monsoon identifies as a defining characteristic of both herself and Garland.The Artistic ChallengePortraying Garland presents unique challenges, particularly in an era when the performer might be considered "antiquated to younger audiences." Yet Monsoon's impression on Drag Race was so spot-on that clips continue to circulate years later. The role in "End of the Rainbow" represents a departure from the comedic drag performances that first brought her fame, moving instead toward dramatic territory. "She's a pillar, and an institution," Monsoon says of Garland, in whom she became interested after watching "The Wizard of Oz" on repeat as a child.Industry Impact and RepresentationMonsoon's success challenges long-held myths about audience acceptance of trans and queer performers. Her Broadway run in "Chicago" significantly boosted ticket sales for the fading musical, leading to a second run the following year. Similarly, "Oh, Mary!"—in which she replaced Cole Escola—has been "the hottest ticket on Broadway" since its 2024 opening. "I want people to remember this," Monsoon asserts, "the next time someone wonders, 'Should we cast this person from this marginalised demographic?' Yes. Do it. People would rather see a fresh perspective than the same thing over and over."The Future of Queer RepresentationAs Monsoon continues to break barriers in mainstream entertainment, her trajectory suggests a broader shift in the industry's approach to casting and representation. The success of productions featuring trans and queer performers indicates changing audience expectations and a growing recognition of diverse perspectives. Monsoon's ability to balance vulnerability with strength, humor with pathos—qualities she shares with Garland—suggests that her career will continue to challenge industry norms while expanding possibilities for future performers.Production DetailsEnd of the Rainbow is at Soho Theatre Walthamstow, London, from 15 May to 21 JuneMonsoon portrays Judy Garland in Peter Quilter's musical drama about the icon's final monthsThe production follows Monsoon's successful runs on Broadway and in viral Drag Race performances

The LeadJennie Garth, known for her role as Kelly Taylor in 'Beverly Hills, 90210,' opens up about the psychological impact of early fame and how she found new purpose in her 50s. The 54-year-old actress, who felt 'stuck' and unfulfilled as her daughters grew up, has launched a podcast and book titled 'I Choose Me,' sharing her journey of self-discovery and the lessons learned from her decades in Hollywood.Finding Purpose at 50Approaching her 50s, Garth experienced a classic midlife crisis, questioning her path and purpose after noticing potential acting jobs becoming 'few and far between.' The deaths of her 90210 co-stars Luke Perry in 2019 and Shannen Doherty in 2024 intensified her sense of urgency, prompting her to share what she's learned with other women experiencing similar standstills. Her new venture, 'I Choose Me,' named after an iconic line from her character on the show, combines memoir and self-help as Garth reflects on her journey from teenage star to mature woman finding her voice.The Price of Early FameGarth candidly admits that her early fame 'screwed with her mind,' describing how she spent 20 years 'trying to keep her head above water.' Starting on the hit show at just 18, she felt developmentally 'held back from the realities of the world,' watching peers experience normal milestones while she was 'slammed into' fame. The experience left her questioning how her unusual path affected her relationships and personal growth, as she struggled to form normal connections while constantly being judged and typecast in the industry.Hollywood's Changing LandscapeThe actress reflects on the sexism she faced in the 90s, noting how young female actors were 'exposed to far more than they should' in terms of sexualization and discrimination. She recalls unspoken expectations about appearance and the pressure to conform to certain standards, including her own decision to get breast enhancement at 24. Garth also discusses how the industry typecast her and her co-stars, keeping them in a 'sort of Aaron Spelling-nighttime-soapy category' that limited their growth opportunities, despite the quality of their work.A New ChapterNow in her 50s, Garth feels she's finally 'caught up' developmentally and is embracing her age with greater wisdom and resilience. Through therapy and self-help, she's found a new voice and purpose, sharing her experiences to help other women navigate similar challenges. Her journey from teenage star to empowered woman reflects both the lasting impact of early fame and the potential for reinvention later in life, as she continues to work while also focusing on personal growth and helping others find their own path to self-acceptance.

The Cultural Phenomenon Returns On a chilly morning at a Silvertown studio behind London City airport, the sunburst intro to Jimmy Cliff's The Harder They Come is on repeat. Dancers run through a routine studded with reggae and dancehall moves. "Get high," commands associate choreographer Neisha-yen Jones with a smile. "Get low!" The ensemble rise and dip. They do the bogle and whine around each other as their watchful director Matthew Xia nods along. They circle Natey Jones who breaks out the opening line: "Well, they tell me of a pie up in the sky." In the distance, a plane leaves the ground. From Film to Theatrical Celebration It's eight months since The Harder They Come's full-throttle takeoff at Stratford East, where the musical was so popular that it is now returning for a second run which will also serve as a eulogy for Cliff who died in November. Playwright Suzan-Lori Parks' adaptation of Perry Henzell's 1972 Jamaican film is bolstered by a handful of her own songs as well as classics including Israelites and Wonderful World, Beautiful People – plus every number on the film's monumental soundtrack. Jones is reprising the role of Ivan (played on screen by Cliff and inspired by real-life outlaw Rhyging), who arrives in Kingston from the country and is dismissed and exploited, before becoming both a hit singer and a fugitive. The Evolution of a Cultural Narrative The original was akin to cinéma vérité, directly evoked spaghetti westerns and veered into blaxploitation territory; Ivan's tale has gained greater warmth, humour and protest spirit on stage. It was the best musical I saw in 2025. "The story is a tragedy but the theatrical event is a celebration," says Xia of his production. Twenty years ago, the film was adapted as a musical with a book by Henzell, also at Stratford East. "It all started at Ivan's Nine Night," Xia recalls. "There was a massive poster of Ivan on the wall, with everyone coming, and it was told in retrospect with vignettes." Choreography and Cultural Connection Shelley Maxwell, recently arrived from Jamaica, was watching the musical in the audience one night and has since become the choreographer of the new production. She has fused the folk dance forms of revivalism and pocomania, learned in her childhood, with reggae, dancehall and moves that today's teenagers can recognise. "I wanted to tap into the youth market," she says. It's brought some enthusiastic feedback from audience members who may not know the film. "Like: 'Oh my God, they did that step I always do at a party!' It allows them to form a connection." Authenticity and Cultural Representation Xia, wearing trainers in the Jamaican flag's colours, and Maxwell, whose tracksuit has the same black, green and gold trim, were intent on instantly transporting their audience to Kingston. The opening, says the director, is an "establishing shot" with characters coming and going on Simon Kenny's magnificent multi-level set, accompanied by Toots and the Maytals' hit Funky Kingston. To borrow from its lyrics, you really can believe everything they do. Even each move in the dominoes game we see is scripted, explains Maxwell, who mapped out the market scene with precision: "Where are you going to? How heavy is the item that you're holding? This is the swing of the hips." Social Commentary Through Performance Xia, whose father came to England from Jamaica in the 1970s, praises the freewheeling realism of the film. "Lots of the background performers are just whoever happened to be in the market that day, or walking through the shantytown. Lots of the actors were people that Perry knew, they had no training." Henzell, says Xia, showed "the part of Jamaica that had always been hidden, people living hand to mouth". The musical depicts a "quartet of oppression" against Ivan, as he takes a stand against individuals representing hypocrisies of the church, law, drugs trade and music industry. Universal Themes and Contemporary Relevance The Harder They Come was both a pioneering example of independent film-making for Jamaicans and a portrait of a newly independent country. Maxwell, who grew up glued to Hollywood musicals, says it was empowering to discover a film full of the Jamaican songs she loved. "I was probably way too young when I saw it. But what I saw was the world around me." She traces how different forms of music played a pivotal part in the country establishing its identity, moving from African forms and American R&B; to mento, ska, rocksteady, reggae and the rise of Bob Marley and Jimmy Cliff. Maxwell captures that chain reaction with a tantalizing question: "What's this groove becoming?" Transforming the Narrative for Modern Audiences The musical also makes its hero's actions more understandable. "In the film, Ivan becomes a kind of wanton murderer," says Xia. In the musical, "he accidentally shoots a police officer when he's under threat, is remorseful, yet also knows that if he gives himself in then that's the end of his journey". Another significant change is the depth given to the principal women – Ivan's mother Daisy and Elsa, with whom he falls in love under the eye of her authoritarian guardian, the preacher. "The moral heart of the piece now resides in those two women," says Xia. Maxwell transforms a brief sequence from the film, in which Ivan imagines a tryst with the devout Elsa, into a floor-trembling set piece when the preacher's congregation lose their robes to indulge in lustful fantasy. The male gaze of the original scene is duly excised: "it had to be like it was both of them in partnership in that fantasy world," says Maxwell, who adds that the nature of dancehall – "grinding, gyrating on another body" required her to use her skillset as an intimacy director.

The Wildlife Crisis on UK MotorwaysWhen James Herd moved near Wisley Common 17 years ago, the heathland nature reserve was teeming with wildlife. "I'd take the dog around the common in spring and summer, and every few hundred metres I'd hear the rustle of a lizard in the undergrowth – and I'd see adders," he recalls.Over the past decade, however, the Surrey Wildlife Trust's director of reserves management has witnessed a significant depletion of wildlife. "There was a period, eight or nine years ago, when I'd get home and think: 'God, I didn't see or hear any evidence of reptiles.'"The culprit is the A3, a main arterial road into London that carries hundreds of thousands of vehicles daily. "It has fragmented the habitat, disconnected the ecological permeability of the site," Herd explains. "So species on this side of the common can't get to that side of the common because there's six lanes of tarmac and vehicles doing 70mph in the way."The Cockrow Bridge: A Green SolutionFrom the rubble of the £317m M25 improvement scheme, which widened the A3 at the Wisley interchange, emerged an innovative solution: the Cockrow Bridge. This "green bridge" serves as a wildlife crossing connecting the fragmented reserves, giving biodiversity a chance to recover."This isn't just about big, charismatic species – it's about reconnecting entire communities of insects," Herd emphasizes. The bridge allows a range of animals and insects to move between habitats and thrive despite the major infrastructure project.The bridge itself is a floating patch of nature reserve; its contents were excavated and transplanted from the heathland on either side. Heather, the tough wiry shrub that defines heathland, is already springing up in purples and yellows above the A3's roar, supporting the area's insects and reptiles."They can feed here, get cover, they can bask, they can breed," says Herd. Ground-nesting birds, such as nightjars, woodlarks and Dartford warblers, will also benefit from the newly connected landscape. Piles of sand have been added to provide breeding habitat for the highly threatened sand lizard, while logs line the back of the bridge for cooling and predator cover.Environmental Impact and Cost AnalysisAccording to the UK's State of Nature report, average abundance of 753 terrestrial and freshwater species has fallen by about 19% since 1970. Of more than 10,000 species assessed in Great Britain, 16.1% – nearly 1,500 species – are threatened with extinction.While there is no definitive data on the specific impact of roads, experts say the links between infrastructure and biodiversity loss are clear. "It is based around genetic isolation," Herd explains. "They will breed and breed and breed, but the gene pool becomes tighter and tighter and tighter, and that's not a good thing."The result is fragmented populations, weakened gene pools and less space for species to adapt to climate crisis. The Cockrow Bridge represents a significant investment in environmental infrastructure, though the exact cost of this specific crossing isn't detailed in the article.Changing Conservation Approaches in InfrastructureThe Cockrow Bridge signals a shift in how major infrastructure projects approach environmental considerations. Rather than simply mitigating damage, the project actively seeks to restore and enhance ecological connectivity."Herd, who advised National Highways on the project, says the Cockrow Bridge 'changes how the ecosystem functionality can evolve and function better, in a landscape where species can interact more freely.' By building a link, 'we've removed a barrier.'"While the bridge is not yet officially open, wildlife has already begun using it. Foxes, roe deer and adders have been spotted on the crossing, demonstrating the immediate benefits of reconnecting habitats.The Future of Wildlife Crossings in the UKThe Cockrow Bridge could serve as a model for future infrastructure projects across the UK and beyond. As biodiversity continues to decline, innovative solutions that integrate conservation with development will become increasingly important."The bridge will allow a range of animals and insects to move between habitats and thrive despite the major infrastructure project," the article notes, suggesting that such crossings could become standard features in road planning.As climate change accelerates, the ability of species to migrate and adapt will be crucial for their survival. Wildlife crossings like the Cockrow Bridge may provide essential corridors that allow species to shift their ranges in response to changing environmental conditions.

The Artist's Monument to Forgotten WorkersAn air of civilisational wipeout hangs over the Gehrenseestrasse complex, an abandoned housing estate on the north-eastern outskirts of Berlin, where the city still looks shabby without the chic. The insides of the nine prefabricated blocks have long been gutted; six floors of empty window frames stare hollow-eyed over multi-lane carriageways. In the courtyard, paintballers have left behind wooden barricades from when they played at World War III.Yet in one of the second-floor rooms of Berlin's largest ruin, artist Sung Tieu is waltzing across the concrete floor and reliving scenes from her childhood. "Here was the single bed I shared with my mother for three years," she says, pointing into a corner of the small room. "Two metres by 90cm, can you believe it?" There in the corridor is where her neighbours used to make bánh bao dumplings on camping stoves, for lack of private kitchens. "I still remember the smell." Here was the door through which she used to entertain her best friend when his mother locked him in during working hours. "We played cards through the gaps," she recalls with glee.But she also still remembers where neo-Nazis tried to throw molotov cocktails into the building: "They eventually set up a net because the windows kept on getting smashed".The Mosaic Recreation of a Lost CommunityThese days, few people have heard of the Gehrenseestrasse complex, whose last tenants left in 2002. But if Tieu had her say, it would be as essential a stop on the tourist trail as the Brandenburg Gate, the Reichstag or Checkpoint Charlie. There is, in her view, no place that better tells the story of the Vertragsarbeiter generation – the oft-forgotten workers who were hired on fixed-term contracts from socialist "brother states" in Vietnam, Mozambique, Angola or Cuba to boost the East German economy. "To me, this place is a monument," says Tieu.By the end of this summer, many more people in Germany – and art enthusiasts around the globe – will know about her childhood home. For this year's Venice Biennale, Tieu has clad the German pavilion with a like-for-like replica of the complex's facade, recreating the grey concrete and smudges of graffiti with three million mosaic stones made in Ravenna. She conceived the pavilion in tandem with the artist Henrike Naumann, who died in February from cancer aged only 41.Bureaucracy as Artistic MediumThe woman I meet at a Vietnamese restaurant in Berlin's Lichtenberg district is the antithesis of that exoticised cliche: modest, dressed all in black, analytical in her answers to my questions. She talks me dispassionately through the more experimental food options on the menu, but comes alive when explaining bilateral treaties and labour regulation."I really try to avoid the pure post-migrant diaspora narratives. By focusing on individual experience you can lose sight of the bigger picture. Contracts, state treaties, floorplans – that's what I am interested in. There has to be a certain formal toughness."Looking through her catalogue raisonné you are reminded of Marcel Duchamp. You see an artist dedicating her career to seeking ever more minimalist ways to express the same idea, from Cubist painting to readymade to annotations of chess moves. And in Tieu's case, that big idea is bureaucracy. In 2015, she reprogrammed the scrolling LED displays at a shop inside the Dong Xuan Centre, Berlin's largest Asian market, to display the texts of immigration treaties. For a group show at Berlin's Haus der Kulturen der Welt in 2024, she transcribed by hand documents from the national archives on the East German porcelain industry, authenticating them with her own ornamental stamp. Her website, fittingly, is just a long index of file names and a deadpan biography section: "Sung Tieu is an artist."Childhood Trauma and Artistic Vision"I think it's also a childhood trauma," she says when I ask her where her interest in bureaucracy comes from. "I've had to fill out forms for my mother since I was five, since she didn't speak any German. And by the time I was seven my German was better than hers. Bureaucracy was part of my childhood – I studied politics and administration because I wanted to understand it."Born in 1987 in Hai Duong, northern Vietnam, Tieu moved with her mother to what was by then the formerly socialist East German regions in 1992. They were joining up with her father, who had moved to the GDR five years earlier via a bilateral agreement for factory workers from the socialist republic.Initially announced in the romantic spirit of ideological solidarity, the treaty between the two states soon became a more hard-nosed deal, addressing ongoing labour shortages in East Germany while helping to rebuild a war-ravaged Vietnam, which took a...The Legacy of Forgotten WorkersTechnically there was no racism in the GDR, because it wasn't documented. But of course it always existed. This is the uncomfortable truth that Tieu's installation confronts – the erasure of immigrant experiences in official narratives, even as these workers were essential to East Germany's economy.Through her art, Tieu transforms personal memory into collective history, giving voice to the thousands of contract workers who built East Germany but were never fully acknowledged as part of its society. The Venice Biennale installation, with its meticulous recreation of a housing complex that many would prefer to forget, serves as both memorial and critique – a reminder that the stories of immigrants are integral to understanding modern Germany.The Future of Migration Narratives in ArtAs Europe continues to grapple with questions of migration and identity, artists like Sung Tieu are pioneering new forms of expression that move beyond personal stories to examine the structures and systems that shape immigrant experiences. By focusing on bureaucracy, architecture, and official documents, Tieu creates art that is both deeply personal and universally relevant.The Venice Biennale platform ensures that these often-overlooked histories reach a global audience, challenging visitors to reconsider their understanding of migration, labor, and belonging. As Tieu continues her exploration of these themes, we can expect more installations that transform bureaucratic systems into powerful artistic statements, creating spaces where the voices of the marginalized can be heard and remembered.

The Government’s Push to Nationalise Scunthorpe Steelworks On Monday, 12 May 2026 the Labour government announced legislation to bring the Scunthorpe plant of British Steel into public hands, framing the move as essential for national resilience. Starmer argued that "strong nations need to make steel" and used the proposal to shore up his leadership ahead of the upcoming king's speech. Historical Ownership and the Road to 2025 State Control 1859: First iron ore discovered in Scunthorpe, sparking the region's steel boom. 1951: Nationalisation of the UK steel industry. 1953: Privatisation after two years. 1967: Second wave of nationalisation. 1970s: UK steel production peaks. 1988: Privatisation under Margaret Thatcher. 2007: Ownership passes to Tata Steel (India). 2016: Greybull Capital buys the loss‑making works for £1 and revives the British Steel brand. 2019: Chinese firm Jingye Steel takes control. 2025: Government recalls Parliament for a historic Saturday sitting to pass legislation aimed at taking control. Despite these changes, the plant’s two historic blast furnaces – nicknamed Anne, Bess, Victoria and Mary – remain operational and are widely regarded as at the end of their economic life. Financial Losses and Valuation Dispute £350 million cumulative loss recorded by Jingye up to the end of 2023. £1 billion figure demanded by Jingye to settle its debts. £100 million offer from the government rejected by Jingye. 4,000 employees currently on the payroll. 2,700 jobs at risk if the plant were to close. 50% protectionist tariff announced to support domestic steel demand. The government has locked Jingye out of operational control but left it with economic ownership, meaning a compensation assessment by an independent valuer is expected. Strategic Implications for UK Industrial Sovereignty The Labour administration stresses the need to preserve "primary steelmaking" – the ability to produce steel from iron ore – as a matter of national security. The plant faces multiple pressures: Global overcapacity driven by cheap Chinese steel. Higher energy costs for UK producers compared with European peers. Ageing blast‑furnace infrastructure requiring costly upgrades. Keeping the Scunthorpe works running is presented as a way to maintain a domestic supply chain for critical sectors and to signal to foreign investors that the UK will protect strategic assets. Potential Paths for British Steel Under Government Ownership Officials, led by Business Secretary Peter Kyle, are favouring a transition from blast furnaces to cleaner electric‑arc furnaces, a shift that would require "hundreds of millions of pounds" in state subsidies. Meanwhile, private investors are signalling interest: Michael Flacks, a turnaround specialist, has expressed potential acquisition interest. Sev.en Global Investments, a Czech group, is also reported to be weighing a bid. Any future owner would likely need to keep the existing blast furnaces operational during the transition period to protect short‑term employment, while the government pursues longer‑term decarbonisation goals.

A Childhood Echo: Pettersen’s Dingo Memories Born in the 1940s to a white father and Aboriginal mother, Carol Pettersen grew up deep in the Fitzgerald River bush where the howl of dingoes marked the night. She recalls hearing the calls and spotting the “flicker of red fur” among the mallee heath, a sound she now likens to a song that carries her home. Moort Documentary Highlights Cultural Loss The short film “Moort: Calling Dingo Back to Country” (Moort means “family” in Noongar) documents the disappearance of dingoes from Western Australia’s south‑west and asks what has been lost when an apex predator is treated solely as a pest. The film features Pettersen, other custodians, and the advocacy work of Sonya Takau, founder of Dingo Culture. Filmed in both Western Australia and far‑north Queensland. Screened at the WA Parliament in February 2026. Calls for removal of dingoes from pest classifications and an end to 1080 baiting and strychnine traps. Policy Landscape: Dingoes Classified as Pests Across most of Australia, dingoes are grouped under “wild dogs” in biosecurity law, allowing landholders to kill them to protect livestock. The 5,614 km dingo fence that stretches through Queensland, New South Wales and South Australia exemplifies the entrenched pest‑management approach. Indigenous Advocacy Calls for Coexistence Takau argues that the current framework ignores both ecological benefits—such as controlling overgrazing and reducing feral‑cat pressure—and deep cultural significance for Aboriginal peoples. The campaign, supported by Alix Livingstone of Defend the Wild, proposes practical alternatives: improved fencing, guardian animals, and financial assistance for landholders to coexist with dingoes. Future Outlook: Towards Integrated Dingo Management The documentary has sparked dialogue among policymakers, farmers and Indigenous groups. If the proposed legislative changes pass, Western Australia could become a test case for a model that balances agricultural interests with cultural and ecological stewardship, potentially influencing national dingo policy.