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The EU's new entry-exit system (EES) has caused significant delays at several European airports, with travellers waiting up to three hours at border checks. The system, which came into effect on Friday in the Schengen countries, requires passengers from non-EU countries to register their personal information and biometrics at the border.Passengers in airports in countries such as France, Germany, Belgium, Italy, Spain, and Greece are experiencing several hours of waiting at border checks, according to the Airports Council International (ACI) body. Olivier Jankovec, the director of the ACI European division, warned that the situation will be "simply unmanageable" in the coming weeks and peak summer months.The EES has been gradually introduced since October and has already caused long delays at some airports. On Sunday, the BBC reported that more than 100 passengers were unable to board an easyJet flight from Milan to Manchester before it took off due to delays at passport desks.Airport representatives and the European Commission held a meeting to discuss problems with the system on Tuesday. The ACI has asked to extend existing exemptions and the power to fully suspend the new checks. Jankovec told the FT that the ACI needed the ability to "fully suspend EES registration whenever there are excessive waiting times at border control that are just unmanageable".A spokesperson for the European Commission said that the system is working well, with an average registration time of 70 seconds per passenger. However, the ACI has claimed that it can take up to five minutes. The commission said that there were a "few member states where technical issues have been detected" but that they "are being addressed".The EES has registered more than 52m entries and exits, as well as more than 27,000 refusals of entry, since its introduction in October. Almost 700 people were identified as posing a security threat.

Amazon’s $11.57 B Deal to Secure Globalstar’s Satellite AssetsOn April 14, 2026, Amazon disclosed a cash transaction of **$11.57 billion** (about **$90 per share**) to acquire Globalstar, the satellite operator that powers Apple’s Emergency SOS feature. The purchase gives Amazon full control of Globalstar’s satellite constellation, ground infrastructure, and mobile‑satellite‑service spectrum licenses, bolstering the company’s nascent satellite business, Amazon Leo.Deal Structure and What Amazon GainsThe agreement transfers:All of Globalstar’s existing low‑Earth‑orbit satellites (currently **24** operational, with agreements for **50+** new units).Ground stations, network operations, and spectrum licenses needed for direct‑to‑device services.Ongoing contracts with customers such as Delta Airlines, AT&T;, Vodafone, Australia’s NBN, and NASA.Alongside the acquisition, Amazon signed a continuation agreement with Apple to keep providing satellite connectivity for iPhone and Apple Watch users.Financial Scale and Satellite Fleet NumbersThe transaction’s headline figures illustrate the market’s valuation of satellite connectivity:Deal value: **$11.57 billion** in cash.Share price: **$90** per Globalstar share.Amazon Leo’s planned constellation: **>3,200** satellites, though only **~200** have launched to date.FCC deadline: Amazon must have **~1,600** satellites in orbit by **July 2026**.Starlink comparison: **>10,000** satellites serving 150+ countries.Strategic Implications for Amazon Leo vs. StarlinkAcquiring Globalstar gives Amazon immediate access to:Established spectrum in the 1.6 GHz band, critical for low‑latency, direct‑to‑device links.A ready‑made customer base in aviation, telecom, and government sectors.Technical expertise and launch contracts (including a SpaceX agreement for replacement satellites).Combined with the recent showcase of a high‑speed antenna for commercial jets, Amazon is positioning Leo to compete directly with Starlink in the high‑value aviation and enterprise markets, while leveraging Apple’s ecosystem for consumer‑grade emergency services.Outlook: Timeline for Amazon Leo and Market ShiftsKey milestones ahead:Late 2026 – Initial commercial rollout of Amazon Leo’s direct‑to‑device services using Globalstar’s existing constellation.2028 – Deployment of Amazon’s own “thousands of advanced satellites” to enable a global, low‑latency network supporting “hundreds of millions of customer endpoints.”Mid‑2027 – Expected FCC approval of the extended satellite count deadline.If Amazon meets these targets, the satellite‑internet market could see a three‑way split among Starlink, Amazon Leo, and emerging regional players, driving down prices and expanding coverage for aviation, maritime, and remote‑area users.

Celebrating two decades since its West End debut, Avenue Q is back at London’s Shaftesbury Theatre until 29 August, offering a refreshed version of the Broadway‑to‑London hit that originally won Tonys for Best Musical, Book and Score.The revival, billed as a “love letter to the original”, is helmed once again by Jason Moore – the director who first staged the show in 2006. At 55, Moore admits that returning to a work he originally conceived is unusual, but he sees the anniversary as an opportunity to upgrade the show’s scale, technical ambition and cultural sensitivity.Created by composers Robert Lopez and Jeff Marx with book by Jeff Whitty, the musical blends colourful Sesame‑Street‑style puppets with adult themes such as sex, racism, housing crises and existential angst. While the core story remains, the production team has added contextual notes to jokes that might puzzle Gen‑Z audiences – for example, the reference to 1980s sitcom star Gary Coleman is retained but clarified for modern viewers.Moore’s casting criteria emphasise a youthful “innocence” and a strong aptitude for puppeteering. As actor Emily Benjamin explains, performing through a puppet is an “ego death” that forces the performer to shift focus from self to the character, reducing vocal anxiety and deepening emotional honesty.Behind the scenes, puppet director Iestyn Evans coordinates a complex choreography where human actors operate hand‑and‑rod puppets in full view, interacting simultaneously with fellow performers. This layered performance style demands precise timing, especially when tackling songs like “Everyone’s a Little Bit Racist” and “If You Were Gay”, which have sparked whole‑company discussions about their relevance and sensitivity today.Moore acknowledges that the show’s transgressive edge – famously illustrated by “naked puppets having sex” – still feels bold, even as contemporary West End productions such as Oh, Mary! and The Book of Mormon have pushed similar boundaries. He argues that the musical’s core questions – “how do you give your life meaning?” – remain timeless, and that the updated production aims to engage a new generation of audiences.As Benjamin puts it, “they might just be little cloth things, but people can often empathise with something that isn’t real more directly than with a human being telling the same story.” The revival therefore hopes to prove that puppetry can still provoke, entertain and resonate in today’s cultural climate.

In a tense showdown at Wembley, England’s women’s national team edged past Spain 1‑0 to keep their World Cup qualifying campaign flawless. Lauren Hemp opened the scoring in the third minute, a strike that set the tone for a match defined by English resolve. Coach Sarina Wiegman entered the game with a clear plan: abandon possession‑heavy play and adopt a compact low‑block to frustrate Spain’s technical superiority. Captain Keira Walsh echoed this approach, noting that “you can’t go toe‑to‑toe with Spain for possession”. The strategy paid off as England held the ball for only 36.7% of the time, yet limited the visitors to 21 chances, just three of which were on target. Defensively, England were razor‑sharp. The side recorded 21 tackles with a 61.9% success rate, and the newly‑formed partnership of Lotte Wubben‑Moy and Esme Morgan kept the Spanish attack at bay. Goalkeeper Hannah Hampton cemented the clean sheet with a world‑class save from Edna Imade’s close‑range header, preserving the lead. Beyond Hemp’s early goal, the attacking trio of Lauren James on the left and Lucy Bronze on the right added width and defensive cover, showcasing the squad’s evolution since last year’s goalless draw. While Wiegman admitted the team “could have been higher up the pitch”, she praised the collective effort that made Spain uncomfortable once the English side entered the opponent’s half. The victory propels the Lionesses to the top of their qualifying group with three wins from three games and a healthy goal difference. A return fixture in Mallorca in June now looms, but England have already secured a psychological edge.

Andoni Iraola has formally notified AFC Bournemouth that he will step down when his contract runs out at the close of the 2025‑26 campaign. The 43‑year‑old manager is expected to explore other Premier League opportunities over the summer.While a move back to his boyhood club Athletic Bilbao remains a possibility, the club’s preferred candidate to replace Ernesto Valverde appears to be former Borussia Dortmund boss Edin Terzic.At Bournemouth, the race to replace Iraola is already heating up. Marco Rose, who succeeded Terzic at Dortmund and most recently managed RB Leipzig, is widely tipped as the leading candidate. Kieran McKenna of Ipswich Town, despite being under contract until 2028, is also generating interest.Players were informed of Iraola’s impending exit after a Tuesday training session, ending months of speculation that kept his staff in the dark. The manager maintained regular contact with director of football Tiago Pinto and technical director Simon Francis throughout the 15‑month negotiation period.In a club‑issued statement, Iraola said, "I feel this is the right moment for me to step away, but I will always carry fantastic memories of this club." Bill Foley, Bournemouth’s owner and chair, praised Iraola’s impact, noting he brought “intensity, innovation, and a clear philosophy that elevated AFC Bournemouth both on and off the pitch.”Despite a recent victory over Arsenal and a push for the club’s best Premier League finish, Bournemouth accepted that retaining Iraola was unlikely. The board is now accelerating the search for a successor, with a new appointment expected within the next fortnight.Iraola’s tenure has been marked by historic achievements: last season he guided Bournemouth to a record points total, matching the ninth‑place finish recorded by Eddie Howe in 2016‑17. He also oversaw the sale of key players – Dean Huijsen, Illia Zabarnyi, Milos Kerkez, Dango Ouattara, and Antoine Semenyo – for a combined fee exceeding £250 million, demonstrating his ability to balance on‑field success with financial prudence.A former Athletic Bilbao full‑back with 510 appearances, Iraola has long expressed affection for the Basque side, though he has hinted he would prefer to preserve his legacy after a 12‑year playing career there.Crystal Palace publicly lauded Iraola after confirming manager Oliver Glasner’s departure, but most analysts agree the former will attract interest from larger clubs.Earlier this season, Iraola hinted to the Guardian that the campaign could be his last at Bournemouth, saying, "Sometimes there is a moment after some seasons where you feel maybe the message does not go the same way to the players."Bournemouth’s next fixture is against Newcastle United at St James’ Park, where manager Eddie Howe has yet to defeat his former club.

Matt Crocker, US Soccer’s sporting director, announced his departure on Tuesday, moving to a similar role with the Saudi Arabia football federation with under two months remaining before the 2026 World Cup. US Soccer said the responsibilities formerly held by Crocker will be divided among COO Dan Helfrich, assistant sporting director Oguchi Onyewu, women’s youth national team development head Tracey Kevins, and the broader sporting leadership team. US Soccer CEO JT Batson praised Crocker, stating, “Matt helped guide important steps across our sporting organization, and we’re grateful for his contributions.” He added that the federation remains “well positioned to make the decisions needed in the short, medium, and long term.” Crocker, hired in 2023 after Earnie Stewart left for PSV Eindhoven, arrived with a strong pedigree from English football, having served as technical director at Southampton and later for England (2013‑2020), where he was tasked with modernising the national team’s playing style. During his US tenure, Crocker oversaw all national‑team operations, including youth programmes, and was chiefly responsible for senior‑team coaching appointments. His first high‑profile decision was to re‑hire Gregg Berhalter as USMNT manager after a brief contract lapse and a complex investigation involving player Gio Reyna and past domestic‑violence allegations. Following Berhalter’s second stint, which ended with a group‑stage exit at the 2024 Copa América, Crocker secured Mauricio Pochettino as his successor at the end of 2024. Under Pochettino, the United States have recorded 10 wins, 1 draw, and 7 losses in 16 matches, including recent defeats to Belgium and Portugal in March friendlies. On the women’s side, Crocker recruited Emma Hayes from Chelsea in late 2023 after Vlatko Andonovski’s departure. Hayes guided the USWNT to Olympic gold in 2024 and has the squad positioned as a contender for the 2027 Women’s World Cup in Brazil. Reflecting on his time, Crocker said, “It has been a privilege to be part of US Soccer during such an important period for the sport in this country. I’m grateful for the people I’ve had the opportunity to work with across the federation, from our coaches and players to our technical and administrative staff.” Meanwhile, Saudi Arabia’s national‑team structure is in flux ahead of its own 2026 World Cup appearance. Reports suggest head coach Hervé Renard may depart, and technical director Nasser Larguet is expected to step down, signalling a broader overhaul of the federation’s leadership.

The UK government's ambitious plans to create 400,000 green jobs by 2030 seem to be failing to deliver for young people in England's coastal communities. Despite being surrounded by offshore windfarms, 44% of the UK's offshore windfarms are located in the east of England, areas like Lowestoft and Great Yarmouth are struggling with high unemployment and limited job opportunities.Jake Snell, a 19-year-old from Lowestoft, is a prime example. With high grades in maths and physics A-levels, a distinction in BTEC engineering, and work experience at an engineering company, he seemed like the perfect candidate for a role in the green energy sector. However, out of his 14-person cohort, only two people ended up with apprenticeships, and only one of these was in engineering.Rachel Wilde, a social anthropologist at University College London, notes that the term 'green jobs' is nebulous and that there is little concrete evidence of what these jobs actually are. She argues that there is a gap between politicians and policymakers promoting green jobs and people on the ground trying to talk to young people about job opportunities.Avril Keating, a professor of youth studies at UCL, suggests that the focus on high-profile roles in green energy is misleading and that more investment in continuing careers support for people in coastal and economically deprived areas is urgently needed.The government has announced plans to establish five technical excellence colleges that will focus training around the green energy sector, which could provide hope for the next generation of young people in these areas. However, for now, many young people like Snell are struggling to find employment and are feeling frustrated and disillusioned with the lack of opportunities.

Marie‑Louise Eta will take the touchline for Union Berlin’s upcoming Bundesliga match against Wolfsburg, becoming the first woman to coach a men’s team in one of Europe’s top‑five leagues. The 34‑year‑old was promoted on an interim basis after the dismissal of Steffen Baumgart, who was sacked following a 3‑1 defeat to bottom‑placed Heidenheim.Union sit seven points clear of the relegation‑playoff zone with five games remaining, but a dismal run of two wins in 14 matches has left the club teetering near the drop‑zone. Club officials turned to Eta, citing her continuity and proven tactical acumen, to halt the slide.Eta’s appointment is the latest milestone in a rapid rise through Union’s ranks. In the 2023‑24 season she became the Bundesliga’s first female assistant manager under Nenad Bjelica, and earlier in 2024 she briefly commanded the men’s side, overseeing a win, a draw and a loss while Bjelica served a suspension. Her prior success with Union’s under‑19 men’s squad further cemented her reputation as a forward‑thinking coach.Speaking in a 2023 interview, Eta emphasized that she wants to “convince with quality and substance” rather than rely on tokenism. Former England women’s manager Sarina Wiegman hailed her as a “trailblazer”, noting that such progress reflects football’s broader societal shift toward gender equality.Germany is already seeing more women in senior coaching roles: Sabrina Wittmann leads third‑tier side FC Ingolstadt, while Corinne Diacre previously managed Ligue 2 club Clermont Foot in France. In England, Hannah Dingley made history as caretaker of Forest Green Rovers before moving to Manchester City’s academy.Eta’s current stint with the men’s team is expected to be short‑lived. She has already signed a contract to become head coach of Union Berlin’s women’s side next season, where she will continue to develop talent in the Frauen‑Bundesliga. Nonetheless, her presence on the technical area this weekend offers a powerful visual for aspiring female coaches worldwide.Social media reactions have been mixed. While a minority of users resorted to sexist trolling, Union’s official X account defended Eta vigorously, dubbing her a “football goddess” and firing back at detractors. Eta, a former Champions League winner with Turbine Potsdam, said she draws motivation from messages sent by young women and girls she has inspired.The upcoming match will not only test Union Berlin’s fight against relegation but also serve as a symbolic moment in the ongoing effort to break the “grass ceiling” in professional football.

Chala Chala Nav Bala (Maze Baal, 1943) marks the debut of Asha Bhosle, who entered the film world at ten years old. Paired with her sister Lata Mangeshkar, her bright falsetto captures the youthful innocence of the Marathi romance, foreshadowing the emotive style that would define her career. Aaiye Meherbaan (Howrah Bridge, 1958) showcases Bhosle’s rise during Hindi cinema’s golden age, thanks to her partnership with composer O.P. Nayyar. The song’s sultry vibrato and lush orchestration set the tone for the film’s noir atmosphere, establishing her as a leading‑lady playback voice. Aao Huzoor Tumko (Kismat, 1968) became a chart‑topping hit, featuring intricate vocal runs over a flamenco‑style guitar. Bhosle’s lower‑register chorus broke the conventional shrillness of female playback, while her nuanced phrasing added depth to the on‑screen heroine’s drunken allure. Dum Maro Dum (Hare Rama, Hare Krishna, 1971) stands out as her most successful crossover, later sampled by Western rappers. The track, produced with R.D. Burman—her future husband—blends psychedelic Beatles‑inspired grooves with Hindi lyrics, demonstrating her ability to bridge Eastern and Western pop sensibilities. Piya Tu Ab To Aaja (Caravan, 1971) pushes the fusion further into jazz‑cabaret territory, with bold horn sections and cinematic guitar reverb. Bhosle’s breathy, suggestive delivery sparked controversy, yet the performance remains a masterclass in balancing sensuality with technical agility. Chura Liya Hai Tumne Jo Dil Ko (Yaadon Ki Baaraat, 1973) epitomises the “masala” film soundtrack, merging drama, romance, and crime. Over a gentle guitar backdrop, Bhosle’s tender humming conveys quiet longing, contrasting with the film’s high‑octane narrative. In Ankhon Ki Masti (Umrao Jaan, 1981) sees Bhoske venture into Urdu ghazals with composer Khayyam. Her lower, huskier timbre—adjusted a half‑step down—highlights her continued artistic experimentation even as she approached fifty. Bow Down Mister (1991) illustrates her early 1990s foray into international collaborations, lending wordless, soaring vocals to Boy George’s post‑Culture Club project. The track transforms into a rave‑infused anthem, underscoring Bhosle’s versatility across genres. Radha Kaise Na Jale (Lagaan, 2001) pairs Bhosle with a young A.R. Rahman, reaffirming her status as an elder stateswoman of Indian music. The duet with Udit Narayan blends tabla and flute with powerful vocal runs, marrying traditional Hindustani scales to contemporary film scoring. The Way You Dream (2002) features an unexpected partnership with REM frontman Michael Stipe on the 1 Giant Leap project. The eight‑minute piece weaves tabla rhythms, subtle guitar, and a dramatic breakbeat, proving that Bhosle’s voice can seamlessly inhabit New Age and electronic soundscapes.