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Everton is considering a legal challenge against the Premier League for their handling of Chelsea's undisclosed payments sanction. The club feels aggrieved as they were docked eight points during the 2023-24 season for profit and sustainability regulations breaches, whereas Chelsea did not face sporting sanctions.Chelsea were fined £10.75m and given a suspended transfer ban by the Premier League last week after reporting £47.5m of hidden payments to agents and players made over a seven-year period. This punishment has been regarded as lenient by other top-flight clubs.Everton and Nottingham Forest are unhappy with the Chelsea sanction and are taking legal advice. They claim the Premier League has been inconsistent in applying its own rulebook. Everton could still receive a further punishment as a result of their PSR breaches.The Premier League is believed to have explained Chelsea's punishment on the grounds that they felt they would have been unable to secure a conviction without their co-operation, so negotiated from the outset. Chelsea's current ownership of Clearlake Capital and Todd Boehly reported the offences, which they discovered during the negotiations to buy the club from Roman Abramovich four years ago.

Francesca Albanese, the UN's special rapporteur on the rights situation in Palestinian territory occupied since 1967, has made a scathing accusation against the international community, stating that they have implicitly condoned Israel's torture of Palestinians. According to Albanese, life in the occupied Palestinian territory has become a 'continuum of physical and mental suffering.'In her latest report to the UN Human Rights Council, Albanese asserted that torture has become a state policy in Israel, with the occupied territory experiencing a regime of organised humiliation, pain, and degradation sanctioned at the highest political levels. She described how mass displacement, siege, denial of aid and food, and unrestrained military and settler violence have created a space of collective punishment.The report titled 'Torture and genocide' detailed that torture is not confined to cells and interrogation rooms but is a pervasive aspect of life in the occupied territory. Albanese called on UN member states to prevent and punish acts of torture and genocide and uphold international law, warning that tolerance for such acts against Palestinians would strip the law of its meaning.Albanese's statements have drawn backlash from Israel and the United States, with Israel labelling her an 'agent of chaos' and accusing her of antisemitism and Holocaust distortion. Despite this, Albanese remains a vocal critic of Israeli actions in the occupied West Bank and Gaza.Recent statistics highlight the severity of the situation: at least 72,263 people killed and 171,944 injured in Israeli attacks on Gaza since October 7, 2023, and over 18,500 Palestinians arrested in the occupied West Bank since October 2023, including at least 1,500 children.

The final season of Netflix's Heartbreak High has concluded, but its farewell has left much to be desired. The show, a remake of the 1990s Australian series, had potential with its fresh-faced cast and energetic tone. However, it ultimately succumbed to a polished but contrived approach, straying far from the gritty realism that made its predecessor compelling.The original Heartbreak High was praised for its near-verite realism and diverse cast, tackling tough issues with fearlessness and courage. In contrast, the new series opted for a blinged-out U-turn, adopting a jokey tone and pat writing. While it still addressed important issues like abortion, mental health, and racial tensions, it did so without the same level of authenticity.The final season follows the gang's last year at Hartley High, kicking off with a chaotic muck-up day prank. However, even this moment felt painfully contrived, lacking the realism that once defined the series. The show's approach to emotional moments was similarly forced, designed to generate feeling rather than earn it.Creator Hannah Carroll Chapman may have aimed for a show akin to Sex Education, but Heartbreak High fell short. Its colourful but contrived approach rarely achieved a strong emotional pull, instead favouring sentiment over subtlety in its conclusion.Despite its shortcomings, Heartbreak High still explored complex relationships and character aspirations. However, the show's failure to balance humour and drama, coupled with its contrived emotional moments, left this reviewer underwhelmed.

The Museum of Youth Culture, located in Camden, London, is set to open on May 15. The museum's founders, led by Jon Swinstead, have amassed a 100,000-item archive that chronicles British youth subcultures from the mods and rockers to ravers and emo. The collection includes iconic items such as a Raleigh Chopper, an original Sony Walkman, and a punk mask with 'HATE' stenciled across it.The museum's concept was born out of Swinstead's passion for capturing British subcultures through photography, which began in his garden shed. The collection has since grown to include personalized school leavers' shirts, handbags, and customized shirts dedicated to two-tone bands. The museum aims to fill a void in the UK's cultural landscape, providing a space dedicated to the teen years and the subcultures that defined them.The museum will not only serve as a showcase for the collection but also as an event space, featuring a Rough Trade shop and a youth club. With a 20-year lease and support from the City Bridge Foundation and the National Lottery Heritage Fund, the museum hopes to become a significant part of the UK's cultural landscape.

David Squires presents his unique visual perspective on the recent Carabao Cup final, where Manchester City emerged victorious over Arsenal in a compelling showdown at Wembley Stadium. The acclaimed cartoonist captures the essence of the match through his distinctive artistic style, focusing on pivotal moments that defined the contest.In his latest work, Squires examines the significant decisions that influenced the outcome, offering insightful commentary that resonates with football enthusiasts. The cartoon strips showcase the tactical battle between the two Premier League giants, with particular attention to the master-apprentice dynamic between the respective managers.One notable highlight featured in Squires' cartoon is the audacious performance of a young player whose cheeky antics and skillful play caught the attention of spectators and critics alike. The cartoonist effectively immortalizes these moments through his signature visual storytelling approach.The artwork provides a lighthearted yet perceptive take on the competitive nature of the cup final, illustrating how Manchester City ultimately secured their triumph over their London rivals. Squires' ability to distill complex match dynamics into accessible and entertaining visuals continues to make his work a favorite among Guardian readers.For those interested in exploring more of Squires' football commentary, the article includes links to purchase his cartoons and his latest book, 'Chaos in the Box,' which showcases his collection of sports-related artwork.

The Museum of Youth Culture in Camden has unveiled an exhibition that delves into the rich history of teenage subcultures through a stunning collection of photographs. Capturing the essence of youthful rebellion and self-expression, the exhibition provides a visual journey through the decades, highlighting the diverse and often provocative styles that have defined generations of young people. From punk to hip-hop, and from mod to goth, the photographs on display offer a poignant look at the ways in which young people have used fashion, music, and art to express themselves and challenge societal norms. The exhibition at Camden's Museum of Youth Culture serves as a celebration of the creativity and resilience of young people, and is a must-visit for anyone interested in the history of youth culture and the power of photography to tell compelling stories.

The Albanese government is likely to introduce an extra levy on gas producers' high profits in response to the Iran crisis driving up energy costs for Australians. The prime minister's department has requested Treasury modelling of additional levies on gas companies, stating that energy producers 'should not benefit from high international prices at the expense of domestic customers'.Australia's gas industry is reaping extraordinary profits while households and businesses struggle with high fuel prices. This has sparked calls for a fair share levy to ensure gas companies pay their fair share of tax. The levy, based on Norway's taxation model, would see Australia share around 50% of profits, much more in line with world standards.Currently, Australia shares only 27% of fossil fuel profits, with some estimates as low as 18% when profit is defined in cashflow terms. In contrast, other major fossil fuel exporting countries typically share between 75% and 90% of profits.The fair share levy would provide significant and immediate cost-of-living relief if some of the revenue raised was returned to households. Research shows 87% of voters support a fair share levy, with only 3% disagreeing.Despite potential outrage from the gas industry, the levy is designed to not increase gas prices or deter investment, as seen in Norway's successful implementation. A stable, long-term commitment to the fair share levy would provide investment certainty.

Have you ever felt like you're racing against the clock, constantly chasing appointments and deadlines? This relentless pursuit of time is a universal experience, but what is time, really? Is it a physical phenomenon or just a tool we use to coordinate our lives? Time is often seen as an independent, physical entity that ticks by relentlessly, but emerging scientific evidence suggests that this isn't the case. Time is more like a mathematical tool, useful for coordinating our interactions, but it doesn't have an independent existence of its own. Just like money, we've become dependent on it, but it's not a physical reality. The pressure to be 'on time' is instilled in us from a young age, and we're constantly surrounded by clocks and digital alerts that divide our day into smaller pieces. This has led to a phenomenon known as 'time famine,' where the more efficient and productive we try to be, the less time we feel we have. Studies have shown that people experiencing time famine are less likely to engage in activities they enjoy, eat healthily, or seek medical attention when needed. Our brains don't have dedicated areas for tracking time, and our experience of it can vary greatly. Time can seem to drag or fly by, depending on our circumstances. For example, people with certain conditions, like akinetopsia, experience time in sudden jumps or frozen moments. The psychedelic drug mescaline can also distort time perception, making it seem like hours or even centuries have passed. Quantum physicists have found that time is not a fixed, physical flow. The famous double-slit experiment shows that a physicist's choice of measurement can influence the behavior of a particle. In a lesser-known variant of this experiment, the physicist's choice at the point of measurement can even influence the particle's past behavior. This suggests that time is not a fixed, linear concept, but rather a flexible and subjective experience. Some indigenous cultures, like the Aymara people of Chile, experience time differently. They see the future as hidden behind them, unseeable and unknowable. The Amondawa people of the Amazon have no clocks or concept of time. Instead, they live in the present, experiencing 'lived time,' which is a personal, malleable experience of change. Lived time is different from clock time, as it's not defined by numerical counters or seconds. Each moment is like a tapestry, woven from changes on multiple timescales. When we focus on lived time, it expands and becomes richer, rather than narrowing or contracting. It's a flow that carries us and connects us with others, rather than something we chase and never catch. To combat time famine, we need to remind ourselves that the clock is a tool, not a master. We should beware of digital alerts and alarms that divide our day into smaller pieces and instead focus on the rich pattern of changing connections that wire us into each moment. By doing so, we can tap into the creative process of lived time and experience a more fulfilling and connected life.

When Resident Evil emerged in the mid-1990s, it stood in stark contrast to the prevailing gaming landscape. The PlayStation and Saturn consoles were dominated by bright, arcade-style games like Daytona and Tekken, while Japanese publisher Capcom was primarily known for Street Fighter and Mega Man sequels. Scary games were rare at the time and mostly confined to the PC, making Capcom's horror title Biohazard (the Japanese name for the series) a radical departure that caught the attention of games journalists.Three decades later, the series has not only survived but flourished, becoming one of gaming's most successful franchises. Resident Evil has sold more than 180 million copies worldwide, with 11 core titles, numerous spinoffs and remakes, plus extensive film, television, and anime tie-ins. Its characters and monsters have become cultural icons, with its design tropes now embedded in gaming practice.The origins of Resident Evil can be traced back to 1989's Sweet Home, a Capcom role-playing game for the Famicom (Japanese NES). The game featured a group of filmmakers searching a haunted mansion for valuable artifacts, and while it was a modest domestic success, it never received an international release. However, senior producer Tokuro Fujiwara couldn't let go of his vision for horror as a distinct game genre."We have Tokuro Fujiwara to thank for the existence of Resident Evil," says Alex Aniel, author of acclaimed Resident Evil history book Itchy, Tasty. "He directed Sweet Home having believed that horror could become its own game genre, but wasn't satisfied with its rudimentary portrayal. He wanted to give horror another try once the technology was there to allow it – that opportunity finally arrived with the release of the original PlayStation."In 1993, young producer Shinji Mikami was brought in to oversee a horror game project inspired by Sweet Home. He expanded the haunted mansion concept, drawing influence from George A Romero's Dead trilogy and Alone in the Dark, creating a world haunted not by ghouls but by zombies, mutants, and monsters. The heroes were an experienced SWAT team investigating disappearances at a rural mansion owned by the sinister scientific organization: Umbrella Corp.The original vision for full real-time 3D visuals proved too ambitious for PlayStation hardware, leading Mikami and programmer Yasuhiro Anpo to develop a compromise: 3D characters combined with prerendered 2D backgrounds viewed from fixed camera angles. This restricted, expressionistic style emphasized the intense claustrophobia of the environment, with information always kept from the player by blind corners and shadowy doorways.This combination of tension, omission, and restriction is fundamental to Resident Evil's success as a horror franchise. Even as the camera evolved to over-the-shoulder views and first-person perspectives, characters remained vulnerable. Ammo, save points, and health items are jealously rationed, with extremely restricted inventories. This approach makes Resident Evil operate more like classic horror literature than a typical power fantasy video game.The series has also expertly referenced horror conventions while paying homage to its inspirations. "Kamiya's biggest source of inspiration came from Alien and especially its sequel, Aliens," says Aniel of Hideki Kamiya, who directed Resident Evil 2 and Resident Evil Zero. "For example, in Resident Evil 2, humans infected with the G-virus grow a parasite that eventually ruptures their host and emerges from within, growing into deadly creatures."Resident Evil has also demonstrated remarkable versatility in exploring different horror genres – gothic horror in its mansions and monstrous enemies, sci-fi horror in its biological experiments, and folk horror in its sinister villages and religious cults. This comprehensive approach allows it to mirror societal fears, a point underscored by the COVID-19 pandemic."The Covid pandemic reminded us just how real our fear of viruses should be," says Bernard Perron, professor of cinema and video games at the University of Montreal. "In that sense, the fear of a corrupt corporation like Umbrella, along with mad scientists who do not necessarily have humanity's best interests at heart, continues to resonate. These anxieties remain deeply embedded in our posthumanist societies."Throughout its evolution, Resident Evil has maintained a balance between familiarity and innovation. Characters like Jill Valentine, Claire Redfield, and Leon Kennedy provide continuity – relatable but cool figures who spout wry jokes like Hollywood heroes. Meanwhile, charismatic antagonists such as Albert Wesker, Lord Osmund Saddler, and Lady Dimitrescu ensure consistent engagement.The series also excels in pacing and structure, carefully delineating between exploration, puzzle-solving, and combat sections. Locations are filled with beautiful details – lavish furniture, eerie oil paintings, ornate gardens – making exploration pleasurable. After intense battles, players can retreat to safe spaces like Save Rooms, creating a rhythm that prevents fatigue."The series offers deep and entertaining gameplay experiences, but with a very low barrier to entry, even for newcomers," says Aniel. "The Resident Evil games are more accessible than ever: since they are often on sale, they are affordable even for customers in emerging global markets, available on every major game platform."Ultimately, Resident Evil's longevity stems from its ability to create uncertainty while maintaining familiarity. "You know what you will get, but you also don't know," the article concludes. "Around every corner there could be a shock or there could be nothing – it's the uncertainty that gets you. It allows us to write in our own fears and anxieties, or to discover new ones we hadn't considered or acknowledged. Like all great horror fiction, Resident Evil has survived because it looks us right in the eye and says, I know what scares you. Come and see."