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Australia's quest for a spot in the Billie Jean King Cup Finals has gotten off to a rocky start, with the team losing both opening-day singles matches. Spearhead Talia Gibson was expected to give the tie a strong start at Melbourne's John Cain Arena on Friday but suffered a shocking 7-6 (7-4) 7-5 loss to British teenager Mika Stojsavljevic, ranked 275th in the world.Gibson, ranked 56th globally, had been in stellar form leading up to the tie, having recently beaten five top 20-ranked players and achieving a career-high ranking. However, she struggled against the 17-year-old Stojsavljevic, who claimed the first set in a tiebreak and dominated the second set to secure the win.Adding to Australia's woes, Kimberly Birrell was defeated 4-6 6-3 6-3 by top-ranked Brit Harriet Dart. This leaves experienced duo Storm Hunter and Ellen Perez needing to win the doubles on Saturday to keep Australia's hopes alive in the tie.The British team, missing their top four players, were considered underdogs, but Stojsavljevic's impressive performance, including 12 aces, turned the tide in their favor. Gibson acknowledged her nerves and praised Stojsavljevic for her strong serve and overall play.

Tyson Fury is set to make a highly anticipated return to the boxing ring on Saturday night, facing off against Arslanbek Makhmudov at Tottenham Hotspur Stadium in London. The Gypsy King, known for his bold claims and unorthodox style, has promised a destructive knockout to mark his comeback. “It’s going to be different because, for the first time in forever, I’m the hunter,” Fury declared at the fight’s final press conference. “I’m not the hunted, and we all know that when I’ve always been the hunter in the past, I’ve always fucked people up.” Fury, who announced his retirement from boxing in January 2025 but quickly reversed his decision, expressed his excitement about returning to the sport. He cited his long-term rival Anthony Joshua’s car crash in Nigeria as a defining moment that made him realize the importance of living in the present. Makhmudov, a formidable Russian opponent standing at 6 feet 7 inches and weighing 18 or 19 stone, seemed unfazed by Fury’s bold claims. “I’m happy and very excited to be here. I can’t wait for Saturday night,” he said. The Russian fighter from Dagestan added, “I don’t have pressure, because God prepared me for this moment all my life. I believe this is my time.” Fury, known for his bombastic delivery, also expressed sympathy for his opponent, stating, “I actually feel sorry for Makhmudov because I’m going to make an example of him. He’s a big lump, but I’ll knock his head right off his shoulders.”

Rangers seized a 4-2 win against Dundee United, lifting them to the summit of the Scottish Premiership for the first time in more than two years. Goals from Ryan Naderi, Dujon Sterling, Thelo Aasgaard and substitute Bojan Miovski proved decisive, while Dundee United replied through Amar Fatah and Zac Sapsford. Manager Danny Rohl, who took charge in October when Rangers were 13 points adrift of Hearts, praised his squad’s mindset, urging them to stay "on the front foot" as the season enters its final stretch. With six games remaining, Rangers now lead Hearts on goal difference, though the Jambos can reclaim the lead when they travel to Livingston on Sunday. Celtic, five points behind, face Dundee later the same day. Rohl emphasized that the club must remain "the hunter" despite the newfound top‑spot, insisting that a consistent run of six wins will secure a trophy. He also warned that the upcoming away match at Falkirk will be "very, very difficult" and that the team must take the season "step by step". In a parallel storyline, Hibernian thumped Kilmarnock 3-0 at Easter Road, moving within three points of fourth‑placed Motherwell. Early strikes from Owen Elding and Felix Passlack set the tone, with substitute Ante Suto adding a late goal. Meanwhile, St Mirren secured a 2-0 victory over Aberdeen, with Jonah Ayunga opening the scoring and Alex Gogic heading home the winner, keeping the Dons three points clear of the relegation‑playoff zone. At Fir Park, Falkirk earned a historic top‑six finish by beating Motherwell 3-2. Early header by Barney Stewart set the pace, and despite a volley from Elliot Watt that levelled the match, Falkirk restored their lead before halftime and held on for the win, marking their first top‑half finish in 31 years. These results tighten a fiercely contested title race and underline the volatility of the Scottish top flight as the campaign heads into its decisive phase.

The Bradford Bulls and Leeds Rhinos are set to reignite their historic rivalry in Super League on Friday, marking the return of a fixture that defined the competition's early years. The two West Yorkshire clubs, separated by just 15 miles, have a long-standing and intense rivalry that has been missed in recent years.Legendary figures such as Lesley Vainikolo, known as 'The Volcano' for his incredible try-scoring record, and Jamie Peacock, who captained Bradford to the 2005 title before joining Leeds, have expressed their excitement for the fixture's return. Vainikolo, now director of rugby at Wesley College in New Zealand, will be watching the game with great interest, having starred in the derby during the early 2000s.Robbie Hunter-Paul, the long-serving captain of Bradford, recalled the significance of the rivalry, stating that it was 'genuinely the closest thing you could get to a Grand Final.' The fixture's importance extends beyond the clubs themselves, with Jamie Peacock emphasizing that 'you need your rivals and you need your enemies: that's sport.'The return of this rivalry is also significant for Super League, as it features two of the competition's biggest brands. With only four English cities represented in the league, the Bradford Bulls vs Leeds Rhinos fixture has 'huge cut-through on a wider scale than most others in the competition,' according to Peacock.

Thames Water, the UK's largest water company, is facing mounting pressure to open its bidding process to potential buyers after a failed takeover attempt last year. The company's debt burden of £17.6bn has raised concerns about its financial stability.CK Infrastructure (CKI), owned by Hong Kong's richest man, Li Ka-shing, has expressed interest in acquiring Thames Water and has been trying to launch a bid since February last year. However, the company was eliminated from the process despite tabling a multibillion-pound proposal.Andrew Hunter, CKI's co-managing director, has criticized Thames Water's bosses for not allowing other firms to bid for the company, saying they should 'eat humble pie' over the failed takeover process. Hunter argued that CKI has experience running water companies, having owned Northumbrian Water since 2011, and serves 2.7 million customers in north-east England.Thames Water is currently negotiating with creditors over a £10bn rescue plan that would involve paying off hundreds of millions of pounds-worth of fines for leaks and pollution. The company has been struggling financially for over two years and faces a potential temporary nationalization if it falls into administration.Hunter has called on the water regulator, Ofwat, to intervene and open up the bidding process to other potential buyers. He emphasized that it's crucial for Thames Water to be owned and operated by an experienced company to ensure its stability and proper management.

Within its opening weekend on Netflix, Peaky Blinders: The Immortal Man attracted over 25 million streams, outpacing all other titles that week despite already enjoying a UK cinema run and a high‑profile red‑carpet premiere at Birmingham’s Symphony Hall.Banijay Entertainment, a co‑producer of the film, capitalised on the buzz by launching an official Peaky Blinders merchandise store, underscoring how streaming services are now flipping the classic content pipeline—moving from streaming to the big screen rather than the reverse.Beyond promotional stunts, these theatrical forays are becoming a strategic revenue stream and franchise‑building tool. Shows such as Stranger Things, KPop Demon Hunters and The Mandalorian are being repackaged for cinemas, offering fans a premium, event‑style experience that streaming alone cannot replicate."Cinema still creates anticipation, hype and a sense of scarcity that streaming platforms struggle to match," explains Ben Woods, analyst at MIDiA Research. Historically, Netflix limited theatrical releases to qualify films like The Irishman for awards, but the current focus is on monetising proven intellectual property across both mediums.The success of Peaky Blinders—a series with a built‑in audience—demonstrates the model’s viability. Lead actor Cillian Murphy, who also produced the film, described the release as "one for the fans," signalling the intent to reward loyal viewers.Netflix’s own experiment with KPop Demon Hunters proved lucrative: limited theatrical screenings across two weekends generated more than $24 million (£18 million) at the box office and helped the animated musical secure two Academy Awards for Best Animated Feature and Best Original Song.Co‑CEO Ted Sarandos highlighted that the film’s triumph stemmed from its initial Netflix debut, which fed the theatrical audience via the platform’s recommendation engine. While a sequel is slated to follow the same streaming‑first rollout, the Peaky Blinders movie’s cinema‑first launch shows that release strategies remain flexible.Industry observers note that gaps in the traditional release calendar give streaming services opportunities to fill weekends with original content, a tactic Netflix is actively exploiting.Major studios are also blurring the line between streaming and cinema. Disney, for example, transformed its hit Disney+ series The Mandalorian into a feature film, reflecting a broader push to bring Star Wars stories back to theatres.Adapting episodic narratives for the big screen presents creative challenges. As Ben Woods asks, should a film cater primarily to dedicated fans familiar with the series, or aim for a stand‑alone appeal that attracts a wider audience?Fan reaction to The Immortal Man has been mixed on the Peaky Blinders subreddit, with some critics questioning the decision to condense a season‑long arc into a single film. Nonetheless, the movie enjoys a strong critical consensus, holding roughly a 90 % fresh rating on Rotten Tomatoes.Looking ahead, Netflix announced on 20 March that two new post‑war seasons of Peaky Blinders are in development, raising the question of how soon the next installment might receive a cinematic spin‑off.

Cheltenham, the home of National Hunt racing, has made the unprecedented decision to cancel its three remaining meetings this season to address significant drainage problems on its home straight. The move impacts a combined total of nearly 25,000 spectators who were expected to attend the April and May fixtures.The issues came to light in January when a hole appeared in the home straight during the Trials meeting, delaying a race by 29 minutes. Subsequent assessments, including ground-penetrating radar surveys, led to the decision to undertake major drainage works over the summer.Jon Pullin, clerk of the course, emphasized that while drainage improvements are typically carried out at the end of each season, the scale of this project and Cheltenham's particularly dry summers necessitated bringing the work forward. The focus of the repairs is where the hole was discovered, which has caused challenges in other track areas.The next card at Cheltenham will be the first afternoon of the two-day Showcase fixture on October 23. Four races from the April meeting will be relocated to Market Rasen, Warwick, and Sandown, with the hunter-chase fixture on May 1 being staged at Warwick on the same evening.Guy Lavender, Cheltenham's chief executive, stated that the decision was made with careful consideration, highlighting the importance of giving the racing surface time to recover and allowing the grounds team to prepare for the next season.

The traditional cold war diplomacy of brinkmanship, characterized by carefully balanced standoffs and rules-based international order, has given way to a world in freefall. This shift is exemplified by the ever-widening conflict in the Gulf where strategic objectives remain as unclear as the potential endpoint of hostilities.Approaching a month since the United States and Israel launched attacks on Iran, the stated objectives of removing the country's nuclear threat and destroying its ballistic missile capability appear increasingly disconnected from the disproportionate impact on civilians and neighboring Gulf nations. Despite these consequences, the Iranian regime's willingness to escalate the conflict shows no signs of diminishing.The Guardian Weekly's coverage examines this critical juncture through multiple perspectives. Patrick Wintour recounts the pivotal week when global tensions reached a tipping point, while Richard Partington analyzes the long-term economic implications of a prolonged conflict, from oil price fluctuations to inflationary pressures and economic growth impacts. From South Lebanon, William Christou reports on healthcare professionals caught in the crossfire of Israeli airstrikes, highlighting the human cost of the escalating violence.Emma Graham-Harrison provides insight from Jerusalem, examining Israeli Prime Minister Benjamin Netanyahu's strategy of attempting to rehabilitate his image through what he frames as destruction of an 'axis of evil.' Meanwhile, Simon Tisdall poses a critical question: when US President Donald Trump eventually seeks to halt the conflict, will any parties be willing to heed his calls for de-escalation?Beyond the primary geopolitical focus, this week's Guardian Weekly edition explores several significant developments across different sectors. The UK political landscape features an examination of the upcoming local elections, where voter sentiment appears increasingly focused on rejecting established parties rather than actively supporting alternatives. The scientific section explores innovative approaches to addressing snoring disorders through CPAP machines, while the culture section features an in-depth interview with Dave Grohl discussing Foo Fighters, personal challenges, and grief following the loss of bandmate Taylor Hawkins.In sports, the publication celebrates the remarkable achievement of British athletes Keely Hodgkinson, Georgia Hunter Bell, and Molly Caudery, who each secured gold medals at the world indoor athletics championships in Poland, showcasing British excellence in track and field events.

Netflix's Historic Night at the 2026 Academy AwardsStreaming giant Netflix dominated the 2026 Academy Awards, securing a total of five Oscars. The wins for Guillermo del Toro’s *Frankenstein* and the animated hit *KPop Demon Hunters* highlight a growing trend of premium content production from non-traditional studios. While the Best Picture award remains out of reach for the streamer, the sweep of technical categories demonstrates a high ceiling for their creative output.Guillermo del Toro’s *Frankenstein* and *KPop Demon Hunters* Sweep the Visual CategoriesThe ceremony was a landmark night for Netflix’s diverse portfolio, with two distinct films taking home hardware across different genres.Frankenstein: Director Guillermo del Toro’s reimagining of the classic tale won three prestigious awards: Best Production Design, Best Costume Design, and Best Makeup and Hairstyling. The film was a heavy favorite, entering the night with nine nominations, including the coveted Best Picture and Best Supporting Actor.KPop Demon Hunters: Netflix’s most-watched movie ever, *KPop Demon Hunters*, secured Best Animated Feature and Best Original Song, proving that the streamer’s investment in global pop culture phenomena pays off on the awards stage.The Streaming Giant's Growing Influence on Award SeasonNetflix’s success tonight reinforces the reality that streaming companies are now integral to Hollywood’s award season ecosystem. The wins for *Frankenstein* and *KPop Demon Hunters* add to a growing list of streaming titles recognized by the Academy, following in the footsteps of Roma, The Power of the Dog, and All Quiet on the Western Front. This trend suggests that the barrier to entry for critical acclaim is lowering, even if the path to commercial dominance remains competitive.The Elusive Best Picture Prize for StreamersDespite the technical triumphs, the industry is still waiting for a streaming service to capture the Best Picture award. Host Conan O’Brien humorously acknowledged Netflix co-CEO Ted Sarandos’ presence, noting, “This is exciting: It’s his first time in a theater!” While *Frankenstein* was a top contender, the top prize ultimately went to *One Battle After Another*. This distinction marks Apple’s *CODA* (released during the pandemic) as the only streaming film to date to win Best Picture.The Future of Award-Winning Content in the Streaming EraThe 2026 Oscars indicate that while Netflix and Apple are winning technical and creative awards, the Best Picture title remains a rarefied air reserved for traditional studio powerhouses. However, with the volume of high-budget content increasing, the gap is likely to narrow. We can expect more streaming films to dominate the technical categories, but the Best Picture race will likely remain a battleground where theatrical exclusivity still holds significant sway.