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The Policy Initiative Andy Burnham has said he would consider cutting some employers’ national insurance contributions, and proposed a cut to business rates for pubs and small, family-run enterprises, in his first significant policy initiative during the Makerfield byelection. The Business Rates Proposal Burnham’s plans amount to a notable criticism of Keir Starmer’s policies in these areas. In his announcement on business rates, the Greater Manchester mayor said: “Labour have got it wrong on small businesses.” Pubs, clubs and music venues would receive a 20% cut next year Smaller, independent hospitality, leisure and retail companies would have the threshold for paying business rates raised for the first time since 2017 The Impact Analysis The cuts would be paid for, according to the proposal, by higher levies on giant warehouses operated by online firms such as Amazon, and targeting the owners of empty high street properties. “I am willing to be honest about where we have fallen short and say that my party has got this wrong in government,” Burnham said in the statement. “They have undervalued the contribution these businesses make to our livelihoods and our communities. The Prediction Burnham is hoping to return to Westminster in the byelection on 18 June, a contest triggered after the sitting MP, Josh Simons, stepped aside in the hope that the Greater Manchester mayor would take his place and go on to challenge Starmer for the Labour leadership. Speaking during a BBC Question Time special on Thursday evening, Burnham confirmed that this was his intention if elected. He said the former health secretary Wes Streeting appeared to want to challenge Starmer, and if that happened “I would seek to join it”.

Executive Summary: Human‑Centric Startups Rise Amid AI Money FloodEven as AI fundraising breaks new records, founders like Brynn Putnam are raising capital for ventures that prioritize face‑to‑face interaction and tactile tech. The shift reflects a broader consumer desire for experiences that feel more human, challenging the narrative that all capital must flow to AI‑only companies.Rise of Offline‑First Startups in an AI‑Dominated MarketRecent weeks have highlighted two contrasting movements:Board – founded by Mirror co‑founder Brynn Putnam, secured a new funding round to develop in‑person games and social experiences.Cyberdeck creators – a community building whimsical DIY computers that literally encourage users to "touch grass," gaining viral attention for their analog appeal.Both illustrate a growing appetite for products that foster real‑world connection.Funding Landscape: AI vs Human‑Centric VenturesAlphabet announced an $80 billion AI fundraising commitment, underscoring the scale of corporate AI investment.Anthropic filed a confidential IPO, signaling that even AI‑focused startups are eyeing public markets.Despite this, startups like Board are attracting seed‑stage capital, indicating that investors still see value in non‑AI playbooks.Impact on Consumer Behavior and Startup StrategyThe emergence of "together tech" suggests a market correction:Consumers are gravitating toward experiences that feel tangible and social.Founders are positioning products as antidotes to screen fatigue, leveraging nostalgia and physical interaction.Venture firms are diversifying portfolios to include both AI‑heavy and offline‑first concepts.Looking Ahead: A More Balanced Startup EcosystemAnalysts expect the following trends to shape the next 12‑18 months:Continued inflow of capital into AI, but with a growing slice earmarked for hybrid models that blend digital intelligence with physical experiences.Increased media coverage and podcast discussion (e.g., Equity hosts Kirsten Korosec, Anthony Ha, and Sean O’Kane) will amplify awareness of offline‑first ventures.Potential for strategic partnerships between AI giants and tactile‑tech startups, creating new categories of smart‑physical products.

The Impact of Marjane Satrapi's Work On the morning of June 4, when I heard the news of Marjane Satrapi's death, I was stunned. I simply could not believe it. Although I had met her only a handful of times in person – despite having lived in Paris for 16 years and having contributed to her book Woman, Life, Freedom – I felt a deep connection to her work and legacy. Marjane's Gift for Visual Storytelling Our collaboration on that book took place mostly through email correspondence, but I always held her in the highest regard. I admired her intelligence, her extraordinary sense of humour and, above all, her remarkable gift for visual storytelling. What she achieved through drawings that appeared simple was, in reality, extraordinarily difficult. The black-and-white spaces of her pages, the economy of her lines, the apparent simplicity of her compositions – it all served to convey profoundly human emotions with a clarity that few artists ever attain. As a cartoonist myself, I know how difficult it is to reach that level of expressive precision while making it look effortless. Paving the Way for a Generation Marjane opened the door not only for me, but for many Iranian comic book artists, such as Parsua Bashi, Mansoureh Kamari, Majid Bita and Shaghayegh Moazzami, among others. More broadly, she opened a path for artists from smaller and less visible countries across the world of comics – artists who had personal stories to tell but whose voices were often overlooked. With Persepolis, she gave western publishers the confidence to invest in our work. Many of us owe a part of our careers to the space she created. A Lasting Legacy Once I had absorbed the news of her death, my thoughts turned to Chicken With Plums, my favourite among her books. I remembered its protagonist, Nasser Ali Khan, whose beloved instrument is broken and who decides to remain in bed until death comes for him. In his final days, he even refuses his favourite dish, chicken with plums. Looking back now, the character feels almost like an extension of the author’s own sensitive spirit, perhaps even an unconscious premonition. I find myself thinking of Marjane, of her final days, and of whatever instrument may have been broken within her. And each time I do, my eyes fill with tears.

The Radiant Star of 'Marilyn Monroe: A Portrait' The National Portrait Gallery's new blockbuster show, 'Marilyn Monroe: A Portrait,' marks Monroe's 100th birthday with a comprehensive exhibition that transforms our perception of the iconic actress. The Evolution of a Hollywood Icon The exhibition takes visitors on a journey from Monroe's early days as Norma Jeane Baker to her rise as a radiant, uncontainable film star. Through self-portraits, photographs, paintings, and excerpts from her films, the show highlights Monroe's agency and self-creation as an American icon. The Art of Self-Creation Monroe's command of the camera is evident in picture after picture, showcasing her unselfconscious charm that defined a century. The exhibition features works by prominent photographers like Richard Avedon, Milton Greene, Cecil Beaton, and Eve Arnold, demonstrating how Monroe remained in control of her image. Experimentation and Artistry The show also explores the artistic techniques used to capture Monroe's image, including surrealist collages, solarisation methods, and altered portraits. Notable works include Philippe Halsman's surrealist collages and André de Dienes' poignant portraits taken after Monroe's death. Beyond the Glamour While the exhibition is a celebration of Monroe's life and career, it also hints at her vulnerabilities and flaws. A 1956 photo by Cecil Beaton and a 1962 paparazzi image of Monroe's body bag being carried out of her home in Los Angeles provide a glimpse into the complexities of her life and death. The Legacy of Marilyn Monroe The exhibition concludes with a reflection on Monroe's enduring legacy, from her impact on midcentury US culture to her influence on pop art. As visitors leave the show, they are left with a deeper understanding of Monroe as a multifaceted individual, rather than just a Hollywood icon.

Executive Summary: US Plans to Trim Visa Outposts in AfricaThe United States is set to centralise visa processing across Africa, reducing the number of embassies and consulates that conduct routine visa interviews from roughly 50 locations to about 20. Embassies will remain operational for diplomatic work, but applicants in many countries will need to travel to designated regional hubs for their interviews. Consolidating Visa Interviews into Regional HubsThe proposal moves routine visa interviews out of most individual posts and concentrates them in a handful of larger centres. Expected hub cities include:Nairobi (Kenya)Johannesburg (South Africa)Addis Ababa (Ethiopia)Accra (Ghana)Dakar (Senegal)Embassies will continue to provide consular and diplomatic services, but will no longer host routine interview slots. Visa Issuance Numbers and Potential Cost ImplicationsIn fiscal year 2024, the State Department issued more than 540,000 non‑immigrant visas to African applicants, indicating strong demand for travel, study, and business. The restructuring does not alter legal eligibility criteria, but experts warn that additional travel, higher fees, and longer wait times could deter applicants, especially students, families, and small‑business owners. How the Shift Could Reshape US‑Africa MobilityAnalysts link the move to broader Trump‑administration goals: standardising decision‑making, strengthening fraud detection, and easing staffing pressures at overstretched posts. While diplomatic presence remains unchanged, the practical barrier of travelling to another country may reduce application volumes from nations that lose local processing facilities. What the Next Few Weeks May Bring for ApplicantsOfficials suggest the changes could take effect within the coming weeks, though a definitive rollout date has not been announced. Applicants should monitor announcements from their nearest embassy and prepare for potential increased travel costs and scheduling uncertainties.

Lewis Hamilton expressed confidence that Ferrari could be competitive at the upcoming Monaco Grand Prix, a circuit that may neutralise Mercedes’ dominant power advantage and give the Scuderia a realistic shot at its first win since the 2024 Mexican GP.Hamilton’s Optimistic Take on Ferrari’s Monaco ProspectsSpeaking ahead of practice, Hamilton noted, “I would say that probably this track was better for us than some of the others. I don’t think power is going to be necessarily so much of an issue. And our car is good at low speed so I think we will be competitive.” He highlighted the SF26’s strength in slow‑speed corners and the smaller turbo that could deliver better acceleration out of the tight bends.Championship Gap and Monaco’s Potential to Narrow ItKimi Antonelli leads the drivers’ standings, 43 points ahead of teammate George Russell.Mercedes have dominated the season, but the Monaco layout favours low‑speed handling over outright straight‑line power.In first practice, Leclerc and Hamilton topped the time sheets, separated by 0.2 seconds, with Max Verstappen a further 0.5 seconds back.Why Monaco’s Tight Layout Could Shift the Competitive BalanceThe street circuit’s slow corners play to Ferrari’s advantage, allowing the smaller turbo to stay spooled and deliver rapid corner exits. Energy management is less of a concern thanks to ample recharging opportunities, and the car’s proven ability to generate fast starts could help secure an early lead that is hard to lose on a track where overtaking is extremely limited.What a Ferrari‑Hamilton Front Row Means for the Rest of the SeasonIf either Hamilton or his teammate Charles Leclerc secures a front‑row start, Ferrari could become “all but untouchable” when the lights go out, forcing Mercedes, McLaren and Red Bull to rely on strategy and driver error. A strong Monaco result would not only break Ferrari’s win drought but also tighten the championship race, putting pressure on the Mercedes drivers to defend their sizable points lead in the remaining rounds.

The Asda Turnaround Challenge"It's not bloody inevitable," that Asda will be overtaken by Aldi as the UK's third biggest supermarket, roars Allan Leighton, the veteran retail boss who returned to lead the business after 20 years in November 2024. Leighton is attempting to defy the critics and revive Asda for the second time in his career, despite grocery sales and market share continuing to fall according to industry data.The Market Position and Aldi ThreatWith 580 supermarkets, 517 convenience stores and four stand-alone George outlets, Asda faces significant challenges. In terms of market share, its rival Aldi is now less than one percentage point away from overtaking Asda, where sales and profits have dived since a debt-fuelled £6.8bn takeover in early 2021 by Blackburn's billionaire Issa brothers and the private equity company TDR Capital.The Technology TransformationLeighton admits that "Project Future" – the transfer of Asda's technology from former owner Walmart's systems to its own at an estimated cost of close to £1bn – left gaps on shelves and put plans six months behind schedule. The IT is now "stable," he says, with only smaller jobs to do, availability has improved dramatically and a new deal with Ocado will help modernize Asda's online business from next year.The Competitive Differentiation Strategy"We are more than a supermarket. Everybody thinks we are a supermarket, we are not. Almost 50% of our business does not come from food," Leighton emphasizes. He argues that where Asda can win is through its scale in clothing and general merchandise, which competitors cannot match. "Nobody else can do things the way we do it. We are trying to accentuate that," he says.The Four Pillars of Asda's FutureAsda has four cornerstones according to Leighton – superstores, the George brand, fuel and convenience stores, with online being the future. "We can be the online discounter," he states. Rejecting speculation about selling Asda's Express convenience store chain or merging with Sainsbury's or Morrisons, Leighton focuses on "just be better today than we were yesterday." He claims prices are now between 4% and 7% cheaper than other traditional supermarkets – Tesco, Sainsbury's and Morrisons.The Consumer and Economic ChallengesLeighton acknowledges that "the consumer's confidence is shot" and inflation on food is building again. "We've seen bits of it beginning to come through now," he says. All retailers are under pressure from rising labour, energy and regulatory costs as well as a squeeze on household spare cash. However, Leighton remains optimistic: "If we get it right, then we've got more ammo than anybody else."

More than a quarter of British musicians have lost all their EU work since 2021, according to new research by the European Movement UK. This decline signals a critical turning point for the UK's creative economy, where the post-Brexit regulatory landscape has fundamentally altered the feasibility of cross-border touring. The New Bureaucratic Walls of European Touring The primary driver of this crisis is the introduction of complex visa regimes and work permit requirements that differ across EU member states. Musicians now face the Schengen 90-days-in-180 rule, which severely limits the duration of work across the bloc. Additionally, the cost of logistics has skyrocketed; temporary admission (ATA) carnets now cost over £400, and security deposits can reach 40% of equipment value, making extended tours financially impossible for smaller acts. The Financial Fallout: A 45% Earnings Decline The economic impact is stark. The report indicates that average tour earnings have fallen by 45%, with 59% of musicians deeming touring in Europe no longer viable. This represents a massive contraction in revenue streams for a sector that contributed £8bn to the UK economy in 2024, including nearly £5bn in exports. Disruption Across the Creative Supply Chain The repercussions extend beyond individual artists to venues and producers. Mig Schallache, owner of The Louisiana in Bristol, notes that fewer European artists are visiting the UK, creating a void that UK artists cannot fill. This "supply chain" disruption leads to cancelled tours, reduced exports, and weakened collaboration, ultimately depriving audiences of diverse cultural experiences. The Long-Term Risk to UK Cultural Soft Power The loss of Creative Europe funding, which previously invested €111m in UK organizations between 2014 and 2020, further exacerbates the issue. Without addressing these mobility barriers, the UK risks not only economic loss but also a diminished cultural footprint on the continent, threatening the soft power that the music industry traditionally provides.

The Rise of Marco da Silva Ferreira Last year, for dance's answer to the Turner prize, the Rose international dance prize, four choreographers competed for £40,000. One of those finalists was the Portuguese choreographer Marco da Silva Ferreira. He didn't win, but he definitely marked himself out as an of-the-moment voice. The Event Details: A Dance of Protest and Partying Da Silva Ferreira's dance is like minimalist music: small cells of movement, repeated, gradually shift and morph. A slinking step, a strut, the pop of a muscular torso, a slippery moonwalk, etc, etc. Eight dancers are in unison, but there's no sense of them being automatons – they're real, sweaty humans in shiny trousers and chainmail vests with red makeup smeared under their eyes. The Data Analysis: A Slow Build of Energy This piece, F*cking Future, is all about the slow build. The kind that might seem boring till you tune in and live it with them, beat by beat. It's the opposite of the show-us-everything-you-can-do school of dance: it's anti-instant gratification, no quick dopamine hit. The Impact Analysis: A Politics of Resistance You think – or I thought – that we're heading for an amazing climax: finally the dam will break, the banks will burst, the beat will drop. You can see the style and verve of these dancers, not least Da Silva Ferreira himself, bursting against the confinement of the work's structure. This will be one hell of a catharsis. The Prediction: A Lasting Impression Except that never quite happens. The momentum absorbs back into the group. Is this the politics of resistance at play? Not giving us the easy out, bowing to the harmony of the group. One way a choreographer can work is much like a DJ – rather than just being about shaping dancers' movements, it's about shaping the energy in the room across the course of an hour or so, through bodies, sound, light and motion.