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The recent video of McDonald's CEO Chris Kempczinski sampling the chain's new 'Big Arch burger' sparked widespread ridicule. This incident highlights a growing trend: CEOs and corporate leaders increasingly seeking to center themselves in the spotlight. This phenomenon, which can be termed 'CEOism,' raises important questions about the motivations behind it and its impact on consumers.Examples of CEOism abound. During the Super Bowl, the founder of Ring featured in the company's ad, only to face backlash for the dystopian undertones of the doorbell technology being promoted. In the sporting world, Fifa president Gianni Infantino has taken to inserting himself into high-profile events, including interrupting the start of the World Cup to give a welcoming address and unveiling the official sticker album.The reasons behind CEOism are complex and multifaceted. On one hand, companies are seeking to be seen as more relatable and approachable, which may explain why CEOs want to center themselves in advertising. On the other hand, the current cultural and political climate appears to have emboldened corporate leaders, who now seem more willing to express their opinions and insert themselves into public discourse.The article's author, Larry Ryan, expresses skepticism about the trend, suggesting that CEOs are mistaking interest in their products with interest in the people themselves. He longs for a time when CEOs focused on financial performance rather than seeking to be in the spotlight.However, some argue that audiences want to hear from the people behind brands and that 'CEOism' can be an effective marketing strategy. The success of podcasts like 'The Diary of a CEO' and social media influencers suggests that people may indeed be interested in hearing from corporate leaders.

The World Trade Organization (WTO) has convened a critical meeting in Yaounde, Cameroon, against a backdrop of global economic turmoil and rising protectionism. The organization is facing the threat of a 'disorderly collapse' if it fails to strike a new deal on global trade rules.WTO Director-General Ngozi Okonjo-Iweala warned that the old 'world order' is not returning, following a year of turmoil marked by US President Donald Trump's aggressive trade policies, including sweeping tariffs.“We will not get it back … We must look to the future,” Okonjo-Iweala said, emphasizing the need for a new approach. The global trading system is experiencing the 'worst disruptions in the past 80 years'.The US Trade Representative, Jamieson Greer, defended Trump's policies, stating that they were a 'corrective response' to a trading system that had overseen 'severe and sustained imbalances'. Greer argued that the 'new world order' would involve agreements between smaller groups, rather than waiting for consensus on a 'lowest common denominator'.The US is critical of the WTO's 'most-favoured nation' (MFN) principle, which governs 72 percent of global trade. China, however, defended the system, warning that abandoning MFN would open a 'Pandora's box'.The European Union signaled its desire to rethink MFN, citing concerns about China. UK Trade Minister Chris Bryant warned of potential fragmentation if no deal is reached on reforms, stating that ministers must 'get this week right' to avoid a 'disorderly collapse of the WTO'.

Kimberly Belflower's revisionist take on Arthur Miller's classic The Crucible re-spins the witch-hunts for the #MeToo generation. Set in 2018, the play follows a classroom of teenagers—mostly girls—as they attempt to establish a feminist club, an effort seemingly sparked by contemporary news headlines. This original approach addresses adolescent girlhood in the direct aftermath of the Harvey Weinstein scandal, though the production takes time to build momentum.The narrative centers on Beth (Holly Howden Gilchrist), the class academic; Ivy (Clare Hughes), whose father faces workplace misconduct allegations; Nell (Lauryn Ajufo), the new student; and Raelynn (Miya James), a pastor's daughter dealing with relationship betrayal. Shelby (Sadie Soverall), though absent for much of the play, plays a crucial role in the unfolding drama.Set in a small-town Georgia high school, the feminist club concept initially proves controversial until a charismatic teacher, Carter Smith (Dónal Finn), suggests expanding it to include boys. Directed by Danya Taymor and performed continuously in under two hours, the script pivots around the students' study of Miller's play alongside their developing understanding of intersectional feminism.The production captures the girls' internalization of societal micro-aggressions with humor and pathos, incorporating pop music tributes to artists like Lorde, Taylor Swift, and Beyoncé. While the dialogue authentically portrays adolescent female relationships, the review notes these connections are sometimes flattened by their cuteness rather than reflecting the sharp edges typical of this transitional life stage.A significant parallel emerges between Miller's John Proctor—a morally complex character who ultimately maintains his principles—and the predatory male figure in the contemporary narrative. The review suggests a false equivalence between these characters, as the modern figure is portrayed as a serial abuser rather than a morally conflicted individual.The play concludes with an emotional climax as students reinterpret scenes from The Crucible through interpretive dance, symbolizing their liberation while acknowledging that the predator remains in their midst. This ending, while thematically resonant, is described as feeling neat and easy despite its powerful emotional impact.Despite these criticisms, the production effectively captures the zeitgeist of 2018 for a generation of girls coming of age in the shadow of the Weinstein scandal and the #MeToo movement, raising questions about the movement's lasting impact and current relevance.

The US men's national team is facing a critical center-back shortage ahead of their friendlies against Belgium and Portugal, mirroring the kind of injury crisis they might encounter at the World Cup. Defenders Chris Richards and Miles Robinson are out due to injuries, leaving Pochettino with only three healthy natural center-backs: Tim Ream, Auston Trusty, and Mark McKenzie.Pochettino is considering tactical adjustments and alternative players to fill the gap. He mentioned that the absences could create an opportunity to try players at different spots, including Joe Scally, a right-back who has played as a right center-back in a three-man backline, and Tanner Tessmann, a midfielder who has filled in as a center-back for Lyon on several occasions.The team's strategy and player versatility will be put to the test as they prepare for the World Cup. Pochettino emphasized the importance of being prepared for such situations, stating, “When we talk about being right in the players that you pick … if this is happening in a World Cup, you need to see all the options that you have.”The friendlies against Belgium and Portugal will serve as a crucial test for the team's depth and adaptability, with potential implications for the World Cup roster. The USMNT will have to make the most of their current squad, as there are no reinforcements coming.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

Poland staged a comeback to defeat Albania 2-1, with Robert Lewandowski scoring his 89th goal for his country. This win sets up a playoff final against Sweden for a spot in the World Cup.Denmark dominated North Macedonia 4-0, with Mikkel Damsgaard, Gustav Isaksen, and Christian Nørgaard scoring in the second half. They will now face the Czech Republic in their playoff final.Kosovo is on the brink of their first major tournament appearance after a thrilling 4-3 win over Slovakia. They will host Turkey in their playoff final.Turkey secured a 1-0 win over Romania, with Ferdi Kadioglu scoring the decisive goal following a superb pass from Arda Guler. This victory brings them closer to ending their long World Cup absence.

The UK government has unveiled a new policy to prioritise British suppliers for public contracts in key sectors deemed vital to national security. Shipbuilding, steel, AI, and energy infrastructure will be the primary areas where British suppliers will be given preference. Under the new guidance, departments will be required to use British steel or justify sourcing it from overseas. This move is part of a broader effort to bolster national security and economic resilience, particularly in the face of global supply chain disruptions highlighted by the war in the Gulf. A Public Interest Test will also be introduced, obliging departments to assess whether outsourced service contracts over £1m could be delivered more effectively in-house. This test is expected to cover more than 95% of central government contracts by value. Chris Ward, a Cabinet Office minister, emphasised that these reforms aim to support British jobs, protect national security, and grow the economy. The policies are part of the National Security Strategy, which seeks to align national security with economic growth and build the resilience of British supply chains. While the UK is still subject to international obligations such as the Agreement on Government Procurement (GPA) – World Trade Organisation (WTO) rules, national security exemptions are being utilised to implement these new rules. Larger departments spending over £100m annually will need to publish an “insourcing” strategy, outlining plans to bring services back in-house where they offer better value. The government will also prioritise community impact in buying decisions, encouraging firms to demonstrate how their bids will create local jobs and apprenticeships. Additionally, a new suite of AI tools has been developed to streamline the commercial process, making it simpler, faster, and fairer for small businesses and charities to bid for work.

Sir Paul Marshall, the co-owner of GB News and a self-described 'committed' Christian, has been criticized by a group of 100 church leaders over the TV channel's attacks on climate science and action. The leaders, including former Archbishop of Canterbury Rowan Williams, argue that Marshall's statements on climate change are misleading and that his hedge fund's £1.8bn investments in fossil fuels present a conflict of interest.Marshall has stated that the UK has been infected by 'climate derangement syndrome' and that efforts to cut planet-heating emissions are 'impoverishing people.' In response, the church leaders emphasized that 100% of global heating since 1950 has been caused by human emissions and activities, according to the world's climate scientists. They also noted that decarbonization is a huge growth opportunity that will save trillions of dollars in the long term.The leaders, in an open letter, urged Marshall to be transparent about any personal conflicts of interest and to declare his financial interests in fossil fuels. They cited research that found GB News broadcast 953 attacks on climate science and climate action in the period immediately before and after the 2024 general election.Marshall responded that 'the Gospel entreats us to look after the vulnerable' but argued that pursuing an 'ideological' net zero policy was 'a path of unilateral economic disarmament and self-harm.' He also stated that he was not involved in the editorial decisions of GB News, which has lost £131m since its launch in 2021.The Christian leaders' criticism of Marshall and GB News highlights the ongoing debate over climate change and the role of media outlets in shaping public discourse on the issue. As more than 100 countries have net zero policies and the UK's net zero economy grew by 10% in 2024, the pressure on media outlets to provide accurate and responsible reporting on climate issues continues to grow.

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.