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The tiny West African archipelago has earned a place at the 2026 FIFA World Cup, joining Spain, Uruguay and Saudi Arabia in Group H. With a squad drawn from 14 countries and a coach who insists on Creole as the team language, the Blue Sharks blend diaspora talent with a relaxed "morabeza" mindset. Below is a deep dive into the squad, its leadership and the matches that will decide whether Cape Verde can turn debut dreams into historic results. The Blueprint: Squad Composition and Club Diversity 26‑man roster featuring players from 25 clubs across 14 nations. Six players were born in Rotterdam, highlighting the diaspora’s influence. Positions are well‑balanced: a mix of physical defenders, technically gifted forwards and a midfield engine. Key Fixtures and Scheduling 15 June – vs Spain in Atlanta (noon local, 5 pm BST, 16 June 2 am AEST). 21 June – vs Uruguay in Miami (6 pm local, 11 pm BST, 22 June 8 am AEST). 26 June – vs Saudi Arabia (7 pm local, 1 am BST, 27 June 10 am AEST). Coach Bubista’s Philosophy and Leadership Bubista (Pedro Leitão Brito) grew up on Boa Vista, worked as a lift operator’s son, and played across Portugal, Spain and Angola before captaining the national side. His core tenets are: Mandating Creole on the pitch to preserve national identity. Emphasising collective unity over individual flair. Instilling a “no‑stress” attitude that mirrors the country’s slogan, morabeza. Star Forward Dailon Livramento’s Impact The Rotterdam‑born striker has already become a legend, netting four qualifying goals, including the decisive winner against Cameroon. His profile: Born in Rotterdam to singer Marizia; also a musician. Provides the central attacking presence the team previously lacked. His physicality and finishing will be crucial against the defensive rigs of Spain and Uruguay. Veteran Ryan Mendes: Captain and Goal Threat Ryan Mendes, at 36, remains the team’s captain, top scorer and a potential centurion at the World Cup. Highlights: Former Lille forward, once a replacement for Eden Hazard. Overcame a serious ankle injury to stay central to the Blue Sharks. Could become the first Cape Verdean player to reach 100 caps if he appears in all three group matches. Midfield Engine Kevin Pina’s Role Kevin Pina anchors the midfield after a title‑winning season with Krasnodar in Russia. He: Provides the “dirty work” that frees attacking talents. Excels at forward ball movement despite a low goal tally. Forms a dynamic partnership with Deroy Duarte. Projected Starting XI and Tactical Outlook The likely lineup blends experience with youthful energy, favoring a 4‑3‑3 shape that encourages possession from the back and quick transitions on the wings. Goalkeeper: Logan Costa (Villarreal) – fitness remains a question after an ACL tear. Defence: A mix of European‑based centre‑backs and full‑backs comfortable in both defensive duties and overlapping runs. Midfield: Pina, Duarte and a creative playmaker to link defence and attack. Attack: Mendes (captain) flanked by wingers, with Livramento as the central striker. If the squad can maintain cohesion, exploit set‑piece opportunities and keep the “no‑stress” mindset, Cape Verde could pull off a surprise point or even a historic upset in their inaugural World Cup appearance.

The LeadFormer England footballer Gary Lineker's media production company Goalhanger has been crowned the UK's fastest-growing business, according to the latest Sunday Times list of the 100 quickest-growing private companies. The company, which produces popular podcast series including 'The Rest is History' and 'The Rest is Politics,' achieved remarkable growth with £37.9m in sales in 2025, representing an average annual growth rate of 321% over the past three years.The Podcast EmpireGoalhanger has built a diverse media portfolio centered around its 'The Rest is …' podcast series. This includes 'The Rest is History' hosted by historian Tom Holland and journalist Dominic Sandbrook; 'The Rest is Entertainment' featuring Richard Osman and Guardian columnist Marina Hyde; Lineker's own 'The Rest is Football'; and 'The Rest is Politics' hosted by Rory Stewart and Alastair Campbell. These podcasts exploded in popularity following the coronavirus pandemic and now collectively boast more than 750 million listeners worldwide.The Financial BreakthroughDespite employing just 80 people at its London headquarters, Goalhanger has demonstrated exceptional financial performance. The company has boosted its revenue through paid subscriptions and events, reaching a milestone of 250,000 paid subscribers in January 2026. These subscribers generate approximately £15m in annual revenue for the company. The financial success has attracted significant investment, including a minority stake purchase by Los Angeles-based investment firm The Chernin Group in January 2026.The Media Industry TransformationGoalhanger's rise reflects a broader shift in the UK media landscape toward digital-first content creation and distribution. The company's success demonstrates how former public figures can leverage their expertise and audience reach to build substantial media enterprises. Additionally, Goalhanger's expansion into venture capital, with investments in creator-led media businesses like Invisible Media and Backyard Cricket, signals the company's ambition to shape the future of creator-driven media in the UK and beyond.The Future OutlookWith strategic partnerships including a £14m deal with Netflix to broadcast 'The Rest is Football' during the World Cup, Goalhanger is positioned for continued growth. The company's venture capital arm and existing subscriber base provide a solid foundation for expansion into new markets and content verticals. As the UK's fastest-growing business, Goalhanger exemplifies the potential of podcasting as a dominant media format, with further international expansion likely as the company capitalizes on its proven business model and growing global audience.

The Emergence of New Claimants New claimants have come forward to take legal action against Elon Musk's company xAI after Labour MP Jess Asato launched a test case against the firm over demeaning sexualised material created by its Grok AI tool. The AI-Generated Content Controversy A handful of complainants contacted Asato's lawyer on Thursday in response to coverage of the MP's decision to sue Musk's company for damages over its creation and circulation of fake images of her in a bikini and an AI-created video that she said showed her 'being chloroformed and prepared for a sexual assault'. The Legal Implications Ravi Naik, the legal director of the law firm AWO, said he was already acting for 'multiple individuals' hoping to take action against Musk's company over degrading, non-consensual content generated by Grok. Many of the claimants had struggled to persuade X to remove the images until they received legal support, he said. The Impact on Victims Asato said she wanted the legal action to demonstrate that 'AI companies are responsible for the design choices that they make when they launch their products'. She said she found the experience of seeing fake non-consensual stripped images of herself 'psychologically distressing'. The Future of AI Regulation The legal action comes amid heightened sensitivity to Musk's involvement in UK domestic affairs, after a flurry of posts from the billionaire commenting on the police response to the murder of Henry Nowak. Peter Kyle, the business secretary and a former technology secretary, said it was important that UK politicians were 'assertive' in holding Musk to account for the content on his platforms.

The Return of Mira Murati to the Public StageMira Murati, former CTO of OpenAI and current CEO of Thinking Machines Lab, has made her first major media appearance in approximately 18 months, sitting down with Bloomberg in San Francisco. This rare public appearance comes as Murati's company, which has been operating largely in the background, seeks to establish its presence in an increasingly competitive AI landscape.Thinking Machines' New Approach: Interaction ModelsDuring the interview, Murati previewed what Thinking Machines is calling "interaction models," described as a fundamentally different kind of AI interface. Unlike the traditional turn-based, prompt-and-response dynamic common in most AI products today, the company's models are designed to process continuous streams of audio, text, and video in 200-millisecond intervals. This approach aims to capture the nuances of human communication—including interruptions, mid-thought corrections, and pauses—in something closer to real time.Murati emphasized that this approach aligns with her lab's core thesis that the path to powerful AI runs through closer human collaboration, not around it. She was careful to frame it as a first step rather than a finished product, declining to specify a release date.The Competitive AI LandscapeThe timing of Murati's public return is strategic. While Thinking Machines has spent the past year and a half operating in the background—raising capital, hiring researchers, and shipping one product, Tinker (an API for fine-tuning open-source AI models)—its competitors have grown more omnipresent. OpenAI, where Murati spent six years as CTO, remains constantly in the news cycle. Anthropic has gained significant momentum, and Elon Musk's xAI has been folded into SpaceX ahead of what is expected to be a massive public offering.In this environment, Murati acknowledged that staying heads down has diminishing returns, and at some point, a company must make noise to remind the market it exists.Reflections on OpenAI's Leadership CrisisMurati also addressed the chaotic week in November 2023 when OpenAI's board fired Sam Altman, and she became interim CEO—an event referred to internally as "the blip." She expressed clarity about her decisions during that period, stating that protecting the mission and team guided her choices even as the situation appeared to be unraveling externally. Murati claimed the company would have "imploded" without her involvement during those five days and their immediate aftermath.In retrospect, she acknowledged she would have pushed harder for more information, a better transition plan, and more transparency. When asked if she still trusts her former boss, she sidestepped the question, instead focusing on her broader concern about the concentration of consequential decisions in too few hands across the industry.Talent Challenges and Compensation CultureChang pressed Murati on the departures of several high-profile researchers from Thinking Machines in recent months, a subject Murati has largely avoided in public. She explained that building a frontier AI lab from scratch compresses years of normal organizational volatility into months. Regarding compensation—the nine-figure packages that have become standard in the AI talent war—Murati suggested it isn't usually the whole story behind talent decisions."When I wake up in the morning, I am not thinking about how to kill the competitor," Murati quipped, drawing audience laughter and highlighting her competitive approach to building rather than destroying.The Future of AI and Human AgencyWhen asked about the future of AI and its impact on humanity, Murati pushed back on both inevitable dystopia and inevitable utopia scenarios. She argued that neither outcome is predetermined and that the current period will determine which direction things go. However, she warned that if humans "take their hands off the wheel too soon," the future will look very different, and not better.Born in Albania and speaking with a slight Eastern European accent, Murati emphasized the importance of maintaining human agency in AI development, reflecting on concerns about mass job displacement and potential misuse of AI for harmful purposes like creating chemical weapons.

Lead: Violence Shatters a Brief Security Lull in Somalia’s CapitalOn Wednesday, 5 June 2026, gunfire erupted in Mogadishu’s Hawl Wadaag district, pitting government forces against opposition elements planning protests against President Hassan Sheikh Mohamud's alleged illegal term extension. The clash forced residents, including three‑wheeled taxi driver Mustafa, to flee their homes and left major streets such as Maka al‑Mukarama Road virtually empty.Hundreds of families displacedBakara market closedKey arterial road sealed by security forces Intense Gunfire Engulfs Mogadishu’s Hawl Wadaag DistrictThe fighting began near the homes of former Prime Minister Hassan Ali Khaire and former President Sheikh Sharif Sheikh Ahmed, both opposition figures slated to lead protests against the president’s constitutional amendments that extend his mandate by a year. Both sides blamed each other for opening fire, with the government accusing the opposition of militarising the standoff and the opposition denouncing a "sustained and indiscriminate military assault" that lasted over 20 hours. Economic Toll: $3.8 Million Estimated DamageAli Wardheere, deputy governor of the Central Bank, estimated the direct cost to businesses and services at $3.8 million. The figure is model‑based and not an official tally, but it reflects the immediate loss from shuttered shops, halted trade at the city’s largest commercial hub, and the disruption of daily economic activity. Political Fallout Threatens Somalia’s Election TimelineThe clashes come as President Mohamud pushes a controversial constitutional amendment that would allow a direct, one‑person‑one‑vote election—the first since the 1960s—while opposition leaders argue the change is a pretext to extend his rule. Two influential federal states, Puntland and Jubaland, have withdrawn from the federal system over the amendment, and more than 100 MPs and senators boycotted the parliamentary vote, deepening the political deadlock.Regional dynamics compound the crisis: Somaliland’s recent diplomatic recognition by Israel, ongoing conflicts in neighboring Sudan, and a worsening humanitarian situation have pushed Somalia lower on international priority lists, limiting external mediation options. Outlook: Risks of Prolonged Instability and Election DelaysAnalysts warn that without a negotiated electoral framework, Somalia faces a prolonged period of insecurity that could further erode public trust and exacerbate humanitarian needs. Youth activists like Jamal Shiil stress that the country’s large young population will bear the brunt of continued instability, potentially fueling migration and radicalisation. The next weeks are critical: if dialogue fails, the capital may see renewed large‑scale clashes, and the already delayed election could slip further, jeopardising any chance of a peaceful transition of power.

The Intersection of AI and Classical Music The disquiet and distrust surrounding artificial intelligence among artists and creatives remain real and consequential, and the language used by leading arts commentators is often apocalyptic: AI will decimate the arts, it is evil, it is the devil. Like many emerging technologies, AI has been driven by the corporations at the forefront of its creation. Introduced to the public at a rapid rate and continuously evolving, machine learning has become closely entwined with fear, antipathy and foreboding. The RBO/SHIFT Festival: Exploring AI in Opera The upcoming RBO/SHIFT festival at the Royal Opera House aims to interrogate all sides of this fast-evolving landscape to enable artists, performers, creatives and audiences to think deeply and widely about where we are now, and where we may be tomorrow. Machine learning represents a seismic shift, both in society and in the arts, and we need storytellers, artists, teachers and thinkers in this space to help determine the direction of that shift and help us navigate this unfamiliar territory. The Data Analysis: Understanding AI's Impact on Opera Opera is a particularly good place from which to examine technology. It synthesises multiple art forms – music, visual arts, architecture, poetry, dance, theatre and film – making it both niche and remarkably broad. Opera has also always engaged with technology. From its emergence around 1600, opera makers embraced the latest inventions: pyrotechnics, automata, flying machinery and trapdoors. Later came electric lighting, film, digital media and advanced acoustics. The Impact Analysis: Collaboration and Creativity Having spent the past year discussing AI with makers, coders, researchers, composers and performers, I am not sure it is possible for this technology to decimate the arts. The most written-about aspect of machine learning – generative AI creating images, words and music – is, in many ways, the least interesting. There have been operas created with and by AI for decades by researchers and musicians, yet these have had little impact on the creation of new work more broadly. The Prediction: A Future of Collaboration AI appears to have emerged suddenly, but in reality it is part of a continual expansion of technology that has unfolded over centuries. It is also a space in which differing artistic and imaginative voices are essential. RBO/SHIFT asks two questions: what can AI do for creatives, and what can creatives do for the world in the age of AI? As our interaction with machines becomes ever more prevalent, it may be that, rather than decimating the arts, AI will lead us to value them even more highly, protect and preserve them.

Jack White’s ‘These Thoughts May Disappear’ Opens at Newport Street GalleryThe former White Stripes frontman debuted his first solo visual‑art show at Damien Hirst’s Newport Street Gallery on 4 June 2026. The exhibition, titled These Thoughts May Disappear, pairs White’s custom‑designed amplifiers with a series of brightly coloured installations that reference De Stijl, American folk motifs and Hirst‑style readymades.Conceptual Ambitions Meet Rock‑Star AestheticsWhite enlisted fellow high‑profile artists – Ai Weiwei inscribed an amp with the F‑word, while Hirst contributed a rotting‑cow‑head amp and a floating ping‑pong ball. The catalogue, a luxurious hardback, features an interview by renowned curator Hans Ulrich Obrist. Despite the star‑studded collaborations, critics describe the works as “glossy, decorative japes” that fail to engage the deeper musical heritage White often cites.Exhibition Metrics and Catalogue HighlightsOpening date: 4 June 2026Closing date: 13 September 2026Catalogue: hardback, includes interview with Hans Ulrich ObristKey collaborators: Damien Hirst, Ai WeiweiNotable pieces: custom amp with F‑word buttons, De Stijl‑inspired sofa prototypes, pallet installations echoing Jasper JohnsWhat the Show Signals for the Music‑Art CrossoverThe exhibition underscores a growing trend of musicians leveraging gallery space to extend their brand, yet it also highlights the risk of “art‑rock” projects that prioritize spectacle over substance. While White’s musical legacy – from the iconic Seven Nation Army riff to his $300,000 acquisition of an Elvis acetate – remains influential, the art world’s reception suggests a gap between rock credibility and contemporary curatorial standards.Looking Ahead: White’s Next Creative MoveGiven the lukewarm critical response, White may pivot back toward music‑centric experiences, perhaps integrating live performance with immersive installations. For Damien Hirst, the episode could prompt a reassessment of celebrity‑driven exhibitions at Newport Street, reinforcing the need for curatorial rigor when high‑profile collaborations are on display.

The Power of Theatre in Adversity What happens when the basic requirements of theatre-making are narrowed to their most extreme limits? Companies like Belarus Free Theatre and the Freedom Theatre have shown that theatre can still thrive even in the midst of danger. This is evident in 'Tomorrow Will Be a Palestinian Day', a collection of nine short plays written by Palestinian playwrights, poets, and artists. The Birth of a Collection Directed by Ahmed Masoud and Micaela Miranda, the show was rapidly produced with just one week of rehearsals. Four writers are currently in Gaza, while two are former political prisoners, including Walid Daqqa, one of the longest-serving Palestinian prisoners who died in custody in 2024. A Glimpse into the Plays The collection features a range of plays, including 'The Martyrs Return to Ramallah', which is both absurdist and haunting. Other plays, such as 'The Last Letter' by Mohammed Al Qudwa and 'Ruins' by Jehad Abu Dayya, showcase the intersection of lived experience and political theatre. The Impact of Lived Experience The plays take the audience on a journey from hospitals to morgues to refugee camps, highlighting the harsh realities faced by Palestinians. For example, 'We Are… Doctors' by Dareen Tatour features a Palestinian medic who is told that words of sympathy towards injured Palestinians 'can be crimes'. A Message of Hope Despite the darkness, a message of hope cuts across several of these plays. In 'Santa Claus on Holiday' by Nahil Mohana, Santa visits the bombed-out terrain of Gaza, emphasizing the importance of laughter and hope. Conclusion 'Tomorrow Will Be a Palestinian Day' is a powerful collection of plays that showcases the resilience of theatre in the face of adversity. The show will run at Theatre 503 in London until June 6.

The Shocking Conclusion of EuphoriaThe HBO series Euphoria concluded with an 88-minute finale that delivered everything viewers had come to expect: shocking deaths, gruesome imagery, and biblical references. The episode ended with the words "May God bless us all," a stark contrast to the nihilistic themes that dominated the season. The finale featured the death of Laurie, the drug boss who commits suicide when faced with arrest, and most significantly, Rue's fentanyl-related overdose, which occurs 45 minutes into the episode.Character Arcs and Narrative ShiftsRue's death marks a pivotal moment in the finale, as the show loses its lead and narrator unexpectedly. In her absence, Ali (Colman Domingo), Rue's sponsor and mentor, becomes the voice of the final act. This shift is particularly jarring given that Ali had previously been a side character, while Jules— who shared the most with Rue—is barely acknowledged. Similarly, Cassie, whose storyline dominated much of the season, is relegated to a minor role. This narrative choice highlights the central problem with Euphoria's final season: its uncertainty about what kind of show it wanted to be.Gangster Elements and Moral AmbiguityThe finale centers on a turf war between drug bosses Laurie and Alamo, making the series feel more like a gangster movie than a character-driven drama. This shift is particularly evident in the Tarantino-style shootouts and the showdown at Alamo's strip club, where Ali arrives dressed in a military uniform to avenge Rue's death. While these scenes work individually, together they create a jarring narrative experience that feels like being told a story by an intoxicated person who keeps missing key details and jumping between dramatic moments.Religious Imagery and Societal CommentaryThe motif of religion in the finale is unexpected for a show that has focused on young people who have abandoned traditional value systems. However, this religious imagery may be intentional. In a poignant monologue, Ali states that "everyone" is complicit in Rue's fentanyl overdose, from the government to the cartels, the corrupt cops, and the politicians. This parallel extends to the online extremes seen in Cassie and Maddy's OnlyFans activities, suggesting a commentary on our collective addiction to outrage and extreme content in the digital age.The Cultural Reflection of EuphoriaBeyond the distracting shootouts and drug cartel wars, season three of Euphoria was strongest when it reflected the increasingly nihilistic world young people consume online, where they're being raised to believe they must be either the hunter or the prey. The show's ending, with the American flag rippling in the wind, echoes Jia Tolentino's argument in "Trick Mirror" that scamming is becoming central to American life. This is evident in Alamo's strip club, where men treat women as disposable sex toys, and in Cassie's plan to turn her former marital home into a #content house for OnlyFans performers.The Legacy of a Confused FinaleEuphoria's finale may not have been a lesson on morality, but rather a study in the hypocrisy of our media-saturated society. The show's creator, Sam Levinson, was at his best when combining cinematography with an examination of how algorithms groom young people into extreme behaviors. However, the finale's focus on gangster elements and its jarring narrative shifts left viewers with more questions than answers. As the series concludes, it serves as both a reflection of our current cultural moment and a cautionary tale about the dangers of a society obsessed with shock value and extreme content.