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The Billionaire's Challenge to Women's FootballIt has been a bad week for Michele Kang, the billionaire women's football investor. On Wednesday the Uefa director of women's football, Nadine Kessler, was firm on the enforcement of rules prohibiting clubs with the same owner from playing each other in European competitions, dealing a blow to Kang, who has ambitions of taking London City Lionesses into Europe's premier competition, but also owns the tournament's most decorated side, OL Lyonnes.Then, across the weekend, Kang teams suffered two continental final defeats, with Lyonnes losing 4-0 to Barcelona in the Champions League final before her US outfit, Washington Spirit, fell short in the Concacaf W Champions Cup with a 5-3 reverse to the Mexican side Club América.Barcelona's Talent Pipeline vs. Financial MuscleSpeaking to the Catalan TV channel Esport3 in Oslo on Saturday evening, the Barcelona goalkeeper Cata Coll made some pointed remarks about money in football after their emphatic victory, and her words went viral. "There has been criticism but we have shown the team we are," she said. "Money isn't everything. We are privileged to have La Masia and all the girls that have come up to the first team: Aïcha Cámara, Carla [Julià Martínez], [Martine] Fenger, [Clara] Serrajordi, all of them. They are incredible. It says everything and that's why I say it."Many have assumed it was a jab at Kang and the use of her wealth to pursue glory in women's football, with Barcelona's talent pipeline apparently delivering an antidote to such an approach. There have been frustrations that Kang's teams have been sniffing at Barcelona's door in recent years, poaching the head coach Jonatan Giráldez, who led Barça to their second and third European titles, first planting him in post at Washington Spirit before switching him this season to Lyonnes, another of her Kynisca Sports International multi-club ownership group.The Financial Distortion in Women's FootballGiráldez isn't the only Barcelona employee to have been recruited by the big-spending Kang. The midfielder Ingrid Engen joined Lyonnes last summer and the defender Jana Fernández was acquired by London City from the Catalan club. Meanwhile, talk of potential rogue bids for Aitana Bonmatí have circulated in past seasons, while London City are believed to have made Alexia Putellas, soon to be out-of-contract, a large offer to play in the WSL.Clubs are seemingly irritated with Kang's spending because to entice superstars to fledgling projects she is offering fees and wages that are distorting the market, driving it beyond what many view as sustainable growth. Except, given the opportunity, every club would probably do it. Yes, huge men's clubs could do the same, given the large sums at their disposal, but often choose not to in the name of sustainability and gradual growth.Barcelona's Own Financial ChallengesHowever, while the constantly emerging talent from La Masia is both laudable and enviable, Barcelona are not a model women's football club, or a salve to the model being championed by Kang.Kang is one of many to have exploited the strict financial rules of La Liga, with the money trouble experienced by the men's side recently affecting every section of the club, from the women's team to the youth academy and basketball, handball and futsal teams. To lower the wage bill, players have been allowed to leave that may have been kept under different circumstances.The team that have powered Barça to four European titles contains several key players at the end of their contracts. Alongside Putellas, the quartet of Mapi León, Marta Torrejón, Salma Paralluelo and Caroline Graham Hansen are nearing the end of their deals. At some stage Barça will need to undergo their next evolution, but to what extent that is done on their terms, or forced by financial pressure, remains to be seen.The Future of Investment Models in Women's FootballSaturday's Champions League final was my eighth in nine years – the Covid-19 pandemic prevented me from attending the 2020 final between Lyon (now Lyonnes) and Wolfsburg in San Sebastián. The game has come a long way since my first, in Kyiv in 2018, when the host city was the same as the one for the men's Champions League final and the women's final cowered in its shadow.In Oslo the huge numbers pouring into Uefa's fan park, that featured a line of mini-pitches where girls' teams played all day, reflected the impact the final can now have on a city. Women's football has also changed a lot, but in some ways it is very similar. In 2018 Lyon lifted their fifth of what has become eight European titles, the efforts of the former club owner, men's and women's, Jean-Michel Aulas, repeatedly delivering for the French team. Aulas committed more resources to the women's team than most other European clubs and Kang is now doing the same sort of thing, but more aggressively, in a world where many of the top women's clubs are increasing investment.The problem is, there is no alternative model put forward by any of the biggest clubs. Each one walks the same path, in slightly different ways, perhaps getting annoyed at how others have gone the same route. Most men's Premier League clubs do not want an alternative funding model – because it might show fans there is another way of doing things. As it stands, those owners can take money out of clubs to boost their personal wealth.So, yes, Coll is right, but behaving like Barcelona are the morally superior club is misleading.

The Historical Detective's QuestIn the spring of 2011, author Raf Nicholson embarked on a PhD journey to document the history of women's cricket, only to find a startling lack of resources at the MCC library at Lord's. The women's cricket section contained merely three books, including Rachael Heyhoe Flint's 1978 autobiography. This discovery sparked a decade-long mission to uncover the hidden history of women's cricket, culminating in his book 'The Women in Whites: A History of Women's Cricket in England' published in June 2026.The Lancashire Cowshed TreasureThe breakthrough came when Nicholson was directed to the Women's Cricket Association archive, stored in a former cowshed in a tiny hamlet eight miles east of Blackpool. There, amidst garden furniture and farming equipment, he discovered historical treasures including minute books dating back to 1926 when the WCA was formed, scrapbooks, letters, tour diaries, and newspaper cuttings. Spending two weeks in the summer, Nicholson made daily six-mile round trips from a nearby B&B; to meticulously document these invaluable materials.Pioneers of the Women's GameThrough his research, Nicholson brought to light key figures in women's cricket history. Betty Archdale, captain of the 1934-35 Australian tour, earned the nickname 'Hitler' for her distinctive leadership style. Myrtle Maclagan, daughter of an army officer, demonstrated exceptional cricket prowess with seven for 10 in the first women's Test and the first Test hundred in women's cricket. Marjorie Pollard, the WCA founder, maintained strict dress codes that required women to play international cricket in skirts until 1997, believing 'trousers are beyond the pale'.Overcoming Financial and Social BarriersResearch revealed the constant financial struggles faced by the WCA and women's cricket players. England batter Chris Watmough described writing hundreds of letters begging for financial support for the 1968-69 tour to Australia and New Zealand, which resulted in sponsorship from lingerie brand Berlei. Coach Ruth Prideaux had so little money for the 1993 World Cup that players slept on blow-up mattresses in her living room and trained by running along Eastbourne beach. Norma Izard famously borrowed a wok from MCC kitchens to burn a miniature bat, creating the first Women's Ashes trophy in 1998.Preserving a LegacyMany of the pioneering women Nicholson researched and interviewed have since passed away, but their stories live on through his book. The research journey also led to the MCC acquiring the complete WCA archive in 2017, moving the historical materials from the Lancashire farm to Lord's. This collection now serves as a valuable resource for future researchers, ensuring that the rich history of women's cricket is preserved and accessible for generations to come.

After a disappointing Ashes campaign, England’s head coach Brendon McCullum publicly acknowledged that the team’s inability to manage high‑pressure moments cost them crucial matches. In a candid interview, he outlined a four‑point plan that targets mental resilience, cultural standards, squad selection and his own workload, aiming to steer England back to competitiveness for the next Test series. McCullum’s Admission of Pressure Mis‑management McCullum said he had “thought some of our guys were more ready for the pressure that was coming in Australia than they actually were.” He linked the recurring “stumbling” in decisive moments to a coaching shortfall rather than preparation, stressing that his philosophy of “taking pressure away” had not landed uniformly across the squad. The coach now insists on “drilled‑down tactics” and clearer on‑field directives to give players “absolute clarity in those pressure moments.” Team Selection and Squad Updates Ahead of the New Zealand Series Jacob Bethell is expected to recover from a finger injury in time for the first Test. Opener Emilio Gay is slated for a debut. Spinner Shoaib Bashir is likely to be preferred over Rehan Ahmed. Seam attack to feature Josh Tongue, Gus Atkinson and Ollie Robinson. Potential reshuffle: Jamie Smith could move to No 6 with Ben Stokes shifting down the order. Implications for England’s Ashes Rebuilding Strategy The coach’s focus on cultural discipline—“a firm grip” on player behaviour after a “winter marked by embarrassing alcohol‑fuelled episodes”—signals a shift from purely technical tweaks to holistic team management. By establishing clear behavioural baselines, McCullum hopes to restore public confidence and create an environment where tactical preparation translates into on‑field execution. Outlook: Can England Convert Reflections into Ashes Success? With the next Test series against New Zealand set to start the summer, McCullum’s four‑point agenda will be tested. If the squad can internalise the pressure‑handling drills and adhere to the reinforced cultural standards, England could see a “second great uplift” and become a more resilient opponent in future Ashes contests. However, the coach’s own limited time in England—arriving only a week before the series—adds uncertainty to how quickly these changes can take root.

The Legendary Singer's Reflections Barry Manilow, the iconic singer behind hits like 'Copacabana' and 'Can't Smile Without You,' recently opened up about his life, career, and fans in a candid interview. As he approaches his 82nd birthday, Manilow shares his thoughts on love, coming out, and the changing landscape of the music industry. Fans and Adoration Manilow reminisced about his early days as a performer, recalling the enthusiastic fans who would shower him with gifts, including lingerie. 'The knickers that get thrown are bigger now!' he joked, highlighting the evolution of his fanbase over the years. Love and Relationships The singer also spoke about his experiences with love and relationships, including his journey as a gay man in the public eye. Manilow's openness about his personal life has endeared him to fans and helped pave the way for future generations of LGBTQ+ artists. A Life of Music and Love As Barry Manilow celebrates his 82nd birthday, his legacy as a singer, songwriter, and performer continues to inspire new fans. With a career spanning decades, Manilow's music remains a staple of popular culture, and his commitment to living authentically has made him a beloved figure in the entertainment industry.

The Lead007 First Light successfully revitalizes the James Bond video game franchise after years of absence, offering fans an immersive experience that captures both the action and sophistication of the iconic spy. Developer IO Interactive demonstrates their passion for the Bond universe through meticulous attention to detail and creative gameplay mechanics that honor the franchise's legacy.Gameplay Mechanics and DesignGiven how open-ended Hitman is, it's surprising how well IO has taken to linear storytelling. There are still moments of the "social stealth" that defines the studio's other games, but it's been repurposed for cinematic forward thrust, and blended together with plenty of action. It seems lazy to pigeonhole First Light as Hitman meets Uncharted, but when you see Bond leap on to a cliff edge and scurry along rocky handholds, your mind can't help but go there.You are often playing through moments that would be cutscenes in another game. Sometimes that's as simple as a dramatic approach to a level; driving round a bend to reveal a sprawling Slovakian castle, say. More ambitiously, one whole chapter is given over to a glorified training montage that whips you back and forth between getaway driving, stealth and gunplay, all while charting thawing relations between our fledgling 00 candidates. This is on-rails storytelling done right.Character Development and StorytellingWe join young Bond in his pre-00 days, as a petulant, belligerent rule-breaking trainee. Actor Patrick Gibson begins as a cookie-cutter insubordinate, but warms to the role once he's bouncing off M (herself a green leader looking to make her mark), and an enjoyably urbane Q who drops the frustrated quartermaster routine and introduces Bond to the wonders of vinyl. A scene where he teaches our agent to tie a bow tie is a perfect bit of prequelcraft: arriving at an iconic look through a lovely character touch.In contrast to previous Bond games, First Light understands that action is only a part of the Bond fantasy. He's as much schmoozer as bruiser, and there's plenty of the former here, with socialising setpieces at a chess tournament or swanky product launch. The staging and atmosphere of these rooms is exemplary, but the work mostly boils down to eavesdropping on guests to discover a keycard's location, before shooting its keeper with a toxic dart.Technical Execution and VisualsAs Bond himself is learning the ropes, it sometimes feels as if the developers are feeling their way towards something. Guns are enjoyably punchy, but scripted fights always emphasise explosive theatrics over strategy. Gas tanks erupt, walkways tumble, cranes collapse: you enter fights looking for the red barrel that will trigger a chain of collateral damage. Fail to quell numbers this way and you're quickly overwhelmed.Fist fights are more enjoyable – not because they are any more sophisticated, but because of the commitment of their virtual stuntmen. Bond is a barroom brawler, barging bodies into clattering bookshelves and battering enemies with mugs and keyboards lying around. In the same way that waist-high cover always alerts you to an incoming fight in Gears of War, you learn to eye crockery or wine bottles with suspicion here. If it's not stuck down, you'll be smashing it into a mercenary's face within the next two minutes.Fists and guns are what happen when sneaking goes wrong. On this front, IO finds a punchy take on its classic lurking. A hacking watch introduces some Home Alone hijinks as you lure guards towards misbehaving photocopiers, before electrocuting the device with a laser beam. Gadgets let you run circles around enemies – though you have to accept some silliness as you refuel those toys with batteries stolen from TV remotes, or globs of hand sanitiser. It's hard to picture Daniel Craig scavenging for Carex.Legacy and Future of Bond GamesOn a visit to a Mauritanian market and a luxury hotel getaway, however, there is space to roam, and you're reminded how few developers can tap into that aspirational tourist fantasy. Plenty of games have let us be a gun-toting version of Bond, but this is the first opportunity we've had to be a Bond relaxing beside a glittering infinity pool in Vietnam, or a Bond trying to get one over on a shell game hustler. Games are now much more capable of taking us to specific places than they were in the time of GoldenEye on the N64.It's that full Bond immersion that 007 First Light will ultimately be remembered for, more so than the odd wonky setpiece scene. I have no doubt that this was made by excitable Bond geeks throwing "what if" moments at a whiteboard. What if you got to explore Q Lab watching underlings test malfunctioning prototypes? What if you were tied to a torturer's table and had to talk your way out? What if you found yourself at 15,000ft with no parachute? And what if you had access to John Barry's classic scores and could deploy a staggering needle drop out of nowhere?Very few fans get to play in the sandbox of their obsession like IO has here. As far as Bond video games go, nobody has done it better.

The Guardian’s latest review of Beetlejuice: The Musical notes that the production has turned Tim Burton’s cult‑film into a Halloween‑like, shock‑jock musical extravaganza now playing at the Prince Edward Theatre until 17 April. The show mixes grotesque humor, topical references and high‑octane staging, delivering a wild but uneven theatrical experience.Beetlejuice Musical Reanimates Tim Burton’s Cult Classic on the West EndOriginally staged on Broadway in 2019, the London version abandons the film’s “less‑is‑more” restraint. The titular character, played by David Fynn, bursts onto the stage with a self‑aware ballad, immediately setting a tone of anarchic satire. The production leans heavily into contemporary jokes—hip‑ster vaping, six‑seven slang, and even a jab at Andrew Lloyd Webber—while preserving the film’s macabre spirit.Creative Team’s Off‑kilter Vision Drives the Show’s AestheticDirector Alex Timbers orchestrates a chaotic visual palette: Kenneth Posner’s lighting creates an uncanny glow, Peter Nigrini supplies trippy projections, and set designer David Korins transforms the theatre into a haunted house complete with a sandworm that slithers through the auditorium. Costume designer William Ivey Long delivers “toxic yet sparkly” outfits, from Miss Argentina’s glittering ensemble to Lydia Deetz’s spidery black lace. The special‑effects team—Jeremy Chernick, Michael Weber and puppeteer Michael Curry—adds a layer of tactile wonder, most memorably a roast pig that stands upright during a possession scene set to “Day‑O.”Critical Reception Highlights Strengths and WeaknessesThe review praises standout performances: Hannah Nordberg brings “drop‑dead energy” to Lydia, while David Hunter and Chelsea Halfpenny convincingly portray the newly deceased Maitlands. However, the script’s rapid swing between the Netherworld and the living world can feel “tiresome,” and the musical numbers, though varied, are described as “oddly unmemorable.” The show’s relentless gag‑fest is likened to a “Netflix megastar stand‑up desperate to cause outrage,” suggesting that the novelty may wear thin over a full run.What Lies Ahead for Beetlejuice on the London StageDespite its unevenness, the production’s bold visual identity and strong cast give it a solid footing in the competitive West End market. If the show can harness its cult‑film fanbase and attract audiences seeking a high‑energy, Halloween‑style experience, it may enjoy a sustained run beyond the current booking. Conversely, word‑of‑mouth about the “scattershot dialogue” could limit its appeal to repeat‑viewers, making the next few weeks critical for box‑office momentum.

A Subtle, Anti-Musical Triumph in the Scottish Highlands Guardian's latest review praises Once for its stripped-down, 'anti-musical' approach that favors intimacy over spectacle, delivering a slick romance that sidesteps traditional showstoppers. John Tiffany's Minimalist Revival at Pitlochry Festival Theatre Directed by John Tiffany and designed by Bob Crowley, the production returns to its original creative team, featuring actor-musicians who 'muck in without fanfare'. The set of scuffed mirrors and wooden paneling creates a bar-room ambience, while choreography by Steven Hoggett leans on physical-theatre angularity. Box-Office Snapshot and Scheduling Venue: Pitlochry Festival Theatre Run: until 27 June 2026 Original Broadway debut: 2012 West End transfer: 2013 Why 'Once' Challenges Conventional Musical Expectations Music by Glen Hansard and Markéta Irglová is arranged by Martin Lowe, emphasizing rhythmic complexity over bombast. The narrative centers on a Dublin busker (Dylan Wood) and a Czech visitor (Lydia White), offering a low-stakes, emotionally true ending. Absence of typical 'high-kicking' numbers positions the show as an 'autumnal' opening for a summer season. Outlook: Minimalist Musicals Gaining Ground in Regional Theatres With its economical production values and focus on authentic storytelling, Once may inspire other regional venues to program similar 'anti-musicals', expanding the genre beyond Broadway-style extravagance.

Early Reading Memories Virginia Evans shares her earliest reading memory, reading either 'The Velveteen Rabbit' by Margery Williams or poems from 'Where the Sidewalk Ends' by Shel Silverstein with her sister. Favorite Books Growing Up Evans loved mysteries and fantasy worlds, reading many Nancy Drew books, 'The Boxcar Children' by Gertrude Chandler Warner, and 'The Wind in the Willows'. She enjoyed books about things that can't exist, calling it escapism. The Book That Changed Her as a Teenager At 15, Evans read John Steinbeck's 'The Grapes of Wrath', which gave her a new understanding of what fiction can do and how words can portray complex living. The Writer Who Changed Her Mind Evans praises Joan Didion, saying every time she reads Didion's work, she is changed in some way, seeing the world, people, and politics differently. The Book That Made Her Want to Be a Writer In college, Evans read Jhumpa Lahiri's 'Interpreter of Maladies', which inspired her to write, making her think: 'I have to do this, I can do this, I will do this'. The Author She Came Back To Evans tried Jane Austen's 'Pride and Prejudice' too young, but when she came back to it in her late 20s, she enjoyed it tremendously. Books She Rereads Daphne du Maurier's 'Rebecca' Steinbeck's 'East of Eden' The Book She Could Never Read Again Evans devoured the Millennium series by Stieg Larsson but was too disturbed to read it again. The Book She Discovered Later in Life Evans didn't read 'Little Women' by Louisa May Alcott until her adult life, relating to the mother character and identifying with Jo's struggles as an author. Current and Comfort Reads Currently reading: 'While I Was Gone' by Sue Miller Comfort reads: 'The Uncommon Reader' by Alan Bennett, 'Beautiful Ruins' by Jess Walter, 'I Capture the Castle' by Dodie Smith

Translated Fiction Review Roundup A collection of recent translated fiction has been reviewed, showcasing the diversity and complexity of global literature. The reviews include: 'Sisters in Yellow' by Mieko Kawakami Sisters in Yellow by Mieko Kawakami, translated by Laurel Taylor and Hitomi Yoshio (Picador, £16.99) Kawakami’s latest opens with a bang, as narrator Hana learns that her old friend Kimiko has been charged with abduction. This MacGuffin takes us to their friendship in late-1990s Tokyo, when teen Hana and the older woman open a bar called Lemon: “Yellow attracts money.” But it’s a turbulent ride and soon Hana is in a world of organised crime. “The world is crazy. I feel like I’m living in a manga.” She’s not the only one, and you need an appetite for Kawakami’s style, which prefers to explore rather than explain – people come and go, buildings burn down, cancer is diagnosed, almost at random – but the relentless rush means there’s no time to get bored. At its best – as in a scene where Hana’s unreliable mother wants to borrow 2m yen for investment in lingerie that helps “your spine and organs move back to where they’re supposed to be” – this is a story both absurd and horrifying. 'All Flesh' by Ananda Devi All Flesh by Ananda Devi, translated by Jeffrey Zuckerman (Pushkin, £12.99) “Forgive me for starting this story with bodily, unpalatable origins.” You may as well – it’s all like that. In an unnamed European country, a schoolgirl “born with no urge but to consume” is getting bigger and bigger. “My gut, my ass, my thighs – they were all set on reaching the farthest corners of the world.” She blames her gluttony on the need to silence the voice of her dead twin sister, who was “absorbed into my tissues” in the womb. She hates school, where other kids mock her, as though her own self-disgust weren’t enough. After a blackly comic scene where she gets stuck in her bedroom doorframe like “an uncooperative cork”, she falls in love with the lonely carpenter who arrives to widen the door – but there are more twists to come. This powerful story is deeply physical, but driven by a compelling voice describing the torment of a girl who is “the psychical mirror of our time … immoderation made manifest”. 'The White Desert' by Luis López Carrasco The White Desert by Luis López Carrasco, translated by Rosalind Harvey (Granta, £14.99) This unpredictable book, comprising five linked stories about a Spanish couple, opens with the end of the world and gets weirder from there. A balloon debate about a post-apocalyptic scenario turns nasty when one participant pulls a knife, or thinks he does. A plane crash-lands on an island. “Can [we] go and get our luggage … Lots of people have, you know, soiled themselves.” What links the scenes is a sense of disconnection in our connected world, but the book subverts expectations: when a group of people celebrating New Year’s Eve go missing, it turns out to be a game of hide and seek. Footnotes peppered throughout suggest we’re viewing all this from the future (“Emirates was a well-known passenger airline …”), and discovering what the white desert is turns everything on its head. For readers who like to do their own joining up, and who want a playful, original take on our precarious lives, this is a thought-provoking treat. 'The Home of the Drowned' by Elin Anna Labba The Home of the Drowned by Elin Anna Labba, translated by Elizabeth Clark Wessel (Harvill, £16.99) “You could have waited, you bastards.” In 1942 Lapland, a village occupied by the semi-nomadic Sámi people is flooded by a new hydroelectric plant’s dam. One family watch as their goahti (peat-covered hut) disappears under the water. “It wasn’t the nicest goahti,” says Ánne. “No, but it was mine,” says her sister Rávdná. When Rávdná wants to build a house to replace it, the authorities refuse permission: the Sámi way of life has been rejected but alternatives are not permitted. A local newspaper half-heartedly offers to publicise their case, but “we receive a lot of angry letters if we use any foreign words”. When the government tells local people the new dam “will lift us out of poverty and injustice”, the words reek with irony. This intimate story of infuriating discrimination is, Labba says, based on real events in Sweden.