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West Bromwich Albion is facing a potential points deduction that could lead to their relegation from the Championship after the season has ended. The club is contesting charges of breaching the English Football League's (EFL) profit and sustainability (P&S) rules, specifically an alleged breach of the £39m loss limit in the three-year period culminating in the 2024-25 season.The EFL's sanctioning guidelines state that any punishment for a P&S breach must be applied in the campaign after it took place. However, the rulebook does not provide a definitive cutoff point for the end of the season, creating uncertainty about when the punishment would be applied.West Brom's situation is complicated by their current relegation battle in the Championship. With four games remaining, they are two points clear of third-bottom Oxford United. A small points deduction could send them down to League One.The EFL has until the end of the season to conclude the case, but the exact timing is unclear. Possible dates include the final round of league games on May 2, the Championship playoff final on May 23, or even the publication of next season's fixtures on June 25.In a similar case, Derby County was fined £100,000 and later docked 21 points for P&S breaches and entering administration, resulting in relegation. West Brom insists it has complied with P&S rules despite recorded combined losses of £55.6m since 2022.The dispute centers on the treatment of interest payments on loans taken out during the sale process of the club. West Brom is determined to fight the charges, and any sporting sanction imposed would likely lead to an appeal with significant legal ramifications.

“You can be the thickest bloke and still think you know more about football than a woman,” declares Jo, a Newcastle supporter, in the opening section of the Away From Home: The Untold Stories of Women Football Fans exhibition. The line sets the tone for a showcase that confronts the stereotype that only men can truly understand the game.Curated by Professor Stacey Pope, a leading sociologist of women’s football, and Durham University’s David Wright, the exhibition occupies the Beacon of Light pop‑up beside Sunderland’s Stadium of Light. It chronicles the presence of women on the terraces of the North‑East since the 1950s, using archival footage, hand‑sewn silk scarves and newly commissioned soundscapes to recreate match‑day rituals.The display is anchored by 22 recorded interviews with Newcastle and Sunderland fans, complemented by a broader research base of 200 interviews conducted over two decades. Pope notes that while the last thirty years have seen a “feminisation of sports fandom,” true gender parity remains elusive.Recent data underscore the exhibition’s relevance. In a survey of 2,000 male fans, three‑quarters expressed overt or covert misogynistic attitudes toward women in football. Moreover, the anti‑racism charity Kick It Out reported that sexist incidents at matches have doubled from the start of the season to the end of February compared with the previous campaign.Beyond statistics, the exhibition explores structural barriers: stadium designs that prioritize male comfort, safety concerns on public transport, and societal expectations that push women out of the stands after marriage or motherhood. As Pope explains, “football is sexist, what do you expect?” – a reality the exhibit seeks to expose and challenge.Visitors can experience mixed‑media installations that blend personal anecdotes with broader themes of loss, renewal, and the collective euphoria of a match. One soundscape, for example, transforms complaints of cold, mud, and hunger into the roar of a crowd as the game begins, illustrating how football has resonated with women for generations.The exhibition runs until the end of the season and is also available online for a wider audience.

The National Gallery of Art's latest exhibition, 'Dear America: Artists Explore the American Experience', is a thought-provoking collection of over 100 works by 95 artists. This 'open letter to the nation' offers a multifaceted exploration of the American experience, delving into themes of land, community, and freedom.Upon entering the exhibition, visitors are immediately struck by the unconventional representations of iconic American symbols. The Statue of Liberty, for instance, is reimagined through the lens of South African photographer Zanele Muholi and a geometric screenprint by Roy Lichtenstein.The exhibition's curatorial approach is to create 'provocative conversations across centuries, disciplines and demographics.' E Carmen Ramos, the gallery's chief curatorial and conservation officer, notes that the show was 'years in the making' and showcases an 'embarrassment of riches' from the gallery's permanent collection of over 160,000 works.Structured around three core themes – land, community, and freedom – the exhibition presents a diverse array of works. These include Thomas Moran's idyllic watercolours of the American West juxtaposed with Thomas Hart Johnson's photographs of a landscape ravaged by coal mining and railroads. The exhibition also features poignant pieces such as Carrie Mae Weems's haunting silhouette and Gordon Parks's indelible 'American Gothic.'The show's second section, 'Community,' features Richard Avedon's massive 1976 commission 'The Family,' which comprises 69 stark, uniform portraits of the bicentennial era's political, media, and corporate elite. This is contrasted with John Wilson's tender sketches of his teenage children and their friends.The final act of the exhibition turns its lens to 'Freedom,' showcasing historical portraits of figures such as Frederick Douglass, Sojourner Truth, and George Washington, alongside powerful works by Kara Walker, Martha Rosler, and Faith Ringgold. As visitors exit, they are met with Robert Indiana's boldly coloured screenprint 'Liberty '76,' created for the 1976 bicentennial.Ramos reflects on the exhibition's significance, stating that it 'explores how artists in the United States have explored the American experience across different moments in time.' The exhibition will be on view in the National Gallery's West Building until 20 September.

Trump Media and Technology Group (TMTG), the parent company of the Truth Social platform, has formally withdrawn its defamation claim against The Guardian and two additional defendants. The suit had challenged a March 2023 Guardian report alleging that federal prosecutors were investigating $8 million in payments received by TMTG from entities with connections to Russian President Vladimir Putin. The dismissal was filed in the 12th Judicial Circuit Court in Sarasota County, Florida, on Friday. By withdrawing without prejudice, TMTG retains the option to re‑file the case at a future date. The Guardian’s original article said New York prosecutors opened a criminal inquiry into money wired to TMTG via the Caribbean by two parties that appeared to be partially controlled by an associate of a Putin ally. At the time, TMTG was preparing for a merger with Digital World Acquisition Corp (DWAC) that would have created a company valued at roughly $1.3 billion. Feeling vulnerable to accusations of receiving funds from a potentially hostile source, TMTG sued for libel, asserting that the Guardian’s statements were false and defamatory. In November, Judge Hunter W. Carroll dismissed the case against Guardian News and Media Ltd., Penske Media Corporation (owner of Variety), and former TMTG founder‑turned‑whistleblower Will Wilkerson, citing a failure to prove actual malice. Carroll, appointed by former Florida Governor Rick Scott, allowed TMTG to file an amended complaint, which the company did in January. A hearing was scheduled for the following Tuesday, but TMTG’s sudden withdrawal halted the proceedings. No reason was provided for the abrupt change. The Guardian has been contacted for comment. In April 2024, a lawyer for Trump sent The Guardian a letter calling its reporting “false” and a “hoax,” insisting that litigation would continue until the outlet retracted the story. Despite the legal tussle, there is no evidence that TMTG or its executives knowingly concealed the origin of the loans. No criminal charges have been brought against the company. Guardian News and Media responded, welcoming the voluntary dismissal and emphasizing that its reporting was based on meticulous fact‑checking, credible sources, and thorough documentation, while characterizing TMTG’s claims as meritless. The dismissal marks a rare retreat for Trump’s legal team, which has pursued an increasingly aggressive strategy against media outlets during his second presidential term, securing several high‑profile settlements with broadcasters such as ABC and CBS. Trump is currently pursuing a $15 billion defamation suit against The New York Times and a $10 billion claim against the BBC, alleging editorial manipulation of his speeches. Both cases have been described by the defendants as groundless and potentially chilling to press freedom. The Guardian’s investigation focused on two emergency loans TMTG received in December 2021 and February 2022, when the company faced a financial crisis after its merger with DWAC was delayed by SEC and FINRA investigations. Wire‑transfer records traced a $2 million payment through Paxum Bank, a Dominica‑registered institution, and a subsequent $6 million payment involving the ES Family Trust, whose trustee also served as a Paxum director. Federal prosecutors in the Southern District of New York examined Paxum Bank’s ownership, identifying a link to Anton Postolnikov, a relative of Aleksandr Smirnov, an associate of Putin.

A French court has fined Lafarge, a French cement maker, more than €1m (£870,000) and sentenced its former boss, Bruno Lafont, to six years in prison for paying protection money to Islamic State and other terror groups to maintain its business in war-torn Syria from 2013 to 2014.The ruling follows a 2022 case in the United States in which Lafarge pleaded guilty to conspiring to provide material support to US-designated “terrorist” organisations and agreed to pay a $778m fine (£580m). This was the first time a company had faced the charge.The Paris court found that Lafarge, which is now part of the Swiss conglomerate Holcim, paid nearly €5.6m via its subsidiary Lafarge Cement Syria (LCS) to terror groups and intermediaries to keep its plant operating in northern Syria.The company’s former chief executive, Bruno Lafont, was sentenced to six years in prison for financing terrorism, which a judge ordered him to start serving immediately. Lafont’s lawyer said he would appeal.The presiding judge, Isabelle Prevost-Desprez, said: “This method of financing terrorist organisations, and primarily IS, was essential in enabling the terrorist organisation to gain control of Syria’s natural resources, allowing it to finance terrorist acts within the region and those planned abroad, particularly in Europe.”Lafarge established a “genuine commercial partnership with IS”, she said, which added to the “extreme gravity of the offences”.Lafarge had finished building a $680m factory in Jalabiya in 2010, just before Syria’s civil war erupted in March the following year amid opposition to the brutal repression of anti-government protests by the then president, Bashar al-Assad.While other multinational companies left Syria in 2012, Lafarge evacuated only its expatriate employees and left its Syrian staff in place until September 2014, when IS seized control of the factory.In 2013 and 2014, LCS paid intermediaries to access raw materials from the Islamic State organisation and other groups and to allow free movement for the company’s trucks and employees. It paid groups including Islamic State and Syria’s then al-Qaida affiliate Jabhat al-Nusra.

Tanya Khovanova has long been a leading voice in the world of recreational mathematics, authoring a popular blog and running the Number Gossip site where enthusiasts can inquire about any number.She now debuts her first book, Mathematical Puzzles and Curiosities, co‑written with fellow puzzle‑enthusiasts Ivo David and Yogev Shpilman. Published by World Scientific, the volume offers fresh challenges and inventive twists on classic problems.To give readers a taste, Khovanova selected three puzzles for the Guardian column:1. Battleships – As a naval admiral you must choose between sending a single vessel with a success probability of P % or two vessels each with a P/2 % chance, where the mission succeeds if at least one ship does. Which strategy maximises the odds?2. The Two Oracles – You face two respondents, Randie, who answers randomly, and Rando, who randomly decides to tell the truth or lie before each answer. Is there a method to distinguish them?3. Bad Maths – A student computes 5548 − 5489 as 59, claiming the “548” cancels out. He then experiments with a subtraction of the form XXYZ − XYZW (distinct digits) and observes the result is XW. How many digits in the new expression match those in the original calculation?Solutions to the trio were later posted online (update), but readers were urged to avoid spoilers until the scheduled reveal.Khovanova also reminds fans that she has been curating puzzles for the Guardian every other Monday since 2015 and welcomes new submissions via email.

Only one team has ever overcome a 2-0 defeat at home to go through in the history of the Champions League, but a Barcelona player was involved in a notable exception: Marcus Rashford scored the winner as Manchester United knocked out PSG in the round of 16 in March 2019. However, Atlético Madrid have never lost in 20 knockout stage games at the Metropolitano and their former home at the Vicente Calderón.

On a recent weekday evening, a special bus tour whisked art lovers through over twelve galleries and museums that stayed open until midnight, offering a late‑night glimpse of the Abidjan Art Week programme.The after‑hours event, dubbed the Night of the Galleries, was first trialled in January 2024 alongside the Africa Cup of Nations – a tournament that Côte d’Ivoire both hosted and won – and has become a staple of the festival’s third edition, which ran from Tuesday to Sunday.Since its inception, the week has broadened its footprint, moving beyond the city centre to include venues such as the La Rotonde des Arts contemporary‑arts hub in the Plateau district and the Adama Toungara Museum of Contemporary Cultures (MuCAT) in the working‑class neighbourhood of Abobo.Local collectors are emerging in force. MuCAT has hosted the Africa Foto Fair each year since 2022, and the Marché des Arts du Spectacle d’Abidjan – the city’s answer to the Dakar Biennale – is set to launch its 14th edition later this month.A graffiti festival launched two years ago has transformed the perception of street art, with vibrant murals now adorning the façade of the La Pyramide building and several upscale hotels in Plateau.Organisers stress that the festival’s growth should be independent of external validation. This year’s roster featured artists from Cameroon, the Democratic Republic of the Congo and Mali, and the number of participating galleries more than doubled compared with previous editions.Founder Yacouba Konaté, who also directs La Rotonde des Arts, highlighted the festival’s commitment to accessibility, arguing that art should not be seen as an elite pastime.The opening tribute honoured Simone Guirandou‑N’Diaye, a pioneering Ivorian art historian whose legacy lives on through Galerie LouiSimone Guirandou, now run with her daughter Gazelle.Among the week’s highlights, MuCAT presented Murmures d’Archives, a quieter, archival‑focused exhibition that concluded with an artists’ workshop and a DJ set.In the upscale Cocody district, New York‑based artist Ouattara Watts staged a solo show at Galerie Cécile Fakhoury, drawing the Ivorian diaspora into dialogue with the local scene. Watts explained that his work aims to transcend borders, describing it as “a vision that goes beyond any map – it is the cosmos that I paint.”

Riki Lindhome's 'Dead Inside' is a refreshing and emotionally involving comedy that chronicles her journey to become a mother. The show is a beautifully judged hour of entertainment, tackling topics such as pregnancy loss, IVF, and surrogacy with humor and sensitivity.Lindhome's modesty and unassuming approach make the show feel less like a typical autobiographical performance. She signs off most of her songs with a demure 'that's it,' and the production values are similarly understated. The show features witty and bittersweet numbers, including a parody of Disney princesses and a song asking 'will you be my bio-dad?'The show also touches on awareness-raising dimensions, including the challenges of surrogacy and the importance of transparency in the process. Lindhome's performance is compelling and persuasive, engaging the audience's heart, head, and funny bone.'Dead Inside' is a must-see comedy that will leave you entertained and moved. It is currently running at Soho theatre, London until 18 April.