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Chelmsford City racecourse, located in Essex, has faced a significant setback with the loss of its licence to host racing fixtures. This development has cast a shadow over the venue's future, particularly after the lucrative Good Friday fixture, which offered £250k in prize money, was cancelled.The troubles for Chelmsford City are not new; the track has experienced a tumultuous history. A notable incident involved Justin Timberlake's concert on 4 July 2025, which led to chaotic scenes as 25,000 fans attempted to leave, resulting in lengthy queues and some spectators abandoning their cars to walk along the nearby A131 dual carriageway.The British Horseracing Authority (BHA) announced on Wednesday that it did not consider it appropriate to grant a racing licence to Golden Mile Racing Limited (GMRL), the company that had applied to take over the licence for the remainder of 2026. As a result, GMRL is not licensed to stage any fixtures, pending the outcome of any appeal.This decision affects not just the upcoming fixtures but also the scheduled meetings on 2 April, 3 April, and 9 April. The permanent loss of Chelmsford City, which hosted 38 meetings in 2025, would create a significant gap in the racing schedule, particularly for top yards preparing for the new summer Flat season.Chelmsford City's history dates back to 2008 when it finally staged its first meeting after years of planning. Despite its US-style oval mile track being praised for its fairness and galloping nature, and its ideal location near Newmarket, the venue has struggled with facilities issues.The track's operator, Great Leighs Estates Limited, went into administration in late March, adding to the uncertainty surrounding Chelmsford City's future.

Energy crises do more than lift household bills; they can reshape an entire economy. In the 1970s the United Kingdom responded to oil shortages by expanding North Sea extraction and becoming a net energy exporter. Today, with a 10 million‑barrel‑per‑day supply deficit and a fifth of global LNG trade under strain, that strategy no longer offers security.The UK is now acutely vulnerable to volatile gas prices. Inflation expectations are rising, markets anticipate higher interest rates, and borrowing costs have surged to levels not seen since the 2008 financial crisis. The ripple effect is already evident in food markets, where inflation hit 3.3 % in February and could climb sharply within three months.New data reveal that the hundreds of North Sea licences granted since 2010 have added merely 36 days of extra gas production. Major oil majors such as BP are re‑emphasising oil and gas to reassure investors, while Shell continues aggressive share‑buy‑backs. The reality is clear: fossil‑fuel giants cannot be the rescue plan.Gas should no longer set the price floor for electricity. As the grid leans more on wind and solar, gas must be treated as a backup resource, compensated with a fixed or regulated price rather than wholesale market volatility. Research from University College London and Common Wealth outlines a practical model for this approach.Beyond market reforms, households need a safety net. An essential energy guarantee—a capped, affordable band of consumption for every home—mirrors schemes adopted in Austria, the Netherlands and Poland after the 2022 crisis and would be more targeted than the current blanket price‑support guarantee.Similarly, a protected basket of staple foods, backed by long‑term procurement and direct support for domestic producers, could stabilise prices. France’s 2023 anti‑inflation shopping‑basket experiment offers a template, and the UK already supplies over 60 % of its own food, though it remains dependent on imports for fruits, vegetables, rice and fertilisers.The long‑term solution lies in renewable power. Record wind generation this year has already reduced gas‑fired output, while consumer interest in solar panels, batteries and heat pumps is soaring. A typical solar‑plus‑battery system can slash a household’s electricity bill to under £2 per month, and electric‑vehicle owners can save more than £1,000 annually on fuel costs.To unlock these savings, the government must back financing mechanisms such as zero‑interest loans, subscription‑style purchases for solar and heat‑pump kits, and leasing schemes for electric vehicles. On a larger scale, a dual‑interest‑rate policy—standard rates for the broader economy and preferential, low‑cost funding for clean‑energy projects—could mirror the green‑lending models already used by China’s central bank and the Bank of Japan.In short, the United Kingdom faces a decisive moment. The 1970s taught that energy shocks can remake a nation; the question now is whether the UK will seize this crisis to protect living standards and build a resilient, low‑carbon energy system for the decades ahead.

A drone attack on a fully loaded Kuwaiti crude oil tanker at Dubai Port sparked a fire that was later extinguished, authorities said. The Kuwait Petroleum Corporation (KPC) reported that the Al Salmi tanker was struck in an Iranian attack while anchored at the port in the United Arab Emirates, causing damage to the vessel and a fire on board.The incident is part of a string of assaults on merchant vessels by missiles or explosive air and sea drones in the Gulf and Strait of Hormuz since the United States and Israel's war on Iran began on February 28. The tanker was loaded with two million barrels of oil from Kuwait and Saudi Arabia, according to data from Lloyd's and TankerTrackers.Iran's foreign minister insisted that Tehran's attacks on the Gulf Arab states only target US forces, even after assaults have hit civilian targets throughout the region. The incident has raised concerns about a possible oil spill in surrounding waters, with Kuwaiti state news agency KUNA reporting that authorities warned of this risk.Multiple loud explosions were heard in Dubai, starting at around 6 or 7pm local time on Monday until about 1 or 2am on Tuesday, said Al Jazeera's Zein Basravi, reporting from Dubai. The attacks seem to be getting closer, louder, and one of them hit that oil tanker off the coast of the waters of Dubai.

Apple has launched its latest laptop, the MacBook Neo, which marks a significant departure from its traditional Mac lineup. The Neo is powered by an A18 Pro chip typically found in iPhones, offering a highly performant experience, particularly in everyday tasks.The MacBook Neo starts at £599 (€699/$599/A$899), making it an attractive option for those looking for a budget-friendly laptop without sacrificing performance. The laptop features a 13in LCD screen with a resolution of 2408x1506 and 219 ppi, 8GB of RAM, and storage options of 256GB or 512GB.Despite its lower price point, the Neo doesn't feel like a cut-price machine. The laptop has a high-quality aluminium body, sleek lines, and rounded corners, similar to the MacBook Air and Pro models. The keyboard and trackpad are also top-notch, with the trackpad being mechanical rather than haptic.The Neo's performance is impressive, handling complex edits to multiple large file photos in Affinity and Pixelmator Pro without breaking a sweat. It's also capable of light video editing, making it suitable for everyday tasks.The laptop's battery life is excellent, managing about 13 hours between charges for general browsing, note-taking, image editing, chat, and emails. The Neo also features a 1080p webcam, good mics, and decent speakers.However, there are some limitations compared to the more expensive MacBook Air, such as no wifi 7, no Thunderbolt, no 5K display support, and only 8GB of memory. Nevertheless, the MacBook Neo sets a new benchmark for budget-friendly laptops, making it an attractive option for students and those on a budget.

On 30 December 2023, Brooklyn‑based musician Wendy Eisenberg emerged from an all‑night rave in Bushwick feeling physically ill and mentally rattled. A spontaneous, anxiety‑driven walk that lasted the entire day became the catalyst for what Eisenberg later described as a personal “exorcism”.During the trek, an old friend suggested Eisenberg pick up a guitar, prompting the artist to return home and begin writing the material that would become their self‑titled album. Eisenberg recalled the intensity of Cat Power’s rapid‑fire creation of Moon Pix, noting that many of the new songs were drafted in a similar dream‑state over the following three to four months.Since the debut Time Machine, Eisenberg has built a reputation as a multi‑instrumentalist who oscillates between confessional folk and avant‑garde improvisation. Collaborator Bill Orcutt praised their guitar work as “musical MSG”, capable of elevating any ensemble. Yet the forthcoming record deliberately steps back from experimental excess, drawing instead on the playful melodies and graceful harmonies of 70s folk‑rock while retaining the ambition of earlier projects.The album’s orchestration, co‑produced with partner Mari Rubio (aka More Eaze), emphasizes beauty through complexity. Eisenberg explains that the “harmonic vocabulary reflects a newfound sense of comfort and happiness”, aiming for an “earned, adult sound of happiness” that mirrors the messy process of self‑acceptance.At the heart of the record lies a deeply personal narrative. A breakup that shattered Eisenberg’s sense of identity forced them to confront both heartbreak and the pressure to conform to “straight” norms. The experience sparked a decisive embrace of their queer, non‑binary, lesbian identity, a transformation Eisenberg describes as a “revelatory moment”.Music has long served as Eisenberg’s refuge; their father’s lullabies and an early fascination with Joni Mitchell, Gram Parsons, and the Everly Brothers laid the groundwork for a lifelong devotion to songcraft. After years of intensive study at the New England Conservatory and experimental collaborations, Eisenberg’s new work channels those influences into a more accessible, yet still richly textured, sound.Beyond the music, the album’s backstory includes an unexpected romance sparked by the British quiz show Only Connect. After meeting Rubio in August 2023, the pair bonded over the show on Valentine’s Day, leading to their first kiss and, months later, cohabitation. Eisenberg credits this partnership with providing the emotional stability needed to complete the album.Critics have already hailed the record as “one of the best things you will hear this year”, noting its blend of 70s singer‑songwriter sensibility with modern lyrical honesty. Tracks such as “Meaning Business” confront PTSD and past trauma, while others explore the joy of self‑realization.The album will be released on Joyful Noise on 3 April 2024, offering listeners a window into Eisenberg’s journey from “exorcism” to artistic renewal, and solidifying their place as a compelling voice in contemporary indie folk.

Jurors in two separate U.S. courts delivered historic rulings that, for the first time, hold major social‑media platforms financially accountable for designs that allegedly harm young users. In New Mexico, a jury ordered Meta to pay $375 million for claims that its products contributed to child sexual exploitation and other harms. The following day, a California jury found both Meta and YouTube liable, imposing $6 million in damages for deliberately engineering addictive experiences. The verdicts arrive amid a wave of lawsuits filed by more than 2,000 plaintiffs—including families, school districts, and state attorneys general—targeting Meta, YouTube, TikTok and Snap. While both companies have announced intentions to appeal, the judgments signal a shift from public criticism to concrete legal exposure. During the trials, Meta’s defense repeatedly cited the American Psychiatric Association’s position that “social media addiction is not a thing” in the DSM‑5‑TR. The APA countered that the absence of a formal diagnosis does not negate the phenomenon’s existence, emphasizing growing research on the mental‑health impacts of compulsive platform use. Internal communications presented as evidence painted a starkly different picture. A 2020 Meta email exchange described Instagram as “a drug” and likened the company’s role to that of “pushers,” while another message warned that targeting 11‑year‑olds resembled tactics once used by tobacco firms. Similar concerns emerged from YouTube, where an internal document explicitly stated the goal was “not viewership, it’s viewer addiction.” TikTok’s own research echoed these findings, concluding that users could become addicted in under 35 minutes and that compulsive usage correlates with a range of negative mental‑health outcomes. Moody’s, a risk‑assessment firm, warned that the dual verdicts establish a precedent whereby design‑driven user harm can trigger liability. In an analysis, analysts Adam Grossman and Taro Ramberg noted that insurers should focus on the emerging “design‑centered liability theory,” which links engagement‑driven features—such as infinite scrolling and autoplay—to compensable injuries. They cautioned that the current cases are merely the first data points in a broader legal trend. Beyond social media, the same design principles appear in video games, sports‑betting platforms, AI chatbots and online retail. Moody’s tracker lists over 1,100 pending cases in Los Angeles alone and estimates roughly 4,000 lawsuits targeting 166 U.S. companies for allegedly addictive software design. Both Meta and YouTube maintain that they disagree with the verdicts. YouTube’s spokesperson called the California decision a “misunderstanding” of the platform’s nature, while Meta emphasized the complexity of teen mental health and the non‑unanimous nature of the California jury’s finding. Nevertheless, the courts have signaled that even without a settled clinical definition of “social‑media addiction,” companies can be held responsible for the foreseeable harms of their product designs.

The world of unofficial World Cup songs has come a long way since 'Vindaloo' by Fat Les became a surprise hit in 1998. The song, which was co-written by Keith Allen and Guy Pratt, was a quirky tribute to the England team's participation in the tournament. Despite its lack of musical sophistication, 'Vindaloo' captured the hearts of football fans and became a cultural phenomenon.Since then, unofficial World Cup songs have become a staple of the tournament. Some have been created organically by fans, while others have been produced by celebrities and music executives looking to capitalize on the excitement. However, not all of these songs have been well-received. The article cites Will Grigg's song as a notable exception, while also mentioning Freddie Flintoff's cover of Rasputin as a low point.The current trend in unofficial World Cup songs is the use of AI-generated music. One song in particular, 'Imbattables' by French artist Crystalo, has gained millions of streams on YouTube. While it may be catchy, the song has been criticized for not promoting actual French musicians.In contrast, JJ Bull's unofficial anthem for the Scottish team, The Tartan Army, has been praised for its substance and musical quality. The article concludes that while AI-generated songs may be the future of unofficial World Cup music, there is still room for creativity and authenticity in the tradition.

Ethiopian women's rights activists are facing a rising tide of digital violence, including online threats, doxing, and deepfake abuse, forcing some to flee the country. Yordanos Bezabih, an Ethiopian women's rights activist, had faced online threats for years, including acid attacks, gang-rape, and death. However, in 2025, the threats became more menacing, with an anonymous Telegram group organizing an effort to track down her location.The group shared deepfakes of her – nude images and videos. A stranger started filming her in the streets, calling her by her social media handle. Thieves broke into her house and stole her laptop. Soon after, her Telegram account was hacked, and her private photos and messages were circulated on social media. The perpetrators later circulated her address, demanding she be found and “executed”.In August, Bezabih left Ethiopia on a fellowship for human rights defenders. She has not returned since; it is too dangerous. “I have been forced to remain outside the country in order to protect my safety and continue my work,” she says.Bezabih is one of a small but growing number of feminists and women’s rights defenders who have left Ethiopia over the past two years, as online violence has become all-pervasive and uncontrolled. Three years after Facebook was accused of allowing hate speech to spread unchecked in Ethiopia, amid genocidal violence against ethnic Tigrayans during the civil war – claims rejected by Meta – social media inciters in Ethiopia have found a new target: women online.Research by the Centre for Information Resilience (CIR) bears out the scale of online gendered abuse in Ethiopia. Its 2024 report, Silence, Shamed and Threatened, found that technology-facilitated gender-based violence (TFGBV) has become “normalized to the point of invisibility” and is a daily occurrence with severe offline impacts, including psychological harm, physical assault, and arrests.Activists say the government and social media platforms are not doing enough to protect them. “I don’t think the government is much concerned about online harassment. It is barely a government agenda,” says Befekadu Hailu, an Ethiopian civil society leader and former director of Ethiopia’s Centre for the Advancement of Rights and Democracy.Bezabih says the online platforms that enable the violence also do little about it. “Even though they claim to have all these community guidelines, tech platforms never respond to reports, claims or even appeals.”

The Israeli Knesset approved a bill on Monday that makes the death penalty the standard sentence for Palestinians found guilty of terrorism‑related murders in the occupied West Bank, while excluding Jewish extremists from the same punishment. Volker Türk, the UN high commissioner for human rights, warned that the law is "patently inconsistent" with Israel’s obligations under international law and could constitute a war crime when applied to residents of the occupied territories. Türk stressed that the proposal raises “serious concerns about due‑process violations” and is “deeply discriminatory,” urging the Israeli government to repeal it without delay. He added that its selective application would amount to “an especially egregious breach of international law.” European officials have joined the criticism. An EU spokesperson described the bill as “a clear step backwards” and highlighted its discriminatory nature. Spanish Prime Minister Pedro Sánchez called the measure “asymmetric” and likened it to a move toward apartheid, while Germany’s foreign ministry said it could not endorse a law that “rejects the fundamental principle of opposing the death penalty.” The legislation stipulates that anyone sentenced to death will be held in a separate facility, barred from family visits, and allowed legal counsel only via video link. Executions are to be carried out within 90 days of sentencing, with hanging identified as the method of execution. The bill also removes the requirement for a prosecutor’s request and permits a simple majority vote in military courts to impose the death sentence. Israel has applied capital punishment only twice since its establishment, most recently in 1962 when Adolf Eichmann was executed. The bill’s strongest political backer, National Security Minister Itamar Ben‑Gvir, has publicly displayed a noose‑shaped lapel pin, symbolising the proposed executions. Human‑rights organisations have warned that the law entrenches a two‑tiered justice system. Adam Coogle of Human Rights Watch said the measure “entrenches discrimination and a two‑tiered system of justice, both hallmarks of apartheid,” while Oxfam’s Shaista Aziz warned that it “effectively ensures that the death penalty will apply only to Palestinians, even as the occupation sees a surge in violence against them.” Within Israel, the bill faces legal opposition. Several human‑rights groups and three Knesset members have filed petitions with the Supreme Court, arguing that the law creates parallel legal tracks that target Palestinians and should be struck down on constitutional grounds.