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Amazon disclosed on Tuesday that it will acquire satellite operator Globalstar for $11.57 billion, a strategic step to expand its fledgling Kuiper broadband system and directly confront Elon Musk’s Starlink network. The transaction grants Amazon immediate control of Globalstar’s low‑Earth‑orbit constellation of roughly two dozen satellites, bolstering a platform that currently competes with Starlink’s fleet of about 10,000 satellites in orbit. Under the agreement, Globalstar shareholders may elect to receive either $90 in cash per share or 0.3210 shares of Amazon common stock for each share they own. Amazon aims to launch about 3,200 Kuiper satellites by 2029, with roughly half required to be operational by the July 2026 regulatory deadline. The company already manages a network of more than 200 satellites and plans to roll out its satellite‑internet service later this year. In contrast, Starlink presently serves over 9 million customers worldwide. Louisiana‑based Globalstar, known for powering Apple’s “Emergency SOS” feature, operates the current constellation and expects to expand to 54 satellites under an Apple‑backed development program that includes a few backup units. Beyond voice and data, Globalstar provides asset‑tracking solutions to enterprise, government and consumer markets. Simultaneously, Apple—having invested roughly $1.5 billion in Globalstar—has signed an agreement with Amazon to continue supporting satellite‑based safety functions such as Emergency SOS and Find My for iPhone and Apple Watch users. The acquisition is slated to close in 2027, subject to regulatory approval and the achievement of specific satellite‑deployment milestones by Globalstar.

The International Monetary Fund has announced that the United Kingdom will grow 0.5 percentage points slower this year than it forecast in January, marking the steepest downgrade among the G7 economies. Against the backdrop of the escalating Iran war, the IMF warned that inflation is climbing toward 4% and that unemployment could hit its highest level in more than ten years, underscoring the widening economic strain on Britain. Labour Chancellor Rachel Reeves is set to attend the IMF and World Bank spring meetings in Washington, where she must navigate both the geopolitical fallout of a conflict not of the UK's making and a domestic fiscal squeeze. Even before the war, the UK entered the year with tepid growth, hampered by lingering tax uncertainties and a cost‑of‑living crisis that left households facing the highest inflation rates in the G7. IMF economic counsellor Pierre‑Olivier Gourinchas highlighted that the country's weak outlook is partly a “shadow effect” of its already sluggish growth, compounded by the war’s impact on global energy supplies—the biggest shock since the 1970s. The United Kingdom’s energy mix remains heavily dependent on gas, much of which is now imported at sharply higher market prices. As Gourinchas explained, higher gas costs are being passed through to wholesale energy prices, even though temporary household protections are in place. Reeves has signalled that her immediate priority at the IMF will be to advocate for de‑escalation of the Iran conflict. At the same time, she must contend with a public‑finance situation characterized by elevated debt and rising borrowing costs, limiting the government’s capacity to respond. Given the pressure on consumers and Labour’s lagging poll numbers ahead of the May local elections, the IMF expects the UK to roll out targeted emergency financial support in the short term. Looking further ahead, the fund urges Britain to insulate itself from future energy shocks by accelerating investment in renewable sources and fostering sustainable economic growth.

“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 head of the United Kingdom’s Royal Ballet and Opera publicly thanked Hollywood actor Timothée Chalamet for inadvertently driving a surge in ticket sales after his candid remarks about the art forms during a March interview promoting his upcoming film.Chalamet, whose family has ballet ties, quipped that he was relieved to work in cinema rather than “opera or ballet, where it’s like, ‘Hey, keep this thing alive, even though no one cares about this any more.’” The comment sparked swift backlash from fellow actors and cultural institutions, but also ignited a wave of public interest.Speaking to the Times, RBO chief Alex Beard described the reaction as “just fantastic” and highlighted the organisation’s measured response. “We chose not to issue a hoity‑to‑ity reply,” Beard said. “Instead we invited people to see what we’re doing – for example, the fact that the largest slice of our audience is aged 20‑30.”Beard revealed that a single Instagram post about the controversy generated 2.5 million engagements and 500,000 shares, translating into an immediate lift in ticket sales. “So cheers, Timmy!” he added, acknowledging the actor’s unintended promotional impact.Other cultural bodies quickly turned the spotlight into a marketing opportunity. The Seattle Opera launched a ticket discount for its production of Carmen using the code “TIMOTHEE,” directly leveraging the buzz.Chalamet’s director, Luca Guadagnino, defended the actor in an interview with Italy’s La Stampa, calling the public outcry “disproportionate.” Guadagnino argued that a single comment should not become a “planetary polemic” and urged unity across artistic disciplines, emphasizing that “every form of imagination should be nurtured.”

Matt Crocker, US Soccer’s sporting director, announced his departure on Tuesday, moving to a similar role with the Saudi Arabia football federation with under two months remaining before the 2026 World Cup. US Soccer said the responsibilities formerly held by Crocker will be divided among COO Dan Helfrich, assistant sporting director Oguchi Onyewu, women’s youth national team development head Tracey Kevins, and the broader sporting leadership team. US Soccer CEO JT Batson praised Crocker, stating, “Matt helped guide important steps across our sporting organization, and we’re grateful for his contributions.” He added that the federation remains “well positioned to make the decisions needed in the short, medium, and long term.” Crocker, hired in 2023 after Earnie Stewart left for PSV Eindhoven, arrived with a strong pedigree from English football, having served as technical director at Southampton and later for England (2013‑2020), where he was tasked with modernising the national team’s playing style. During his US tenure, Crocker oversaw all national‑team operations, including youth programmes, and was chiefly responsible for senior‑team coaching appointments. His first high‑profile decision was to re‑hire Gregg Berhalter as USMNT manager after a brief contract lapse and a complex investigation involving player Gio Reyna and past domestic‑violence allegations. Following Berhalter’s second stint, which ended with a group‑stage exit at the 2024 Copa América, Crocker secured Mauricio Pochettino as his successor at the end of 2024. Under Pochettino, the United States have recorded 10 wins, 1 draw, and 7 losses in 16 matches, including recent defeats to Belgium and Portugal in March friendlies. On the women’s side, Crocker recruited Emma Hayes from Chelsea in late 2023 after Vlatko Andonovski’s departure. Hayes guided the USWNT to Olympic gold in 2024 and has the squad positioned as a contender for the 2027 Women’s World Cup in Brazil. Reflecting on his time, Crocker said, “It has been a privilege to be part of US Soccer during such an important period for the sport in this country. I’m grateful for the people I’ve had the opportunity to work with across the federation, from our coaches and players to our technical and administrative staff.” Meanwhile, Saudi Arabia’s national‑team structure is in flux ahead of its own 2026 World Cup appearance. Reports suggest head coach Hervé Renard may depart, and technical director Nasser Larguet is expected to step down, signalling a broader overhaul of the federation’s leadership.

Endless Cookie arrives as a daring, hand‑crafted animation that immerses viewers in the everyday chaos of a Canadian Cree household in the remote Shamattawa First Nation. The project, conceived and voiced by half‑brothers Seth and Peter Scriver, took nine years to complete, a fact the film humorously acknowledges through its meta‑narrative and frequent self‑parody. The visual style feels like a cross between Cheech and Chong antics and the digressive storytelling of Tristram Shandy, with scenes that oscillate between vivid surrealism and grounded family moments. From a post‑apocalyptic Toronto backdrop to a sprawling story map described as “bulging like a distended colon,” the animation pushes the boundaries of conventional indie filmmaking. Beyond its eccentric humor, the film tackles weighty themes with a wry yet respectful tone. It shines a light on police racism and historic land theft, while celebrating ancestral continuity and community resilience. The narrative deliberately sidesteps the Scrivers' own cultural positions, allowing the Indigenous perspective to remain front and centre. Key vignettes include a chaotic caribou stakeout, a punk‑era flashback to 1980s Toronto, and a bizarre encounter with a clingy snowy owl—each episode underscored by the presence of the family’s twelve dogs, two of which are humorously named Cheech and Chong. The film’s funding source even appears as a talking slide rule, adding another layer of self‑referential comedy. Critics have likened the animation’s energy to a “SpongeBob SquarePants episode after an afternoon of smoking DMT,” while also noting its lineage to the counter‑cultural spirit of Fritz the Cat. The result is a work that feels both hallucinatory and deeply affectionate toward its subjects. Endless Cookie becomes available for streaming on Mubi starting 17 April, offering audiences a rare glimpse into a vibrant, self‑determined Indigenous narrative that challenges mainstream cinematic conventions.

Michael Rosen, celebrated poet and author of titles such as We’re Going on a Bear Hunt and Chocolate Cake, has been awarded the 2026 Hans Christian Andersen Award in recognition of his lifelong impact on children’s literature.The accolade makes him the fourth Briton to receive the honor, joining the ranks of Eleanor Farjeon, Aidan Chambers and David Almond.The International Board on Books for Young People (IBBY) praised Rosen’s work for echoing the rhythms of children’s language, blending playfulness with emotional depth and social awareness. IBBY highlighted his ability to foster empathy and spark conversations about history, family, loss, identity and society across poetry, novels and non‑fiction.The companion illustration prize was bestowed upon Chinese artist Cai Gao, whose distinctive visual language and high artistic quality expand the possibilities of children’s illustration. Past illustration laureates include Quentin Blake, who won in 2002.Rosen missed the award announcement at the Bologna Children’s Book Fair after being denied boarding on a flight from Stansted to Bologna due to post‑Brexit passport regulations. The rule requires UK passports to have been issued within the previous ten years and to retain at least three months’ validity on the day of departure.He later posted on X (formerly Twitter), noting the irony of being turned away because his passport was issued in March 2016 despite an expiry in August 2026, calling it a “Brexit benefit”.Despite the setback, Rosen received a call from an Italian woman informing him of his win, which he described as a “happy ending”.From a pool of 78 candidates across 44 countries, the jury evaluated the “distinctive literary and artistic qualities” of each entrant and their capacity to view the world through a child’s eyes. The formal award ceremony is slated for August in Ottawa.

In a fresh University of Massachusetts and YouGov poll of 1,000 U.S. adults conducted in early April, country‑music legend Dolly Parton emerged as the most favorably viewed global figure, securing a 70% favorable rating and only 5% unfavorable, translating to a net favorability of +65%. Former President Barack Obama ranked second with a net favorability of +14% (50% favorable, 36% unfavorable). Ukrainian President Volodymyr Zelenskyy followed closely, posting a net favorability of +12% after 35% of respondents expressed a favorable view and 22% an unfavorable one. Other political figures fared poorly: former President George W. Bush earned a modest +5% net score, while Donald Trump and Joe Biden registered negative net favorabilities of ‑18% and ‑19% respectively. Pop star Taylor Swift managed a modest +3% net rating, and Russian President Vladimir Putin landed at the opposite extreme with a stark ‑65% net favorability. Parton’s dominance is notable not only for the size of the margin—over 50 percentage points ahead of her nearest rivals—but also because she is the only figure, aside from Obama, for whom a majority of respondents expressed a favorable opinion. Analysts attribute Parton’s success to her deliberately apolitical public persona and extensive charitable work. In a 2017 interview, she emphasized, “Everybody knows I don’t play politics,” a stance that has helped her maintain a broad bipartisan fan base. Her philanthropic impact is substantial. The Dollywood Foundation’s Imagination Library has donated more than 270 million books to children under five across the United States, Canada, the United Kingdom, Ireland, and Australia. Additional contributions include a $1 million gift to Vanderbilt University Medical Center that supported the development of the Moderna COVID‑19 vaccine, over $12 million to families displaced by the 2016 Tennessee wildfires, and ongoing funding for pediatric infectious‑disease research. Parton’s charitable achievements were recognized with the Carnegie Medal of Philanthropy in 2022**, and she was highlighted by Time as one of the most influential philanthropists of 2025. The poll’s findings suggest a public appetite for figures who embody generosity and cultural resonance without entanglement in partisan politics, underscoring a broader trend of voters gravitating toward non‑political icons in an era of heightened polarization.

Nelson Mandela once claimed sport could spark hope where despair prevailed – a sentiment that now feels overly optimistic as climate change threatens every arena, from football pitches to alpine slopes.Extreme weather events are already cancelling competitions and rendering venues unplayable through floods, wildfires and storms. Rising heat and air‑pollution expose athletes to heat‑related illnesses, asthma and cardiovascular strain, while also increasing injury risk and diminishing performance for officials and spectators alike.Countries most vulnerable to climate impacts face the harshest sporting challenges. As Barbados Prime Minister Mia Mottley warned, athletes must compete on the conditions that exist, not on idealised pitches, while wealthier nations and governing bodies often look the other way.Historian David Goldblatt estimates sport’s carbon footprint rivals that of a small‑ to medium‑sized nation – roughly the emissions of Cuba to Poland. Yet the industry continues to chase growth, attracting sponsorship from fossil‑fuel giants and even entities reminiscent of the tobacco era.A 2024 “Dirty Money” report by the New Weather Institute revealed that state‑owned and private fossil‑fuel companies have poured at least $5.6 billion (£4.2 billion) into global sport across 205 active deals. The recent Milan‑Cortina Winter Olympics relied on oil major Eni to fund artificial snow, while the upcoming men’s football World Cup – labelled the “most polluting ever” by Scientists for Global Responsibility – will be plastered with ads from Aramco, the world’s largest corporate greenhouse‑gas emitter, with emissions projected to be 92 % higher than typical tournaments between 2010‑2022.Fans and grassroots organisations are pushing back. Groups such as Surfers Against Sewage, Fossil Free Football, FrontRunners and Protect Our Winters are mobilising, while clubs like Forest Green Rovers and athletes such as Australian cricket captain Pat Cummins are publicly denouncing fossil‑fuel ties.Alternative sponsorships are emerging: Northern Rail backs the Rugby Super League, Metrobank partners with cricket, and Oxford United’s limited‑edition shirt celebrates John Ruskin’s “Study of a Wild Rose,” linking sport to environmental heritage.“The Hotspot” aims to surface the most compelling stories, analyse data, and chart a path forward for sport in a warming world. As the planet races toward a climatic finish line, sport must deliver its own last‑second victory.This excerpt is from the inaugural issue of The Hotspot newsletter. To subscribe, visit this page and follow the instructions.