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The Lead: Strategic Energy Route ExpansionThe United Arab Emirates is fast-tracking the construction of a new pipeline which will double the export capacity through Fujairah, a port city in the country's east, as Gulf nations seek to bypass the Strait of Hormuz. Crown Prince Sheikh Khaled bin Mohamed bin Zayed announced the acceleration of the West-East Pipeline project to "meet global demands", at an executive meeting held by the Abu Dhabi National Oil Company (ADNOC) on Friday.The Project Details: West-East Pipeline AccelerationThe pipeline should be operational by 2027, the government's Abu Dhabi Media Office said. Sheikh Zayed said ADNOC is "well positioned as a responsible and reliable global energy producer, with the operational flexibility to responsibly increase production to meet market needs when export constraints allow".The Current Infrastructure: Existing Energy RoutesCurrently, the UAE has the Abu Dhabi Crude Oil Pipeline (ADCOP), a 380km (235-mile) pipeline which runs from Habshan, an oil and gas field in the south-western area of Abu Dhabi, to the port of Fujairah. The pipeline, which started working in 2012, has the capacity of about 1.5 million barrels of oil per day (bpd). It is one of the key energy routes in the Middle East.The Regional Context: Hormuz Bypass StrategyThe United States and Israel's war on Iran shook global energy supply chains across the world. With the blockade on the Strait of Hormuz – where previously around a fifth of the world's oil passed through – and Iran's new maritime protocol in the waterway, as well as attacks on energy infrastructure, Gulf nations have been forced to find alternative trade routes to maintain oil and gas exports.Saudi Arabia also has the East-West pipeline, designed to export the kingdom's oil, concentrated in the country's east, via the west coast, which has been less affected by the Iran war. Saudi's pipeline is 1,200km (745 miles) long, running from the Abqaia oil processing centre to the Yanbu port on the Red Sea. State oil giant Aramco's Chief Executive Amin Nasser has called it a "critical lifeline" for the kingdom.Oman borders the Gulf of Oman with an extensive coastline outside the Strait of Hormuz, while Kuwait, Iraq, Qatar, and Bahrain depend almost entirely on the waterway for their trade shipments.The Strategic Shift: UAE's Departure from OPECLast month, the UAE announced its departure from the Organization of the Petroleum Exporting Countries (OPEC) in order to focus on "national interests". The UAE said this move was part of its "long-term strategic and economic vision and evolving energy profile".The Future Outlook: Redefining Gulf Energy StrategyAs regional tensions continue to disrupt traditional energy routes, Gulf nations are increasingly investing in alternative infrastructure to secure their export capabilities. The UAE's accelerated pipeline project represents a broader strategic shift toward diversifying energy export routes and reducing dependence on the vulnerable Strait of Hormuz. This development is likely to prompt other Gulf states to further develop their own bypass infrastructure, potentially reshaping the regional energy landscape in the coming years.

The Lead: England's Post-Ashes CrossroadsIn selecting Emilio Gay and James Rew for their Test squad to face New Zealand, England have in one sense been true to their word. The Ashes mea culpa included a promise to give more weight to domestic performances. Both men tick that box. And yet as the team picks up the pieces after the 4-1 defeat in Australia, wounds licked and lessons learned, perhaps the question is whether they are staying true to themselves more broadly – or even, who actually are they these days?The Event Details: McCullum's Coaching Philosophy in FluxAsked about his future as head coach at the end of the Ashes tour, and whether he could change his approach, Brendon McCullum gave a notably qualified answer. "I have a firm conviction in a lot of my methods," McCullum replied. "I'm not against evolution and progress. However, you need to stand for something. Without being ultimately able to steer the ship, maybe there is someone better."Among those methods was having a pared-back support staff. McCullum previously felt there were too many voices in the dressing room and duly whipped out the gardening shears. By the time Australia came around it left just two assistants in Marcus Trescothick and Jeetan Patel and a short-term bowling coach in David Saker.But when McCullum arrives back in the country next week ahead of a three-day camp in the Midlands – training and team-bonding before the first Test at Lord's starts on 4 June – he will walk into a set-up that has swelled by way of numbers.The Staff Expansion: From Minimalist to Maximum SupportAs well as the two assistants, Sarah Taylor will now lead the fielding drills (and no doubt work on fine-tuning Jamie Smith's wicketkeeping given her own excellence here). Mike Yardy, the England Under-19s head coach, and Will Gidman, who works at Durham, have also been seconded for extra support around the place.Troy Cooley will attend the camp, having rejoined the English game over the winter as "National Pace Bowling Lead", while Tim Southee returns as the team's bowling coach; albeit, like Jofra Archer, only once his work at the Indian Premier League is done. From not wanting too many voices, McCullum now has an entire chorus line.There is talk that extra coaching input is at the behest of the captain, Ben Stokes. And if so, it strikes to the heart of some of the tension in Australia. McCullum didn't want players to burn themselves out by over-training, even shoo-ing players out of the nets at times. Stokes, relentless by default, was the one pushing for more.The Performance Evolution: Nutrition and Selection ChangesOn top of all the extra bodies, England are recruiting a "Performance Chef Consultant" for the team, whose role will be to "plan and execute menus that support training adaptation, match performance and recovery". This is in keeping with most elite sporting environments these days. But it also feels very un-McCullum when you consider one of his first moves four years ago was to dispense with the team's nutritionist. Bacon sandwiches were back on the menu in 2022, with players trusted to make the right decisions.Another change this summer is the arrival of Marcus North as selector. It looks a sound acquisition, with Durham's outgoing director of cricket well connected and widely respected in the game. At Chester-le-Street, North is viewed as someone who prefers to give it to players straight but also deals with the human being.North, like Luke Wright before him, is not the chair of selectors however. As the press release confirming his appointment put it, he will "work collaboratively on selection matters" and "contribute to decisions" regarding contracts. So another voice at Rob Key's table – an important one – but not calling the shots per se.The Impact Analysis: Shifting Team IdentityIn the runs this year for Durham, known to the set-up via the Lions, and having made four centuries in Division One last year, Gay is a sound selection as the team's new opener. How he or any new player adjusts to the step up in standard and scrutiny thereafter is always the great unknown.But it is not a huge leap to suggest that before the great slapdown Down Under, England may well have opted for 6ft 7in Ben McKinney, who at 21 is five years younger than his Durham teammate and is considered a terrific prospect. Who knows, they might even have backed Zak Crawley to continue.As a selector himself, albeit on the other side of the world during the first six rounds of the County Championship, McCullum will have had an input. Likewise regarding the expansion of his backroom staff. The question now is how he fits back into an environment where relaxation is meant to make way for more rigour.The Prediction: McCullum's Path ForwardThere is also the subject of results. Four years ago McCullum was hired after an Ashes defeat so harrowing that expectations were low – a period that allowed him to breathe fresh life by taking minds away from outcomes. Players were told to be free, to attack, and not to worry about the consequences. It worked well initially.But this summer, the leadership having survived a rash of missteps in Australia, getting wins on the board against New Zealand and Pakistan feels non-negotiable if this supposed reboot is to have legs. Much may hinge on whether McCullum can adapt, or whether these changes ultimately compromise what he stands for.

The Lead: OpenAI's Entry into Personal FinanceOn Friday, OpenAI launched a new set of personal finance tools in preview for ChatGPT Pro subscribers in the U.S., letting them connect their accounts and ask questions ranging from spending analysis to future financial planning. This marks a significant expansion of OpenAI's capabilities beyond general chatbot functionality into specialized financial services.The Financial Integration BreakthroughOpenAI has partnered with the financial connection service Plaid to manage the account connections. Users can connect to over 12,000 financial institutions, including Schwab, Fidelity, Chase, Robinhood, American Express, and Capital One. Once users connect these accounts, they will see a dashboard of their portfolio performance, spending, subscriptions, and upcoming payments.The new product comes just one month after OpenAI acquired the team behind personal finance startup Hiro, which was backed by firms like Ribbit, General Catalyst, and Restive, in April. OpenAI said that the Hiro team's expertise in finance was useful in launching this product, but didn't specify if the entire feature was built by them.OpenAI users can access the tool by selecting "Get started" in the "Finances" option in the sidebar, or typing "@Finances, connect my accounts" in a ChatGPT conversation. Once users do that, the chatbot will guide them about linking accounts through Plaid. The company said it plans to support Intuit soon, which would enable analysis such as the impact of a stock sale on taxes or the odds of a credit card approval.User Engagement and Model PerformanceAccording to OpenAI, more than 200 million users already ask financial questions to ChatGPT every month. The company also noted that the new GPT-5.5 model is stronger at reasoning with context, which is crucial for answering finance-related questions. The company said it worked with finance experts to create a benchmark for the model to improve on personal finance questions.With the new financial tool integration, users can get detailed answers to questions such as "I feel like I've been spending more recently. Has anything changed?" or "Help me build a plan to be ready to buy a house in my area in the next 5 years."Privacy and Data ManagementUsers can go to Settings > Apps > Finances to remove connections to certain accounts if they want. Once they disconnect a service, the synced data will be removed from ChatGPT in 30 days. What's more, Users can also view and delete financial memories from the Finances page.The Industry Shift Toward Specialized AIGeneralized chatbots are designed to answer anything, leading people to ask questions about data-sensitive topics such as health, finance, and personal life. AI companies are realizing this and making specialized products for these sectors. Both OpenAI and Anthropic have launched health-related tools. Earlier this month, Perplxity launched its own financial research product based on its Computer agent.Future Outlook for AI Financial ServicesOpenAI said its personal finance tools will be available on ChatGPT on the web and iOS to Pro users. It noted that, based on the feedback from these users, it wants to improve the product before making it available to Plus users. This cautious approach suggests OpenAI recognizes the sensitivity of financial data and the importance of building trust with users before wider adoption.

The Dawn of a New Era in British Art The Victoria and Albert Museum (V&A;) in London has welcomed a significant new presence in its main entrance: a lifesize fibreglass sculpture of a burly bouncer by Michael Parekōwhai from Aotearoa New Zealand. This character, Kapa Haka (Whero), serves as a symbolic guardian for the exhibition Rising Voices: Contemporary Art from Asia, Australia and the Pacific. The show, produced in partnership with the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) in Brisbane, features over 70 works that have never before been exhibited in the UK, by artists from 25 countries. The Exhibition's Significance This exhibition marks a milestone in the recognition of Asia-Pacific art in Britain. The Asia Pacific Triennial of Contemporary Art (APT), established in 1993, has been a launchpad for some of the biggest names in art, including Cai Guo-Qiang and Lee Bul. Despite its influence in Asia and Australia, QAGOMA has only toured a selection of works from one triennial once before, to Santiago, Chile, in 2019. This is the first-ever triennial survey to be held anywhere in the world. The Curatorial Challenge The exhibition's curator, Daniel Slater, faced significant challenges in bringing this collection to the UK. For over two years, conservation specialists at QAGOMA navigated the practical challenge of safely transporting the works across the globe. The exhibition features a diverse range of works, including Montien Boonma's monumental installation Lotus Sound, Takahiro Iwasaki's intricate wooden model of the Phoenix Pavilion in Kyoto, and delicate works made from feathers, shells, and shark's teeth. The Exhibition's Structure The exhibition is structured into four parts, beginning with a 'subtle introduction' featuring paintings, textiles, a video, and more to illustrate the diversity of works. Visitors then move through thematic sections dedicated to politics, materiality, and spirituality. Two of the works in the introductory space are by Judy Watson, an Aboriginal artist from Waanyi country in north-eastern Australia, who was featured in the very first APT. The Future of Asia-Pacific Art This exhibition represents a significant step forward in the recognition and appreciation of Asia-Pacific art in Britain. As Slater notes, 'The responsibility has been on us to bring these incredible works here.' The success of this exhibition may pave the way for future collaborations and exhibitions showcasing the rich cultural heritage of the Asia-Pacific region.

Erling Haaland's Acting Debut Manchester City striker Erling Haaland is to make his feature acting debut, in an animated film as the voice of a Viking – called Haaland. The Film Details According to the Hollywood Reporter, the Norwegian international is to play “an animated version of himself” in Viqueens, directed and co-written by Harald Zwart, the Dutch-Norwegian director of The Karate Kid and Agent Cody Banks. The Film's Plot The film’s IMDB synopsis describes Viqeens’ storyline thus: “To return a stowaway, two courageous Viking girls go from Norway to China. Discovering secrets, becoming proficient with dragon kites, fireworks and kung fu, and realising that friendship’s gifts surpass anything taken from adversaries.” The Director's Perspective Zwart said: “Erling has already become a kind of real-life Viking icon around the world – powerful, fearless and uniquely Norwegian. Bringing him into this universe as himself gives the film an unexpected energy and authenticity that felt completely right for this story.” The Film's Cast Zwart has already secured musician Rita Ora and Yellowjackets’ Ella Purnell as its leads, named Hedvig and Ingrid, as well as chatshow host Alan Carr in a smaller role as “a lyrically challenged royal scribe”. Haaland's Current Form Haaland, who joined Manchester City in 2022 from Borussia Dortmund, is leading the race for the Golden Boot, having scored 26 goals so far in the 2025-26 Premier League season. The Film's Release Viqueens is due for release around Christmas.

The Lead A recent report by the Muslim Council of Britain has found that Muslims make up 6.5 percent of the population of England and Wales, with a median age of just 27 – 13 years younger than the national average. Nearly half are under 25, meaning British Muslims are one of the youngest and fastest-growing groups in the country. Demographic Shift Researchers say that shift could become politically significant if the voting age is lowered to 16, potentially adding about 150,000 more Muslim voters to the electorate. “This is a young, British-born, highly educated generation, and politicians who still think of Muslims as outsiders are reading from a script that is 20 years out of date,” said Miqdad Asaria, associate professor in health policy at the London School of Economics and Political Science. Education and Inequality The report, British Muslims in Numbers, analyses census data across 2001, 2011 and 2021 and argues that much of Britain’s understanding of Muslim life is now outdated. British Muslims remain one of the youngest populations in England and Wales, with a median age of 27. However, the report also paints a stark picture of inequality and struggle, with about 110,000 Muslim households – 10.3 percent – being lone-parent households with dependent children, higher than the national average of 6.9 percent. Signs of Social Mobility Despite these challenges, the report documents signs of social mobility. Muslim women’s economic activity has risen by 37 percent over the past two decades. Nearly a third of Muslims now hold degrees, close to the national average, while among 16–24-year-olds, Muslims now exceed the national average for degree-level attainment. The Future Outlook For researchers behind the report, the central question is no longer whether Muslims belong, but whether Britain’s institutions are prepared for the scale of the demographic and social change already under way. “Muslims are increasingly well-educated, entrepreneurial, economically active and engaged citizens,” said Abdul-Azim Ahmed, deputy director of the Centre for the Study of Islam in the UK.

The Artist's Background and Achievements At 29, Rene Matić is the youngest ever person to win the £30,000 Deutsche Börse Photography Foundation prize. They were nominated for their solo exhibition As Opposed to the Truth at CCA Berlin – there is currently a much smaller reconfiguration representing part of the show at the Photographers' Gallery in London. Matić was also the youngest artist ever to be nominated for the Turner prize last year. Notable Works and Artistic Approach There are things I like about Matić. I like the way they challenge what counts in life and art, and what counts as British. Their 2022 work, Upon This Rock – a photographic installation and a film exploring the artist's father, Paul, and his involvement with the skinhead movement – felt like it was breaking new ground, conceptually and materially. Matić's yearning to understand masculinity and fatherhood as forces shaping national identity, and the way they incorporate new stories into the folds of Britain's historical fabric, felt original and exciting. Prize Recognition and Its Significance The Deutsche Börse Photography Foundation prize is one of the most prestigious awards in contemporary photography, carrying a £30,000 prize. Matić's win at such a young age marks a significant moment in the art world, particularly as they identify as a queer, working-class person of colour. The fact someone from this background won this award is good as a statement for what the Deutsche Börse prize can stand for in terms of diversity and representation. Critical Assessment of Current Exhibition Yet a lot of Matić's other work doesn't feel mature enough for the photographer to have taken the prize so early in their career. The installation Feelings Wheel, a series of diaristic snapshots which is shown at the Photographers' Gallery, feels like something you'd paste on your wall or Tumblr at university. They are pretty mediocre pictures, safe from Instagram censorship, and arranging them in Perspex doesn't make them more interesting. I find there is an annoying insularity, a sense of preaching to the converted, whereas the most effective art builds bridges between artist and viewer, allowing people who aren't part of the gang to understand it and be moved by it, too. Comparisons to Influential Photographers Too often, Matić's images are only made interesting by the different ways they display them in assemblages, spatial and sculptural configurations. Their work draws comparisons with Wolfgang Tillmans or Nan Goldin, who both photographed their own subcultures and communities, but with more edge and verve. With slideshows to music (in the case of Goldin's The Ballad of Sexual Dependency) and multi-format installations responding to the space (Tillmans), both photographers cast aside the traditional focus on a single image, creating new ways of looking at multiple photographs that Matić adapts but doesn't quite move forward. Broader Implications for Contemporary Photography There's nothing wrong with art that focuses on identity – especially identities that have been consistently erased and ignored in this country. But based on what Matić has done for photography, I don't think they should have won. Autobiography can't be the only thing a work has to offer. I am not sure what's really radical or nuanced about Matić's photographs of flags and tattoos, or people kissing at Glastonbury. At times, the vulnerability and compassion seems performative rather than sincere, and there's not enough tension – questions in the work for the viewer to resolve. The Future of Matić's Artistic Development Leaving the exhibition, I felt flat – though there are ideas, they need more time to percolate. What this win seems to tell us about photography now is that how you market yourself is possibly more important than the work you make. Matić clearly has potential, as evidenced by their more conceptual works like Upon This Rock, but the current exhibition suggests they may have been recognized before their artistic voice has fully developed. The challenge for Matić will be to build on the conceptual foundations of their strongest work while developing a more distinctive photographic language that doesn't rely solely on presentation techniques to generate interest.

Runway, the New‑York‑based AI video‑generation startup valued at $5.3 billion, announced a strategic shift toward building “world models” – AI systems that learn from observational video data – positioning itself directly against Google’s Genie and other deep‑pocketed rivals.Runway's Pivot from Video Generation to World ModelsFounded in 2018 by three NYU Tisch alumni—two from Chile and one from Greece—Runway first gained traction with its Gen‑4.5 video‑generation model, powering workflows for Lionsgate, AMC Networks and the film Everything Everywhere All At Once. In December 2025 the company released its first world model and plans a second launch within the year, aiming to create AI that “understands how the world works” rather than merely processing text.Co‑founders: Anastasis Germanidis (co‑CEO), Cristóbal Valenzuela (co‑CEO), Alejandro Matamala‑Ortiz (Chief Innovation Officer)Current footprint: 155 employees across New York, London, San Francisco, Seattle, Tel Aviv and TokyoKey product evolution: from “anyone a filmmaker” to “anyone a great filmmaker” and now to “AI that can simulate reality”Funding Milestones and Revenue GrowthRunway’s capital raise and revenue trajectory underscore the high‑stakes nature of the world‑model race.Total capital raised: $860 millionLatest round (Feb 2026): $315 million from strategic partners including AMD Ventures and NvidiaValuation: $5.3 billionAnnual recurring revenue (Q2 2026): $40 million addedCompetitor funding: Luma AI ($900 million), World Labs ($1.29 billion), OpenAI (~$175 billion), Alphabet (parent of Google) $4.86 trillionImplications for Hollywood, Robotics, and Drug DiscoveryThe shift to world models could ripple across several high‑impact sectors.Media & Entertainment: Faster, AI‑driven editing and content creation for studios and ad agencies.Robotics & Gaming: Simulated environments for training autonomous agents without costly physical trials.Life Sciences: Potential to accelerate drug discovery and climate modeling by running “digital twin” experiments.Runway’s recent robotics unit already reports real‑world deployments, hinting at cross‑modal applications that combine video, sensor and textual data.Future Outlook: Can Runway Outpace Deep‑Pocketed Rivals?Experts agree that scaling world models will hinge on compute access and sustained funding.Compute challenge: Need for dedicated large‑scale GPU clusters; Runway currently partners with CoreWeave and Nvidia but has not disclosed dedicated capacity.Competitive pressure: Google’s Genie model, Meta’s research, and well‑funded startups are all pursuing similar multimodal AI.Strategic advantage: Founder diversity and a scrappy, revenue‑first culture may allow Runway to iterate faster than Silicon‑Valley incumbents.If Runway can translate its video‑generation dominance into robust world models, it could become a foundational AI infrastructure provider. Failure to secure the required compute or to demonstrate clear cross‑industry value could see it eclipsed by better‑funded rivals.

The LeadPunk, intellectual, feminist, theorist, brave as hell, vulnerable, funny—Valie Export was a hero to many women. Since the 1960s, she was driven by a fierce conviction that art and media would play an essential role in women's liberation: that women must picture their own reality in the name of social progress. In Women's Art: A Manifesto (1972), she wrote that women must "use art as a means of expression, so as to influence the consciousness of all of us". What she demanded was revolution.The Revolutionary Art of Valie ExportI keep returning to her work. Can't stay away. Her work was heavy with explicit threat and pain, and she made evident the violence of forcing women's bodies to inhabit structures that were not designed for them. For the 1973 performance Hyperbulia she crept naked through a corridor of electrified wires, exposing herself voluntarily to shocks. Her 1976 photocollage The Birth Madonna shows a woman positioned like a Renaissance Madonna seated on a drying machine from which spews a bloody towel—it still provokes shock.Challenging Societal ConstraintsExport spoke with tremendous clarity about her work and the ideas underpinning it. Her father died during the war, and she was sent to a convent with her two sisters while their mother worked as a primary school teacher. The first of her many expulsions came aged 10 when she was discovered exploring the nun's living quarters. Her experience of girlhood was of constraint—of having little or no control over her own life.In 1967, aged 27, she swapped her married name Waltraud Höllinger for the moniker VALIE EXPORT. A play on a cigarette brand, written in capital letters, it was a decisive rejection of patriarchal structures. She would be known neither by her father's name, nor by her ex-husband's.The Power of PerformanceHer work was intended to explode the structures containing her—in cinema, in art and in the wider society. In Action Pants: Genital Panic (1969) she walked along the rows of a Munich art cinema with her exposed pubic region level with punters' faces, and plastered the walls of Vienna with posters of herself in crotchless trousers holding a gun.For Tap and Touch Cinema in 1968, she constructed a theatre in a box strapped to her chest, with people on the street invited to reach into the darkness and touch her breasts while she watched them. Documentary of the performance exposes the shifting power dynamic between Export and the men who accept the invitation. It was brilliantly subversive and unsettling.More recently, her 1968 performance From the Portfolio of Doggedness has drawn attention—during which she led Peter Weibel crawling through the streets of Vienna by a dog lead. Weibel was dressed in a business suit, a disturbing echo of the commuters milling around him.A Lasting Feminist LegacyHer 1972 manifesto described how the spark kindled by women's art might ignite far-reaching social change. It concludes by stating the importance of documenting and honouring the life and work of those who had come before, as we must now do hers. "The future of women will be the history of woman."I grieve her in the most selfish way: there were so many things I wanted to ask her about. Having survived decades in which women's art was marginalised and ignored, she had so much to tell us. Like a fool, I kept delaying a planned interview. Now it's too late.