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Electropop artist Slayyyter has found success with her new album Worst Girl in America, a chaotic and over-stimulating concoction that scratches an anarchic itch in the listener. The album's sound is a far cry from her earlier work, embracing a midwest trash aesthetic that's both nostalgic and visionary.Slayyyter, born Catherine Grace Garner, has been making music for over a decade, but it's taken her several cycles of chasing hits and experimenting with different sounds to find her true voice. Her aim was simple but risky: to make something cool – fuck anything that sounds commercial, fuck TikTok. And it seems she's succeeded, with fans and critics alike praising her new direction.The album's singles, such as Crank and Cannibalism, have introduced a sound that's sharper, sleeker, and filthier, with a vibe tuned to a precise heartland sleaze. Slayyyter's music is a hedonistic kaleidoscope of motel parties, unfinished basements, trucker hats, and taxidermy, a unique blend of influences that's both captivating and refreshing.Slayyyter's journey to this point has been marked by burnout and depression, but she's emerged with a newfound sense of creative freedom and a determination to make music that's true to herself. As she says, “I’m not, like, looking for a mainstream moment. But if one happens, that’s great.”With Worst Girl in America, Slayyyter is poised to make a significant impact on the music scene, offering a fresh perspective and a bold new sound that's sure to resonate with fans and critics alike.

When Hurricane Beryl devastated Union Island in St Vincent and the Grenadines in July 2024, 61-year-old Tedica Alexander found refuge at the Ashton community center, which her grandchildren called 'Final Destination.' As the storm intensified, the shelter quickly filled to capacity with 47 children and 147 adults, including three people using wheelchairs, while windows shattered and floodwaters rose above ankle height. Alexander's experience mirrors a broader pattern revealed across the Caribbean: women often take on caretaker roles during natural disasters, yet studies show this responsibility can make their experiences more difficult. UN Women reported in 2022 that pre-existing social and cultural demands on women as primary caregivers increase their vulnerability during disasters, with gendered roles making women and girls more likely to be killed in such events. While emergency shelters provide critical protection from storms, they often fail to address gender-based violence risks. A 2021 systematic review published in BMJ Global Health found that post-disaster environments frequently heighten risks for women and girls, with inadequate shelter infrastructure—such as lack of doors, walls, and locks—contributing to increased violence in Haiti, Japan, and Nepal. The International Federation of Red Cross and Red Crescent Societies has been working to address these challenges, according to Loyce Pace, the organization's Americas regional director. The federation publishes manuals providing guidance to agencies working during natural disasters, focusing on ensuring governments understand their roles in emergencies and have access to necessary resources. Despite these efforts, significant challenges remain. In the Bahamas, emergency shelter capacity accommodates only 3% of the population, according to Aarone Sargent, managing director of the Disaster Risk Management Authority. During Hurricane Melissa in 2025, approximately 1,800 people from the southern islands were evacuated to New Providence and accommodated in six or seven shelters. The recovery phase presents particular difficulties for women. As Pace notes, while immediate response has improved attention to vulnerable populations, the recovery period often proves more challenging, especially for single women seeking loans or rebuilding businesses. Alexander, whose home and livelihood were destroyed in Hurricane Beryl, continues to live without electricity or water, struggling to regain stability months after the disaster. As the Caribbean region faces increasingly frequent and intense storms, experts emphasize the need for gender-responsive disaster planning and adequate shelter infrastructure that addresses the specific vulnerabilities women and girls face before, during, and after natural disasters.

Legendary musician Paul McCartney has unveiled his 18th solo album, titled The Boys of Dungeon Lane. The album's title is a nod to the route from Liverpool to the Speke shoreline, an area where McCartney spent his early childhood. Described as McCartney's most introspective album to date, The Boys of Dungeon Lane offers 'a collection of rare and revealing glimpses into memories never-before shared, along with some newly inspired love songs'. The musical styles on the album span McCartney's entire career, including 'Wings-style rock, Beatles-style harmonies, McCartney-style grooves, understated intimacy, melody-driven storytelling, character songs'. The lead single, Days We Left Behind, references Dungeon Lane and was debuted on BBC Radio Merseyside. McCartney, 83, shared that the song is 'very much a memory song for me', reflecting on his days in Liverpool and his friendship with John Lennon. The album was produced by Andrew Watt and features 14 tracks, including As You Lie There, Lost Horizon, and Ripples in a Pond. McCartney and Watt worked on the album between dates on McCartney's five-year global tour, in studios in Los Angeles and Sussex. The Boys of Dungeon Lane is credited solely to McCartney, following the style of his 1970 solo debut McCartney and its 1980 counterpart McCartney II. The album promises to offer listeners a glimpse into a world that existed before the Beatles, 'offering memories never previously shared and revealing, with extraordinary honesty, the human story behind a global icon'.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

Paris Saint-Germain's highly anticipated visit to Lens in Ligue 1 has been postponed to May 13, allowing the team more time to focus on their upcoming Champions League quarter-final against Liverpool. The match, initially scheduled for April 11, could have significant implications for the Ligue 1 title race, with PSG currently leading Lens by a single point.The decision to reschedule the match has been met with some resistance from Lens, who expressed concerns that the French league is being treated as an adjustment variable to accommodate the European imperatives of certain teams. The Ligue de Football Professionnel justified the move by citing the strategic goal of helping France maintain its fifth place in the UEFA coefficient rankings, which would secure four places in the Champions League.PSG is set to face Liverpool in the Champions League quarter-final on April 8 at the Parc de Princes, with the second leg taking place at Anfield six days later. This extra time could prove crucial for PSG as they look to advance in the competition.In addition to the PSG-Lens match, Strasbourg's visit to Brest on April 12 has also been rescheduled to May 13, as Strasbourg prepares for their Europa Conference League last-eight games against Mainz.

The World Cup playoffs have reached a critical stage, with several high-stakes matches set to determine which European teams will qualify for the tournament. Gennaro Gattuso's Italy are facing a significant challenge against Northern Ireland, a team they have not beaten in a competitive match since 1983.Craig Bellamy's Wales are also in action, taking on Bosnia and Herzegovina in a match that promises to be closely contested. The winner of that tie will face either Poland or Albania in the playoff final.The Republic of Ireland, who reached the playoffs thanks to Troy Parrott's late winner in Hungary, have a tough match against the Czech Republic in Prague. The victor will play either Denmark or North Macedonia at home on Tuesday.Graham Potter's Sweden are another team in action, facing Ukraine in Valencia with the winner hosting Poland or Albania next week. If Sweden win both ties on penalties, they will become the first team to qualify for a World Cup without winning a single match since Hungary in 1954.These matches represent the final hurdle for several teams hoping to qualify for the World Cup, and the pressure is on for managers like Gattuso, Bellamy, and Potter to deliver results.

Dash Crofts, the renowned musician from the soft rock duo Seals and Crofts, has died at the age of 85. His passing was announced by the duo's producer, Louie Shelton, on social media. Crofts succumbed to complications following heart surgery, as confirmed by a family member. Crofts and his musical partner, Jim Seals, crafted some of the most iconic hits of the 1970s, including 'Summer Breeze' and 'Diamond Girl'. Their 1972 album 'Summer Breeze' reached the top 10 in the US and featured the hit single 'Hummingbird'. The duo's gentle musical style, characterized by breezy soft rock, became a staple of the decade. The duo faced controversy with their 1974 album 'Unborn Child', which reflected their Bahá’í faith. The title track sparked a backlash and was banned by some radio stations following the landmark Roe v Wade ruling. Despite this, their music continued to resonate with audiences, and they remain celebrated for their contributions to the soft rock genre. After the duo disbanded in 1980, Crofts pursued a quieter life in Nashville, focusing on country music. Yacht rock, the genre they helped define, has seen a recent resurgence in popularity, with a 2024 HBO documentary highlighting its importance. Crofts' legacy continues to inspire new generations of music lovers.

The wait is over for fans of medical dramas, as The Pitt has landed on HBO Max. This 15-episode series, which follows the lives of medical staff in a Pittsburgh hospital, has been generating significant buzz since its release in the US last year.Produced by the same team behind the groundbreaking series ER, The Pitt stars Noah Wyle, known for his iconic role as Dr. John Carter in ER. Wyle plays Dr. Michael 'Robby' Robinavitch, a senior attending physician struggling with PTSD after the loss of his mentor during the pandemic.Each episode covers a single shift in the hospital, delving into the challenges faced by the medical staff as they navigate urgent and complex cases, from gunshot wounds to patients with dementia. The show's pace is more measured than ER, with a focus on character development and nuanced storytelling.The cast is strong, with well-developed characters and backstories that add depth to the narrative. Showrunner John Wells handles the large ensemble with skill, and Wyle is a rock-solid presence at the center of the show.The Pitt explores themes that are both timely and timeless, including the US healthcare system's flaws and the personal and professional struggles of medical staff. With its gripping storylines and strong performances, this series is sure to captivate audiences and leave them eager for more.

The UK government has introduced a temporary ban on cryptocurrency donations to political parties, following a review into countering foreign financial influence and interference in UK politics. The ban, recommended by Philip Rycroft, a former senior civil servant, aims to allow regulators to catch up with the risks associated with crypto assets.Rycroft's review highlighted that crypto assets are used as a vehicle to channel in foreign money, posing a risk to the integrity of the political finance system. While a full ban is not deemed necessary, the moratorium will remain in place until parliament and the Electoral Commission are satisfied that new rules are effective.The Electoral Commission has warned parties that the same verification procedures for cash donations also apply to crypto donations, including checking the source of donations over £500 and reporting donations from a single source over £11,180. The commission has noted that cryptoassets present particular challenges and risks in meeting electoral law requirements.Concerns over crypto donations have been raised due to the potential for using 'mixers' to obscure the true source of a donation or AI tools to split donations, which could evade reporting thresholds. The joint committee on the national security strategy has called for a ban on crypto donations, citing the risk to the integrity of the political finance system.Only three parties have said they will accept crypto donations: Reform UK, the far-right Homeland Party, and the Other Party. Reform UK has received crypto donations, but they have not exceeded the £11,180 threshold. The party accepts crypto donations through a Polish payment platform called Radom, which claims to follow UK rules around verifying the identity of donors.