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The Lead: Market Skepticism on Takeout A share price gain of only 10% on a possible takeover approach is a meek reaction. If the stock market truly believed that Castlelake, a US investment fund, stood a decent chance of buying easyJet, you would expect the target's stock to fly significantly higher. Scepticism is the right stance until at least three factors become clearer. The Event Details: Castlelake's Opportunistic Approach EasyJet's description of Castlelake's timing as "highly opportunistic" was boilerplate rhetoric (all bids are opportunistic to a degree) but in this case it is clearly possible that all European airlines' prospects could be brighter within a couple of months. It all depends on the price of jet fuel, which itself depends on resolution of the Iran war, and also how the peak summer season shapes up. The conflict has knocked consumers' willingness to book ahead, but that does not mean they will not show up for overseas summer holidays if disruption is minimal. The Valuation Analysis: Premium Questions and Asset Value City analysts still estimate that easyJet's pre-tax outcome could be as low at £100m this year, which is virtually a wash-out against £665m a year ago. Yet the half-year numbers only a fortnight ago kept alive the "medium-term" target of more than £1bn "as conditions normalise". If the chair, Sir Stephen Hester, really believes £1bn is possible in time (despite persistent underperformance versus Ryanair) it is hard to see how he could credibly enter takeover talks at anything other than a very fat premium to the starting share price of 400p. Only a year ago the shares were approaching 600p under sunnier skies. An alternative metric is the value of the assets. As Goodbody's analyst puts it, easyJet "is effectively a bundle of aircraft assets, orderbook assets and airport landing slot assets". The broker puts the book value of the owned fleet at 615p a share; Bank of America thinks 650p. If Castlelake, mostly a lender to the airline industry rather than an owner, has spotted a way to exploit the discount to book value via, say, not taking delivery of some of the aircraft, the same technique is presumably available to easyJet in standalone form. You don't have to sell the entire company in order to sell a few aircraft. The Regulatory Hurdles: European Ownership Restrictions Second, how would Castlelake, as a US entity, get around European ownership restrictions? The rules say majority UK/EU ownership is required, so presumably the would-be bidder has some form of fancy footwork in mind. But what? A European partner? There would surely have to be clarity before any talks could start, otherwise what is the point? What easyJet calls the "deliverability" of any bid proposal is not a small consideration. The Founder Factor: Sir Stelios's Influence Third, what does Sir Stelios Haji-Ioannou think? The founder doesn't lob as many insults at easyJet's board these days, but he and his family still have a 15% stake, which is enough to throw a spanner in the engine if that is how he is minded. Sir Stelios Haji-Ioannou, the founder of easyJet, still owns a 15% stake with his family. The Industry Context: Consolidation Patterns and Likely Players None of which changes the fact that easyJet has been seen as a plausible takeover candidate for about a decade. The company is regarded as a loose piece in the pan-European jigsaw whenever aviation specialists plot ways in which the market could follow the US path of consolidation. It's just that actual airlines, as opposed to financiers like Castlelake, are seen as the most likely instigators. IAG, owner of British Airways, is usually seen as the natural long-term destination for easyJet. Certainly, Hester & Co would have to whip up some competitive tension if Castlelake can demonstrate how it would clear the regulatory hurdles. The would-be bidder says it has bought a 2% stake in easyJet, which demonstrates some level of seriousness. But that's about all Castlelake has said. The departure lounge for a bid still feels a way off.

The Birth of a Classic The Bluetones' lead singer Mark Morriss and guitarist Adam Devlin share the story of their hit song 'Slight Return', from its humble beginnings to its massive success in the 90s. Mark Morriss' Vocals and the Song's Early Days We were still a three piece: Adam Devlin, my brother Scott and myself. We hadn’t met Eds Chesters yet, so we didn’t have a drummer. We were spending a lot of time writing songs, trying to hone this west coast, mid-60s, Crosby, Stills & Nash sound – even though it was the 90s and we were from Hounslow in London. Slight Return was the fourth or fifth song we wrote. Scott wrote the chord progressions and structure, but didn’t have any words or melody. He recorded guitar into a cassette player, then played that back on a second cassette player so he could record himself playing along to what he’d just recorded, in a very rudimentary way of four-tracking. We liked it, but we weren’t skipping around the room going: “My God, we’re going to be millionaires.” That came later. The Song's Rise to Fame It went down well at our early shows. It was catchy and memorable. We recorded a demo version and sold it on blue 7-inch vinyl at our gigs. When we got signed to A&M, they were keen for it to be a single, but we felt like it would be short-changing our fanbase, which was about 200 people, who had already bought it. We had to be talked around by the label, who said: “We can hear it being played on the radio.” But they wanted us to change the song’s name because Slight Return isn’t actually in the lyrics. The title in part refers to the last line of the song: “I’m coming home but just for a short while.” It’s also a kind of sideways tribute to Jimi Hendrix’s Voodoo Child (Slight Return). When we finally succumbed and let them release it as a single, lo and behold, it went ballistic. Adam Devlin's Perspective on the Band's Journey We thought we could write half-decent songs, so we cobbled together a set that would get us on the London circuit. I remember Scott bringing in a faster, simpler version of Slight Return. I fleshed out the guitar parts and put in a guitar solo. Mark worked out the vocal melodies, and we added a coda – the instrumental that fades out at the end, which originally had a sample from Tom Courtenay in Billy Liar, which was all very 60s. We had very different ideas from the record label and thought Can’t Be Trusted should have been the single. By then, I was living in another shared house in Wimbledon that didn’t have a washing machine. I was in the launderette when our manager phoned and said: “You’ve gone in at No 2.” I don’t think we were ready for it being so successful. The Legacy of Slight Return We've been playing it for 30 years. One tour, we’d got so bored with it, we didn’t even play it, which was a mistake because people thought we’d gone up our own arses. We learned our lesson: it’s the song everyone wants to hear. People get confused because Slight Return isn’t actually in the lyrics. I was at a farmers’ market recently when one of the stallholders said: “You were in that band who sang Where Did You Go?” I said: “Yes, but that’s not what it’s called.”

The Unbearable Loss I woke up beneath the rubble, surrounded by darkness, dust, collapsed concrete and the screams of my six-year-old son Nasser crying hysterically above the ruins, trying to reach my buried fingers. In those moments, I believed I was dying. What I did not yet know was that a part of me had already died. The Fate of My Children When I emerged, I discovered that my 51-day-old baby Ryan had been recovered lifeless after spending more than an hour trapped under the debris. His body was so small that I wrapped him in part of my own clothing, afraid he would feel cold. I was told Yaman, my seven-year-old, had suffered only minor injuries and had been taken to the hospital. The truth, however, was that my little boy had died before reaching it. A World That Failed Like countless mothers in Gaza, I had feared hunger for my children. I had feared displacement, terror and interrupted education. But despite everything, I never dared to think of death. Ryan never had the chance to grow up and enjoy his childhood. The Data of Loss 21,000 Palestinian children massacred Thousands of other Palestinian mothers have had to bury their children since January 2024 The Impact on Survivors My surviving son, Nasser, became an only child after losing both his brothers. He spends long hours staring silently at photographs of Yaman on a mobile phone as though he is trying to understand how a child can disappear so suddenly. A Call to Action Why have all of these special days, organisations and laws when they do nothing to stop the massacres of children? Ryan and Yaman were taken away from me in January 2024. Thousands of other Palestinian mothers have had to bury their children since then.

Breaking the Drought US men's national team star Christian Pulisic had been under immense pressure due to his goal-scoring drought, which had stretched back to November 2024. The Milan midfielder hadn't scored a goal for club or country in nearly six months, leading to constant questions about his form and the pressure it created for him and the team. The Turning Point On Sunday, Pulisic finally found the back of the net, scoring a crucial goal in a 3-2 win against Senegal. This victory was much-needed for the US team, which is set to host the World Cup. Pulisic's goal came after a lovely assist to Sergiño Dest on the US's opener. He then showed off his finishing skills on their second goal, rounding the goalkeeper and finishing neatly from a tough angle. The Impact The goal seemed to lift a significant weight off Pulisic's shoulders. In the mixed zone after the match, he expressed relief that he could finally talk about breaking the spell rather than extending it. "Hopefully now people can stop talking about it," Pulisic told reporters. "It felt great. I've felt this confidence [the whole time]. I've played really well in recent months … I feel good and now, obviously this was just a friendly – we have big games ahead and I have to be ready." The Coach's Perspective US head coach Mauricio Pochettino praised Pulisic's performance, noting that he played well in 45 minutes. However, Pochettino also emphasized that Pulisic still has potential to improve. Teammates' Support Pulisic's teammates have been supportive throughout his drought. Weston McKennie expressed confidence in Pulisic's abilities, stating, "Any player goes through high and low moments in their career. Obviously I think the outside world may have been worried and questioning 'what he's gonna look like, is he gonna be in form?' But I think Christian has shown countless times at club level and country level that he shows up in the moments that we need him the most."

The Unplanned Performance La La Land is a much adored homage to Hollywood, where dreamers take chances and seize unexpected moments. On Saturday night at the ICC’s Darling Harbour theatre, that idea became a reality for a 21-year-old university student who was thrust into the spotlight at a live performance of the movie’s score – and saved a concert from derailment. The Keyboardist's Sudden Illness Sterling Nasa was in the audience at La La Land in Concert, a touring production where the movie – which features Ryan Gosling and Emma Stone – is projected on to a screen while a live orchestra plays the musical score in synchronisation with the film. The performance proceeded normally until the interval, which stretched out to 40 minutes. Then the film’s Oscar-winning composer and conductor, Justin Hurwitz, walked out alone to address the audience. The Call for a Pianist The orchestra’s keyboardist had suddenly fallen ill. Was there by any chance a pianist in the house? And one with exceptional sight-reading skills? Nasa, who plays piano and organ and is the bagpipes tutor at his old school, Scots College, hesitated when the call went out. The Impromptu Performance Nasa told the ABC he was thinking the same thing when he saw the complex score. “I saw it on the score and I thought, oh, I don’t know if I’m going to be able to sight-read that in one go,” he said. Like Gosling’s jazz-pianist character Sebastian, the student had to decide whether to stay in the shadows or take a monumental leap of faith. With no time to overthink, he chose to trust his instincts. The Audience's Reaction The gamble paid off, carrying the orchestra through the number – and earning Nasa a resounding ovation from the audience. “He saw it coming up … and he just improvised,” Hurwitz said. “That is a whole other skill on top of sight-reading. To be able to play a really cool solo in the right key, in the right scale, on the fly with no rehearsal – it was remarkable.” The Future Performance While the production team is now scrambling to rehearse new keyboardists for the upcoming Melbourne and Brisbane legs of the tour, Nasa will be heading back to his regular university lectures. La La Land in Concert will play at the ICC Sydney on Monday, at the Brisbane Convention & Exhibition Centre on Wednesday and at the Hamer Hall in Melbourne from Friday 6 to 8 June.

The Growing Need for Worker Representation in AI ImplementationWorkers urgently need more bargaining power over the way AI is adopted in the workplace to ensure the benefits are fairly shared, according to a TUC-backed report from a leading thinktank. The Institute for Public Policy Research (IPPR) is calling for a package of measures to boost employees' influence at what it calls a "pivotal moment in the history of work".Survey Reveals Mixed Impacts of AI on WorkersThe IPPR report cites survey data showing that while 20% of workers say AI is making their working life better, 21% say it has made it worse – and 4% believe they have already lost a job because of the technology. The thinktank distinguishes between three potential impacts of the technology: augmentation, where it complements human labour; degradation, where it undermines the experience of work; and displacement, where it replaces workers altogether.Call for Statutory Consultation and Worker SupportThe report's recommendations include a statutory duty on employers to consult their workers over the adoption of AI and a "worker support levy," which could be funded by companies or workers themselves. The idea of this levy would be to create a portable "wallet" of benefits that workers could take with them from one job to another – such as union membership, insurance or training – with the broad aim of increasing their bargaining power.Historical Context for Technological TransitionsPaul Nowak, the general secretary of the TUC who has written a foreword to the report, emphasized that "great technological transitions only result in meaningful social progress when they are shaped actively and decisively." He drew parallels to the Industrial Revolution, which saw 50 years of wage stagnation while profits soared, suggesting that "it took the difficult birth of the labour movement to tip technological gains towards workers' interests and broader social wellbeing."Government Stance on AI AdoptionThe government has made clear it is enthusiastic about the adoption of AI in the UK, with Rachel Reeves highlighting it as one of three drivers of stronger economic growth. In her Mais lecture, the chancellor called AI "the defining technology of our era", saying she was determined to "maximise the value added … to the wider economy and the public sector through accelerated adoption."Future Outlook for Worker-AI RelationsAs Labour has already introduced a historic upgrade to workers' rights since coming to power in July 2024, the debate around AI's role in the workplace is likely to intensify. The IPPR's recommendations suggest a growing recognition that technological advancement must be balanced with worker protections and representation to ensure equitable outcomes in the rapidly evolving landscape of work.

The Supernatural Musical Romance The origins of this supernatural musical are in ancient British folklore but it plays out as a teen love story in small-town America. Young, spirited – and human – Barbara Allen (Lauren Jones) falls in love with John the Witch Boy (Glenn Adamson), from a community of Witches and Conjur People. The Plot and Its Roots She is willing to incur the wrath of parents and neighbours in her Appalachian town to be with this mysterious man who has drifted in from the Smoky Mountains and is rumoured to have diabolical powers. He is willing to abjure his immortality to spend the rest of his life with her. Both are rebels, determined to be together despite social censure. The Musical Elements The generation that grew up with Twilight would be forgiven for thinking the setup rather derivative but, in fact, Dark of the Moon got there first. Originally written by Howard Richardson and William Berney as a play, it was first performed in 1942 and then turned into a musical. The themes are all there, from the fierceness of a young love that crosses all social – and mortal – boundaries, to the undertones around the fear of sex and importance of fidelity. The Performances and Production Jones brings an edge of punk with a look not far removed from Kristen Stewart’s while Adamson seems to be channelling emo pop star energy (jeans, plaited hair and eyeliner). It’s all rather weird, but proves its own eternal life through the power and personality of the songs by Lindy Robbins, Dave Bassett and Steve Robson. There are vocally pure performances across the cast, however amped up and cheesy the production as a whole. The Verdict The production is rather too ridiculous to become the tear-jerker it could be but it’s enjoyable nevertheless. At Charing Cross theatre, London, until 8 August.

Early Reading Memories Virginia Evans shares her earliest reading memory, reading either 'The Velveteen Rabbit' by Margery Williams or poems from 'Where the Sidewalk Ends' by Shel Silverstein with her sister. Favorite Books Growing Up Evans loved mysteries and fantasy worlds, reading many Nancy Drew books, 'The Boxcar Children' by Gertrude Chandler Warner, and 'The Wind in the Willows'. She enjoyed books about things that can't exist, calling it escapism. The Book That Changed Her as a Teenager At 15, Evans read John Steinbeck's 'The Grapes of Wrath', which gave her a new understanding of what fiction can do and how words can portray complex living. The Writer Who Changed Her Mind Evans praises Joan Didion, saying every time she reads Didion's work, she is changed in some way, seeing the world, people, and politics differently. The Book That Made Her Want to Be a Writer In college, Evans read Jhumpa Lahiri's 'Interpreter of Maladies', which inspired her to write, making her think: 'I have to do this, I can do this, I will do this'. The Author She Came Back To Evans tried Jane Austen's 'Pride and Prejudice' too young, but when she came back to it in her late 20s, she enjoyed it tremendously. Books She Rereads Daphne du Maurier's 'Rebecca' Steinbeck's 'East of Eden' The Book She Could Never Read Again Evans devoured the Millennium series by Stieg Larsson but was too disturbed to read it again. The Book She Discovered Later in Life Evans didn't read 'Little Women' by Louisa May Alcott until her adult life, relating to the mother character and identifying with Jo's struggles as an author. Current and Comfort Reads Currently reading: 'While I Was Gone' by Sue Miller Comfort reads: 'The Uncommon Reader' by Alan Bennett, 'Beautiful Ruins' by Jess Walter, 'I Capture the Castle' by Dodie Smith

Translated Fiction Review Roundup A collection of recent translated fiction has been reviewed, showcasing the diversity and complexity of global literature. The reviews include: 'Sisters in Yellow' by Mieko Kawakami Sisters in Yellow by Mieko Kawakami, translated by Laurel Taylor and Hitomi Yoshio (Picador, £16.99) Kawakami’s latest opens with a bang, as narrator Hana learns that her old friend Kimiko has been charged with abduction. This MacGuffin takes us to their friendship in late-1990s Tokyo, when teen Hana and the older woman open a bar called Lemon: “Yellow attracts money.” But it’s a turbulent ride and soon Hana is in a world of organised crime. “The world is crazy. I feel like I’m living in a manga.” She’s not the only one, and you need an appetite for Kawakami’s style, which prefers to explore rather than explain – people come and go, buildings burn down, cancer is diagnosed, almost at random – but the relentless rush means there’s no time to get bored. At its best – as in a scene where Hana’s unreliable mother wants to borrow 2m yen for investment in lingerie that helps “your spine and organs move back to where they’re supposed to be” – this is a story both absurd and horrifying. 'All Flesh' by Ananda Devi All Flesh by Ananda Devi, translated by Jeffrey Zuckerman (Pushkin, £12.99) “Forgive me for starting this story with bodily, unpalatable origins.” You may as well – it’s all like that. In an unnamed European country, a schoolgirl “born with no urge but to consume” is getting bigger and bigger. “My gut, my ass, my thighs – they were all set on reaching the farthest corners of the world.” She blames her gluttony on the need to silence the voice of her dead twin sister, who was “absorbed into my tissues” in the womb. She hates school, where other kids mock her, as though her own self-disgust weren’t enough. After a blackly comic scene where she gets stuck in her bedroom doorframe like “an uncooperative cork”, she falls in love with the lonely carpenter who arrives to widen the door – but there are more twists to come. This powerful story is deeply physical, but driven by a compelling voice describing the torment of a girl who is “the psychical mirror of our time … immoderation made manifest”. 'The White Desert' by Luis López Carrasco The White Desert by Luis López Carrasco, translated by Rosalind Harvey (Granta, £14.99) This unpredictable book, comprising five linked stories about a Spanish couple, opens with the end of the world and gets weirder from there. A balloon debate about a post-apocalyptic scenario turns nasty when one participant pulls a knife, or thinks he does. A plane crash-lands on an island. “Can [we] go and get our luggage … Lots of people have, you know, soiled themselves.” What links the scenes is a sense of disconnection in our connected world, but the book subverts expectations: when a group of people celebrating New Year’s Eve go missing, it turns out to be a game of hide and seek. Footnotes peppered throughout suggest we’re viewing all this from the future (“Emirates was a well-known passenger airline …”), and discovering what the white desert is turns everything on its head. For readers who like to do their own joining up, and who want a playful, original take on our precarious lives, this is a thought-provoking treat. 'The Home of the Drowned' by Elin Anna Labba The Home of the Drowned by Elin Anna Labba, translated by Elizabeth Clark Wessel (Harvill, £16.99) “You could have waited, you bastards.” In 1942 Lapland, a village occupied by the semi-nomadic Sámi people is flooded by a new hydroelectric plant’s dam. One family watch as their goahti (peat-covered hut) disappears under the water. “It wasn’t the nicest goahti,” says Ánne. “No, but it was mine,” says her sister Rávdná. When Rávdná wants to build a house to replace it, the authorities refuse permission: the Sámi way of life has been rejected but alternatives are not permitted. A local newspaper half-heartedly offers to publicise their case, but “we receive a lot of angry letters if we use any foreign words”. When the government tells local people the new dam “will lift us out of poverty and injustice”, the words reek with irony. This intimate story of infuriating discrimination is, Labba says, based on real events in Sweden.