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The World Snooker Championship will continue to be held at the iconic Crucible Theatre in Sheffield for at least the next two decades. A long-term agreement between the World Snooker Tour and Sheffield city council ensures the tournament's future at its spiritual home.The Crucible, with its 980-seat capacity, has been the venue for the championship since 1977. Despite speculation about its future, the World Snooker Tour has committed to keeping the event in Sheffield until 2045, with an option to extend until 2050.During this period, the Crucible will undergo a significant revamp, adding 500 seats to the theatre. The championship will temporarily relocate to an alternative UK venue for one year during the redevelopment, but will return to the Crucible.Barry Hearn, president of Matchroom, expressed his delight at the agreement, stating, "For over 50 years I have been promoting sport all over the world but no venue on this planet means more to me than the Crucible." He added, "I am so happy that after a long period of meetings and discussions we have finally agreed a deal to stage the world championship at its historic home – the Crucible."

Dawn French and Jennifer Saunders are to reunite on stage for the first time in 17 years, playing the Ugly Sisters in the London Palladium pantomime production of Cinderella. The duo, who began performing together almost 50 years ago, predicted that their performance “won’t be pretty”, but expressed their excitement at finally fulfilling their dream of playing the iconic roles.The pair have a long history of collaboration, starting with their meeting as students at the Royal Central School of Speech and Drama in London. They went on to create a hugely successful sketch comedy series for the BBC and have toured together several times, including their last tour, French and Saunders: Still Alive!, in 2008-09. In 2020, they teamed up again for a podcast, Titting About.Michael Harrison, the producer of the Palladium panto, expressed his delight at having French and Saunders on board, citing their legendary chemistry and razor-sharp humour as a guarantee of a special experience for audiences. The production will also star Dex Lee as Prince Charming, Hope Dawe as Cinderella, and several other notable actors who have previously starred in pantos at the venue.The London Palladium has a history of hosting successful pantomimes, including Clary's 2016 production of Cinderella, described by the Guardian as a “tsunami of smut”. More recently, Catherine Tate joined the cast for the 2025 panto, Sleeping Beauty, which broke records with over 137,000 theatregoers attending.French and Saunders' production of Cinderella runs from 5 December to 10 January, with tickets going on sale on 2 April.

The Confederation of African Football (CAF) made a shocking decision to strip Senegal of their 2025 Africa Cup of Nations (AFCON) title and award it to Morocco, the defeated finalists. This move comes after a thorough review of a contentious incident at the end of normal time in the January 18 final, which saw the match delayed by 14 minutes after Senegal players left the field in protest against refereeing decisions.The controversy began when a late penalty was awarded to Morocco, which overlapped into the new year, with the final played in Rabat. Senegalese players and management were enraged by the decision, leading to a walk-off and a pitch invasion by some fans. Although Senegal returned to the field and won the match 1-0 after extra time, CAF's disciplinary procedure resulted in substantial fines and bans for both teams.CAF's appeals board ruled that Senegal is 'declared to have forfeited' the match by leaving the field, and the 1-0 result was officially recorded as 3-0 in favor of Morocco. The Senegal Football Federation (FSF) has condemned the decision, labeling it 'unfair, unprecedented, and unacceptable,' and plans to appeal to the Court of Arbitration for Sport (CAS) in Lausanne.The decision has sparked a heated debate in the football community, with Senegal's Prime Minister Ousmane Sonko denouncing the sentencing of 18 Senegalese fans by Morocco. The case is expected to take over a year to resolve, and its outcome could have significant implications for African football.

Raye's sophomore album, 'This Music May Contain Hope', is a bold, 73-minute concept album divided into four sections. The album tells the story of an emotional breakdown caused by romantic woe, online criticism, and a troubling call from her grandmother.The album features a wide range of musical styles, from retro soul to swing-era jazz, house music, and show tunes. Raye's soprano is occasionally deployed in distinctly operatic style, while her vocals take on the careful enunciation of a musical theatre star.The album boasts rococo orchestration reminiscent of Hollywood's golden era, with guest stars like Al Green and Hans Zimmer. While the album occasionally feels like A Bit Much, its highlights are 'skyscraping,' with tracks like 'Nightingale Lane' and 'Beware … the South London Loverboy' showcasing Raye's incredible vocal range and genre-bending style.Despite some flaws, the album pays off more often than it fails, making it a rare event in the 21st-century music scene: a wildly ambitious and fascinatingly messy miscellany of ideas that refuses to be pigeonholed.

Europe has achieved staggering progress in clean power production, but its efforts are being undermined by a slow transition away from fuel-burning machines. According to Adrian Hiel, director of the Electrification Alliance, the EU has radically transformed its power supply but now needs to focus on increasing the use of electricity in everyday applications.The sluggish pace of electrification has left households exposed to higher bills as the Iran war has driven oil and gas prices to soar. The International Energy Agency has called for a faster shift to electric cars and heat pumps to complement its fuel-saving action plan.Hiel emphasized that high taxes on electricity are a major barrier to the green transition, suggesting that electricity should be taxed like a fresh apple, not like alcohol and tobacco. EU leaders, including Ursula von der Leyen, have acknowledged the need to adjust energy taxes to promote clean air and secure energy.The Electrification Alliance, which includes industry associations like SolarPower Europe and the International Copper Association Europe, is pushing for a faster switch to a decarbonized economy. Hiel noted that the falling cost of clean technology has made it easier for people to ditch fossil fuels, citing his own experience of insulating his home and installing a heat pump and solar panels.Looking ahead, Hiel warned that gas prices are likely to remain high for several years, putting pressure on governments to help households pay their bills and potentially hindering efforts to promote home electrification.

The Orange Tree theatre in London is currently hosting a captivating production of Nicholas Wright's 2002 play, Vincent in Brixton. This poignant piece imagines a lesser-known chapter in the life of Vincent van Gogh, who spent a year in south London pursuing a career as an art dealer and possibly had a romantic relationship with his landlady or her daughter.In Georgia Green's tender production, the play blossoms into more than just a footnote in art history. The story revolves around Vincent, portrayed by Jeroen Frank Kales, and his landlady Ursula, played by Niamh Cusack. Their characters share a deep mental perturbation, uncovering a kinship in misery that eventually blossoms into romance.The setting, designed by Charlotte Henery, is a cozy kitchen on the Orange Tree stage, perfect for quiet confidences. The sound design by Donato Wharton adds a sensory layer with birdsong, the sound of pans on the stove, and the rush of Vincent's blood during his first kiss. The chemistry between the leads is palpable, with Cusack's rich-layered voice conveying Ursula's distraught emotions.The play is remarkable for its non-judgmental writing, allowing the characters to express their feelings in personal and poetic ways. The cast delivers full-hearted performances, including Rawaed Asde as the other lodger and Ayesha Ostler as Ursula's vigilant daughter. The relationship between Vincent and Ursula is portrayed as a brief, radiant interlude, offering a glimpse into Van Gogh's life before he found his vocation as an artist.This production of Vincent in Brixton runs at the Orange Tree theatre, London, until 18 April, offering audiences a chance to experience a unique and emotional exploration of restless souls.

The Last Blossom, directed by Baku Kinoshita and written by Kazuya Konomoto, is a quiet, contemplative anime feature that rarely gets a theatrical release. The film opens in a lonely prison cell, where the elderly former yakuza Akutsu finds an unexpected confidant in a talking balsam flower.Over the course of one sleepless night, Akutsu's life story unfolds in bursts. Thirty years prior, another balsam flower grows in the back yard of Akutsu's humble house, which he shares with Nana and her baby son, Kensuke. The relationship between the taciturn man and the bubbly young woman is seemingly platonic; Kensuke is not his son. Yet there are hints of romantic attraction; they share bowls of piping hot ramen noodles, play endless rounds of Reversi, and join in harmonising the Ben E King classic Stand By Me.In contrast to this alternative nuclear family, the yakuza world is still strictly traditional, revolving around machismo and codes of brotherhood. When Kensuke is diagnosed with a heart condition, Akutsu is lured into a criminal plot, which leads to his incarceration. Though encompassing much bloodshed and even a hidden treasure subplot, The Last Blossom is most moving as an exploration of human conscience, where a capacity for violence and kindness coexist.The paradox is reminiscent of Shōhei Imamura’s Palme d’Or winner The Eel, starring Koji Yakusho as a wife-murderer who shelters a pregnant woman after his prison release. With his unassuming buzzcut, in stark contrast to his flamboyant yakuza peers, Akutsu bears a striking resemblance to Yakusho’s protagonist. Though a minor work compared to Imamura’s, The Last Blossom similarly questions conventional notions of justice, and the impossibility of weighing one’s good and bad deeds.The Last Blossom is in UK and Irish cinemas from 27 March, and in Australian cinemas from 23 April.

Richard Kind, a versatile actor known for his roles in films like 'Inside Out' and TV shows such as 'Only Murders in the Building', is set to take the stage in London's West End in Mel Brooks' musical 'The Producers'. Kind will play the role of Max Bialystock, a charismatic and cunning Broadway producer, at the Garrick theatre from March 23 to May 9.Kind, who has a reputation for his dynamic performances, describes his interpretation of Max as a 'big bear' who 'lumber' across the stage, drawing inspiration from Zero Mostel, who originated the role in the 1967 film. He contrasts his approach with that of Nathan Lane, who played the role on Broadway, saying, 'Nathan glides. I'm a big bear. I lumber.'The actor, who has had a long and varied career in both comedy and drama, notes that theatre offers him a chance to take on more challenging roles. 'I'm at the point where I can say 'no' to a stage role unless it's challenging,' he explains. Kind's extensive experience includes work with Second City, the Chicago improvisational troupe, and roles in sitcoms like 'Spin City' alongside Michael J Fox.Kind also opens up about his friendship with George Clooney, a close pal who has been publicly criticized by Donald Trump. Kind expresses his protectiveness towards Clooney and his disdain for Trump, showcasing his strong opinions and 'ugly' language when discussing the former president.With his characteristic wit and candor, Kind reflects on his career, stating, 'I'm all over the place! Nobody works more than me.' His performance in 'The Producers' promises to be a highlight of London's theatre scene this season.

The play 'Slippery' by Louis Emmitt-Stern delivers a knotty dissection of the queer dating scene and bereavement in many forms. The story revolves around Jude and Kyle, exes who reunite in Jude's Canary Wharf penthouse after a decade apart.Ten years ago, they were a hedonistic couple, partying into the early hours. Now, their lives have diverged: Kyle has left behind the party lifestyle, while Jude is grieving the death of his partner, Sam. As they catch up, their lies begin to crack open, revealing a complex web of emotions.John McCrea and Perry Williams shine as the exes, capturing the nuances of their characters' past and present selves. McCrea, in particular, is a standout performer, effortlessly shifting from grief-stricken to a magnetic seducer.The production, directed by Matthew Iliffe, effectively conveys the intimacy of a past love that still lingers. However, the script's constant revelations can feel forced, detracting from the realism of the story.Despite this, 'Slippery' remains a compelling exploration of queer relationships, grief, and the complexities of human emotions. The play is set to run at Omnibus theatre in London until 11 April.