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Christmas Day's Dominant Performance Christmas Day won the Derby at Epsom for trainer Aidan O'Brien, revelling in the rain-soaked soft ground to give his handler a 12th win in Britain's premier Classic. The Race Details The 7-1 shot was up with the pace from the start and the result never looked in danger soon after entering the straight, staying on strongly to the line and repelling a late challenge from Maltese Cross. Ronan Whelan's Reaction Winning rider Ronan Whelan said: "I went by the line and I couldn't believe I won so easy. Aidan told me to keep it simple. The horse done it so easy – he loves the ground and it felt so effortless. Thank God my mum and dad and my girlfriend are here. I wish I was as cool a customer as the horse was. He's a gent and a credit to all who work with him." The Impact of the Win Christmas Day, the mount of Ronan Whelan, was the supposed O'Brien third string, albeit it at a well-supported at 7-1, but he was always perfectly positioned in behind his pacesetting stablemate Action and edged to the front rounding the home turn. The Future Outlook While several horses, including his two better-fancied stablemates, struggled to make up ground in the testing conditions, the son of 2012 Derby hero Camelot galloped on strongly to win by two and three-quarter lengths, with Maltese Cross best of the home team in second and James J Braddock third.

The Lead: A Night of Festive Mayhem and NostalgiaBritish television tonight offers a terribly entertaining holiday party that spirals out of control on BBC One, alongside a colour‑restored 1966 World Cup Final on Channel 4 and a slate of classic and contemporary programmes.A Holiday Party Gone Wild on BBC OneThe middle‑class holiday from hell continues as Dan and Jess’s indiscretion fuels chaos at Flick and James’s “Gods and Monsters” fancy‑dress gathering. Zoe (played by Jessica Raine) embraces freedom, while the party devolves into “entertaining and terrible” moments that promise both laughs and cringe.Broadcast Schedule and Viewer Expectations9.15pm – Two Weeks in August (BBC One): The chaotic holiday party drama.4.45pm – The 1966 World Cup Final: In Colour (Channel 4): Fully colourised historic match.5.35pm – Celebrity Bridge of Lies (BBC One): Olympian Greg Rutherford on Ross Kemp’s truth‑or‑lie bridge.6.20pm – Blankety Blank (BBC One): Quiz show with celebrity guests.8.25pm – Casualty (BBC One): Military hazing storyline.9.00pm – Monsieur Spade (U&Drama): Clive Owen‑led thriller.Film Choice – Hoppers (Disney+): Eco‑centric Pixar adventure.9.05pm – The Curse of Frankenstein (Talking Pictures TV): Classic Hammer horror.9.20pm – Vermiglio (BBC Four): Post‑war Italian drama.Why These Shows Matter to British AudiencesThe line‑up reflects a balance between contemporary comedy‑drama that satirises holiday excess and cultural nostalgia that taps into national pride—especially the colour‑restored World Cup footage, a reminder of England’s historic triumph. Meanwhile, programmes like Casualty and Blankety Blank maintain their long‑standing appeal, offering comfort viewing amid a hectic festive season.Looking Ahead: What to Watch for TomorrowTomorrow’s schedule is likely to continue the mix of light‑hearted entertainment and high‑profile sport, with the next day of the England v New Zealand Test at Lord’s and further episodes of the holiday‑party saga. Viewers can expect the fallout from tonight’s party drama to shape upcoming storylines, while the revived classic sports footage may inspire more archival restorations.

The Sound of a City in Transition: Emmy the Great’s Cantopop JourneySinger-songwriter Emma-Lee Moss, known professionally as Emmy the Great, has returned to Hong Kong to write her fourth album, driven by a deep personal and historical inquiry into the city's musical heritage. Born to an English father and a Hongkonger mother, Moss left the city at age 11 before the 1997 handover, a pivotal moment that shaped her understanding of displacement and belonging. Her new memoir, My Cantopop Nights, serves as a bridge between her mixed heritage and the city's history, using the genre of Cantopop to decode the emotional and political landscape of Hong Kong.A Personal History Through MelodyMoss’s narrative is not just a music review but a memoir woven through specific tracks that defined eras of her life. Her connection to the music is visceral and personal, often tied to rites of passage. For instance, the haircut she received in 1995 after hearing Aaron Kwok’s 'Love You Endlessly' became a symbol of her transition from a world where Kwok was a 'god' to one where he was unknown. Similarly, Faye Wong’s cover of 'Dream Person' introduced Moss to a subculture of punk and DIY bands during a childhood sleepover, fundamentally altering her teenage identity.Aaron Kwok – 'Love You Endlessly': A career-launching anthem that defined a hairstyle and a generation’s transition.Faye Wong – 'Dream Person': Introduced Moss to Western rock influences and punk culture.The Wynners – 'You're Free': Revealed a family secret where Moss’s father wrote English lyrics for the band.Beyond – 'Boundless Ocean, Vast Skies': A mourning anthem for the band's late singer, Wong Ka Kui, representing underground rock.Sam Hui – 'Half a Catty, Eight Taels': A working-class anthem that resonated with Moss during a period of political fragility in 2017.The Evolution of Cantopop: From Western Covers to Cantonese AnthemsThe article highlights the genre's evolution from a Western-influenced bubble to a distinctively Cantonese art form. The story begins with the Beatles playing in Hong Kong in 1964, sparking a wave of English-language covers. However, Sam Hui is credited with pioneering the shift to Cantonese originals, blending classical Chinese elements with pop sensibilities. Moss notes that Hui’s music, particularly the humorous yet poignant 'Half a Catty, Eight Taels,' offers a critique of the working class similar to Dolly Parton’s '9 to 5,' but grounded in the specific socio-economic context of 1970s Hong Kong.Music as a Mirror of Hong Kong’s Political LandscapeCantopop is portrayed not merely as entertainment but as a historical record of the city's resilience and fragility. Moss observed a surge in music and art in 2017 and 2019 as young people born after the handover sought to understand their identity amidst political insecurity. Songs like Beyond’s 'Boundless Ocean, Vast Skies' became anthems of mourning and underground resistance. Moss argues that the 'story of Hong Kong is the sound of it,' suggesting that the city's history is best understood through its auditory landscape rather than just its street signs or history books.The Enduring Legacy of Cantopop in a Globalized WorldAs Moss reconnects with her roots, she realizes that her independent musical style is deeply rooted in the Cantopop tradition. The genre has proven to be a powerful tool for cultural preservation, allowing the diaspora to maintain a connection to their heritage. By documenting these songs, Moss ensures that the emotional and political nuances of Hong Kong’s past are not lost. The genre continues to serve as a vessel for collective memory, proving that even in a rapidly changing globalized world, the local soundscape remains a vital anchor for identity and history.

Lead: A High‑Stakes Showdown in MallorcaOn Friday 5 June 2026, the World Cup holders Spain welcomed European champions England at the Mallorca venue for a pivotal Group A3 encounter. The result will determine whether England clinches a place at the 2027 Women’s World Cup in Brazil with a game to spare. Team Line‑ups and Tactical Set‑upsSpain (4‑3‑3): Coll; Batlle, Paredes, León, Corrales; Caldentey, Guijarro, Putellas; López, Imade, Paralluelo.Subs: Rodríguez, Nanclares, Méndez, Carmona, Codina, Serrajordi, Bonmatí, Benítez, González, Del Castillo, Navarro, Pina.England (4‑3‑3): Hampton; Bronze, Wubben‑Moy, Morgan, Greenwood; Toone, Walsh, Stanway; Hemp, Russo, James.Subs: Moorhouse, Baggaley, Le Tissier, Carter, Charles, Fisk, Kendall, Mead, Park, Godfrey, Blindkilde, Kelly.Referee: Ivana Martincic (Croatia). Group A3 Standings and Qualification ScenariosEngland enter the match with a perfect record in the group and need at least a draw to guarantee qualification.Spain, as current World Cup holders, aim to retain momentum and keep qualification hopes alive.A win for England secures their spot with a game to spare; a loss could force a playoff depending on other results. Implications for the Women’s World Cup LandscapeThe outcome will shape the narrative heading into the tournament in Brazil. An early qualification for England would allow them to focus on preparation, while a setback could inject urgency into their final group match. For Spain, maintaining dominance reinforces their status as defending champions and could boost confidence ahead of the World Cup. Looking Ahead: What the Result Means for Spain and EnglandShould England hold on for a draw or win, they will enter the World Cup with momentum and strategic flexibility. Conversely, a Spanish victory would not only keep their qualification hopes alive but also signal a potential power shift in European women’s football, setting up a compelling storyline for the finals.

The £24m Gamble at EpsomTwenty months after embarking on a remarkable £24m spending spree on yearlings at Tattersalls' Book 1 sale in Newmarket, football "super-agent" Kia Joorabchian stands at the threshold of potentially the biggest payoff of his career. As the 247th running of the Epsom Derby approaches, Joorabchian will watch two of his high-profile acquisitions, Poker and Ancient Egypt, compete in the premier Classic, with the outcome potentially reshaping his position in the elite world of international horse racing.The Bloodstock Investment BreakdownThe contrasting stories of Joorabchian's two Derby hopefuls illustrate the uncertainties and potential rewards of high-end bloodstock investment. Poker, the most expensive yearling colt ever sold at public auction in Europe, cost 4.3m gns (£4.5m) but has yet to win even a novice event in three attempts, starting as a 200-1 outsider to become the first maiden to win the Derby since 1887.In stark contrast, Ancient Egypt was purchased for 1.1m gns (£1.2m) – approximately a quarter of Poker's price tag – and has already established himself as a serious contender with three wins from four starts. The son of Frankel, out of a full-sister to a Group One-winning mare, represents Joorabchian's more calculated investment, with the Derby being the primary target when the colt was acquired.The Financial Calculus of Racing RoyaltyWhile the total purse for this year's Derby stands at £2m, with approximately half going to the winner's connections, the financial considerations extend far beyond prize money. For Joorabchian, the £24m investment represents an ambitious entry into the exclusive world of international Flat racing, an arena traditionally dominated by individuals with sovereign wealth from Dubai, Qatar, and Saudi Arabia.The true value lies in establishing a virtuous loop between racing success and breeding potential. A Derby-winning son of Frankel would represent an elite stallion prospect, potentially worth many times the original investment through future breeding rights. This strategic approach mirrors the model employed by John Magnier's Coolmore Stud operation, which has dominated European racing for decades.Challenging Establishment in Horse RacingJoorabchian's venture represents a significant shift in the ownership landscape of elite horse racing. For decades, the sport's premier events have been dominated by homebred horses from established operations like Godolphin, Coolmore, and the Aga Khan, as evidenced by last year's Derby where the first nine finishers included multiple homebred champions.Charlie Johnston, Ancient Egypt's trainer, acknowledges the unique position of his high-profile charge: "You try and tell yourself that from the moment they walk through the door, they all get treated the same regardless of price tag or pedigree, but let's say that, as George Orwell would say, all animals are equal but some are more equal than others." The pressure to deliver on such a significant investment is immense, yet Johnston remains focused on the task at hand.The Road to Racing LegacyShould Ancient Egypt triumph at Epsom, it would mark not only a remarkable return on Joorabchian's investment but also a historic achievement for Johnston. The Yorkshire-based trainer would become the first to saddle a Derby winner since 1869, continuing a family legacy built by his record-breaking father, Mark."There would have been time [for another run before the Derby] but I just felt he'd done enough to book his ticket for Epsom," Johnston explains of his decision to bypass additional prep races. With Ancient Egypt's proven pedigree, including connections to six-time Group One-winner Midday, and a developing race record that could complement his breeding potential, the stage is set for what could be a transformative day for both horse and owner in the world of elite horse racing.

The Revival of a Maligned Masterpiece When Steve Hanley joined Manchester post-punk group the Fall, he expected to be playing bass guitar, not the pope on the London stage. But as a cast member of Mark E Smith's 1986 play 'Hey! Luciani: The Life and Codex of John Paul I', Hanley donned a full pope suit with seven layers of cassocks and took center stage. The Turbulent History of 'Hey! Luciani' In December 1986, 'Hey! Luciani' ran for two weeks at Hammersmith's Riverside Studios. Smith, the Fall's iconoclastic vocalist and lyricist who died in 2018, described it as 'a cross between Shakespeare and The Prisoner'. However, critics were less than impressed, with the Guardian deriding it as a 'thoroughness of Smith's failure'. The Data Behind the Reboot The original play was written on beer mats and delivered to Riverside in a shoe box. The play's thesis was allegedly based on David Yallop's 1984 bestseller 'In God's Name', which alleged Pope John Paul I's assassination. The 1986 production featured non-professional actors, including performance artist Leigh Bowery. The Impact of 'Hey! Luciani' on the Art World 'Hey! Luciani' is a classic example of postmodern storytelling, with convoluted narratives and the erasure of differences between high and low art. Graham Duff, the director of the reboot, believes that the play's cryptic nature is intentional, highlighting the Vatican's bureaucracy and the power struggles within. The Future of 'Hey! Luciani' If the June performance is successful, Duff hopes that his version might get picked up by one of Manchester's bigger arts institutions. For Hanley, the bassist who played the pope in the original production, the evening's success will be measured by his ability to avoid getting arrested.

The Shocking Conclusion of EuphoriaThe HBO series Euphoria concluded with an 88-minute finale that delivered everything viewers had come to expect: shocking deaths, gruesome imagery, and biblical references. The episode ended with the words "May God bless us all," a stark contrast to the nihilistic themes that dominated the season. The finale featured the death of Laurie, the drug boss who commits suicide when faced with arrest, and most significantly, Rue's fentanyl-related overdose, which occurs 45 minutes into the episode.Character Arcs and Narrative ShiftsRue's death marks a pivotal moment in the finale, as the show loses its lead and narrator unexpectedly. In her absence, Ali (Colman Domingo), Rue's sponsor and mentor, becomes the voice of the final act. This shift is particularly jarring given that Ali had previously been a side character, while Jules— who shared the most with Rue—is barely acknowledged. Similarly, Cassie, whose storyline dominated much of the season, is relegated to a minor role. This narrative choice highlights the central problem with Euphoria's final season: its uncertainty about what kind of show it wanted to be.Gangster Elements and Moral AmbiguityThe finale centers on a turf war between drug bosses Laurie and Alamo, making the series feel more like a gangster movie than a character-driven drama. This shift is particularly evident in the Tarantino-style shootouts and the showdown at Alamo's strip club, where Ali arrives dressed in a military uniform to avenge Rue's death. While these scenes work individually, together they create a jarring narrative experience that feels like being told a story by an intoxicated person who keeps missing key details and jumping between dramatic moments.Religious Imagery and Societal CommentaryThe motif of religion in the finale is unexpected for a show that has focused on young people who have abandoned traditional value systems. However, this religious imagery may be intentional. In a poignant monologue, Ali states that "everyone" is complicit in Rue's fentanyl overdose, from the government to the cartels, the corrupt cops, and the politicians. This parallel extends to the online extremes seen in Cassie and Maddy's OnlyFans activities, suggesting a commentary on our collective addiction to outrage and extreme content in the digital age.The Cultural Reflection of EuphoriaBeyond the distracting shootouts and drug cartel wars, season three of Euphoria was strongest when it reflected the increasingly nihilistic world young people consume online, where they're being raised to believe they must be either the hunter or the prey. The show's ending, with the American flag rippling in the wind, echoes Jia Tolentino's argument in "Trick Mirror" that scamming is becoming central to American life. This is evident in Alamo's strip club, where men treat women as disposable sex toys, and in Cassie's plan to turn her former marital home into a #content house for OnlyFans performers.The Legacy of a Confused FinaleEuphoria's finale may not have been a lesson on morality, but rather a study in the hypocrisy of our media-saturated society. The show's creator, Sam Levinson, was at his best when combining cinematography with an examination of how algorithms groom young people into extreme behaviors. However, the finale's focus on gangster elements and its jarring narrative shifts left viewers with more questions than answers. As the series concludes, it serves as both a reflection of our current cultural moment and a cautionary tale about the dangers of a society obsessed with shock value and extreme content.

The Omitted XIWith every squad for the World Cup 2026 now finalised, we take a look at the star players who have been snubbed. Meet the Star Players Watching from the SofaThe reactions to the omissions were fascinating, with some players expressing their disappointment on social media.Lucas Chevalier (France): The goalkeeper had a brutal season after a €40m move from Lille to PSG.Jeremie Frimpong (Netherlands): The right-back suffered from being played out of position by Arne Slot at Liverpool.António Silva (Portugal): The 22-year-old centre-back fell out of favour for club and country at the worst possible time.Dean Huijsen (Spain): The Dutch-born defender's decision to switch allegiance after a youth career with the Netherlands looks to be a gaffe.Alejandro Balde (Spain): The left-back can feel unlucky to miss out with 42 appearances in all competitions for La Liga champions Barcelona.The Midfield SnubsAdam Wharton (England): The central midfielder was surprisingly left out of the England squad.Eduardo Camavinga (France): The 23-year-old is another Madrid casualty, with France's squad being stacked.Diego Luna (USA): The central midfielder was informed via email by Mauricio Pochettino that he was out, despite seven goal involvements in 16 internationals.The Forwards Left OutMika Godts (Belgium): The wonderkid can play off both flanks but his versatility and goal contributions for Ajax were not enough.Morgan Gibbs-White (England): The left wing player was arguably the best player in the Premier League in 2026.João Pedro (Brazil): The striker was player of the year for a mid-table Premier League side but didn't make it to the Brazil squad.

The LeadThe Guardian has published a list of the 20 greatest songs about football, providing a unique perspective on the intersection of music and the beautiful game. The Event DetailsThe list, curated by The Guardian, features a diverse range of songs that capture the essence of football. From classic tracks like The Fall's 'Kicker Conspiracy' to modern hits like Aitch's 'Business', the list showcases the evolution of football music over the years. The Data AnalysisThe list includes songs from various decades, with some dating back to the 1980s. The oldest song on the list is The Fall's 'Kicker Conspiracy' (1983), while the most recent is Aitch's 'Business' (2025). The Impact AnalysisThis list highlights the significant impact of football on music and popular culture. The songs featured not only reflect the sport but also provide commentary on social issues, love, and life. The PredictionAs football continues to evolve, it is likely that new songs will emerge that capture the spirit of the game. This list provides a fascinating look at how music has been influenced by football and vice versa. The Rankings 1. The Fall – Kicker Conspiracy (1983) 2. Kirsty MacColl – England 2 Colombia 0 (1999) 3. AJ Tracey – False 9 (2017) 4. Richard Dawson – Two Halves (2019) 5. Youngs Teflon – Marcus Rashford (2017) 6. The Real Sounds – Dynamos vs Tornados (1986) 7. The Hitchers – Strachan (1997) 8. Animal Collective – Goalkeeper (2017) 9. Giuda – Number 10 (2010) 10. Billy Bragg – God’s Footballer (1991) 11. I, Ludicrous – Three English Football Grounds (1987) 12. Barmy Army – Billy Bonds MBE (1989) 13. Juice Menace – For Her (2022) 14. Half Man Half Biscuit – Swerving the Checkatrade (2018) 15. Aitch – Business (ft Avelino) (2025) 16. Los Campesinos! – Every Defeat a Divorce (Three Lions) (2011) 17. Genesis – Match of the Day (1977) 18. Serious Drinking – Love on the Terraces (Mk III) (1982) 19. Sultans of Ping FC – Give Him a Ball (And a Yard of Grass) (1993) 20. Rod Stewart – Touchline (2021)