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Effervescent, inexpensive and with a moderate ABV, Portugal’s ‘green wine’ is the ideal accompaniment to garden get-togethers and alfresco dining

If there is a better wine for summer frolics than vinho verde, I don’t know it. Translating literally to “green wine”, the wines from the region known as Vinho Verde DOC in northern Portugal aren’t actually green; the verde is metaphorical. These are young wines, inexperienced wines; their hearts haven’t been broken, they are joyful and fizzy with unlived life, like a Tangfastics-guzzling tween who has just discovered the Beach Boys in her parents’ record collection.

I write this in the aftermath of the hottest UK days on record. If you’re drinking wine on sultry days such as those, chances are you’ll want something refreshing. Thanks to the Portuguese region’s Atlantic maritime climate – ocean breezes, cool nights, high rainfall – and (usually) well-drained granite soils, vinho verde excels at gluggability: vibrant, with high acidity, a low ABV (usually below 12%), sometimes a touch of spritz, and notes of ripe lime and orchard fruits.

Lower East Side gems and bars of Boston were low on pretence and high on personality. Plus, southern soul, Jewish delis and, of course, apple pie to celebrate America’s 250th anniversary

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A dark emerald puck on a white plate – our spoons disturbed its surface to break it down to its crystal components. Bright shards of green ice released their flavour as they melted on our tongues – vegetal, flowery, herbal, slightly honeyed and a lot saltier then any dessert should be. We didn’t know what to expect when we ordered the savoury borage-and-lovage sorbet; we didn’t expect to be transported to a place of infinite green – a virgin forest, a field in spring, an alpine valley. We were in Estela (pictured top), a restaurant on the Lower East Side of Manhattan that is a favourite of ours. It is just as good as it was when we first went there, almost a decade ago. Around us, the understated room was full of achingly stylish people. Outside on the street, two shirtless older men were playing checkers on a bench while two girls in skintight dresses did TikTok poses on a nearby stoop. Neither group seemed disturbed when a woman in a bathrobe suddenly began to shout at a garbage bag and kick it with force.

We were there to promote our latest book, and had not been since before Covid, so we did not know what to expect. There is no doubt that the US is in a very strange moment in its history, and from Britain things look scary and confusing. But we learned, yet again, that things seem different when you are up close, and that food is always the best, quickest and deepest way to connect to people. For instance, a breakfast TV presenter in Chicago secretly confessed that no one in the city really likes deep-dish pizza; instead, we were sent to a farm-to-table restaurant that served us delicious Greek-style pasta.

Sarawak peppercorns add their woody, citrus aroma to shellfish steamed in wine and served with crisp fries

Black Sarawak peppercorns have a soft, woody smell, like a forest floor mixed with lemon zest. Those things come through in the taste, too, along with a fruity sweetness. But then peppercorns, the tiny black balls I take for granted (and often forget about), are berries, which is something I didn’t know until I did a pepper tasting at my local spice shop, Emporio delle Spezie.

I also learned that the spice I have always considered one thing, black pepper, is in fact a species, Piper nigrum, a flowering vine in the vast Piperaceae family. Native to south-west India and Sri Lanka, Piper nigrum spread, taking on different characteristics according to wherever it took root: Sarawak pepper, Penja pepper, Lampong pepper, Kampot pepper, Malabar pepper, Madagascar pepper …

As Taylor and Travis tie the knot, lean into the Swiftie mania with a nod (subtly) to red, white and blue, and add bejewelled accessories

Millennium Square, Leeds
As they tee up a long-awaited third album, the deep south band are variously slick and raw as they ruminate on overcoming tough times

‘Long time, no see,” declares Brittany Howard, stepping on stage to a rapturous welcome, as Alabama Shakes return from a hiatus. It’s been 10 years since the multiple Grammy-winning blues-soul-rock outfit from the deep south last played in the UK and 11 since their most recent album – though a third is being teed up for later in the year.

If there’s any rustiness, it isn’t evident as they glide straight into the smooth but punchy Rise to the Sun. It sets the tone for an evening in which the group can do slick and groove-locked songs as vividly as they do raw and raspy ones.

Plymouth retrospective of artist, who died in 2018, aims to ‘champion and celebrate the power of the imagination’

She spoke about indulging in colour, feasting on beauty, feeling a little giddy when drinking in glorious hues and textures – and not searching too deeply for meaning.

So in these gloomy times, a major retrospective of the work of the artist Gillian Ayres in her adopted Devon homeland may be just the job.

Lead vocalist of Village People, the American disco group famed for their hits YMCA, In the Navy and Go West

Victor Willis, who has died aged 74 after suffering from “a short but aggressive illness”, was the lead vocalist of the disco group Village People, and the most instantly memorable member of this most flamboyant of combos. Willis would often perform onstage wearing the uniform of a policeman or a naval officer, while his bandmates dressed as a cowboy, a construction worker, a GI, a leather-clad biker or a Native American chief.

The idea, conceived by the group’s svengalis, Jacques Morali and Henri Belolo, was that they would represent a range of American male stereotypes.

CrazySexyCool, the celebrated playwright’s new show in DC, is a vibrant love letter to the hits and sisterhood of the R&B trio

CrazySexyCool, an ambitious new musical about the visionary 90s trio TLC at Arena Stage in Washington DC, aspires to make good on its title and then some. Crammed with platinum sing-alongs and tabloid-chronicled plot twists, it follows the legendary girl group – Lisa “Left Eye” Lopes, Rozonda “Chilli” Thomas and Tionne “T-Boz” Watkins – through more than a decade of success and struggle, resulting in a teeming production that includes piles of era-defining R&B hits, deep racks of vintage Cross Colours T-shirts and a claw-foot bathtub filled with Nikes set aflame. At its most outrageous, CrazySexyCool seems to be testing the tensile strength of the jukebox musical itself.

Then again, this is TLC. The truth was outrageous. And that makes for a busy, dizzying, detail-minded show. Throughout the various dramas unfolding onstage, the musical’s three leads – Holli’ Gabrielle Conway as T-Boz, Jade Milan as Left Eye, Stoney B Woods as Chilli – exude a poise that feels as cool and congenial as the real TLC did when they ruled the radio three decades ago. At a weeknight performance of CrazySexyCool in late June, audience members seemed as if they had been reunited with old friends, singing, laughing, shouting affirmations and dancing in their seats.

As football fans revel in the real world tournament, its digital counterparts continue to stumble in capturing the ​hyped up ​atmosphere

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I come with a warning to all football fans: if you’ve been enjoying the World Cup enough to think, “I’d like to re-enact this on a football video game”, do not go to Netflix and play Fifa World Cup: Launch Edition, the officially licensed game of the tournament, which streams via your smart TV or computer. Developed by the virtually unknown Delphi Interactive, it’s a juddering, dated calamity, with sluggish controls (via your phone, once you’ve downloaded the app) and commentary courtesy of Clive Tyldesley that delivers all the excitement of a robotic train station announcement.

Until this, it was largely agreed that the worst World Cup football game in history was World Cup Carnival, the first official Fifa tie-in, which was released on various home computers in 1986. Publisher US Gold thought it had a deal with the Manchester studio Ocean Software to repurpose its acclaimed title Match Day, but the agreement fell through. With three months to go before Mexico 86, US Gold was forced to effectively rebadge a dire 1984 sim, World Cup Football, by the fading developer Artic. To add some value to the package, the game was released in a fancy big box complete with a fixtures chart, a World Cup facts poster and some flag stickers. Nobody was fooled – the World Cup Carnival was a critical and commercial disaster.

The blockbuster launch is expected to dwarf the box office takings of the year’s biggest movies with one industry analyst predicting it could make $1bn within an hour

It is, quite simply, the most anticipated piece of entertainment since the Star Wars prequels and now, at last, you can reserve a copy. At midnight last night, Rockstar opened preorders on Grand Theft Auto VI, the latest title in the epic open-world gangster adventure series, five months before its 19 November release date on PS5 and Xbox Series S/X.

Prices have also been confirmed, with the standard edition costing $80 in the US, £70 in the UK, and €80 in Europe. An Ultimate Edition (£90/€100/$100) will include exclusive in-game cars, clothes and weapons – the developer has confirmed that there will also be in-game stores that are only open to Ultimate owners. Anyone who pre-orders the game will get a Vintage Vice City pack filled with 80s apparel and other nostalgic items, which look to be straight out of Don Johnson’s Miami Vice wardrobe.

Normal Golf Game takes a tiresomely easy genre and makes it infernally difficult. Which deserves a round of applause

I have always struggled playing golf. I wish I didn’t. It’s a beautiful game in concept. A leisurely walk in the sunshine, slapping a ball around, sandwiches and beer consumed during and after play. Sure, you have to dress like Huggy Bear from Starsky and Hutch, and getting membership of an actual club is more complex than joining the Freemasons (although many offer a two for one deal with this), but you don’t have to be fit, you don’t have to even run. It is the only outdoor sport where a fat dad can be the best in the world.

The premise couldn’t be simpler: get the ball in the hole. But there is nothing worse in sport than knowing what you have to do and not being able to do it. Just ask amateur parachutists.

A preview of the forthcoming sci-fi game from Gareth Damian Martin showcases their unmistakable talent for innovation and game design

Over the past decade, an impression has taken root among gamers that any real creativity and originality in the industry is to be found in the indie, rather than mainstream, sector. Gareth Damian Martin can claim some responsibility for that. Their first game, 2020’s In Other Waters, merged sci-fi and underwater xenobiology in a uniquely calming and thought-provoking manner, while Citizen Sleeper (2022) and Citizen Sleeper 2: Starward Vector (2025) were full-blown sci-fi epics with ultraminimal aesthetics and a rare intelligence.

Martin has broken with tradition by unveiling their next game, Signet City, far in advance of its 2027 launch. Set in a dystopian monochrome city, it’s a narrative role-playing adventure with a curious first-person perspective. “You play as a parasite,” says Martin. “And it felt natural that it should be a game where you see the world through the eyes of your hosts, very literally. You wake up in the mind of a person called Sid at the same time as she’s waking up in the river of a city. You’re coming to understand what you are, why it is that you’re in the mind of this person who doesn’t know that you’re there, along with what your capabilities are, and what the world is, through Sid.”

Queenie’s ticking biological clock drives her chaotic misadventures in this sage and funny follow-up

A gynaecological examination is a good analogy for the kind of painful self-inspection at which Queenie Jenkins excels. The heroine of Candice Carty-Williams’s 2019 debut Queenie memorably begins that novel with a medical appointment for a mystery ailment that turns out to be a miscarriage. The sequel, Queenie Is Working on It, picks up the story eight years on, with the now 33-year-old Queenie back on the gurney, this time for a fertility checkup. “I didn’t realise they did condoms for anything other than … penises,” Queenie observes lamely as the unsmiling doctor sheaths a probe. Life has changed, but in many ways, Queenie has not.

Carty-Williams’s first novel about a stumbling Jamaican-British woman living in London, navigating romantic disaster and a mental health crisis, was a breakout bestseller. Reassuringly, her keen ear for female friendships – the deep affection, the stubborn solidarity, the ribald humour – endures, as does her understanding of how the particular experience of race suffuses the ordinary lives of Black women. These are the qualities that made Queenie feel unique and interesting in 2019. She remains so in 2026, but your patience for the new novel rather depends on your tolerance for her continued misadventures.

JD Vance’s Christian vision is thoughtful – but impossible to square with the political company he keeps

At the heart of this strange, perhaps rather poignant, book is the biblical question: “What must I do to be saved?” Not in the crude sense of how to secure a place in heaven, but as an urgent challenge to a whole repertoire of destructive assumptions and habits endorsed by the majority culture. Vance’s famous first book, Hillbilly Elegy, chronicled, among other things, the impact of substance abuse on generations of the rural poor. It is not too much of a stretch to see this book as a vision of the modern west through the lens of addiction and its generational effects. Except, this time, it is the norms and expectations of elite modernity that are as lethal for the ambitious young professional as fentanyl is for the less privileged.

Vance offers a diagnosis that is not particularly original, but derives its force from the intensity of the personal questioning he undertook to arrive at it. The US vice president describes with clarity the pervasive mechanisms, in education and the professional and political worlds, that induct us into wanting what others want – not what we regard as inherently desirable. Most of us instinctively desire emotional security, meaningful work and, perhaps above all, hope and joy in nurturing the next generation, introducing them to a world of value and promise. One of the most telling moments in the book is the spectacularly successful young Vance’s painful bafflement when faced with the challenge of becoming a parent: “I knew exactly how to help my kid get into a good college but was woefully underprepared to make him a good man.”

Candice Carty-Williams, Patrick Freyne and Guardian readers discuss the titles they have read over the last month. Join the conversation in the comments

I just finished reading Wimmy Road Boyz by Sufiyaan Salam. I absolutely adored this book, a fantastic combination of violence and vulnerability set on Manchester’s Curry Mile. I became completely attached to the three main boys, and I loved all of the perspective shifts to different characters throughout the book. I fully weeped at the end – it was an unexpected but completely understandable ending. 10/10, everyone should read this.

Queenie Is Working on It is published on 2 July by Trapeze. To support the Guardian, order your copy from guardianbookshop.com.

From classical painting to video games, this survey of the taboo and the twisted won’t let you look away

Museums are damned if they do, damned if they don’t. Ignore the problems of the past and they’re criticised for being problematic. Rewrite their labels according to changing politics and they’re called preachy and woke. The fact is, history is filled with immoral art. But how do we know it when we see it? And what, if anything, should we be doing about it?

In her timely and punchy new book, the philosopher Daisy Dixon explores some of the most controversial artworks ever produced. She’s interested in how an artist’s character can influence their creations, and the harmful effects those creations can have on the world.

With country music festival attendances soaring and US artists selling out tours, are British and Irish audiences ready for “the full Southern experience”?

“There’s a certain magic with country music in the UK right now,” says Anna-Sophie Mertens, smiling in hi-vis from the build at State Fayre, the UK’s newest festival for country fans. It is located in Chelmsford but styled like the American South – think clapboard, rusted metal and water points disguised as retro gas stations – and this weekend, the gates will open to 50,000 country devotees.

Country is the UK’s fastest-growing genre, according to data from the Country Music Association (CMA), and has been for three years in a row. Until 2023, UK tastes leaned towards legacy acts, but now modern megastars such as Morgan Wallen, Luke Combs and Cowboy Carter-era Beyoncé have taken the wheel, reflecting a changing of the guard.

Tipped by Lorde and Billie Eilish, the New York musician twists sublime folk and chaotic synths into bewitching new shapes

At first Shane Lavers can’t get through. Then he’s on video call but I cannot speak. When we finally make a clear connection over the phone, I can hear that he’s surrounded by nature, with faint snatches of birdsong at the edge of his measured, slightly gravelly speech. The musician who performs both in and as Chanel Beads (it remains unclear even to its core members whether they’re a band or a solo project) is on location shooting a music video somewhere on the coast of North Carolina. Encountering him as a disembodied voice, never mind one competing with worldly twittering and chirping, somehow feels more fitting than it would for most other musicians.

For years, Lavers has homed in on a cryptic, panoramic sound that ricochets from catchy, shout-along rock music to flare-ups of dissonant experimental noise. If the typical payoff of a pop song is to encapsulate a clear emotional arc in three-minute, verse-chorus structures, the appeal of a Chanel Beads track is much more unwieldy. Earlier singles such as Ef, Police Scanner and Male Friendship flicker in and out of focus, establishing a ground-floor of groove, only for Lavers and his bandmates to upend it with swelling strings, chiming guitar and ear-splitting samples. Lyrically, his songwriting gathers around an unstable emotional core that is so dense in its unspoken feeling that it manages to achieve an aching kind of orbit. It’s Lavers’s great talent to handle all of that swirling intensity while keeping everything suspended in the air.

Nicky Woolf’s investigation into a rightwing YouTuber reveals much more than state interference in social media. Plus, why did a kid pretend to be Steven Spielberg’s nephew?

Lauren Southern tells journalist Nicky Woolf she feels as though she’s in a spy movie, “but the dumbest ever made, because I’m just a YouTuber”. Along with other members of the right-wing commentariat, the Canadian found herself linked with the Kremlin when a company she had worked for was revealed as a front for the Russian state. Her candour is striking, as Woolf’s investigation unfolds across six uneasy chapters. Hannah J Davies
Audible, all episodes out now

(Warner)
After years spent chasing trends like trap and Latin pop, Madonna settles back​ nicely into​ old-school dance music to tell vivid vignettes of life in 80s New York

‘Ask yourself this – what are you doing it for? / Is it for you? Is it for them?” ponders Madonna during Bring Your Love, a collaboration with Sabrina Carpenter from Confessions II. It’s a question you could ask of her decision to release a follow-up to 2005’s Confessions on a Dance Floor 21 years on.

The official line is, of course, that it’s for her. Confessions II was inspired by Madonna’s 2023 Celebration tour, a rampage through her back catalogue – with staging that recreated the videos for old hits including Don’t Tell Me and Human Nature – that apparently set the singer thinking about her past. Certainly, Confessions II is rich with references to Madonna’s history, and not only the album from which it borrows its title and its initial structure, a sequence of house-influenced tracks that segue into each other like a DJ mix. There’s also the trip-hop-inspired Madonna of Bedtime Stories (the album concludes with a suite of slower, more introspective material); the club-hopping, fame-hungry Madonna of her 1982 debut single Everybody, who keeps cropping up in the lyrics; and the maternal, spiritually inclined Madonna of Ray of Light. The Test, a duet with her daughter Lourdes, is an older, wiser sequel to that album’s lullaby-like Little Star, alluded to in its opening lines.

Birds of War is an award-winning docudrama in which its own directors fall in love while reporting the horrors in Syria. They explain why they needed a psychotherapist to complete it

The air is thick with smoke and dust, the ground littered with the twisted remains of burning vehicles. Children scream and sirens blare as activist and videographer Abd Alkader Habak rushes to help the injured after the bombing of an evacuee convoy in Aleppo at the height of Syria’s civil war in 2017. A voice note bubble pops up on Habak’s phone screen. “My bird are you OK?” says BBC journalist Janay Boulos. “Get away from there, run.”

For more than a year, Habak and Boulos have been working to document Syrian dictator Bashar al-Assad’s atrocities against his own people, their connection deepening all the time despite the physical distance. But this exchange represents the moment the pair’s relationship shifts from colleagues to something more. “I don’t want footage,” Boulos says, fear clearly detectable in her voice as she tries to follow things from her desk in London. “I don’t want anything, just please take care. I am here whenever you want to talk.”

From Rose Byrne in If I Had Legs I’d Kick You to Jodie Foster in A Private Life, an onscreen parade of psychoanalysts are unravelling before us, tapping into our worst fears

There is an old adage that “every therapist needs a therapist”. Even while the treatment was still in its infancy, Sigmund Freud said all psychoanalysts should “submit” themselves to being analysed. Recent cinema has been acutely aware of that painfully unbreakable cycle. In the likes of If I Had Legs I’d Kick You, Mary Bronstein’s hallucinatory Rose Byrne vehicle in which she plays a therapist and floundering mother caught in a downward spiral, or 2022’s Smile, in which a psychiatrist (Sosie Bacon) is pursued by a malignant metaphor for her poor mental health, therapists are as much at the mercy of their traumas as anyone else.

Rather than being relegated to supporting character status, as they long have been in everything from Good Will Hunting (1997) to The Sopranos, film is finally giving therapists their moment on the couch. Within the space of a month in UK cinemas, two more trick cyclists are taking on lead roles. Backrooms sees Renate Reinsve totally unravel from a secure, calm and collected psychiatrist and self-help author (albeit one who lives alone and subsists on a diet of lacklustre ready meals) to a nervous wreck attempting to navigate the uncanny corridors of her own mind. Meanwhile in Rebecca Zlotowski’s A Private Life, a Francophone Jodie Foster takes on the role of shrink turned sleuth, deciding to investigate the death of a former client without realising she is trying to make up for her shortcomings as a spouse and parent.

The original star is behind this TV spin-off, and the casting of charismatic Lexi Minetree. Sadly, the tropey script and lack of campness mean it fails to really sparkle

It’s 25 years since you became a bona fide film star. In the intervening quarter of a century you have stayed a respected actor and become a powerhouse producer. An appetite grows for teen-led dramas that for reasons of nostalgia or muscled ice-hockey players appeal to the generation or two above. You are Reese Witherspoon. What do you do?

Take down the Legally Blonde IP, dust it off and make a small-screen prequel to the box office hit that became a cult classic, of course! You maximise your chances of success by casting a charismatic mini-me (Lexi Minetree) who can capture all the sassiness and sweetness of the original protagonist, Elle Woods, and recreate the genius of your own performance by making her un-self-aware without being imbecilic.

This documentary tells the story of the long-distance relationship between a BBC correspondent in London and a photographer on the ground in Syria with charm and humanity

Politics is to some degree set aside here in favour of matters of the heart; this is a story of romantic love among the ruins. London-based Lebanese journalist Janay Boulos, while working for the BBC’s Arabic service, fell in love from afar in 2016 with Syrian activist and photojournalist Abd Alkader Habak. He, during the Assad regime, was putting his life in danger to supply her with dramatic footage from his home town of Idlib and later Aleppo. Habak was himself to make international headlines in 2017 by getting photographed carrying an injured child to safety.

Habak’s gruelling images are interspersed with Boulos’s smartphone footage of her thoughtfully going up and down in the lifts at BBC Broadcasting House as well as home-movie material of her childhood in the seaside Lebanese town of Byblos; we get their tender texts and voice notes showing a growing relationship, sweetly calling each other “bird” and “little bird”. Finally Habak got out of Syria and into Turkey; the couple got married and lived in London, going on pro-Palestinian marches. Habak has mixed feelings about having to watch Syria’s final liberation on TV and Boulos goes back to visit her parents in Lebanon where the activities of Israel are stoically deplored, though Hezbollah is not mentioned.

Covering three generations, this tangled story of secrets, childhood, abandonment and care might be her best work yet

In 2018 Daisy Johnson was the youngest writer ever to be shortlisted for the Booker prize, for her debut novel Everything Under, a gender-fluid reimagining of the Oedipus myth involving canal boat communities and their complex family dynamics, plus a strange monster lurking in the depths. Before that, her short‑story collection Fen, with its blend of the uncanny and the workaday, was critically acclaimed. She has since written Sisters, a psychological horror that uses supernatural elements to explore sibling bonds and grief, and The Hotel, a series of seriously chilling interlinked ghost stories. Now comes Long Wave, which, while it shares some of these hallmarks, is in many ways finer and more subtle: perhaps her strongest work yet.

Long Wave is a story of three generations of mothers. As a small child Ori was found after being “abandoned” by her mother on a wild, uninhabited island somewhere off the coast of England. What happened to Ori’s mother, and why they fled to the island together, only for Ori to later be found and adopted by a scientist specialising in hares, is a question that returns to her with full force in adulthood when she finds herself newly postpartum and struggling to cope.

As she tours the UK, we pick the best of an artist who defined the ‘sad banger’ – but also radiates joy and strength from her perfect pop songs

Robyn has written and recorded more striking and melodically rich songs than this, but the opening track of Body Talk Part 1 might be this famously unbiddable pop star’s mission statement: an appealingly minimal bit of house music that dismisses a list of eye-rolling complaints aimed at everything from the music industry to uncomfortable shoes by repeating the title over and over again.

Memo calls for ‘surge’ of analysts after agents in January seized hundreds of boxes containing Fulton county ballots

The FBI has asked its field offices across the country to dedicate more than 200 staffers to its investigation of the 2020 election in Georgia’s Fulton county.

A memo obtained Thursday by the Associated Press calls for the FBI to “surge” 260 investigative analysts and staff operations specialists to the effort, which it described as a “priority investigation”.

Princess Cruises vessel is docked in San Francisco for disinfecting in third outbreak for company this year

More than 100 passengers and about 23 crew members on a Princess Cruises ship fell sick from suspected norovirus, according to the Centers for Disease Control and Prevention (CDC), marking the third outbreak to hit one of the company’s watercraft this year.

The Ruby Princess vessel set sail on 12 June from San Francisco, bound for Alaska and Canada, with a scheduled return on 2 July. More than two weeks into the journey, CDC officials received a report of an outbreak, which is defined by a threshold of 3% or more of passengers. Aboard the ship were 3,032 passengers and 1,144 crew members, according to the CDC.

Rolling coverage of the latest economic and financial news

Today’s UK Service PMI report (which polls purchasing managers from across the sector) found there was a “sustained reduction in backlogs of work across the service economy”.

This was due to weak demand, S&P Global reports, adding:

This contributed to another fall in employment numbers, with the pace of job losses the sharpest since February. Many service providers noted either redundancies or the non-replacement of voluntary leavers in response to reduced business requirements and pressure on margins from rising costs.

Canoeist David Hearn was arrested in June after touching a peeling piece of liner in the pool from renovation project

David Hearn, a three-time US Olympian and canoeist, has been indicted by a grand jury in Washington DC after Donald Trump blamed vandals for damaging Washington’s reflecting pool following a $14.7m renovation project.

The ‌indictment accuses Hearn, 67, ‌of “maliciously” breaking or destroying lining material on the bottom of the reflecting pool on 19 June. Lawyers for Hearn denied ‌the allegations following his arrest, accusing the ​Trump administration of treating ordinary conduct as criminal.

First judge found to have erred by giving 15-year-olds youth rehabilitation orders for rape of two girls in Hampshire

Two 15-year-old boys who were spared custody for raping two girls have been sentenced to four years’ detention after the court of appeal ruled their sentences were “unduly lenient”.

After a national outcry, the attorney general, Richard Hermer, referred the case to the court to consider whether the sentences given to three boys – identified only as X, Y and Z – were too light.

Commissioner asked to investigate Reform UK leader after private meeting with Bank of England governor

The standards watchdog has been urged to investigate whether Nigel Farage lobbied the Bank of England to drop a cryptocurrency plan that could be costly for the billionaire bankrolling his party, potentially in breach of parliamentary rules.

The Reform UK leader has said his party’s major donor, Christopher Harborne, wanted nothing in exchange for the £15m he donated to the party and the undeclared £5m gift to Farage the Guardian revealed in April.