SEOUL (ANP/AFP) - Het Zuid-Koreaanse hooggerechtshof heeft de veroordeling van oud-president Yoon Suk-yeol voor het verzet bij zijn arrestatie in stand gehouden. Hij krijgt een gevangenisstraf van zeven jaar, dezelfde straf die het hof van beroep hem in april oplegde.

Yoon is verwikkeld in meerdere rechtszaken sinds hij eind 2024 de militaire noodtoestand uitriep om het parlement buitenspel te zetten. Vijf maanden geleden kreeg hij daarvoor al een levenslange gevangenisstraf.

Deze zaak draait om het belemmeren van de rechtsgang. Hij zou onder meer veiligheidsagenten hebben geïnstrueerd om zijn arrestatie tegen te houden. Het duurde begin 2025 dagenlang voor Yoon kon worden opgepakt in zijn presidentiële woning, onder meer omdat zijn veiligheidsagenten niet meewerkten.

Daarnaast werd Yoon in deze zaak beschuldigd van het blokkeren van kabinetsvergaderingen en het vervalsen van de handtekening van de premier in de aanloop naar het uitroepen van de noodtoestand.

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Fifa refereeing chief Pierluigi Collina defended the officiating in Argentina’s 3-2 victory over Egypt in the World Cup ⁠round of 16, dismissing allegations of bias and saying match officials operated with complete independence.

In an interview published on inside.fifa.com on Thursday, Collina said criticism ⁠of referees was part ⁠of football but ​he condemned the questioning of the officials’ integrity after Egypt complained about the officiating following the defeat.

Like tradwifery for children, this revamp of the 19th-century settlers show is a precision-tooled and well-oiled machine. It’s a cosy world full of faith, hope and the American way

I never actually watched an episode of Little House on the Prairie, though it bestrode my late 70s-early 80s’ childhood like a ginghamed colossus. This is for the simple reason that Michael Landon’s bouffant hair frightened me. Bouffant hair is such a bad thing. But so great is the power of both the cultural cringe and osmosis that even the most militant Britisher of a certain age has absorbed to some degree the story of the pioneering Ingalls family and its on-screen aesthetic. For the younger folk – it’s tradwifery for children.

The series was of course based on the books (and named after the third in the series, which was published in 1935 and hasn’t been out of print since) by Laura Ingalls Wilder. They in turn were an account, shaped for a young readership, of her childhood spent moving across the American West in the 1870s and 80s, settling and resettling in different states as her parents sought their manifest destiny.

Using a digital flat-bed scanner, our picture editor Jonny Weeks adapts some of his favourite images from the tournament and explores the trend of alternative photography

Although I’ve edited thousands of football photographs over the years, I’ve never attended a World Cup match. I envy those who get to be pitchside with their cameras for such big events. Yet, as I’ve discovered during this tournament, you don’t have to be there to create experimental images of the tournament.

Slit-scanning is an alternative photographic process that I first tried many years ago. Using a narrow slit inside an analogue camera, the photographer winds a roll of film past the aperture to record the flow of time. It’s a tricky and laborious technique which produces curiously distorted results – almost like celebrating the problem of “rolling shutter”, which has vexed photographers for generations.

Each of the eight teams has at least one key strength, from Swiss speed to Spanish defence

The World Cup has reached the quarter-final stage and the favourites to reach the last four in descending order of likelihood, according to Opta, are France, Spain, Argentina and England. All eight remaining teams have positive data in their favour from the tournament, though.

Tottenham’s strategies have changed over the years and this summer’s transfer splurge marks a sharp turn away from the Levy years

A couple of weeks ago, Sotheby’s in London concluded one of its biggest art auctions. In all, the sale of 25 modern and contemporary works raised almost £300m. Seated Nude With Necklace, by Modigliani, went for £41.5m; La Belle Promenade, by Magritte, went for £13.5m. And amid all the feverish commentary on the resilience of the London art market and the enduring appeal of post‑war pieces among the younger generation of collectors, one question above all presented itself: was this all for the benefit of Roberto De Zerbi?

Naturally, it would be premature to link the sale of a significant portion of Joe Lewis’s art collection to the lavish summer transfer spending of the football club he owns. But of course money is money, and in a summer where Tottenham Hotspur are spending an unprecedented £230m in the transfer market, funded in large part through cash injections from the Lewis family, the connections make themselves. Are Tottenham’s owners selling off the family heirlooms to pay for Jan Paul van Hecke? And on a wider level, what exactly are the Premier League’s 17th-best club playing at here?

Whenever major reform is proposed the media, big business and Westminster quickly conclude it’s too expensive and disruptive. This doesn’t bode well for Andy Burnham

In an old, often anxious and conservative country, the perception of risk is a potent political weapon. If a policy or a project for reforming the UK seems too risky, or can be made to seem so by its opponents, then it can usually be quickly killed off. It can be added to the pile of possible futures that never occurred.

In politics as in life, riskiness is sometimes real. To see that Brexit or Britain’s involvement in the 2003 invasion of Iraq might not end well did not require huge foresight. Yet often the perception of risk is politically constructed: a reflection of powerful forces, their self-interest, and what they do or don’t want to happen.

Andy Beckett is a Guardian columnist

She was a member of the influential rap collective, then the alt-R&B hitmakers – but struggled to find her own voice. Now, after realising she ‘didn’t like anybody else’s beats’, she’s made a solo album that is truly hers

There was a time when Sydney Bennett really wanted “something to show for all of my hard work”. The 34-year-old singer-rapper-producer-engineer was a member of Odd Future, the anarchic Los Angeles rap collective that also included Tyler, the Creator, Frank Ocean and Earl Sweatshirt. In 2011, that group birthed the Internet, the indie-R&B band Bennett formed with her best friend, Matt Martians. Since then, Bennett has released two acclaimed solo records, collaborated with Beyoncé and Kehlani, and been nominated for a Grammy, alongside the Internet.

Still, around the time of her last album, 2022’s Broken Hearts Club, she started hoping for an award or public recognition. But then she bought a house – a nice spot on the same street she grew up on in Mid-City, LA – “and now I’m happy”. I look at her quizzically, sitting across from me in a private room in a hotel in east London, as she takes a sip of pineapple juice. It was as simple as that, I ask? She lets out a guffaw, flashing a set of perfect teeth. “I’m afraid it was,” she says, grinning conspiratorially.