When they picture a messiah, few perhaps imagine a mild-mannered 51-year-old with a greying beard who used to play at left-back for York City. Certainly Chelsea and West Ham fans don’t. But the degree to which Graham Potter is loved in Sweden has to be seen to be believed. He was a down-on-his-luck manager seeking a new start; they were a country who didn’t win a single game in World Cup qualifying. And somehow they were perfect for each other. By the standards of what Potter has achieved over the past nine months, a comfortable win over a self-destructive Tunisia barely registers, but it is the continuation of a remarkable process of renewal.

Sweden were awful in qualifying. They had a lot of injuries, it’s true, but two defeats to both Switzerland and Kosovo and two draws against Slovenia are not usually a route to the World Cup. Jon Dahl Tomasson was sacked as coach and Potter brought in. Sweden’s Nations League performances offered a repechage chance in the play-offs, and they took full advantage, beating Ukraine and Poland to secure their place at the finals. Potter described the latter victory, secured with an 89th-minute Viktor Gyökeres goal, as his best night in football. Sunday night was part of his reward.

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The midfielder on providing the balance to allow attacking stars to shine and wanting a fitting World Cup sign-off for Deschamps

France will look a little different this summer. “Naturally, it seems a bit more attacking than usual,” Adrien Rabiot says. “I think it is good because we have the players for it.” Lucas Hernández adds that France have “the best attack in the world” and Rayan Cherki talks about “crushing” opponents at the World Cup.

Rabiot says: “I think that we have one of the most well-equipped teams in an attacking sense. We have real threats from the start but also from the bench and that is very important in a World Cup … it is great to have all of this quality.” If France seem more attacking, it is because they are.

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Conway, Kobayashi and De Vries added to team’s success, in front of more than 350,000 fans, to go alongside five victories between 2018 and 2022

As the fans walked away understandably a little wearily from the 94th edition of the Le Mans 24 Hours, they had surely earned a sit down in a shady spot and a cold drink or two. Tired but happy, then, after a vingt-quatre that demonstrated the event and the series of which it is part are in rude health.

After the twice-round-the-clock challenge in baking sunshine and through the night with nary a spot of rain, it was the No 7 Toyota TR010 of Britain’s Mike Conway, Japan’s Kamui Kobayashi and the Dutch driver Nyck de Vries who took the flag after 381 laps, just 11 seconds up the road from the chasing BMW. It was a first victory for De Vries and a second for Conway and Kobayashi. There were tears from the Japanese driver in the cockpit as he brought the Toyota home. “I need a beer,” he told the team. He had earned it.

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When the artist came home from LA, it seemed like a retirement. But it heralded an astonishing new chapter. Our critic remembers their thrilling dinners together – and the dazzling new works that arrived in his inbox every morning

It was springtime in Paris and I was floating among young green leaves and white blossom – but I was not in a park. I was on an upper floor of the Fondation Louis Vuitton delighting, wallowing in several of David Hockney’s iPad paintings of his garden in Normandy. In one room, this green oasis was shown by the light of the silvery moon: the darkened chamber was alive with shining white lunar discs, blue clouds and the shadowy fingers of tree branches.

It was early April last year and this was the opening of David Hockney 25, a blockbuster show, curated with his close involvement, covering his entire career – but with an emphasis on his work this century. What a bold and bloody-minded spectacle it was, insisting that Hockney’s later pictures of straw bales and ponds are just as good if not better than his famous early swimming pools and sexy portraits. And what a triumph! With extraordinary aplomb, Hockney made his point. You went from gazing in awe at some of his greatest early paintings, basking in their Californian and swinging London light, to suddenly standing in Yorkshire fields in the early 21st century, taking in views of emerald hedgerows and purple trees. And it all suddenly made sense.

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My country has been under occupation, dogged by corruption and war. Yet even I’ve been bewildered by the way the US seems to be fracturing

By Nataliya Gumenyuk. Read by Inna Bagoli

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Bij Russische luchtaanvallen op de Oekraïense steden Kyiv en Kharkiv is het aantal dodelijke slachtoffers opgelopen naar zeker negen mensen. Dat melden de Oekraïense autoriteiten.

Luchtaanvallen op de Oekraïense hoofdstad Kyiv zorgden voor vier doden en meer dan twintig gewonden. Daarnaast werd de kathedraal van het Holenklooster (het Kyiv-Pechersk Lavra) in het centrum zwaar geraakt. Een gevel van het kerkgebouw is volledig vernield en een deel van het dak is verwoest door brand. Het klooster, een symbool van de Oekraïense spirituele en culturele geschiedenis, is een UNESCO-werelderfgoedlocatie uit 1051.

"Een brute aanval op ons volk en ons erfgoed. Dit is het ware gezicht van de orthodoxe waarden van Rusland", zei de Oekraïense premier Joelia Svyrydenko op X.

In Kharkiv, de tweede stad van het land, vielen vijf dodelijke slachtoffers en raakten zeker vijf anderen gewond door Russische luchtaanvallen.

Je spaart er decennialang voor, maar wat als je het zelf niet meer meemaakt? Wie overlijdt vóór of na de AOW-leeftijd laat een pensioenpotje achter dat lang niet altijd vanzelf naar de nabestaanden gaat. Hoe dat precies werkt, hangt af van twee pijlers: de AOW van de overheid en het aanvullend pensioen via werkgever of verzekeraar.

De AOW stopt op de dag ná het overlijden. De Sociale Verzekeringsbank krijgt het bericht doorgaans automatisch via de gemeente en zet de betaling stop. Nabestaanden hebben vaak recht op een eenmalige overlijdensuitkering ter hoogte van één maand bruto-AOW, plus het opgebouwde vakantiegeld. Voor een alleenstaande AOW'er komt dat in 2026 neer op € 1.637,57 bruto, voor samenwonenden op € 1.122,12 per persoon. De achterblijvende partner met AOW schuift automatisch door naar het hogere alleenstaandentarief — een verschil van zo'n € 515 bruto per maand.

Bij het aanvullend pensioen is het beeld grilliger. Onder de nieuwe Pensioenwet is het partnerpensioen maximaal 50% van het laatstverdiende salaris, en het wezenpensioen maximaal 20%. Belangrijk verschil met vroeger: de hoogte hangt niet langer af van het aantal dienstjaren. Wezen krijgen voortaan uitkering tot hun 25e. Wie overlijdt vóór de pensioendatum laat een partner achter die — afhankelijk van de regeling — soms een levenslange uitkering krijgt, soms niets. Stopt het dienstverband, dan vervalt de dekking vaak ook.

De jongere partner die nog geen AOW heeft, kan onder strikte voorwaarden een Anw-uitkering krijgen van maximaal € 1.550,44 bruto: er moet een kind onder de achttien zijn, óf minstens 45% arbeidsongeschiktheid.

Kortom: zonder pensioenoverzicht weten nabestaanden vaak níet wat hen toekomt — en dat kan het verschil maken tussen comfortabel rouwen of financieel kopje-onder gaan.

Toen Livano Comenencia in de 21e minuut namens Curaçao de gelijkmaker maakte tegen viervoudig wereldkampioen Duitsland, leek de Amerikaanse commentator van Fox One haast blijer…

This series emphasizes my imperative to communicate through my abstract artworks. These artworks are crafted using my handmade textures, sculpted, and modeled employing the principles of physics in Cinema 4D. It has become increasingly important to me to create something exceptionally abstract with my aesthetic and personal taste, striving to enhance my personality and soul, which sets me apart from the countless abstract images generated by any AI model with a prompt. This project is titled "Something to Say" because all of us possess something to convey, express ourselves, and assert our authenticity through our artworks.