David Beckham to be awarded knighthood, reports suggest
David Beckham is to be awarded a knighthood in the King's Birthday Honours, according to reports. The former England captain will appear on the list due to be released next week, the Sun reported, having previously been made an OBE in 2003.
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News.com.au
2 hours ago
- News.com.au
Gutsy Gauff fights back to beat Sabalenka to French Open crown
Coco Gauff battled back from a set down to beat world number one Aryna Sabalenka in a Grand Slam final for the second time with a dramatic victory in the French Open showpiece on Saturday. The second-ranked American dug deep to claim a 6-7 (5/7), 6-2, 6-4 victory and her second major title after also defeating Sabalenka at the 2023 US Open. The 21-year-old more than made amends for her emotional 2022 final loss to Iga Swiatek at Roland Garros, outlasting Sabalenka over two hours and 38 minutes on Court Philippe Chatrier. "I was going through a lot of things when I lost in this final three years ago. I'm just happy to be here," said Gauff. "I didn't think honestly that I could do it... I think I was lying to myself that I definitely could do it." It was a second straight Grand Slam final loss for Sabalenka after her defeat by Madison Keys at the Australian Open in January. Gauff was rock solid after falling a set down, while Sabalenka made 70 unforced errors in windy conditions in a match which followed a very similar pattern to Gauff's victory at Flushing Meadows two years ago. "Obviously it hurts so much, especially after such a tough two weeks when I played such great tennis in these terrible conditions," said Sabalenka, whose unforced error tally in the final was the highest by any player in a women's match this tournament. "To show such terrible tennis in the final, it does really hurt." Belarusian Sabalenka was aiming to become the only current women's player to win three of the four Grand Slam events after her US Open triumph last year and back-to-back Australian Open titles in 2023 and 2024. But Gauff instead moved 6-5 ahead in their head-to-head record, proving the more consistent player in the first women's Slam final between the world's top two since Caroline Wozniacki beat Simona Halep in Melbourne in 2018. Only Gauff, Swiatek, Naomi Osaka and Maria Sharapova have won multiple Slam titles before turning 22 in the last 20 years. - Marathon first set - The 27-year-old Sabalenka quickly asserted herself, racing ahead by taking four of the first five games. The top seed led 4-1 with a double-break in her semi-final win over Swiatek before being forced into a tie-break. She gifted Gauff a glimmer of hope too, throwing away the sixth game from 40-0 up with two double-faults and a tame backhand into the bottom of the net. Gauff made it 12 points in a row and levelled the set on her fifth break point of the eighth game when Sabalenka fired another groundstroke long. She could not build on that momentum and immediately gave the break straight back. But Sabalenka failed to serve out the set in a tense game, missing two set points -- the first with another double-fault -- as Gauff eventually extended the opener by taking her fifth break point. Both players continued to struggle on serve in the breeze, Sabalenka breaking for fourth time in the set but again unable to close it out. The first tie-break in the opening set of a women's French Open final since 1998 saw Sabalenka finally clinch the set after 77 minutes with a run of four straight points. It was the longest set in a women's Grand Slam final since the Williams sisters faced off at Wimbledon in 2002 and longer than last year's final between Swiatek and Jasmine Paolini. Gauff started the second set on the front foot, though, moving into a 4-1 lead with a double-break. Unlike Sabalenka in the first set, Gauff saw it out with few problems, sending the match into a decider on her first set point with a confident smash at the net. The US star also struck first blood in the third, breaking in game three as Sabalenka sent down her fifth double-fault. Sabalenka managed to drag it back to 3-3, but immediately was broken to love as Gauff edged towards the title. Gauff was denied on her first match point by a booming Sabalenka return onto the baseline and then had to save a break point. But she got over the line at the second time of asking, falling to the clay in celebration.
News.com.au
7 hours ago
- News.com.au
Smith-less Cats outshine Suns
AFL: The Geelong Cats have overcome a late injury to superstar Bailey Smith to beat the Suns in Geelong.
The Advertiser
8 hours ago
- The Advertiser
David Attenborough's Ocean a wake-up call from the sea
An ominous chain unspools through the water. Then comes chaos. A churning cloud of mud erupts as a net ploughs the sea floor, wrenching rays, fish and a squid from their home in a violent swirl of destruction. This is industrial bottom trawling. It's not CGI. It's real. And it's legal. Ocean With David Attenborough is a brutal reminder of how little we see and how much is at stake. The film is a sweeping celebration of marine life and a stark expose of the forces pushing the ocean toward collapse. The British naturalist and broadcaster, now 99, anchors the film with a deeply personal reflection: "After living for nearly 100 years on this planet, I now understand that the most important place on earth is not on land, but at sea." The film traces Attenborough's lifetime - an era of unprecedented ocean discovery - through the lush beauty of coral reefs, kelp forests and deep-sea wanderers, captured in breathtaking, revelatory ways. But this is not the Attenborough film we grew up with. As the environment unravels, so too has the tone of his storytelling. Ocean is more urgent, more unflinching. Never-before-seen footage of mass coral bleaching, dwindling fish stocks and industrial-scale exploitation reveals just how vulnerable the sea has become. The film's power lies not only in what it shows, but in how rarely such destruction is witnessed. "I think we've got to the point where we've changed so much of the natural world that it's almost remiss if you don't show it," co-director Colin Butfield said. "Nobody's ever professionally filmed bottom trawling before. And yet it's happening practically everywhere." The practice is not only legal, he adds, but often subsidised. "For too long, everything in the ocean has been invisible," Butfield said. "Most people picture fishing as small boats heading out from a local harbour. They're not picturing factories at sea scraping the seabed." In one harrowing scene, mounds of unwanted catch are dumped back into the sea already dead. About nine million tonnes of marine life are caught and discarded each year as bycatch. In some bottom trawl fisheries, discards make up more than half the haul. Still, Ocean is no eulogy. Its final act offers a stirring glimpse of what recovery can look like: kelp forests rebounding under protection, vast marine reserves teeming with life and the world's largest albatross colony thriving in Hawaii's Papahanaumokuakea Marine National Monument. These aren't fantasies - they're evidence of what the ocean can become again, if given the chance. Timed to World Oceans Day and the United Nations Ocean Conference in Nice, the film arrives amid a growing global push to protect 30 per cent of the ocean by 2030 - a goal endorsed by more than 190 countries. But today, just 2.7 per cent of the ocean is effectively protected from harmful industrial activity. The film's message is clear: The laws of today are failing the seas. So-called "protected" areas often aren't. And banning destructive practices such as bottom trawling is not just feasible - it's imperative. As always, Attenborough is a voice of moral clarity. "This could be the moment of change," he says. Ocean gives us the reason to believe - and the evidence to demand - that it must be. Ocean screens on National Geographic in the US and streams globally on Disney+ and Hulu from Sunday. An ominous chain unspools through the water. Then comes chaos. A churning cloud of mud erupts as a net ploughs the sea floor, wrenching rays, fish and a squid from their home in a violent swirl of destruction. This is industrial bottom trawling. It's not CGI. It's real. And it's legal. Ocean With David Attenborough is a brutal reminder of how little we see and how much is at stake. The film is a sweeping celebration of marine life and a stark expose of the forces pushing the ocean toward collapse. The British naturalist and broadcaster, now 99, anchors the film with a deeply personal reflection: "After living for nearly 100 years on this planet, I now understand that the most important place on earth is not on land, but at sea." The film traces Attenborough's lifetime - an era of unprecedented ocean discovery - through the lush beauty of coral reefs, kelp forests and deep-sea wanderers, captured in breathtaking, revelatory ways. But this is not the Attenborough film we grew up with. As the environment unravels, so too has the tone of his storytelling. Ocean is more urgent, more unflinching. Never-before-seen footage of mass coral bleaching, dwindling fish stocks and industrial-scale exploitation reveals just how vulnerable the sea has become. The film's power lies not only in what it shows, but in how rarely such destruction is witnessed. "I think we've got to the point where we've changed so much of the natural world that it's almost remiss if you don't show it," co-director Colin Butfield said. "Nobody's ever professionally filmed bottom trawling before. And yet it's happening practically everywhere." The practice is not only legal, he adds, but often subsidised. "For too long, everything in the ocean has been invisible," Butfield said. "Most people picture fishing as small boats heading out from a local harbour. They're not picturing factories at sea scraping the seabed." In one harrowing scene, mounds of unwanted catch are dumped back into the sea already dead. About nine million tonnes of marine life are caught and discarded each year as bycatch. In some bottom trawl fisheries, discards make up more than half the haul. Still, Ocean is no eulogy. Its final act offers a stirring glimpse of what recovery can look like: kelp forests rebounding under protection, vast marine reserves teeming with life and the world's largest albatross colony thriving in Hawaii's Papahanaumokuakea Marine National Monument. These aren't fantasies - they're evidence of what the ocean can become again, if given the chance. Timed to World Oceans Day and the United Nations Ocean Conference in Nice, the film arrives amid a growing global push to protect 30 per cent of the ocean by 2030 - a goal endorsed by more than 190 countries. But today, just 2.7 per cent of the ocean is effectively protected from harmful industrial activity. The film's message is clear: The laws of today are failing the seas. So-called "protected" areas often aren't. And banning destructive practices such as bottom trawling is not just feasible - it's imperative. As always, Attenborough is a voice of moral clarity. "This could be the moment of change," he says. Ocean gives us the reason to believe - and the evidence to demand - that it must be. Ocean screens on National Geographic in the US and streams globally on Disney+ and Hulu from Sunday. An ominous chain unspools through the water. Then comes chaos. A churning cloud of mud erupts as a net ploughs the sea floor, wrenching rays, fish and a squid from their home in a violent swirl of destruction. This is industrial bottom trawling. It's not CGI. It's real. And it's legal. Ocean With David Attenborough is a brutal reminder of how little we see and how much is at stake. The film is a sweeping celebration of marine life and a stark expose of the forces pushing the ocean toward collapse. The British naturalist and broadcaster, now 99, anchors the film with a deeply personal reflection: "After living for nearly 100 years on this planet, I now understand that the most important place on earth is not on land, but at sea." The film traces Attenborough's lifetime - an era of unprecedented ocean discovery - through the lush beauty of coral reefs, kelp forests and deep-sea wanderers, captured in breathtaking, revelatory ways. But this is not the Attenborough film we grew up with. As the environment unravels, so too has the tone of his storytelling. Ocean is more urgent, more unflinching. Never-before-seen footage of mass coral bleaching, dwindling fish stocks and industrial-scale exploitation reveals just how vulnerable the sea has become. The film's power lies not only in what it shows, but in how rarely such destruction is witnessed. "I think we've got to the point where we've changed so much of the natural world that it's almost remiss if you don't show it," co-director Colin Butfield said. "Nobody's ever professionally filmed bottom trawling before. And yet it's happening practically everywhere." The practice is not only legal, he adds, but often subsidised. "For too long, everything in the ocean has been invisible," Butfield said. "Most people picture fishing as small boats heading out from a local harbour. They're not picturing factories at sea scraping the seabed." In one harrowing scene, mounds of unwanted catch are dumped back into the sea already dead. About nine million tonnes of marine life are caught and discarded each year as bycatch. In some bottom trawl fisheries, discards make up more than half the haul. Still, Ocean is no eulogy. Its final act offers a stirring glimpse of what recovery can look like: kelp forests rebounding under protection, vast marine reserves teeming with life and the world's largest albatross colony thriving in Hawaii's Papahanaumokuakea Marine National Monument. These aren't fantasies - they're evidence of what the ocean can become again, if given the chance. Timed to World Oceans Day and the United Nations Ocean Conference in Nice, the film arrives amid a growing global push to protect 30 per cent of the ocean by 2030 - a goal endorsed by more than 190 countries. But today, just 2.7 per cent of the ocean is effectively protected from harmful industrial activity. The film's message is clear: The laws of today are failing the seas. So-called "protected" areas often aren't. And banning destructive practices such as bottom trawling is not just feasible - it's imperative. As always, Attenborough is a voice of moral clarity. "This could be the moment of change," he says. Ocean gives us the reason to believe - and the evidence to demand - that it must be. Ocean screens on National Geographic in the US and streams globally on Disney+ and Hulu from Sunday. An ominous chain unspools through the water. Then comes chaos. A churning cloud of mud erupts as a net ploughs the sea floor, wrenching rays, fish and a squid from their home in a violent swirl of destruction. This is industrial bottom trawling. It's not CGI. It's real. And it's legal. Ocean With David Attenborough is a brutal reminder of how little we see and how much is at stake. The film is a sweeping celebration of marine life and a stark expose of the forces pushing the ocean toward collapse. The British naturalist and broadcaster, now 99, anchors the film with a deeply personal reflection: "After living for nearly 100 years on this planet, I now understand that the most important place on earth is not on land, but at sea." The film traces Attenborough's lifetime - an era of unprecedented ocean discovery - through the lush beauty of coral reefs, kelp forests and deep-sea wanderers, captured in breathtaking, revelatory ways. But this is not the Attenborough film we grew up with. As the environment unravels, so too has the tone of his storytelling. Ocean is more urgent, more unflinching. Never-before-seen footage of mass coral bleaching, dwindling fish stocks and industrial-scale exploitation reveals just how vulnerable the sea has become. The film's power lies not only in what it shows, but in how rarely such destruction is witnessed. "I think we've got to the point where we've changed so much of the natural world that it's almost remiss if you don't show it," co-director Colin Butfield said. "Nobody's ever professionally filmed bottom trawling before. And yet it's happening practically everywhere." The practice is not only legal, he adds, but often subsidised. "For too long, everything in the ocean has been invisible," Butfield said. "Most people picture fishing as small boats heading out from a local harbour. They're not picturing factories at sea scraping the seabed." In one harrowing scene, mounds of unwanted catch are dumped back into the sea already dead. About nine million tonnes of marine life are caught and discarded each year as bycatch. In some bottom trawl fisheries, discards make up more than half the haul. Still, Ocean is no eulogy. Its final act offers a stirring glimpse of what recovery can look like: kelp forests rebounding under protection, vast marine reserves teeming with life and the world's largest albatross colony thriving in Hawaii's Papahanaumokuakea Marine National Monument. These aren't fantasies - they're evidence of what the ocean can become again, if given the chance. Timed to World Oceans Day and the United Nations Ocean Conference in Nice, the film arrives amid a growing global push to protect 30 per cent of the ocean by 2030 - a goal endorsed by more than 190 countries. But today, just 2.7 per cent of the ocean is effectively protected from harmful industrial activity. The film's message is clear: The laws of today are failing the seas. So-called "protected" areas often aren't. And banning destructive practices such as bottom trawling is not just feasible - it's imperative. As always, Attenborough is a voice of moral clarity. "This could be the moment of change," he says. Ocean gives us the reason to believe - and the evidence to demand - that it must be. Ocean screens on National Geographic in the US and streams globally on Disney+ and Hulu from Sunday.
