The BBC has been accused of “baldism” after mistakenly using footage of former Premier League footballer Pablo Zabaleta in a segment about Spanish football association (RFEF) president Luis Rubiales. Rubiales has faced repeated calls to step down from his position as the head of Spain’s football association after he grabbed Spanish striker Jenni Hermoso and kissed her mouth during the Women’s World Cup medal ceremony. The BBC ran a news bulletin yesterday about the RFEF calling an urgent meeting to discuss the scandal which included footage of the kiss – but that quickly cut to a clip of Zabaleta walking alongside a colleague. While the two bear some resemblance, the footage of the former Manchester City star was from the draw for the 2022 World Cup. The Fifa and Qatar logos are visible on the wall Zabaleta walks past in the video. “A production error meant we showed the wrong image in an earlier broadcast. This has now been rectified,” the broadcaster said in a statement. Comedian Omid Djalili posted on X, the app formerly known as Twitter, about the incident. He poked fun at the organisation, saying: “As a bald man, I am offended. Especially as they didn’t include footage of me or [fellow bald celebrity] Stanley Tucci.” One commenter asked: “Is this considered a ‘baldist’ offence?” However, another person was more sympathetic, pointing out that the two look very alike. They said: “Gotta be honest, I watched the clip 3 times thinking 'wheres Zabaleta?'. Easily done IMO.” Rubiales’ kiss has sparked outrage in Spain and beyond. Hermoso has since said the action was not consensual. She said the situation had left her feeling “vulnerable and a victim of aggression”. In her statement, she described the kiss as “an impulsive act, sexist, out of place and without any type of consent from my part. In short, I wasn’t respected.” Fifa, the sports governing body, has suspended Rubiales for 90 days starting on 26 August. The Spanish FA has stuck firmly by its boss throughout and has even threatened to sue Hermoso. Separately on 28 August, a Spanish court opened a preliminary investigation to see if what took place was a sexual assault. Spain’s labour minister and second deputy prime minister Yolanda Diaz has also weighed in, according to Reuters. She said male chauvinism is “systemic” in the country. Sign up to our free Indy100 weekly newsletter Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings.

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Mauricio Pochettino praised the performances of the players given their full Chelsea debuts in the narrow Carabao Cup win over AFC Wimbledon, but would not be drawn on reports that the club are on the brink of signing Manchester City’s Cole Palmer. It took a first Chelsea goal from Enzo Fernandez in the second half to finally see off the challenge of the League Two side and seal a 2-1 victory, after Noni Madueke had equalised from the penalty spot on the stroke of half-time. Earlier, James Tilley’s penalty had given Johnnie Jackson’s side a shock lead after goalkeeper Robert Sanchez raced from his goal and collided with Harry Pell. The young trio of Mason Burstow, Ian Maatsen and Diego Moreira all started for the first time in an unfamiliar Chelsea line-up, but it took the introduction of Nicolas Jackson and Fernandez for the hosts to finally settle the tie, with a noticeable difference in the manner of their threat once the pair were brought on in the second half. Jackson provided the kind of incisive running between the lines that had been missing in the first half, whilst it was a first goal in blue for World Cup-winner Fernandez that finally broke Wimbledon’s resolve 18 minutes from time. Madueke, Chelsea’s best player in the first period before Pochettino turned to his bench, levelled from 12 yards after he had been tripped in the box by defender Alex Pearce. Pochettino was asked afterwards about the impending arrival of Palmer, with Chelsea and City reportedly having agreed a £40million fee for the forward, but he refused to comment, preferring instead to praise his team’s progression to the third round. “I don’t know anything at the moment,” he said. “I cannot talk about players that don’t belong to us. What I can say is nothing at the moment. The club didn’t tell me. I don’t want to talk about a player that has still not signed. “Maybe yes, maybe no (there will be more transfer business). Maybe you know better than me what is going on.” Of the performance against the Dons, he added: “It was tough. That’s the beauty of the competition, of the cups. I think for the circumstances we have in the squad at the moment, many players that were involved today, I’m happy with the performance. Many players that made their debut here and it’s tough first time. “Many positive things. Of course, we have a squad and players that were rested and were on the bench in case we needed. They were fresh to go into the game and of course to help the team achieve what we wanted. “That’s the beauty of the competition for any club, (when you’re) a Premier League club it’s always difficult to play a team like this, that belongs to this level in League Two. Always the motivation and the desire. It wasn’t a penalty for me, (but) that is the beauty of the competition, these things can happen.” The manager added that Marc Cucurella, who played 90 minutes at left-back despite reports that the club are in negotiations over a sale to Manchester United, remains a part of his plans until the club informs him otherwise. “I don’t know anything (about Cucurella). All the players that are involved every day on the training ground with us are in our plans. Then, things happen, it’s the decision of both the club and the player, and if something happens in the next few days, we will communicate to you.” AFC Wimbledon boss Jackson reflected on a brave performance for his side and took pride in having forced Pochettino to turn to his expensively-assembled bench to seal the win. “So proud of my players,” said Jackson. “We pushed them all the way, gave them a proper game. We’ve said all week that we weren’t just coming for a day out, we wanted to go toe-to-toe with them. A bit gutted we haven’t pushed them all the way to penalties, but I have to be proud of everyone. “We knew they were on the bench and to be honest I think their manager was hoping he doesn’t have to use them, so I think it’s testament to my team that we got them to a position in the game where he’s had to make those changes, bringing two hundred million pound players (Fernandez and Moises Caicedo) onto the pitch.”

It feels like every day there’s a science story that comes along ready to blow our tiny minds, and today is no exception. A series of ancient interconnected cities have been discovered in the remote El Mirador jungle Guatemala, and it’s changing our entire understanding of the ancient civilisation. More than 400 settlements have been uncovered with some dating back as far as 1,000 BC. They’re linked by roads too, and it’s led them to be described as “the first freeway system in the world”. Sign up to our free Indy100 weekly newsletter Richard Hansen, a research professor at the University of Idaho, is an expert on the project and he’d called the findings a “game-changer”. It was previously thought that the Mayan peoples were nomadic, but these cities have changed the scientific community’s understanding. Speaking to the Washington Post, Hansen said: "We now know that the Preclassic period was one of extraordinary complexity and architectural sophistication, with some of the largest buildings in world history being constructed during this time.” On top of the 110 miles of interconnected roads, the discoveries also showed evidence of organised agriculture and even hydraulic systems. The findings are the result of work which first began in 2015, which saw lidar technology uncovered signs of ancient structures below the surface. Archaeologist Enrique Hernández, from San Carlos University said about the findings: “Now there are more than 900 [settlements]… We [couldn’t] see that before. It was impossible,” he said. Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings.

Head to Google’s homepage today and you’ll see its primary-coloured logo transformed into an elaborate floral display, accompanied by an imposing, androgynous face. This face belongs to the pioneering British artist known only as Gluck, who is celebrated both for their iconic portraits and picture frame designs, and for their bold rejection of gender norms. Google has used its Doodle design to pay tribute to the trailblazing visionary on what would have been their 128th birthday. So what do we know about Gluck? And why was their work so important? Sign up for our free Indy100 weekly newsletter Gluck was born Hannah Gluckstein in London on 13 August 1895 to a wealthy catering family. However, as they grew older, they rejected their full name – asking to be referred to simply as Gluck. They attended the prestigious St. Paul’s Girls’ School in Hammersmith before moving on to St John's Wood School of Art. During World War I, they moved to the village of Lamorna in Cornwall, which was known for its buzzing artists' community. There, Gluck began to defy gender norms and fashions, donning men’s clothes and sporting barbered hair. According to the Royal Academy of Art, they refused to identify with any artistic school or movement and so exhibited their work solely in “one-man shows”. They also wrote on the backs of publicity photos: “Please return in good condition to Gluck, no prefix, suffix or quotes.” And, as Google notes, when one art society identified Gluck as “Miss Gluck” on its letterhead, they immediately resigned. Still, despite what would have been eyebrow-raising practices at the time, Gluck earned popularity among their peers and the wider public. In 1932, Gluck designed and patented a three-tiered picture frame, which later became known as the Gluck frame. This traditionally matched the colour of the wall on which it hung, giving the illusion that the painting was part of the wall itself. But perhaps their most famous work was a double-portrait of Gluck and their lover Nesta Obermer, called ‘Medallion’. Gluck referred to the 1936 piece as the “YouWe” picture, which symbolised their spiritual, marital union with Obermer. They later explained that, on 23 June 1936, the couple had attended a production of Mozart’s Don Giovanni at Glyndebourne. Gluck felt that the intensity of the music fused them into one, inspiring the “YouWe” painting as a public declaration of love and commitment. “Now it is out,” they subsequently wrote to Obermer, “and to the rest of the Universe I call Beware! Beware! We are not to be trifled with.” Up until their relationship with Obermer, Gluck was better known for their still-lifes of flowers, which were inspired by arrangements created by their former lover, florist Constance Spry. After this affair ended and their relationship with Obermer blossomed in its place, Gluck’s subjects and style evolved, with the focus shifting to their alliance, which they saw as a true meeting of souls. In 1973, Gluck held their final exhibition, which debuted more than fifty paintings from across their career. As Google points out in the blurb to its Google tribute, Gluck refused to compromise artistically and personally, and their legacy continues to inspire artists to express themselves freely today. Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings.

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