Some female frogs will go to the extent of faking their own deaths to avoid sex with their male counterparts, a new study has revealed. Researchers in Berlin and Finland focused on the European common frog for their investigation owing to the often alarming nature of the species' mating process. The short breeding season means that several males often cling to a single female – in a pile-on that can cause the female to drown. (So, pretty understandable that they might want to avoid this.) For the research published in the Royal Society Open Science, European common frogs were collected and divided into tanks where there were two females and one male in each. Before this research, it was thought that the females couldn't defend themselves against the aggressive amorous act. However, a number of the wily participants displayed the three avoidance behaviours. A rotation technique to escape mating was a popular option – carried out by 83 per cent of the females. While nearly half of them (48 per cent) mimicked how male frogs sound to trick them into letting them go. In 33 per cent of the females, the researchers recorded a stiffening of arms and legs for two minutes, in a convincing bid to play dead. Out of the females who got mounted by a lustful male, almost half were able to escape thanks to at least one of these avoidance behaviours. “The smaller females also showed the full repertoire of behaviours more often than the larger females," the researchers noted, and younger females were more likely to pretend they were dead. However, question marks remain on whether the frogs fake their death as a conscious choice or whether it is a stress response or even a means to test the male’s strength and endurance. “I think even if we call this species a common frog and think we know it well, there are still aspects we don’t know and perhaps haven’t thought about," Dittrich explained to The Guardian. 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.

The artist behind a flattering courtroom sketch of Donald Trump has defended his controversial depiction of the former president. William J Hennessy Jr was one of three artists who drew Mr Trump, 77, during his arraignment in Miami on 13 June on 37 federal counts related to willful mishandling classified documents, obstruction of justice and making false statements. The sketch of a slimmed down, youthful-looking Mr Trump standing bolt upright provoked protests on social media for being overly generous to the defendant. “Is this William J Hennessy Jr’s audition to do Trumps official White House portrait?” quipped one person. “That last sketch of Trump looks almost exactly like the recent photo of his son Barron,” another tweeted. A third person commented that “they got Trump looking like ‘Prince of Tides’ Nick Nolte in this sketch.” Mr Hennessy told the Boston Globe he was bemused by the strong response, which he said had been about half positive and half critical. “It’s rare I get any kind of feedback,” Mr Hennessy told the news site. “Some said he looked too thin, too young, and some said he looked too good.” He told the Globe the court appearance had been “pretty stressful” to cover. Journalists reported waiting in line for 24 hours to get a seat in the courtroom. “I don’t editorialise,” he said. “I just draw what I see.” Other sketches during Mr Trump’s arraignment showed the 45th president hunched over with his arms folded and a scowl on his face. Mr Trump has pleaded not guilty to all the counts, and has denounced the investigation as a political “witch hunt”. When Mr Trump appeared for arraignment in New York in April on charges relating to falsifying business records around hush money payments during the 2016 presidential campaign, he told officers he weighed 240 pounds (109 kgs). Read More Trump news – live: Bill Barr slams Trump’s ‘absurd’ classified papers defence as ex-attorney quits CNN lawsuit Attorney General Garland keeps poker face as firestorm erupts after Trump charges Fox News quietly changes headline after White House accused network of lying about Pride flag Why aren’t more Republicans attacking Trump like Bill Barr? Trump news – live: Bill Barr slams Trump’s ‘absurd’ classified papers defence as ex-attorney quits CNN lawsuit

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Newcastle United approached 1193 companies. They had an initial meeting with 65 of them. They were whittled down to nine, and then four and eventually two. And when they find a new shirt sponsor, it is Sela, a Saudi Arabian sports events and hospitality company. Which can seem a little convenient to some. Newcastle’s income has been inflated this summer and a commercial deal has come from the homeland of their owners, while Allan Saint-Maximin has been sold to the Saudi Pro-League. As Newcastle’s various powerbrokers discuss the Sela contract, Amanda Staveley asks if they can defend it, if it is fair market value. The answer comes in the affirmative. Some outsiders might be sceptical. We Are Newcastle United, the new Prime Video documentary, may be the first of a new genre: the Financial Fair Play drama. It is more about the boardroom than the dressing room; less is revealed about the guarded Eddie Howe than in the deluxe settings of Alnwick Castle, where his employers discuss the bottom line more than the forward line. There is, admittedly, little suspense in discovering that Newcastle do, after all, find a shirt sponsor but its importance is underlined. The underlying issue is how to create enough revenue within the rules for the world’s richest club to be able to compete with the Premier League’s wealthiest. It is not as simple as just pumping money in. “We are not going to overspend otherwise we will be in big trouble on Fair Play,” says Yasir Al-Rumayyan, the Newcastle chairman. Staveley reflects on the Carabao Cup final defeat by referencing Manchester United’s vast commercial income. At another point, she frets: “If we can only spend a certain amount we have to assume we are not going to get Champions League next season.” It is no spoiler to say they do and no surprise their sights are set higher again. “We want to be a Real Madrid, a Barcelona. To get ourselves to that point we need to spend money,” says Mehrdad Ghodoussi, Staveley’s husband and another co-owner. Al-Rumayyan adds: “We want to compete not only for the third or fourth position, we want to be No 1.” There is no lack of ambition: Al-Rumayyan wants the worth of the Saudi Public Investment Fund to reach $2 trillion and Newcastle’s value to increase tenfold. If it suggests he is no mere benefactor, there is a sense Newcastle feel themselves the bogeymen for the rest of the division. Their version of events is broadcast, their adversaries – apart from a couple of press-conference clips of Jurgen Klopp – are usually off-screen. But there is pushback to their takeover. “I think there was a fear we would have an unfair advantage,” complains Staveley. “They said it was the Saudi state, which is absolute rubbish. It is not Saudi Arabia, it is the Public Investment Fund.” There is the sense from her that the goalposts were moved to hamstring Newcastle, with a short-lived ban on sponsorship deals from companies linked to their owners. “I was shocked we could buy a club, pay a full price and then rules just changed,” she says. “I think that’s what pissed me off.” The other villain of the piece is Mike Ashley, whose years of neglect left Newcastle a long way behind. Peter Silverstone, the Chief Commercial Officer, compares the size of their commercial team with his former club Arsenal’s. “We don’t have time to make mistakes,” he notes, while suggesting he was made an offer he could not refuse: “When you are offered a seat on a rocket ship, you don’t ask which seat, you just get on board.” Silverstone argues that the Sela deal will help Newcastle become “the most followed, most supported club in Saudi Arabia”. If Bruno Guimaraes is the likeable Sean Longstaff’s favourite player – and has no objection when a classroom of school children nominate his midfield sidekick, not him – he is also Silverstone’s. “From a commercial perspective, he ticks every box,” he says. “He will attract more fans to Newcastle.” A theme is that Newcastle have to look after pounds and pennies; not because of the Saudi PIF’s bank balance, but due to FFP. The January negotiations for Anthony Gordon are prolonged, Everton’s initial demands for £60 million excessive. “They are bluffing,” says the negotiator in Staveley after a bid is rejected. They eventually get Gordon with an instructive tribute. “Anthony is going to be one of the best players in the league and Eddie just adores him,” says Staveley. All such shows are an attempt to humanise. Staveley comes across as caring and involved, saying she fell in love with Newcastle, going into the dressing room after the Carabao Cup semi-final win to address the team: “You’re going to get the Champions bloody League this year, I am telling you.” She gives Gordon her and Ghodoussi’s phone numbers and tells the newcomer to call if he ever needs anything. She has a tendency to refer to everyone from Callum Wilson to an agent she phones as “my angel”; for Staveley, the Angel of the North is not a statue by the A1 as much as everyone she encounters. Al-Rumayyan invites the players to his house during their World Cup training camp in Saudi Arabia. Earlier, asked about the appointment of Howe, who was relegated with Burnley, he replies dryly: “That’s even better, he knows what not to do.” Howe, though, proves an inspired choice by decision-makers who have shown a sure touch so far. Staveley claims that, at one stage in 2021, there was a 96 percent chance United would have gone down. “That would be a disaster,” she says. Disaster was averted, success fast-tracked. Newcastle start this season in the Champions League, not the Championship. Money has played a part in the transformation and money is the constant concern. They have the flagship signing Sandro Tonali this summer, and this week’s acquisition, Tino Livramento, but the only other buy is Harvey Barnes, whose arrival from Leicester was in effect paid for by the sale of Saint-Maximin. They are Newcastle United; not as they were in 2021 or perhaps as they will be in 2025, but a club with Saudi money in an ongoing battle with the balance sheet. ::The original documentary series WE ARE NEWCASTLE UNITED, which will launch on Prime Video with the first episode on Friday 11th August, followed by new episodes every Friday through to September 1st. Read More Newcastle sign Southampton defender Tino Livramento on five-year deal Allan Saint-Maximin the latest Premier League star to leave for Saudi Arabia Saudi transfers reveal difference between Premier League and European rivals Valtteri Bottas goes for a ride with Lance Armstrong – Wednesday’s sporting social Allan Saint-Maximin the latest Premier League star to leave for Saudi Arabia Women’s World Cup LIVE: Latest England news ahead of quarter-finals

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