A fresh search linked to the 2007 disappearance of British toddler Madeleine McCann has reached a third day, as police "race against time" to find forensic evidence pointing to their "prime suspect", said The Telegraph.

Convicted German paedophile Christian Brückner, currently in prison on a separate rape conviction, is due for release in September, after which he reportedly "plans to disappear". German investigators have been given until Friday to complete their search of a 8.1 sq mile site.

Where are they searching?
German and Portuguese police teams are searching an area of clifftop scrubland a mile or so from the Algarve resort of Praia da Luz where three-year-old Madeleine was last seen, and near where Brückner was known to have been staying at the time.

Brückner – in jail in Germany for the 2005 rape of an elderly American woman in Praia da Luz – spent much of his time in the Algarve between 2000 and 2017.

Why now?
The new search activity was ordered after "bombshell" evidence was found at Brückner's "lair" in a disused factory, including a hard-drive of pictures of an undisclosed nature that are "believed to indicate" why the German investigators are "sure Madeleine is dead", said The Sun. 

This cache of evidence was uncovered during investigations into his assault of his ex-girlfriend's five-year-old daughter, and used to convict him for that crime in 2017. Due to a "legal quirk", the evidence can't be relied on again to charge him with a different crime, Jon Clarke, the author of "My Search for Madeleine", told The Telegraph. Hence the need for further evidence – and the new search.

Haven't they searched this area before?
Yes, but when Madeleine first disappeared, her parents, Gerry and Kate McCann, "struggled" to get the Portuguese authorities to "take it seriously", said the BBC's Daniel Sandford. The searches were "not rigorous" and "seemed unstructured". Seeing detectives searching for evidence now in the same areas that formed part of the initial investigation, it "all feels like it is 18 years too late".

OnlyFans is quietly up for sale for a reported price of $8 billion (£5.9 billion). But the social media site, where "creators" post mostly sexual content for paying subscribers, could be worth much more, said the Financial Times, if it could shift from being "not safe for work entertainment" to being "less edgy". Its business model, which takes a 20% fee from video makers, is versatile and scalable, much like others that trade in user-generated content, such as Reddit and Roblox. 

'Betting on reinvention'
OnlyFans was founded in 2016 and grew rapidly during the pandemic. In the year to November 2023, it generated revenues of $6.6 billion (£4.8 billion). But tighter regulation of adult content in some US states has made investors wary. Any buyer would be "betting on reinvention, or at least diversification", said the FT – a transition that OnlyFans is attempting by luring chefs and fitness influencers to post. 

A stock market flotation is also being considered but, again, the platform's reputation is a hindrance, with reports of child-abuse material and non-consensual pornography being posted on the site. In March, OnlyFans was fined just over £1 million by UK telecommunications regulator Ofcom for failing to provide accurate information about how it was implementing age checks.

'Fame equaliser' 
Some non-celebrity creators defend OnlyFans for giving them autonomy and the opportunity to earn millions, although the average annual payout is about $1,300 (£950) per creator, according to Mashable. This potential is explored in Rufi Thorpe's comic novel "Margo's Got Money Troubles", in which a single mother turns to OnlyFans as a creatively fulfilling and financially rewarding lifeline. The platform represents "a way out" for the characters, said Nick Hornby in The New York Times. 

The platform is a "fame equaliser, allowing unknown individuals to rise to prominence and build a large fanbase", said The Independent. But OnlyFans also normalises the "commodification of a person's body, sexuality, and privacy", with creators becoming "globally known for performing sexual stunts that, until recently, would only have been conceived of in the farthest extremes of pornography". 

"Few British artists make work as consistently high-calibre" as Rachel Whiteread, said Cal Revely-Calder in The Telegraph. She was the first woman to win the Turner Prize, back in 1993, and her sculptures and photographs are now the "headline act" at the new Goodwood Art Foundation in West Sussex.

Marvelling at the art "in the open air" and away from the bustling crowds of urban galleries is a real "pleasure". Set among the "ancient trees" on the edge of a meadow lies one of her most striking pieces, "Down and Up" (pictured above), which is cast from an old staircase in a former synagogue in London's Bethnal Green and sure to be the "Instagram star" of the show.

This exhibition is a "spectacular, surreal, collision of urban grit and English pastoral", said Jonathan Jones in The Guardian. In a clearing, you'll find "Untitled (Pair)". Cast from mortuary slabs, these "two bone-white rectangular slabs" have a haunting feel. "Alone with this monument, the tall trees standing guard around me, I don't so much ponder mortality as silently scream."

Inside the main gallery, there's a collection of Whiteread's "deeply striking" photographs, said Nancy Durrant in The Times. Taken in a series of locations around the world, they examine the "passage of time and the inevitable deterioration of the structures we create" with "melancholy" but also a "very tiny sniff of humour".

Like the foundation's grounds, Whiteread's works could be labelled as "simple", said Revely-Calder in The Telegraph. "If so, fine: simplicity can be rich. Whiteread's art is proof of that."

Rachel Reeves just sent a pointed message to her critics
Kitty Donaldson in The i Paper
The "backdrop" to Rachel Reeves' "hundreds of billions" of investment in infrastructure projects outside London was a "bitter behind-the-scenes battle" with cabinet colleagues about "which programmes should be slashed from their budgets", writes Kitty Donaldson. While the chancellor's warning about "fantasy economics" was aimed at Reform UK's "promised spending splurge", it was also a "potshot" at Labour MPs and their "endless moaning". But "the comrades don’t want to hear it", amid fears that a "new wave of austerity will hand Nigel Farage power".

Whose side is the US on? Doubts strain alliances
Max Hastings on Bloomberg
The "common strand" of politicians' communications across the world is "fear that the threat of major conflict" is growing, writes Max Hastings, and that the international rules-based order has "collapsed". In European capitals, the "question hangs in the air": will Donald Trump withdraw America from Nato and US forces from Europe? The "common ground" among Europe's leaders is that we're "living in a new world" and the US "no longer represents a rock" but is "more like sand, shifting underfoot".

I can't unsee Harry and Meghan's baby dance video – shameless Sussexes must do one thing now
Mieka Smiles in the Daily Express
"On the list of things I was not expecting to see today, this has to top them," writes Mieka Smiles of a video of Meghan Markle "twerking". I'm "no prude" but some things should "remain private". Sharing the clip is "uncouth" and "not befitting of royals". If that's the point then Meghan should "pick a lane and do us all a favour and ditch the royal titles". It "just seems a bit desperate", so "next time Meg", keep the "cringey vids where they belong: on your iPhone".