The upcoming coronation of King Charles III promises to display a remarkable collection of artifacts and the most exquisite gems from around the globe. These items not only captivate the eyes but also establish a tangible and symbolic connection with the bygone era.
Here's a sneak peek of some noteworthy pieces that will be on display.
St. Edward's Crown
Crafted in 1661 specifically for the coronation of King Charles II, the solid gold crown that will adorn the head of Charles III is an awe-inspiring masterpiece.
Adorned with over 400 precious gemstones, including rare rubies and sapphires, this regal piece weighs a whopping two kilograms.
Eddie LeVian, the chief executive of Le Vian jewellery brand, highlighted the significance of the gems in the crown, stating, "It is not just that they're precious jewels..., these are some of the finest gems that came from mines that are extinct today.
"As those mines ran out, the new mines were not producing those qualities and even back when they were, these were the best of the best. They're priceless."
The Imperial State Crown
Another spectacular piece that will grace King Charles III's head during his coronation is the Imperial State Crown. Commissioned in 1937 for King George VI's coronation, this crown boasts an impressive array of precious gems, including 2,868 diamonds, 269 pearls, 17 sapphires, and 11 emeralds. Of particular note is the front-facing gem, which is the second-largest stone ever cut from the famous Cullinan diamond.
Queen Mary's Crown
During the coronation of Camilla as queen consort, she will be crowned with Queen Mary's Crown, which has a rich history. However, it is worth noting that the crown will not feature the controversial Koh-i-Noor diamond that once served as its centrepiece.
India claims ownership of this legendary diamond, and it has been a source of controversy for years. Instead, the Koh-i-Noor diamond will be substituted with precious stones sourced from the Cullinan diamond and the royal collection.
LeVian, whose ancestors protected the Koh-i-Noor when it was in the possession of the shah of Persia in the 18th century stated, "She has wisely chosen to be a role model.”
The Cullinan diamond
Discovered in South Africa in 1905, the Cullinan diamond held the distinction of being the largest ever mined, weighing an astounding 621 grams in its raw and uncut form. Two years later, in 1907, the Transvaal government presented this magnificent gem to King Edward VII on his 66th birthday as a symbol of reconciliation following the end of the Second Boer War (1899-1902).
The Sovereign's Sceptre with Dove
Symbolic of the Christian Holy Ghost, the sceptre is designed as a gold rod with a globe, cross, and dove perched atop it. Referred to as "the Rod of Equity and Mercy," this sceptre is closely linked to the spiritual duties of the monarch.
The Sovereign's Sceptre with Cross
In addition to the sceptre symbolizing the monarch's spiritual role, Charles will wield a second sceptre that represents the monarch's temporal power and commitment to good governance.
This sceptre features the largest colourless cut diamond in existence, known as the Cullinan I or the "First Star of Africa."
Weighing an impressive 106 grams, this diamond takes pride of place at the top of the sceptre.
The Sovereign's Orb
Representing the monarch's authority and the Christian world, the orb is a striking gold piece of jewellery encircled by a band of precious stones such as diamonds, emeralds, rubies, sapphires, and pearls. Atop the orb rests a magnificent amethyst and a cross, adding to the orb's symbolism and significance.
Cross of Wales
As part of the ceremony, a silver cross containing fragments believed by the Vatican to be from the cross on which Jesus Christ was crucified will be on display. The fragments, of the “True Cross” gifted by Pope Francis, have been meticulously fashioned into a small cross and seamlessly incorporated into the overall design. The tiny cross is visible through a rose crystal gemstone, adding to the ceremony's spiritual significance.
Rod with Dove
Although animal rights groups have called for it to be retired, Queen Camilla will hold an ivory sceptre during the ceremony. The sceptre, topped with a dove, has been a part of every queen consort's regalia since 1685. In addition to the ivory sceptre, Camilla will also carry a gold sceptre with a cross perched on top.
The gold Ampulla
The eagle-shaped vessel is a vital part of the coronation ceremony, as it holds the sacred oil used to anoint the monarch. The eagle's head is removable, allowing for the oil to be carefully poured into the vessel.
The vessel's design is inspired by a legend that dates back to medieval times, where it is believed that the Virgin Mary appeared to the English saint Thomas Becket, presenting him with a golden eagle and oil to be used in the anointing of future English kings.
The Spurs
One of Britain's most ancient coronation items, made of gold, leather, velvet, and gold thread, are the spurs used to represent knighthood. This tradition dates back to the coronation of Richard I in 1189 and was used to fasten the spurs to the king's feet during the ceremony. However, for queens, the spurs were presented and placed on the altar instead.
Coronation ring
Dating back to the coronation of King William IV in 1831, the ring is a significant part of Britain's coronation regalia. However, it was not worn by Queen Victoria during her coronation in 1838 due to her small finger size.
Purple Robe of Estate
The monarch's cypher, wheat ears, and olive branches are embroidered on a silk robe that took 12 seamstresses from the Royal School of Needlework 3,500 hours to make.
The Coronation Chair
The two-metre-high oak chair, commissioned by King Edward I in 1300, is considered the oldest piece of furniture in the UK. It is also known as the Coronation Chair, as it has been used in every British coronation since 1308.
The chair incorporates the Stone of Destiny, an ancient symbol of Scotland's monarchy that Edward I seized in 1296. The 152kg stone was taken from London's Westminster Abbey by Scottish nationalists in 1950 and later reappeared in Arbroath Abbey, Scotland. It was formally returned to Scotland in 1996, but will be brought back to London for the ceremony.
From the blood-soaked backstreets of Dhaka to the polished kitchens of Manhattan’s elite, K Anis Ahmed’s new novel Carnivore is as imaginative as it is provocative. A satirical thriller steeped in class tension, culinary obsession and primal survival, Carnivore follows Kash, a Bangladeshi immigrant-turned-chef who launches a high-end restaurant serving exotic meats – only to become embroiled in a sinister world of appetite and ambition.
But this is no simple tale of knives and recipes. Ahmed – a seasoned journalist, publisher, and president of PEN Bangladesh – brings a sharp eye to the grotesqueries of power and privilege. In this exclusive interview with Eastern Eye, he speaks about his passion for food, the moral murkiness of his characters, and why even the most ordinary people can spiral into extraordinary darkness.
A compelling premise, layered and unpredictable charactersAMG
What first connected you to writing?
I have been an avid reader since childhood – starting with Bengali and Russian fairy tales, before moving on to Enid Blyton and Agatha Christie. In my teens, I discovered Somerset Maugham and Graham Greene. Their travel writing sparked my imagination. The idea of being a wanderer through the world as a writer captivated me and pulled me toward writing as a vocation.
What inspired your new novel Carnivore?
I lived in New York for a time and love the city. I have always had a strong interest in food and found the idea of running a café, bar or restaurant quite enticing. Since I could not do it in real life, I created one in fiction – and let it go in some wild directions.
Tell us a little about the story.
It is about a young immigrant, Kash, who runs a wild game restaurant in downtown Manhattan. When the 2008 financial crash hits, his investors and clientele disappear. To stay afloat, he turns to hosting private dinners for the super-rich. In chasing a gig for a secretive billionaire’s dining club – while also dealing with a Russian money-lender – things soon spiral out of control.
What drew you to the culinary aspect?
It came from my passion for food and cooking. But cooking, for me, is more than just food – it is about identity, values and cultural expression.
As a writer, how do you develop the darker elements in a story like this?
It usually begins with a simple ‘what if’. I ask myself: how far could a seemingly ordinary person be pushed, given enough pressure or temptation? And who might they take down with them?
What inspired the title?
It was suggested by my brilliant agent, Charlie Campbell. The title captures not just the wild game theme, but also the broader idea of appetite – its excesses, its destructive potential.
Anyone who enjoys a gripping story with a diverse cast and unexpected twistsHarperFiction
What was the biggest challenge in writing the book?
Making the ultimate meal they plan feel believable – both to Kash and his team, and to the clients. None of these characters are inherently sociopathic. I wanted to explore the extremes that ordinary people might reach when driven by circumstance.
What is your favourite part of the book?
There is an episode where they go “hunting” for a peacock – I really enjoyed writing that. The backstory draws from my own memories of Eid-ul-Azha in Dhaka, where animal sacrifices take place in driveways and courtyards. It is surreal to see such rituals on such a scale in a modern city.
Who are you hoping the novel resonates with?
Anyone who enjoys a gripping story with a diverse cast and unexpected twists. It is for fans of crime thrillers, but also for general fiction readers who like discovering new subcultures – and morally daring propositions.
What do you enjoy reading, and do you have a favourite author?
I read a lot – both fiction and non-fiction, from science to history. The novel is my greatest love, and my favourite authors span classics and contemporaries. Some recent writers I have particularly enjoyed include Paul Beatty, Alejandro Zambra, Rachel Kushner and Ottessa Moshfegh.
What inspires you as a writer?
Intriguing ‘what if’ ideas, morally complex characters and the challenge of crafting sentences that feel exactly right.
What are you working on next?
I am working on a story where a seemingly normal person slowly descends into sociopathy. I want to explore how someone can unravel and become unrecognisable from who they once were.
What, in your view, makes a great novel?
A compelling premise, layered and unpredictable characters, and prose that is fresh and evocative – without being overwrought.
Why should readers pick up your new book?
Because it is a truly fun read – simple as that.
Carnivore by K Anis Ahmed is published by HarperFiction, £16.99.
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In an industry long regarded as a boys’ club, Sharma brings a refreshingly unapologetic approach
As the world prepares for the second edition of the World Championship of Legends (WCL), one of its most exciting franchises, the Meteora England Champions, is being led by a compelling force. Mahima Sharma is not just making her mark in cricket – she is quietly redefining leadership in a male-dominated industry.
In an industry long regarded as a boys’ club, Sharma brings a refreshingly unapologetic approach. She is strategic, deeply rooted in her love for the game, and proudly feminine. “Cricket has always felt like home to me,” she says. “I come from a culture where cricket is an emotion, and stepping into this role carries a great deal of responsibility. Growing up, I saw very few women leaders in cricket. To now find myself in this position 15 years later feels like coming full circle.”
As co-owner and the driving force behind the Meteora England Champions, Sharma is part of a small group of women leading professional cricket teams. For her, this is not about tokenism, it’s about legacy. “I do not want to be the exception,” she says. “I want to be part of a movement where women leading in sport is normalised. As more women step into leadership, we must not only create space but also change the environment so others can thrive.”
The journey has not been without its obstacles. Sharma recalls the doubt she encountered in the early days. “You walk into certain rooms and feel it – the unspoken question of how a twenty-something woman is in charge,” she says. But instead of backing away, she leaned in. “I chose not to internalise that doubt. I focused on proving myself through action.”
Each branding move, player decision, and strategic step has helped reshape perceptions. “We are not here to just participate. We are here to lead – with vision, knowledge and authenticity.”
Sharma’s leadership story is closely tied to her family. She co-owns the team with her father, a self-made entrepreneur who built the wider Meteora Group. Their dynamic is one of mutual respect. “We do not always agree – and that is our strength. We challenge each other, and that leads to better decisions.”
This blend of tradition and innovation shapes how she runs the team. From revamping fan experiences to reviving iconic rivalries, Sharma brings together nostalgia and bold new energy. “We are embracing history while writing new chapters,” she says. “Through storytelling, digital content and match-day experiences, we are bringing legends back into the spotlight in meaningful ways.”
Those legends include the likes of Eoin Morgan and Alastair Cook – cricketing greats now representing Meteora. “It has honestly been a dream,” Sharma says. “These players are not just icons – they are grounded, inspirational, and passionate about the future of the game.”
The team is also shaped by dynamic women behind the scenes. One key figure is Bhakti Bansal, the team’s creative strategist. “Her leadership has helped shape how the Meteora brand speaks and connects,” Sharma says. “It is not about having women in leadership for the sake of it – it is about having the right leadership.”
Empowerment runs through Sharma’s journey. She is not content with simply climbing the ladder – she wants to rebuild it. “As more women take on leadership roles, we carry the responsibility not just to make space, but to transform the environment so others can thrive.”
As WCL enters its second season, Sharma is scaling upwclegends.uk
For Sharma, inclusivity and creativity are core values. “It starts internally. Our team is deliberately diverse – not just in terms of gender or ethnicity, but in background and thinking styles.” This inclusivity informs every decision, from interns to executive planning. “Everyone has a seat at the table.”
As WCL enters its second season, Sharma is scaling up. “The challenge is in the scale and speed – logistics, player schedules, fan engagement, sponsorships. But the challenges are real, and so is our drive.”
Asked what message she would give young women pursuing careers in sport or business, Sharma is clear. “You do not have to choose between being passionate and being powerful. You do not need all the answers on day one – but you do need to believe you belong.”
Her approach is grounded in authenticity. “Resilience and self-awareness are everything. You must know who you are and hold your ground, even when you do not see yourself reflected in the room.”
She adds, “You can be assertive without being abrasive, strategic without being cold, and emotional without being weak.”
Despite the pace and pressure of running a franchise, Sharma’s love for cricket keeps her grounded and ambitious. “It is still my greatest passion,” she says. But she is open to other opportunities if they align with her values.
At the heart of her leadership is a principle passed down from her father: “Build long-term relationships based on trust.” It is a value she holds close as she navigates partnerships, negotiations and team dynamics.
When she needs inspiration, she turns to her support system. “My family, my friends, my dog Lexi – and the fans. Just being in a packed stadium, hearing the cheers, wearing your team’s jersey – that feeling is unmatched.”
Sharma closes with a simple yet powerful philosophy: “We walk into the room each day with a game plan, positive energy, and a clear vision.”
As the second season of WCL approaches, it is clear that Mahima Sharma is building more than a cricket team – she is building a legacy. One that says, without apology: the future of sport belongs to everyone. And yes, that includes the women who dare to lead.
The World championship of legends cricket 2025 takes place from July 18 – August 2. wclegends.uk
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The Turkey wildfires have not been limited to Izmir
Tourists stranded after Foça wildfire halts flights at Izmir airport
At least 550 people evacuated from homes in the region
Over 600 personnel deployed to contain the blaze
Strong winds and heat raise risk of further fires
Wildfires force airport shutdown in Turkish holiday hotspot
Hundreds of UK tourists, including several from Glasgow, have been left stranded after major wildfires swept through a popular holiday destination in western Turkey, forcing the closure of Izmir Adnan Menderes Airport.
The blaze broke out in the resort town of Foça, near Izmir, and was rapidly intensified by strong winds, prompting large-scale evacuations and flight disruptions. All operations at the airport were suspended from 4 pm local time due to ongoing extinguishing efforts, with multiple flights reportedly diverted.
More than 550 residents were evacuated from 175 homes in the Ilıpınar district, while emergency crews battled the fire for over 22 hours. The extensive response included 625 personnel, 46 fire engines, six helicopters, nine bulldozers and 13 water tankers.
Dramatic footage showed aircraft dropping water over the blaze in an effort to slow its spread. Authorities are still investigating the cause of the fire.
Süleyman Elban, Governor of Izmir Province, has urged residents and visitors to remain cautious, citing the combination of high temperatures and low humidity as factors that could lead to additional fires.
The Turkey wildfires have not been limited to Izmir. Blazes have also been reported this week in Kahramanmaraş, Bursa, Sakarya, Bilecik, Gaziantep, Bolu and Manisa, putting regional emergency services under sustained pressure.
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FILE PHOTO: A mother and daughter sit atop the Covid memorial wall on September 9, 2024 in London, England. (Photo by Carl Court/Getty Images)
THE Covid inquiry has started examining how the pandemic affected care services for older and disabled people, with families describing the crisis as one of the worst failures of the pandemic.
Nearly 46,000 care home residents died with Covid in England and Wales between March 2020 and January 2022, with many deaths happening in the first weeks of the outbreak.
Families have waited years for this part of the inquiry, which will look at key decisions including why hospital patients were moved quickly into care homes in March 2020 without being tested for Covid.
Pete Weatherby KC, representing bereaved families, told the inquiry that a top government official had called what happened a "generational slaughter" in care homes.
"We call out the callous way that family members were treated by politicians and policy makers, referring to them as bed blockers and people nearing the end regardless of the virus," he said.
The inquiry heard how care homes were told to take patients from hospitals to free up beds. Between early March and early June 2020, around 25,000 patients were moved to care homes, many without Covid tests.
Government advice on April 2, 2020 said "negative tests are not required" before patients went to care homes. This only changed on April 15, 2020.
A 2022 High Court ruling found this policy was unlawful because it failed to consider the risk to vulnerable care home residents.
Geraldine Treacy's mother Margaret Stewart died in a care home in Northern Ireland. She said: "The home had to accept people from the hospital, who hadn't been tested and subsequently they became very sick."
She described visiting her mother while wearing protective gear: "She couldn't see who I was and she was very, very upset. She was 87 and she was screaming for her mum."
Care workers described being left without proper protective equipment and testing kits early in the pandemic. One worker in Durham said their home lost 25 residents in three weeks.
"Once Covid was in our care home, it spread like wildfire and we could not do anything about it," they said. "At one point, 67 out of 87 residents tested positive."
Staff had to help families say goodbye over video calls. One worker recalled holding a resident's hand up to an iPad screen so his daughter could pretend to hold hands through the screen as he died.
The inquiry will also examine why "do not resuscitate" orders were placed on some elderly residents without their agreement, and policies that stopped families visiting for months.
Maureen Lewis, who manages St Ives Lodge care home in northeast London, lost seven residents to Covid. She remains angry about former health secretary Matt Hancock's claim in May 2020 that the government had "thrown a protective ring around care homes".
"There was no ring of protection for care homes at all," she was quoted as saying. "He needs to take accountability for the decisions he made."
Hancock will give evidence on Wednesday (2). Bereaved families say they want him to "tell the truth" about decisions made during the pandemic.
Jean Adamson, whose father Aldrick died with Covid in April 2020, called the hospital discharge policy "reckless".
"The way that my father and tens of thousands of other care home residents were sacrificed really gets me because I think it smacks of ageism and disability discrimination," Adamson said. The inquiry is expected to last five weeks, with 55 witnesses giving evidence. The final report will not be published until next year.
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Scarlett Johansson attends the "Jurassic World Rebirth" photocall
Scarlett Johansson says early roles focused on “desirability” and male-centred narratives
Notes positive shift in how women are portrayed in Hollywood today
Recalls being hypersexualised and typecast as a young actress
Currently stars in The Phoenician Scheme, with Jurassic World Rebirth out on 2 July
Scarlett Johansson has reflected on how Hollywood roles for women have evolved, admitting that early in her career, most of her characters were written to serve male-driven storylines. Speaking in an interview, the actress said the landscape has changed, with more nuanced opportunities for women on screen.
The Black Widow star, who began acting at nine, noted a shift in the kinds of roles she’s being offered now. “When I was younger, a lot of the roles I was offered had their ambitions or arcs revolving around their desirability or the male gaze,” she said. “That is less frequent now; something has shifted.”
Scarlett Johansson opens up about breaking free from early typecastingGetty Images
Johansson says more complex roles are finally being written for women
The 39-year-old actress acknowledged that the film industry is slowly embracing more layered portrayals of women. “The messaging is different now; there are more role models, women in visible and powerful positions, and roles that aren’t just one-note,” she said.
Scarlett has long been vocal about the way she was sexualised early on in her career. In a 2022 interview, she admitted that being objectified in Hollywood made her fear she’d be stuck playing the same type of roles. “I kind of became pigeonholed… I remember thinking, ‘I think people think I’m 40 years old,’” she said.
Johansson reflects on her childhood stardom and evolving careerGetty Images
From child star to filmmaker, Johansson now takes control of the narrative
Having debuted in North (1994), Scarlett went on to star in Lost in Translation, The Horse Whisperer, Ghost World, and the Avengers franchise. Now, she’s not just acting; she’s also directing. Her first feature, Eleanor the Great, premiered at Cannes in May.
From Avengers to auteur Scarlett Johansson embraces creative control Getty Images
Alongside her current role in Wes Anderson’s The Phoenician Scheme, she has Jurassic World Rebirth, which hit theatres on 2 July. After decades in the business, Johansson seems to finally be stepping into a space where she can define her own story, both on and off the screen.