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Rehab did not happen to Lena Dunham; she walked into it. The writer describes the moment she entered a stone‑manor facility in the Berkshires, Massachusetts, and was immediately asked to remove her designer shoes and answer mundane questions about her diet, a surreal welcome that felt like a college orientation—except many of the fellow residents struggled with IV heroin. She notes the unsettling blend of patients and staff, all dressed in ordinary clothes, making it impossible to tell who was who. A tattooed man in a Harley‑Davidson shirt turned out to be a sober companion, while a grandmother knitting in slippers battled a severe Benadryl addiction that had once ruined her daughter’s wedding. “Never judge a drug addict by their Patagonia half‑zip fleece,” she writes. Using the pseudonym “Rose O’Neill” – after the pioneering cartoonist – Dunham reflects on feeling trapped in a cycle reminiscent of the late‑career decline of the early 20th‑century artist. It was only after she allowed staff to use her real name that she began to reclaim her identity. Her therapist, Dr. Mark, a kindly man in khakis, asked her to articulate the root causes of her admission. Dunham linked her descent to chronic physical illness, relentless stress from supporting multiple families, hormonal turmoil after a hysterectomy, and a fraught romantic relationship. She also disclosed past sexual trauma, describing the rehab experience as “a fever dream” that echoed those memories. Medication played a paradoxical role. While Klonopin eased anxiety and Percocet dulled pain, the initial IV dose produced a euphoric “shiver through the whole body, better than any orgasm.” She acknowledges the temporary relief as a “pause button” that allowed her racing thoughts to quiet, yet also recognized the danger of dependence. Group sessions revealed complex dynamics. A fellow patient, Walter, breached confidentiality, prompting staff to enforce policy and send him home. The ensuing discussion divided the group, with some defending Walter’s lapse and others demanding accountability. Dunham’s own voice was subdued, emphasizing the tension between personal safety and collective responsibility. In a values‑mapping exercise, Dunham listed ART, FAMILY, MAKING PEOPLE FEEL SEEN as her core priorities, contrasting them with the values of the people she had surrounded herself with during active addiction. This exercise highlighted the stark misalignment between her aspirations and the environment she had inhabited. Despite the strict regimen, Dunham was granted a brief leave to attend the 2018 Met Gala. The decision sparked intense debate among staff about safety, yet she ultimately walked the red carpet, feeling “wan and haunted” amid flashing cameras and champagne she could not enjoy. The experience underscored the surreal juxtaposition of celebrity life and rehab recovery. During the final week, she formally identified as an addict and faced the pivotal question from Dr. Mark: “Do you want to be sober?” The answer marked a turning point, culminating in a moment of pure joy as she ran outdoors, feeling her legs move of their own accord. She closes with a vivid scene of spotting a robin’s egg on the grass, a simple yet profound reminder of life’s unexpected beauty. The memoir Famesick, published by Fourth Estate on 14 April, expands on these revelations and invites readers into the often‑hidden world of addiction behind the celebrity façade.

Oppdal, a mountain village in central Norway, hosted its first interspecies council on a snowy morning at the Bjerkeløkkja conference centre. Thirty‑eight local participants each represented a different species – from a northern bat to a birch tree – and voiced the needs of the natural world in a structured decision‑making process.The council draws on the legacy of the Council of All Beings, a practice created in the 1980s by environmentalists John Seed and Joanna Macy. Phoebe Tickell, a scientist and “moral imagination” activist mentored by Macy, adapted the ritual into a governance methodology that expands representation beyond humans.Facilitators first identified the multispecies stakeholders in the region, then briefed human representatives – chosen either randomly or for expertise – on the perspectives they would embody. The session concluded with a manifesto of principles for human governance and an impact‑evaluation plan to track participants’ connection to nature six months later.Oppdal’s mayor, Elisabeth Hals, noted that the village’s population swells from 5,000 to over 30,000 in winter as tourists flock to private cabins (hytter). The municipality plans to add 1,000 new apartments by 2035 to promote year‑round tourism, a move that has sparked debate over land use, farming, and conservation.During the council, a birch “worried there’s too much of me,” while a rockfoil flower urged humans to “slow down and listen to where nature can tolerate more activity.” The River Driva lamented being treated as a mere resource, and a fox enthusiastically pointed at a wader, highlighting the emotional range the exercise seeks to capture.Proponents argue that such empathy‑building exercises are crucial as wildlife populations have fallen by roughly 70 % over the past 50 years. Tickell contends that “imperfect representation beats exclusion” and envisions interspecies councils becoming as routine as environmental impact assessments.Across the UK, 13 councils have recognised river rights since 2023, and a coalition of artists, ecologists, lawyers and policymakers is exploring similar biodiversity governance around the North Sea. In London, multispecies assemblies have already informed stewardship of the River Roding and land‑use consultations.Oppdal’s experiment aims to create “institutional trace” – genuine decision‑making power backed by robust methodology and longitudinal research – rather than a tokenistic green‑washing exercise. If successful, the model could be replicated internationally, giving non‑human nature a formal seat at the policy table.

Millions of Indians have cast their votes in local elections in two states and a federally-governed territory, marking a crucial test of support for Prime Minister Narendra Modi and his right-wing Bharatiya Janata Party (BJP). The elections, held in Assam, Kerala, and the Union Territory of Puducherry, are part of five key contests scheduled this month. Voting was held on Thursday, with results due on May 4. Prime Minister Modi appealed to people to exercise their franchise in large numbers, stating, “I hope that the state’s youth and women voters participate enthusiastically and make this election a celebration of democracy and public duty.” In Assam, a BJP-led alliance has ruled the northeastern state for two successive terms and is expected to retain power. However, the BJP did not field any Muslim candidate in Assam, where the community constitutes more than 34 percent of the state’s population. In Kerala, parties opposed to the BJP are set to win, as power traditionally alternates between alliances led by the Indian National Congress and the communist parties. Modi’s party has struggled to gain ground in the state but has invested heavily to expand its presence. The elections are also crucial for opposition parties seeking to build a sustained challenge to the BJP’s dominance across the country. The outcome could show whether Modi’s party can extend its dominance by making inroads into opposition strongholds.

Oil tanker workers stuck in the Gulf for six weeks are reaching their limit, with mental health concerns escalating due to the prolonged standoff. A crew member, who spoke to the Guardian, revealed that the situation is becoming increasingly unbearable.The worker, one of 20,000 seafarers trapped by Iran's chokehold on the Strait of Hormuz, expressed frustration and despair, stating that any hope of being freed had evaporated. The crew member's tanker is anchored near dozens of loaded tankers, with many feeling unwilling and unable to traverse the strait, even if a ceasefire allowed them to do so.90% of the crew on the tanker want to exercise their right to refuse to sail, citing safety concerns. The situation has taken a toll on the crew's mental health, with one member suffering a 'mental breakdown' and being checked on regularly by colleagues.The International Transport Workers' Federation (ITF) has received about 1,000 inquiries from seafarers on 300 different vessels, with 20% seeking repatriation. The union and other organizations are trying to provide support, but the situation remains dire.The shipping companies are expected to find new crew members willing to work in hazardous areas, offering double pay and promotions. However, the workers stuck on the tankers hope that their vessel will be taken to anchorage to allow new crew to take their places.The situation has reignited calls for shipowners to replace their crews with mariners willing to offer relief, highlighting the human cost of the conflict.

Rebecca Solnit's latest book, 'The Beginning Comes After the End', serves as a powerful reminder that change is inevitable and that we have the power to shape our future. Drawing on her previous work, Hope in the Dark, Solnit emphasizes the importance of hope and resilience in the face of uncertainty.In her 2004 book, Hope in the Dark, Solnit offered a vision of solidarity and tenacity in response to the war in Iraq. The book experienced a surge in popularity after the 2016 election of Donald Trump, and its message of hope and humility continues to resonate today. As Solnit notes, 'Hope is not a door, but a sense that there might be a door at some point, some way out of the problems of the present moment even before that way is found or followed.'Solnit's new book picks up this thread, arguing that 'you do not have to picture the destination to reach it or at least draw closer to it, you just need to choose a direction and keep on walking'. She draws on a wide range of sources, including history, philosophy, and contemporary writing, to explore moments of reparation and progress.One of the key takeaways from Solnit's work is the importance of acknowledging the enormous gains that have been made in recent decades in areas such as women's rights, racial justice, and environmental protections. As she notes, 'Our world has changed more than almost anyone imagined, in ways both wonderful and terrible, often in ways no one anticipated'. By focusing on these successes, Solnit encourages readers to adopt a more optimistic and forward-thinking mindset.Solnit also explores the idea of interconnectedness and independence, arguing that this worldview has the power to shape our future. She writes, 'whether or not it is true, a lot of us want it to be true, and that desire says a lot about who we are right now'. By embracing this idea, readers can begin to see the world in a new light and work towards creating a better future.While some readers may be disappointed by the lack of policy prescriptions or organizing strategies, Solnit's book is a deliberate exercise in reframing our approach to change. As she notes, 'change happens so subtly, so slowly, that only a milestone lets you know that it has been taking place all along'. By adopting a more nuanced and hopeful view of the world, readers can begin to see the small changes that add up to a large one.

The mockumentary, a once-thriving film genre, seems to be losing its luster. Charli XCX's 'The Moment' and 'Spinal Tap II: The End Continues' are recent examples of films that have failed to recapture the magic of their predecessors.Historically, mockumentaries were a staple of comedy, with directors like Christopher Guest and Rob Reiner pushing the boundaries of the genre. Films like 'This Is Spinal Tap' and 'The Rutles: All You Need Is Cash' remain classics, celebrated for their improvisational style and satirical humor.However, the current crop of mockumentaries seems stale, relying on celebrity cameos rather than genuine comedic innovation. Even 'Spinal Tap II,' starring Guest, feels like a nostalgia exercise, struggling to recreate the original's charm.In contrast, smaller, independent projects like 'Rap World' and 'Nirvanna the Band the Show the Movie' are breathing new life into the genre. These films, made on shoestring budgets, use mockumentary techniques to create authentic, humorous stories that resonate with audiences.The decline of the mockumentary genre raises questions about its future. Can it be revitalized, or has it become a relic of the past? Only time will tell, but for now, it seems that the mockumentary needs a fresh perspective to regain its former glory.

Russia and China have exercised their veto power in the United Nations Security Council (UNSC) to block a resolution aimed at safeguarding commercial shipping in the Strait of Hormuz. The draft resolution, proposed by Bahrain, garnered support from 11 of the 15 UNSC members, with two abstaining.The vetoes by Russia and China were based on their assertion that the measure was biased against Iran. The resolution sought to encourage affected states to coordinate defensive efforts to ensure the safety and security of navigation across the strait.The Strait of Hormuz, a critical waterway through which a fifth of global oil and gas shipments pass, has effectively been blockaded after Iran threatened to attack vessels in response to the conflict with the United States and Israel. This blockade has led to soaring fuel prices worldwide and prompted some countries, particularly in Asia, to impose consumption restrictions and ration supplies.The US Ambassador to the UN, Mike Waltz, condemned the vetoes, calling them a 'new low'. He argued that Iran's actions were preventing medical aid and supplies from reaching humanitarian crisis zones in the Congo, Sudan, and Gaza.France expressed regret over the vetoes, stating that the aim was to promote 'strictly defensive measures' to ensure security in the strait without escalating tensions. Russia and China, however, argued that the resolution was biased against Iran and proposed an alternative resolution on the Middle East situation, including maritime security.Iran's UN Ambassador, Amir Saeid Iravani, praised the Russian and Chinese moves, saying they prevented the Security Council from being used to 'legitimize aggression'.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

Iranian drone attacks on Sunday inflicted serious damage on two of Kuwait's power and water desalination plants and sparked a fire at the Shuwaikh Oil Sector Complex, though no injuries were reported.Fatima Abbas Johar Hayat, spokesperson for Kuwait’s Ministry of Electricity, Water and Renewable Energy, described the incident as “criminal aggression” that caused “serious material damage” and forced the shutdown of two electricity‑generating units.Al Jazeera’s Malika Traina highlighted the strategic importance of the facilities, noting that around 90 % of Kuwait’s drinking water is produced by these desalination plants, making the disruption a critical blow to the nation’s water security.The strikes come as Gulf states bear the brunt of Tehran’s retaliation to recent US and Israeli attacks on Iran. Kuwait and the United Arab Emirates have become the epicentre of these assaults, according to Al Jazeera’s Victoria Gatenby in Doha.Gatenby warned that if President Donald Trump and Israeli Prime Minister Benjamin Netanyahu follow through on threats to intensify pressure on Iran, Tehran may target similar civilian and energy infrastructure across the Gulf.Bahrain also suffered drone attacks, with its Gulf Petrochemical Industries Co reporting damage to several operational units and Bapco Energies confirming a hit on an oil storage tank. Both incidents caused fires that were quickly extinguished, and no casualties were reported.In Abu Dhabi, authorities responded to multiple fires at the Borouge petrochemical plant, attributing them to falling debris from an interception. Operations were suspended pending a damage assessment, but no injuries have been confirmed.Saudi Arabia announced the interception of missiles early Sunday, underscoring the heightened military alert across the region.Gatenby noted that while Iran claims it is only targeting US military assets, the pattern over the past five weeks shows a broader focus on civilian and critical energy infrastructure. Gulf nations have exercised “incredible restraint,” yet their leaders caution that patience is not unlimited and that Saudi Arabia is invoking its right to self‑defence under Article 51 of the UN Charter.The escalating series of attacks highlights the fragile security environment in the Gulf and raises concerns about the resilience of essential services such as power and water supply amid ongoing geopolitical tensions.