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The Recent Tremors A series of nine small earthquakes struck the Pardis area east of Tehran overnight, Iran’s Mehr news agency reported on Wednesday, renewing fears among experts and residents that the Iranian capital could face a major seismic disaster. Concerns Over Accumulated Tectonic Pressure The repeated activity has revived concerns that accumulated tectonic pressure beneath and around the capital, which lies close to several active fault lines, could at some point in the future trigger a much larger earthquake. The Mosha Fault: A Major Seismic Zone The tremors, recorded over a single night in eastern Tehran province, were felt in an area close to the Mosha fault, one of Iran’s most active seismic zones. The fault, about 150km (93 miles) in length, is one of the major active faults of the country, located approximately 40km (25 miles) from the capital. No Casualties or Damage Reported State media reported that the magnitude of one of the earthquakes was 4.6, but the mild seismic activity did not cause casualties or material damage. Warnings of Future Risk Semi-official Mehr news agency quoted seismologist Mehdi Zare as saying it was not clear whether the tremors represented a release of built-up seismic energy that would reduce future risk or instead were warning signs of stronger future activity along the fault system near Tehran. Zare warned that Tehran’s vulnerability is amplified not only by active fault lines but also by dense urban development, population concentration and limited preparedness. He said even relatively small earthquakes can cause disruption in the capital due to fragile infrastructure and congestion, complicating emergency response. Tehran's Vulnerability Tehran, a metropolitan area of more than 14 million people, lies near major active faults, including the North Tehran, Mosha and Rey. Iranian experts have repeatedly warned that a major earthquake near Tehran could have catastrophic consequences. Iran is among the world’s most quake-prone countries, and memories remain vivid of the 2003 Bam earthquake, which killed more than 30,000 people.

Ujiri’s Appointment Signals a New Era for the MavericksMasai Ujiri was introduced last week as the Dallas Mavericks’ president of basketball operations and alternate governor, a move the franchise touts as “a match made in heaven.” The hire places the first African to run a major U.S. sports franchise at the helm of a team owned by the ultraconservative billionaire Miriam Adelson.Background: From Raptors Champion to Dallas’ President of Basketball OperationsUjiri’s résumé includes:2003: Co‑founded Giants of Africa while scouting unpaid.2010: Became the first African general manager of an NBA team (Denver Nuggets).2013: Won NBA Executive of the Year.2018: Traded for Kawhi Leonard, leading the Toronto Raptors to their first championship.2026: Hired by the Mavericks after the Luka Dončić trade saga.Financial Stakes: Draft Picks, Revenue Loss, and Ownership WealthThe Mavericks hold the No. 1 pick in the 2025 draft and selected Rookie of the Year Cooper Flagg, plus the 9th, 30th and 48th picks.The 2023 sale of the team to Adelson was valued at $3.5 billion, a fraction of her estimated $35 billion net worth.Analysts estimate the Luka Dončić trade cost the franchise roughly $100 million in revenue.Adelson has contributed more than $100 million to Donald Trump’s 2024 campaign.Culture Clash: Liberal Advocacy vs. Ultraconservative OwnershipUjiri’s public record includes outspoken support for social justice, anti‑racism initiatives, and humanitarian work across Africa. In contrast, Adelson has labeled pro‑Palestinian and Black Lives Matter activists as “enemies” and is known for her right‑wing political donations. The Mavericks’ fan base leans Democratic, creating a potential flashpoint between the franchise’s new leadership and its owner.Outlook: How Ujiri Could Navigate Politics and Rebuild a FranchiseUjiri faces three immediate challenges:Transforming a roster that missed the playoffs despite a top draft pick.Balancing his advocacy with Adelson’s political stance without alienating either side.Restoring fan confidence after the unpopular Luka Dončić trade.If he can replicate the Raptors’ model—leveraging international talent, fostering a community‑first narrative, and using his platform to address broader issues—Ujiri could reposition the Mavericks as both a competitive team and a socially conscious brand. Failure to do so may deepen the cultural rift and jeopardize the franchise’s marketability.

Manchester City Women have moved into a purpose‑built, £10 million complex at the City Football Academy, featuring everything from personalised chopsticks to an underwater treadmill, and the upgrade is already paying dividends with a WSL title and an FA Cup final appearance.State‑of‑the‑art facility gives Manchester City Women a performance edgeThe 17,000 sq ft headquarters includes a barista‑style coffee machine, three chefs crafting bespoke recovery shakes, and a canteen where Japanese players receive individually engraved chopsticks. Players can test hamstring strength in a dedicated gym, use non‑invasive shock‑wave therapy, and unwind on an underwater treadmill while watching Sky Sports News.£10 million investment and 17,000 sq ft of purpose‑built spaceCost: £10 millionSize: 17,000 sq ftOpening date: 10 March 2026 (after the international break)Key amenities: gender‑specific gym equipment, specialist recovery drinks, personalised lockers, three‑chef canteenRaising the bar for women’s football infrastructure across the leagueClub captain Alex Greenwood hailed the hub as the best she’s seen, even compared to England’s St George’s Park. The facility follows Brighton’s £8.5 million centre and signals a shift toward dedicated women’s venues, potentially prompting other WSL clubs to invest similarly.What the next season could hold for City and the wider WSLWith a deep, youthful squad already in place, City’s managing director Charlotte O’Neill expects strategic summer signings rather than a wholesale overhaul. The new hub may also enable City to field an academy side in the Women’s National League from 2027, further strengthening the club’s talent pipeline and influencing league‑wide development.

The Cultural Phenomenon Returns On a chilly morning at a Silvertown studio behind London City airport, the sunburst intro to Jimmy Cliff's The Harder They Come is on repeat. Dancers run through a routine studded with reggae and dancehall moves. "Get high," commands associate choreographer Neisha-yen Jones with a smile. "Get low!" The ensemble rise and dip. They do the bogle and whine around each other as their watchful director Matthew Xia nods along. They circle Natey Jones who breaks out the opening line: "Well, they tell me of a pie up in the sky." In the distance, a plane leaves the ground. From Film to Theatrical Celebration It's eight months since The Harder They Come's full-throttle takeoff at Stratford East, where the musical was so popular that it is now returning for a second run which will also serve as a eulogy for Cliff who died in November. Playwright Suzan-Lori Parks' adaptation of Perry Henzell's 1972 Jamaican film is bolstered by a handful of her own songs as well as classics including Israelites and Wonderful World, Beautiful People – plus every number on the film's monumental soundtrack. Jones is reprising the role of Ivan (played on screen by Cliff and inspired by real-life outlaw Rhyging), who arrives in Kingston from the country and is dismissed and exploited, before becoming both a hit singer and a fugitive. The Evolution of a Cultural Narrative The original was akin to cinéma vérité, directly evoked spaghetti westerns and veered into blaxploitation territory; Ivan's tale has gained greater warmth, humour and protest spirit on stage. It was the best musical I saw in 2025. "The story is a tragedy but the theatrical event is a celebration," says Xia of his production. Twenty years ago, the film was adapted as a musical with a book by Henzell, also at Stratford East. "It all started at Ivan's Nine Night," Xia recalls. "There was a massive poster of Ivan on the wall, with everyone coming, and it was told in retrospect with vignettes." Choreography and Cultural Connection Shelley Maxwell, recently arrived from Jamaica, was watching the musical in the audience one night and has since become the choreographer of the new production. She has fused the folk dance forms of revivalism and pocomania, learned in her childhood, with reggae, dancehall and moves that today's teenagers can recognise. "I wanted to tap into the youth market," she says. It's brought some enthusiastic feedback from audience members who may not know the film. "Like: 'Oh my God, they did that step I always do at a party!' It allows them to form a connection." Authenticity and Cultural Representation Xia, wearing trainers in the Jamaican flag's colours, and Maxwell, whose tracksuit has the same black, green and gold trim, were intent on instantly transporting their audience to Kingston. The opening, says the director, is an "establishing shot" with characters coming and going on Simon Kenny's magnificent multi-level set, accompanied by Toots and the Maytals' hit Funky Kingston. To borrow from its lyrics, you really can believe everything they do. Even each move in the dominoes game we see is scripted, explains Maxwell, who mapped out the market scene with precision: "Where are you going to? How heavy is the item that you're holding? This is the swing of the hips." Social Commentary Through Performance Xia, whose father came to England from Jamaica in the 1970s, praises the freewheeling realism of the film. "Lots of the background performers are just whoever happened to be in the market that day, or walking through the shantytown. Lots of the actors were people that Perry knew, they had no training." Henzell, says Xia, showed "the part of Jamaica that had always been hidden, people living hand to mouth". The musical depicts a "quartet of oppression" against Ivan, as he takes a stand against individuals representing hypocrisies of the church, law, drugs trade and music industry. Universal Themes and Contemporary Relevance The Harder They Come was both a pioneering example of independent film-making for Jamaicans and a portrait of a newly independent country. Maxwell, who grew up glued to Hollywood musicals, says it was empowering to discover a film full of the Jamaican songs she loved. "I was probably way too young when I saw it. But what I saw was the world around me." She traces how different forms of music played a pivotal part in the country establishing its identity, moving from African forms and American R&B; to mento, ska, rocksteady, reggae and the rise of Bob Marley and Jimmy Cliff. Maxwell captures that chain reaction with a tantalizing question: "What's this groove becoming?" Transforming the Narrative for Modern Audiences The musical also makes its hero's actions more understandable. "In the film, Ivan becomes a kind of wanton murderer," says Xia. In the musical, "he accidentally shoots a police officer when he's under threat, is remorseful, yet also knows that if he gives himself in then that's the end of his journey". Another significant change is the depth given to the principal women – Ivan's mother Daisy and Elsa, with whom he falls in love under the eye of her authoritarian guardian, the preacher. "The moral heart of the piece now resides in those two women," says Xia. Maxwell transforms a brief sequence from the film, in which Ivan imagines a tryst with the devout Elsa, into a floor-trembling set piece when the preacher's congregation lose their robes to indulge in lustful fantasy. The male gaze of the original scene is duly excised: "it had to be like it was both of them in partnership in that fantasy world," says Maxwell, who adds that the nature of dancehall – "grinding, gyrating on another body" required her to use her skillset as an intimacy director.

First Ascent: The Allure of Carn Ffoi’s Jagged EdgeThe Guardian’s Country Diary captures a solitary climber’s obsession with a dark, looming rock outcrop on the brow of a Pembrokeshire hill. From a modest “home away from home,” the author watches the storm‑washed landscape settle, the wind drying the volcanic stone and setting the stage for a daring bouldering session.On‑Ground Details: Route‑Finding Without a GuidebookWithout a phone or detailed topos, the climber relies on a hand‑drawn booklet of routes that proves indecipherable. Instead, he scouts a potential line on the lee side of the boulder, warms his fingers, and visualises the climb in his mind before committing to the overhanging block.Physical Metrics: Climb Length, Elevation Gain, and Weather ConditionsClimb height: approximately 4‑5 metres of vertical gain.Elevation gain from base to summit: ~12 m above sea level.Wind: post‑storm gusts around 15‑20 km/h, drying the rock surface.Temperature: mild coastal chill, roughly 12 °C.Why This Matters: Highlighting Remote Coastal Climbing in WalesThe piece underscores a growing niche of climbers seeking untouched tors along the Welsh coast. The volcanic geology offers a texture “rough as old bark,” while the surrounding landscape—sandy Trefdraeth Bay, gorse scrub, and distant fishing boats—provides a dramatic backdrop that differentiates these sites from inland crags.Looking Ahead: Future Exploration of Pembrokeshire’s TorsAfter topping the boulder, the author spots a freshly‑moulted adder, a reminder of the area’s rich biodiversity. The encounter, combined with the panoramic sea view, suggests that Pembrokeshire’s tors will continue to attract adventurous climbers and nature enthusiasts alike, encouraging more detailed route documentation and sustainable access initiatives.

Morning Snapshot: UK Bond Market Bruised by Political Turbulence Good morning, and welcome to our rolling coverage of business, the financial markets and the world economy. The UK bond market is bruised this morning after a day of political turbulence drove up Britain’s borrowing costs. Rising Yields: 10‑Year Gilt Above 5% – Highest Since 1998 UK long‑term bond yields hit their highest levels in 28 years on Tuesday, pushing the 10‑year gilt yield back above 5%, the highest level since 1998. Numbers at a Glance: Yield Spike and Borrowing Cost Implications 10‑year gilt yield: > 5% (first time above 5% since 1998) Yield rise triggered by fears of a left‑leaning Labour government and potential fiscal expansion. Higher yields mean investors demand greater compensation, increasing the cost of borrowing for the UK Treasury. Political Shockwaves: Labour Leadership Uncertainty and Reform’s Rise Investors are wary that a shift to the left under Keir Starmer could lead to higher spending and larger deficits. At the same time, the prospect of Nigel Farage entering Downing Street after Reform’s gains in the recent local elections adds another layer of uncertainty. Senior analyst Ipek Ozkardeskaya of Swissquote notes that the market is "grappling with their own political shakeups" and that the combination of fiscal concerns and inflation outlook is driving yields up. Market strategist Bill Blain of Wind Shift Capital cautions that investors may not view Reform as a "safe pair of hands" for managing the bond market and public spending. Looking Ahead: What the King’s Speech Could Mean for Debt Markets The UK government will outline its legislative agenda in the King’s Speech later today, which could provide some respite for Keir Starmer amid ministerial resignations and calls for his departure. 10am BST: IEA monthly oil market report 10am BST: Eurozone GDP report (latest estimate for Q1 2026) 1.30pm BST: US producer prices inflation report for April 3pm BST: Bank of England policymaker Catherine L. Mann to release speech on “The UK’s international exposures and vulnerabilities”

A Novel of Female Defiance"Yes, you will leave this place," the chorus of child protagonists in a community of sex workers say at the start of Tahmima Anam's incantatory and fiery new novel of female defiance, Uprising. "This story will save your life," we were told three times in Deepa Anappara's 2020 debut, also featuring precarious children dwelling in the margins. What is the distance between imagination and action, lived realities and dreams? How can solidarities be forged in such circumstances? Uprising holds within its pages some answers and a deep conviction – for a better life, a more just world – and then reaches out and fights for it.The Island Community and Its OppressionAs a journalist, Anam visited the infamous "floating brothel" Banishanta in Bangladesh; her new novel, set on an isolated island "at the end of the country, in the middle of a river that emptied into the sea", fictionalises the island's community and ecological precarity. Here, a generation of daughters grow up watching their mothers trapped in sex work – "we knew that the work was something that was paid for in money, and also in bodies" – and wish a different life for themselves. The women are controlled by the cruel Amma, who was once herself sold into sex trafficking. The victim becomes the perpetrator – and the children are discerning enough to know that their mothers are "not here because they had done something bad, but because something bad had been done to them". The first lesson of the island? No one is coming to save you – and living here changes you, as inexorably as the rising tides.The island is a prison. The mothers are ghosts of their former selves. The children, witnessing the "sexing", are all too grown up, stripped of their innocence. By the time they are born, their mothers' memories have faded "like paint in the sun"; they live on the island "tied to" their daughters. What, or who, will it take to break free from these chains?Feminism and Climate Crisis in LiteratureWhen the waters rise, customers stay away. The mothers speculate: "the swirling river was keeping the smaller boats from making the journey"; "the land was cursed". In a last-ditch attempt to lure men back for business, Amma sends for a new girl. Little does she know that Kusum Khan's arrival will signal the beginning of the end. A girl from the city with a history of participating in protests against the Dictator, she doesn't acquiesce to the island's rules, as the others have been conditioned to; instead, she sows the seeds for what will grow into a life-altering act of resistance. The children start to believe that she is their saviour – maybe even Bon Bibi, a legendary guardian of the forest. A different life seems graspable, just beyond the island's shore. When the titular uprising at last arrives, it summons an all-consuming storm, washing over the island. And the reader, too, is ready to join the revolution – their fist in the open air.Uprising is a feminist novel ("here they were: a wall of women") and a protest novel ("The moment Kusum entered the protest, she felt as if she was becoming a small organ in a living, breathing thing"). It is a coming-of-age novel, and a response to the climate crisis; a story of sisterhood protecting, and failing to protect; of structural inequality and the rotten core of patriarchal corruption; of unlucky women in an unfair world. "When the men came to reclaim the island, we stood rooted in place with our eyes closed, unable to watch. We stood rooted in place with our eyes open, unable to stop watching." While the mothers and daughters in Anam's fictional world are victims of specific generational violence, this observation can be applied to humanity at large: we are all watching – frozen, complicit – as injustices rise the world over.The Power of Rage and Radical HopeThrough her unwaveringly political and unflinchingly forthright novel, Anam shows the power of rage and radical hope. A new world can burn bright from the fires of injustice – and here, it's the mothers that hold the match.

Executive Summary: Labour’s Leadership Crisis DeepensThe Guardian column highlights how recent local election defeats have pushed Labour MPs toward demanding Keir Starmer's removal, yet the author insists the party needs a robust battle of ideas rather than a frantic scramble for the premiership.Local Election Fallout Triggers Backbench DissentCatastrophic results in the May 2026 local and devolved ballots provided concrete evidence that Labour is heading toward "electoral oblivion." A growing cohort of MPs believes the trajectory will not improve without a change in leadership, intensifying calls for a challenge to Starmer.Absence of Quantitative Data Limits Financial Impact AssessmentThe article does not present specific polling numbers or fiscal figures, so a precise financial impact cannot be calculated. The lack of hard data underscores the reliance on qualitative judgments about voter sentiment and party morale.Implications for Labour’s Electoral Prospects and Party UnityPolicy vacuum: Starmer’s pragmatic but vague messaging has left the party without a clear programme, eroding voter confidence.Factional tension: Efforts to purge the "Corbyn legacy" have been perceived as monolithic, alienating the party’s left wing.Communication breakdown: Repeated U‑turns and unclear immigration and fiscal policies have weakened the party’s narrative.These factors combine to threaten Labour’s ability to present a coherent alternative to the Conservatives, risking further electoral decline.Outlook: Potential Leadership Contest and Strategic ReorientationIf Starmer refuses to acknowledge his role in the party’s malaise, pressure for a leadership contest will likely intensify. A credible challenger would need to articulate a detailed policy platform that moves beyond incremental change, offering voters a distinct vision for post‑Brexit Britain.

The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.