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Hull FC's fans and players came together in a heartfelt display of unity and support for coach John Cartwright following the team's loss to St Helens. The emotional show of solidarity came as Cartwright's future with the club hangs in the balance after a tumultuous 10 days.The match saw St Helens secure a 24-14 victory at the MKM Stadium, but the focus was on Cartwright as the game ebbed into its closing moments. The big screen inside the stadium panned to the coach, prompting a stadium-wide round of applause from the fans, despite Hull FC heading for a fifth league defeat in eight games.At full time, hundreds, if not thousands, of fans stayed to applaud Cartwright once again as he conducted his media duties. This display of unity from Hull FC's fans towards their coach mirrored the spirited performance from Cartwright's players on the field.The reason for such emotion was clear: this had all the hallmarks of Cartwright's last stand in charge of Hull after a tumultuous 10 days. The Black and Whites confirmed last week that Cartwright would leave at the end of the season, with the club already understood to have agreed a deal to bring in Steve McNamara next year.Cartwright responded on Monday by expressing his feelings of being 'betrayed and disrespected' by the club's lack of communication over that decision. With time to consider whether an early parting of the ways is the best course of action, Cartwright may have actually coached Hull for the final time.“I honestly don’t know,” Cartwright said when asked what happens next. “I’ll let the dust settle on that. I’ve got a couple of meetings early next week and then we’ll find out. They’re very passionate fans and they’ll have their opinion on something and they’ll make it known. It means a lot to me to see it.”Despite the loss, Hull were superb in the first half, leading 12-6 by the break thanks to tries for Logan Moy and Amir Bourouh. However, St Helens, led by coach Paul Rowley, showed their resilience and navigated an emotionally charged evening to go top of the table.The final act of this night belonged to Cartwright, who, after his media duties, walked down the tunnel with his players in one last show of unity. His players have displayed how they feel; now it is down to Hull’s hierarchy to show their hand.

Rebuilding opens on a bleak, charred horizon, introducing Dusty (Josh O’Connor), a Colorado rancher whose ancestral land has been reduced to ash by a recent wildfire. A bank official’s blunt refusal to extend a loan underscores the decade‑long bleak outlook for the barren property.Stripped of his home, Dusty relocates to a spartan, government‑funded trailer camp and takes a humbling highway‑maintenance job. The film deepens his personal stakes through interactions with his ex‑wife Ruby (Meghann Fahy), their ten‑year‑old daughter Callie‑Rose (Lily LaTorre), and his ailing mother‑in‑law Bess, portrayed by Oscar‑winner Amy Madigan. A poignant scene shows Dusty ferrying Callie‑Rose to the local library, where they share a shaky Wi‑Fi connection for her schoolwork.Amid the trailer community, Dusty forms a tentative bond with the resilient Mali (Kali Reis), hinting at a potential romance beyond mere friendship. Their collective moments around a campfire evoke the tone of Chloé Zhao’s Nomadland, positioning the film within a growing genre of American stories about displacement and survival.Notably, the narrative avoids direct references to climate change or governmental responsibility, presenting the wildfire as an isolated tragedy rather than a symptom of a broader environmental crisis. This omission mirrors a recurring pattern in U.S. cinema, where the focus remains on personal resilience rather than systemic solutions.O’Connor delivers a nuanced performance, channeling the restrained British sensibility of his earlier work into Dusty’s quiet strength and vulnerability. His portrayal anchors the film’s emotional core, while the supporting cast—particularly Madigan’s compassionate Bess and Reis’s tough‑yet‑tender Mali—adds depth to the community portrait.Rebuilding arrives in UK cinemas on 17 April, offering audiences a contemplative look at loss, renewal, and the fragile ties that bind families and strangers alike.

Becoming a parent reshapes every facet of daily life—the late‑night outings fade, responsibility expands, and the role shifts from being cared for to becoming a caretaker. This profound transition forms the emotional core of Jess Brodie’s new play, Gush. The playwright deliberately zeroes in on the moments before birth, a period she describes as a “still point” where reflection and anticipation collide. Rather than dramatizing labor itself, Brodie explores the inner landscape of a woman on the brink of motherhood. At the centre of the piece is Ally, a pregnant woman whose bulging belly becomes a visual reminder of her mounting anxieties. She grapples with sleepless nights, dietary restrictions, and the looming deadline of maternity leave, while also confronting an unfinished personal identity that must now accommodate the role of “mum”. Beyond the familiar pressures of pregnancy, the monologue delves into Ally’s quest for self‑realisation. The impending birth is portrayed as a ticking time‑bomb, intensifying her doubts about a middle‑class existence shared with a neurotic, controlling partner. The narrative questions whether she should finally honour the sexual desires she has long suppressed. Critics may note the play’s narrow focus—its politics are largely self‑absorbed, and its feminist themes risk sounding solipsistic. Nevertheless, Brodie’s script is laced with wit and unexpected turns, keeping the audience firmly engaged. In Becky Hope‑Palmer’s meticulously crafted production, the set—half stark white surface, half inviting cushion pool—mirrors the tension between alienation and comfort. It is Jessica Hardwick’s performance that elevates the piece. Her voice, both resonant and precise, navigates Brodie’s rapid tonal shifts—from irony to panic, embarrassment to eroticism, fury to humor—with remarkable sensitivity. Hardwick’s portrayal makes Gush a must‑see, even for those who might otherwise overlook the play’s limited thematic scope. The production runs at the Traverse Theatre in Edinburgh until 25 April.

The Al-Aqsa Mosque compound in Jerusalem reopened on April 9, allowing over 100,000 Muslim worshippers to perform Friday prayers for the first time since the conflict began on February 28. However, the celebrations were marred by an overwhelming Israeli security presence and police violently detaining Palestinian Christian scouts during processions.Israeli National Security Minister Itamar Ben-Gvir stormed the Al-Aqsa compound under police protection on April 7 and 12, performing Jewish religious rituals and declaring himself the 'master of the house.' This move was condemned by Jordan's Foreign Ministry as a violation of the site's status quo.In the Gaza Strip, Israeli air strikes and artillery fire continued despite the Iran ceasefire. On April 8, Israeli forces killed Al Jazeera journalist Mohammed Wishah in a drone strike, bringing the total number of Palestinian media workers killed since October 2023 to at least 262.The Gaza Ministry of Health reported that 754 Palestinians have been killed and over 2,100 injured since the October ceasefire, with a cumulative official death toll of 72,333 since October 7, 2023. The humanitarian crisis deepens with long bread lines and insufficient aid, while the Nasser Medical Complex faces fuel shortages and rationed electricity.Diplomatic efforts continue, with Hamas discussing the implementation of the ceasefire's second phase with the Board of Peace envoy in Cairo. However, settler violence and Israeli military actions persist, with 34 new settlements approved across the West Bank, bringing the total to 102 under the current government.

Itch! thrusts viewers into a nightmarish scenario where a hyper‑contagious disease forces victims to scratch themselves to death. The film’s most striking moment features a woman literally tearing her own skin, a set‑piece that showcases the director’s knack for visceral body‑horror despite a shoestring budget. The narrative then shifts to a cramped department store, where a rag‑tag group of uninfected shoppers must endure a claustrophobic dialogue‑driven showdown. While the premise echoes classic confinement thrillers such as John Carpenter’s The Thing and Assault on Precinct 13, the limited resources prevent the film from fully capitalising on these influences. Critics note that a larger budget could have amplified the already effective practical effects, and a tighter script would have deepened the human drama. The ensemble includes a widowed father (played by director‑screenwriter Bari Kang) juggling single‑parenthood, a cantankerous customer (portrayed by Douglas Stirling) who complains about price‑matching on Amazon, and several other archetypal figures. However, the screenplay struggles to give each character a distinct emotional arc, leaving audiences at a distance. Despite these shortcomings, the film’s core concept—an epidemic of fatal itching—offers a fresh angle for the under‑served eczema community and delivers moments of genuine horror. Itch! becomes as much a character study as a genre piece, though the balance tilts unevenly. The movie is available on UK digital platforms from 20 April 2026 and on US digital platforms from 21 April 2026.

Rena Effendi, a photojournalist, embarks on a poignant journey in the documentary 'Searching for Satyrus', seeking the elusive butterfly named after her father, Rustam Effendi, a lepidopterist. Her father spent seven years hunting the Satyrus effendi, a rare and endangered species found in the Caucasus mountains.Effendi's quest is intertwined with her exploration of her father's complex legacy. He was a man of many marriages – Effendi humorously notes he lasted longer in his pursuit of the butterfly than in any of his four marriages. This personal history is set against the backdrop of geopolitical tensions between Azerbaijan and Armenia, where the butterfly's habitat lies.The documentary features Effendi's interactions with lepidopterists, including Dmitrii V Morgun, who describes the unique characteristics of various butterfly species. The Satyrus is portrayed as melancholic and brooding, mirroring the complex emotions Effendi experiences as she uncovers her father's past.The film is set to release in UK cinemas on April 19, 2026, offering audiences a thoughtful exploration of family, legacy, and conservation.

An Israeli air attack targeted a group of men gathered outside a school in Deir el-Balah, central Gaza, killing at least three people. The incident occurred as Israeli forces arrested at least 30 Palestinians in raids across several cities and towns in the occupied West Bank.Medics at Al-Aqsa Hospital reported the killings, with the bodies of the victims laid out in white shrouds outside the hospital's morgue. Relatives and friends gathered to bid farewell, with some kissing the victims' foreheads before holding special prayers.The Israeli military did not immediately comment on the airstrike. The killings took place as mediators met with leaders from the Palestinian group Hamas to bolster a fragile ceasefire brokered by the United States, which began last October.The ceasefire has been marred by violence, with over 750 Palestinians killed since it took effect. Hamas fighters have killed four Israeli soldiers, and both sides have traded blame for violations.Israeli forces have also been accused of moving yellow concrete markers westwards in Gaza, which Palestinians say is an attempt to expand a depopulated zone. Israel denies this.In the West Bank, the Palestinian Prisoners Media Office reported that two children and some freed detainees were among those arrested in the raids. The military operations included searches of homes and property damage.The conflict has resulted in significant casualties, with over 72,000 Palestinians killed in Israel's war on Gaza, which began in October 2023. In the occupied West Bank, at least 1,133 Palestinians have been killed, 11,700 others wounded, and nearly 22,000 arrested.The International Court of Justice has declared Israel's occupation of Palestinian territory illegal and called for the evacuation of all settlements in the West Bank and East Jerusalem.

While the two‑week pause in the US‑Israel campaign against Iran remains uncertain, one constant is clear: Donald Trump lacks a concrete plan, but Benjamin Netanyahu does. The war’s stated aim – to cripple Iran’s state capacity – is only a stepping stone toward a larger vision of a Greater Israel. For Israel’s right‑wing, the phrase often evokes a purely territorial ambition: enlarging the land Israel claims. History shows this expansionist drive has repeatedly displaced Palestinians, a process that has accelerated dramatically in recent years. Since the war began, Israel has flattened Gaza, killing tens of thousands and reducing the civilian‑inhabitable area to roughly 12 % of its pre‑war size. In the West Bank, a wave of settlement expansion and property destruction rivals the scale of the 1967 conflict. Beyond the occupied territories, Israel has seized parts of Syria and is forging a de‑facto occupation zone in southern Lebanon, with ministers from Religious Zionism, Jewish Power and Likud openly demanding Israeli sovereignty there. Finance minister Bezalel Smotrich even called for an expansion “to Damascus,” and Netanyahu has publicly expressed a deep personal connection to this territorial vision. However, Greater Israel is as much a geopolitical and strategic construct as a land‑grab. Netanyahu’s ambition extends beyond occupying borders; he seeks a regional dominion built on new alliances and hard‑power dependencies. After the October 7 attacks and the ensuing Gaza devastation, Israel’s prospects for Arab‑state normalization stalled. Faced with a choice between a conciliatory approach and a zero‑sum rejection of a Palestinian future, Netanyahu chose the latter, aiming to eliminate Iran as a regional counterweight – a move that inevitably required massive US military involvement. Former Israeli security analysts note that, from the perspective of Sunni Gulf states, a weakened Iran would elevate Israel to the role of “dominant regional power.” Achieving this, according to the article, also means softening the Gulf Cooperation Council (Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, UAE) and making them dependent on Israel for security and energy routes. The spill‑over of Iranian drone and missile attacks on GCC infrastructure is portrayed not as an accident but as a calculated element of Israel’s strategy. When the US‑Israel coalition struck Iranian energy sites, Iran retaliated against the Gulf, disrupting global oil flows through the Strait of Hormuz. Netanyahu seized the moment to propose “alternative routes” – oil and gas pipelines that would bypass Hormuz and Bab‑al‑Mandab, ending at Israeli Mediterranean ports. In a meeting with Indian Prime Minister Narendra Modi, Netanyahu outlined a “hexagon of alliances” linking India, Arab nations, African states, Greece, Cyprus and other Asian partners, positioning Israel as the central hub. Recent IDF strategy papers echo this, suggesting Israel could achieve “operational control” far beyond its borders without permanent occupation, likening the Middle East to a “jungle” where Israel would become the “queen.” Netanyahu now describes Israel not merely as a “regional superpower” but, in some contexts, as a “global superpower.” He promises the hexagonal alliance will confront a “radical Shia axis” and an “emerging radical Sunni axis,” with Turkey singled out as the next strategic threat. Dismissal of the Greater Israel rhetoric as wartime hyperbole would be misleading. The article warns that a permanent war‑oriented mindset permeates Israel’s political elite, security establishment and media, posing a risk of overreach and regional blowback. Containing this expansive vision may become one of the most pressing post‑war challenges for the Middle East.

Israel's far-right National Security Minister Itamar Ben-Gvir has stormed the Al-Aqsa Mosque compound in occupied East Jerusalem's Old City, marking his third incursion into Islam's third holiest site this year. The move has sparked widespread condemnation from Palestinians and Jordan.Ben-Gvir, accompanied by Israeli settlers and under heavy protection from Israeli forces, offered Jewish prayers at the site, which is not allowed for non-Muslims under the status quo arrangement in place since 1967. The arrangement permits Jewish people to visit the compound but prohibits them from praying there.The Palestinian Authority's presidency has condemned the storming of the mosque compound, calling it a blatant violation of the historical and legal status quo at the holy site. Jordan's Foreign Ministry also expressed concern, viewing Ben-Gvir's visit as a violation of the status quo agreement and a desecration of the site's sanctity.This incident is part of a growing trend of Israeli settler incursions into Al-Aqsa, with Ben-Gvir having stormed the mosque compound at least 16 times since taking office in 2022. The far-right Israeli minister has expressed his intention to build a Jewish synagogue in place of the holy Muslim site.In a video filmed at the site, Ben-Gvir said, "Today, I feel like the owner here. There is still more to do, more to improve. I keep pushing the prime minister [Benjamin Netanyahu] to do more and more."The incident has occurred amid continued Israeli raids across the occupied West Bank, with at least 18 Palestinians arrested on Sunday. The United Nations Office for the Coordination of Humanitarian Affairs (OCHA) reports that more than 1,100 Palestinians have been killed by Israeli forces and settlers in the occupied West Bank since October 2023, with thousands forcibly displaced.