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The Grand National meeting in 2026 is set to be a spectacular event, as captured in a series of captivating images. Telescopes will be used to get a closer look at the action, while selfies will provide a personal touch to the experience. The event will also feature epic leaps by the horses, making it an unforgettable experience for spectators.The images from the event showcase the excitement and drama of the Grand National, one of the most prestigious horse racing events in the world. With its rich history and thrilling competition, the Grand National continues to captivate audiences and inspire memorable moments.

Madeline Horwath has created a new cartoon for The Guardian's Saturday Opinion section, focusing on spring picnics. The illustration is part of the publication's ongoing series of cartoons that provide humorous commentary on various topics.The cartoon, published on April 11, 2026, offers a visual take on the joys of picnics during spring, a season often associated with outdoor activities and gatherings. Horwath's work is known for its engaging and thought-provoking style, making complex issues more approachable through humor and satire.Readers can explore more on topics related to picnics, spring, and food through The Guardian's website, which features a range of articles and opinion pieces on these subjects.

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.

American Classic is a heartwarming comedy that celebrates the power of art and human connection. The show follows Richard Bean, played by Kevin Kline, a former theatre star who returns to his small hometown of Millersburg after his mother's death. Richard's journey is filled with humor, wit, and tenderness, as he helps restore the local theatre's fortunes and comes to terms with his past.The show features a talented ensemble cast, including Laura Linney as Kristen, Richard's sister-in-law and the mayor of Millersburg. The series explores themes of grief, love, and the importance of community, making it a delightful watch. American Classic is now available on MGM+ and consists of eight episodes.The show's combination of charm, wit, and tenderness is reminiscent of popular comedies like Ted Lasso and Schitt's Creek. Its retro-tropes and nostalgic feel make it a comforting watch, perfect for audiences looking for a lighthearted and uplifting series.American Classic is a testament to the power of art to bring people together and provide comfort in times of need. The show's authentic belief in the power of art is evident throughout, making it a sweet and moving watch.

During the Jewish festival of Passover, thousands of Israeli settlers converged on natural springs in the occupied West Bank, areas that were previously used by Palestinian communities. Videos circulating on settler chat groups show settlers wading and splashing in the same natural pools where Palestinian children once swam. Their parents barbecued nearby, expressing elation and crediting the 'hilltop youth' – young settlers carrying out systematic violence against Palestinians – for making this possible.The celebrations come as 1,727 Palestinians from 36 communities in the West Bank were displaced in the first three months of 2026 due to settler violence and access restrictions, according to the United Nations' Office for the Coordination of Humanitarian Affairs (OCHA). This already exceeds the highest annual figure recorded in any of the previous three years.For Palestinians like Haitham al-Zayed, 24, who was forcibly displaced from Shallal al-Auja by Jewish settlers, watching the videos was 'very hard to see' but unsurprising. He described the escalating violence and intimidation his community faced, including armed settlers on all-terrain vehicles funded by the Israeli government, chasing livestock and children, and raiding homes to interrogate or detain residents.Allegra Pacheco, chief of party of the West Bank Protection Consortium, described the videos as more than provocation, potentially evidence of the celebration of the intentional use of violence by Israeli settlers to forcibly displace Palestinians – a serious violation of international law. 'The praising of ethnic cleansing carried out by these settler youth,' she said, 'it’s really showing both the impunity and the lack of accountability we are seeing right now.'The displacement and violence have left many Palestinians, like Muhammad from Hammam al-Maleh, refusing to leave their homes despite the danger. 'I was born here. I was raised here. I am not willing to leave. Even if I die here – I will die happy, because I stayed on my land,' he said.

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.

Jim Jarmusch, the 73-year-old director known for his offbeat Americana films, has spent seven years crafting his latest project, 'Father Mother Sister Brother'. The film, which won the prestigious Golden Lion at the Venice film festival, is an anthology drama that explores the complexities of family relationships through three distinct stories set in New Jersey, Dublin, and Paris.Jarmusch's approach to filmmaking is characterized by his unique ability to elicit low-key performances from big stars and his focus on the quotidian aspects of life. He cites influences from filmmakers like John Cassavetes and David Lynch, but emphasizes his own humanist approach. 'I make films out of the things other people would leave out,' he notes, highlighting his attention to detail and ability to find beauty in everyday moments.The film features a star-studded cast, including Cate Blanchett, Adam Driver, Mayim Bialik, and Tom Waits. Jarmusch's process involves casting first and then writing the script quickly, often in a matter of days. 'I cast first then write fast,' he explains, showcasing his collaborative approach with actors.Jarmusch reflects on his career, mentioning the challenges of getting films made without compromising his artistic vision. 'It's harder every time to get a film made,' he acknowledges, but remains committed to his unique approach. The director also touches on themes of mortality and the cyclical nature of life, emphasizing the importance of living in the present.The film 'Father Mother Sister Brother' is set to release in UK cinemas on April 10, offering audiences a glimpse into Jarmusch's distinctive filmmaking style and thematic explorations.

JD Vance, the United States vice‑president, issued a stark warning to Tehran as he boarded Air Force Two for Pakistan: Iran must not attempt to "play" the United States at the peace talks scheduled for Saturday in Islamabad. The talks, mediated by Pakistan, could determine whether the fragile ceasefire in the region holds or if hostilities resume, with significant repercussions for the global economy, especially oil markets. Iranian parliamentary speaker Mohammad Bagher Ghalibaf and foreign minister Abbas Araghchi have conditioned their participation on two unmet measures: a full ceasefire in Lebanon and the release of Iran’s blocked assets. Ghalibaf posted on X that "Two of the measures mutually agreed upon between the parties have yet to be implemented." Uncertainty lingered on Friday night about whether the Iranian delegation would even travel to Islamabad. Earlier reports indicated that Israel had removed the Iranian officials from its bombing target list at Washington’s request. Meanwhile, Donald Trump amplified the tension, telling the New York Post that U.S. forces were "loading up the ships with the best ammunition" and would use them if negotiations failed. He later posted that Iran "has no cards" except short‑term extortion of international waterways. The backdrop to the talks is a worsening Lebanon‑Israel confrontation. More than 300 Lebanese civilians have been killed since the ceasefire began, and 13 Lebanese security personnel died in an Israeli strike on a government building in Nabatieh. Trump and Israeli Prime Minister Benjamin Netanyahu dispute whether the April 7 ceasefire between the U.S. and Iran includes Lebanon, and Israel continues bombing Hezbollah‑linked targets despite Netanyahu’s earlier statements about opening negotiations with the Lebanese government. Oil markets have felt the shock. The February 28 U.S.–Israeli strike on Iran and Tehran’s subsequent closure of the Strait of Hormuz—shutting off roughly one‑fifth of the world’s oil and liquefied natural gas—triggered a sharp price spike, adding political pressure ahead of the November U.S. congressional elections. Vance, however, expressed optimism as he departed for Islamabad: "We’re looking forward to the negotiation. I think it’s going to be positive. If the Iranians are willing to negotiate in good faith, we’re certainly willing to extend the open hand." He added, "If they’re going to try and play us, then they’ll find the negotiating team is not that receptive." The U.S. delegation also includes senior adviser Steve Witkoff and former senior adviser Jared Kushner, both of whom participated in earlier talks on Iran’s nuclear and missile programmes before the February attack. Negotiations are expected to focus on reopening the Strait of Hormuz, the future of Iran’s nuclear program, potential sanctions relief, reparations for war damage, and the release of Americans detained in Iran, according to the Washington Post. Advance teams from the United States and Iran have already taken up rooms at Islamabad’s five‑star Serena hotel, with Pakistani officials acting as intermediaries. Security forces have established a two‑mile perimeter around the hotel, declared a public holiday, and locked down the city centre to ensure a safe environment for the high‑stakes mediation. Hezbollah, while not commenting directly on the Lebanese‑Israeli negotiations, issued a statement urging the Lebanese government to stop "making gratuitous concessions" and vowed to continue fighting to "expel the occupier." The Lebanese army has reinforced its presence in Beirut following an Israeli strike that killed at least 303 people. Fighting persists in southern Lebanon, with Hezbollah claiming to have struck Israeli soldiers near Bint Jbeil—a town symbolic of resistance from the 2006 war—and launching rockets into Israel throughout Friday. Israel’s airstrikes across Lebanon have intensified, culminating in the Nabatieh attack that killed the highest number of Lebanese security forces to date.

Robert MacIntyre's visit to the Masters ended in disappointment, with the Scot missing the cut after carding a 71 on Friday, which left him at seven over par. His struggles began on Thursday, when he posted an 80, including a quadruple bogey at the 15th hole.MacIntyre's behavior during the tournament, particularly in the closing stages of round one, has raised concerns. He was caught on live television releasing expletives and making an offensive gesture after finding water on the 15th hole. This reaction, along with his subsequent social media post featuring an AI-generated image of himself making an obscene gesture as the iconic Masters gnome, is likely to prompt a stern response from Augusta National officials.The 29-year-old's aggressive behavior on and off the course has sparked debate about his sportsmanship and adherence to the high standards expected at the Masters. His father, Dougie MacIntyre, has urged his son to 'tone it down' when things aren't going his way on the course.In contrast, MacIntyre's playing partner, world No 1 Scottie Scheffler, managed to bounce back from a lackluster first round with a 74 on Friday, moving to even par for the tournament. Scheffler acknowledged struggling with the pace of the greens, stating, 'I felt like I played better than my score'.