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Colombia's Environment Minister, Irene Velez, announced on Monday that the country will cull up to 80 hippos that have been roaming freely in a region near the Magdalena River basin. The decision comes after previous attempts to control the population, including sterilization and capturing the animals, proved too expensive or ineffective.The hippos were introduced to Colombia by infamous drug lord Pablo Escobar in the 1980s, when he brought four to his private zoo. After Escobar's death, the hippo population swelled to an estimated 170, with the animals now spotted up to 60 miles from Escobar's former ranch, Hacienda Napoles.Authorities say the hippos pose a threat to villagers who encounter them and compete with native wildlife, such as manatees, for food. Despite local concerns, the hippos have become a tourist attraction, with visitors flocking to the Napoles ranch to spot the animals and buy hippo-themed souvenirs.Animal welfare activists have opposed the culling, citing concerns about the country's history of conflict and the potential for the cull to set a poor example. However, Velez emphasized that the action is necessary to preserve Colombia's ecosystems. The hippos cannot be returned to their natural habitat due to their limited gene pool, which could lead to the spread of diseases.

Celebrating two decades since its West End debut, Avenue Q is back at London’s Shaftesbury Theatre until 29 August, offering a refreshed version of the Broadway‑to‑London hit that originally won Tonys for Best Musical, Book and Score.The revival, billed as a “love letter to the original”, is helmed once again by Jason Moore – the director who first staged the show in 2006. At 55, Moore admits that returning to a work he originally conceived is unusual, but he sees the anniversary as an opportunity to upgrade the show’s scale, technical ambition and cultural sensitivity.Created by composers Robert Lopez and Jeff Marx with book by Jeff Whitty, the musical blends colourful Sesame‑Street‑style puppets with adult themes such as sex, racism, housing crises and existential angst. While the core story remains, the production team has added contextual notes to jokes that might puzzle Gen‑Z audiences – for example, the reference to 1980s sitcom star Gary Coleman is retained but clarified for modern viewers.Moore’s casting criteria emphasise a youthful “innocence” and a strong aptitude for puppeteering. As actor Emily Benjamin explains, performing through a puppet is an “ego death” that forces the performer to shift focus from self to the character, reducing vocal anxiety and deepening emotional honesty.Behind the scenes, puppet director Iestyn Evans coordinates a complex choreography where human actors operate hand‑and‑rod puppets in full view, interacting simultaneously with fellow performers. This layered performance style demands precise timing, especially when tackling songs like “Everyone’s a Little Bit Racist” and “If You Were Gay”, which have sparked whole‑company discussions about their relevance and sensitivity today.Moore acknowledges that the show’s transgressive edge – famously illustrated by “naked puppets having sex” – still feels bold, even as contemporary West End productions such as Oh, Mary! and The Book of Mormon have pushed similar boundaries. He argues that the musical’s core questions – “how do you give your life meaning?” – remain timeless, and that the updated production aims to engage a new generation of audiences.As Benjamin puts it, “they might just be little cloth things, but people can often empathise with something that isn’t real more directly than with a human being telling the same story.” The revival therefore hopes to prove that puppetry can still provoke, entertain and resonate in today’s cultural climate.

In 2020, several nations—including the UK and India—announced ambitious bans on new internal‑combustion‑engine vehicles, while Norway already saw around 60% of new car sales being electric. Australia, however, remained on a different trajectory. Former Prime Minister Scott Morrison dismissed a Labor proposal for a non‑binding 50% electric‑vehicle target by 2030, claiming it would “end the weekend.” The Coalition ignored analyses suggesting that a robust emissions‑cut scheme could deliver a $14 billion net benefit by 2040, and later abandoned plans for an EV‑specific strategy. Five years on, the Albanese government has introduced a vehicle‑efficiency standard mandating annual reductions in average emissions from new cars. Though a long‑awaited move, the policy’s impact will be incremental rather than transformative. March saw a record number of Australians purchasing EVs, yet the market share remains modest—still under 15% of new car sales, up only slightly from 13% in 2025. With fuel prices soaring amid the Iran conflict, the majority of vehicles leaving showrooms are still powered by petrol or diesel, and many will stay on the road for the next 15‑20 years. One bright spot is the surge in second‑hand EV sales, which more than doubled last month despite a tiny baseline. Higher resale values are encouraging broader adoption by making electric cars financially accessible to a larger pool of buyers. Globally, electric vehicles accounted for roughly 25% of new car sales last year. In Australia, the price differential between comparable petrol and electric models averages around 20%, a significant barrier for many consumers. That gap is narrowing, and the potential savings for EV drivers are substantial. Data from energy analyst Simon Holmes à Court—using Amber electricity retailer figures—show that an EV can travel over 40 km per $1 of energy, whereas a conventional car manages less than 5 km per $1 of fuel. Amber’s own smart‑charging platform suggests the distance could reach 160 km per $1 under optimal conditions. Despite such evidence, Australian political discourse often struggles to envision a low‑fossil‑fuel future. Calls for expanded oil exploration, such as Queensland Premier David Crisafulli’s claim of a “sea of oil” in the Taroom trough, lack substantiation and would likely involve costly, long‑term development with uncertain returns. Compounding the issue, the mining sector—Australia’s biggest diesel consumer—receives a 52‑cent‑per‑litre rebate under a national fuel‑tax credit scheme, effectively subsidising over $1 billion annually for diesel use in coal mines. This incentive discourages investment in cleaner truck technologies, even as the safeguard mechanism attempts to curb emissions. Policy recommendations include tightening the vehicle‑efficiency standard to accelerate the shift toward cleaner cars, removing parallel‑import restrictions to boost the supply of affordable second‑hand EVs (as practiced in New Zealand), and reconsidering any road‑user charges on electric vehicles, which currently represent less than 2% of the total fleet. International examples offer guidance: China jump‑started its EV boom by issuing “green” licence plates and imposing hefty fees for fossil‑fuel plates, effectively raising the cost of owning a petrol car by up to $20,000. In sum, Australia’s delayed embrace of electric mobility not only hampers climate goals but also forfeits billions in economic gains. A decisive, well‑targeted policy overhaul could unlock significant consumer savings, reduce emissions, and align the nation with global EV trends.

In a tense showdown at Wembley, England’s women’s national team edged past Spain 1‑0 to keep their World Cup qualifying campaign flawless. Lauren Hemp opened the scoring in the third minute, a strike that set the tone for a match defined by English resolve. Coach Sarina Wiegman entered the game with a clear plan: abandon possession‑heavy play and adopt a compact low‑block to frustrate Spain’s technical superiority. Captain Keira Walsh echoed this approach, noting that “you can’t go toe‑to‑toe with Spain for possession”. The strategy paid off as England held the ball for only 36.7% of the time, yet limited the visitors to 21 chances, just three of which were on target. Defensively, England were razor‑sharp. The side recorded 21 tackles with a 61.9% success rate, and the newly‑formed partnership of Lotte Wubben‑Moy and Esme Morgan kept the Spanish attack at bay. Goalkeeper Hannah Hampton cemented the clean sheet with a world‑class save from Edna Imade’s close‑range header, preserving the lead. Beyond Hemp’s early goal, the attacking trio of Lauren James on the left and Lucy Bronze on the right added width and defensive cover, showcasing the squad’s evolution since last year’s goalless draw. While Wiegman admitted the team “could have been higher up the pitch”, she praised the collective effort that made Spain uncomfortable once the English side entered the opponent’s half. The victory propels the Lionesses to the top of their qualifying group with three wins from three games and a healthy goal difference. A return fixture in Mallorca in June now looms, but England have already secured a psychological edge.

Atlético Madrid have secured a spot in the Champions League semi-finals for the first time in a decade, overcoming a spirited Barcelona side 3-2 on aggregate. The victory was sealed with a crucial goal from Ademola Lookman just seven minutes after Barcelona had levelled the tie.The win marked a significant moment for Diego Simeone's side, who had been waiting 10 years for this achievement. Simeone expressed his pride in his team's performance, stating, 'We give everything to win the cup.' The coach also praised his players, saying, 'I've been here 14 years and never stop feeling emotional.'Barcelona, led by Lamine Yamal, fought hard to mount a comeback but ultimately fell short. Despite being down to 10 men for 10 minutes after Eric García was sent off, they continued to push for a goal that would have taken the tie to extra time. However, Ronald Araújo's header in the 96th minute went over the bar, securing Atlético's victory.The win sets up a thrilling semi-final matchup for Atlético, who are eager to return to the final and exorcise the ghosts of past defeats. Simeone's side will look to build on this momentum as they pursue European glory.

Arsenal manager Mikel Arteta remains optimistic about his team's chances despite mounting injury concerns, particularly with star player Bukayo Saka sidelined with an achilles issue.Arteta insists he has 'zero fear' that Arsenal could end the season without silverware, but admits there are significant doubts over Saka's return. Saka has not played since the Carabao Cup final defeat to Manchester City last month and Arteta is uncertain when he will be back.'Hopefully it's going to be a matter of days and not weeks,' Arteta said. 'But he has to see when he's loading more, how he responds to that kind of progression.'Arsenal are also facing doubts over Jurrien Timber, Riccardo Calafiori and captain Martin Ødegaard for their Champions League match against Sporting. Additionally, Arteta will make a late call on Declan Rice's fitness after the England midfielder missed training on Tuesday.Despite recent setbacks, including a home defeat to Bournemouth in the Premier League, Arteta remains positive. 'Fire. I'm on fire. I'm on fire,' he said. 'Nothing else. I'm dreaming so much. I've done so much to be in this position because I know how this club was. I just see beauty, opportunity, and I want to get it done for all these people that have been in this journey with us.'

The Royal Opera House is set to unveil its new season, featuring a range of classic and new productions, including a new Parsifal and Un Ballo in Maschera. The season will also see the return of Richard Jones's acclaimed production of Janáček's Kát'a Kabanová.However, the company is facing challenges due to aggressive Arts Council England cuts, which have affected the national opera scene. Glyndebourne and Welsh National Opera are touring less, and English National Opera has been semi-removed from London to Greater Manchester.The Royal Opera House is committed to nurturing emerging talent, with recent successes including Philip Venables' 4.48 Psychosis and Oliver Leith's Last Days. The company is also investing in research and development to find new works that will have "audiences on the edge of their seats".The company has faced controversy in the past, including an incident where a performer unfurled a Palestinian flag during an opera curtain call. The company's director, Oliver Mears, has defended his reaction to the incident, stating that "the curtain call is not a place for an impromptu personal political protest".The Royal Opera House has also faced criticism for its decision to host Russian soprano Anna Netrebko, who has received honours from Russian President Vladimir Putin and has been photographed holding a flag of "Novorossiya", an emblem used by Russian-backed separatists.Mears has emphasized the company's commitment to being "as impartial as we can" in its approach to difficult matters, while also highlighting the importance of "big emotions and huge stories" in opera.

Nicky Henderson, 75, has spent nearly five decades shaping British racing, yet the saga of his star gelding Constitution Hill still makes him pause. After a sun‑lit afternoon in Lambourn, the trainer watched the usually placid horse stroll into his stable, a stark contrast to the drama that has defined the horse’s recent career.Henderson, speaking alongside owner Michael Buckley, emphasized the personal bond they share with the animal, calling him “more a pal than a beast” and noting his unique appeal to the public.Constitution Hill burst onto the scene with a ten‑race winning streak, highlighted by a dominant 2023 Champion Hurdle victory at Cheltenham. Experts briefly hailed him as one of the greatest hurdlers of all time, lauding his speed and precision over obstacles.That dominance vanished almost overnight. The gelding began to experience what Henderson likened to a golfer’s “yips”, falling in three of his last four hurdle races. Even a race at Punchestown where he stayed upright ended in a “disconcertingly tame display”, according to Timeform, which had previously ranked him the best hurdler of recent decades.Plans for a Cheltenham return were scrapped, and the team pivoted to flat racing. Constitution Hill delivered two striking victories at Southwell and Kempton in early 2026, drawing crowds of all ages. Henderson said the flat races felt like a “glorious celebration”, and the horse’s performance on the flat has been “brilliant”.His newfound flat success has sparked global interest. Henderson received invitations from racetracks worldwide, though he dismissed wild speculation about the Melbourne Cup as “the least likely of the lot”. Instead, a more measured approach is being considered, with the John Porter Stakes at Newbury on the agenda if the ground suits.“It’s not everybody’s idea of the most sensible race for him,” Henderson admitted, but added that a second year of racing could still be on the cards. He stressed that the horse’s safety and public enjoyment remain paramount.When asked why Constitution Hill lost his jumping confidence, Henderson cited several factors, including the introduction of new padded hurdles, which the horse disliked. He also mentioned a series of well‑meaning consultants—from Australian “gurus” to renowned equestrian coach Yogi Breisner—none of whom could reverse the decline.Despite the setbacks, the horse’s flat form has been a commercial boon. Henderson reported an 800% surge in ticket sales at Southwell compared with the previous year, illustrating the public’s fascination with the “ridiculous horse that can’t stand up”.Looking ahead, Henderson is entertaining a range of international options: the French Prix du Cadran, the Irish St Leger, and even potential programs in Germany and the United States. Yet he remains realistic about travel logistics, noting that Constitution Hill requires companion horses for long trips.In the trainer’s words, “You’ve got to have fun,” and with Constitution Hill’s current trajectory, the aim is to bring that joy back to racing while navigating the horse’s unique needs and the sport’s evolving landscape.

Iran's judiciary announced on Monday that the assets of Zahra Ghanbari, captain of the Iranian women's football team, have been released. This decision comes after Ghanbari initially sought asylum in Australia, only to later withdraw her claim and return to Iran. Ghanbari was among a group of six players and one backroom staff member who sought asylum in Australia in March, following their participation in the Women's Asian Cup. The move sparked controversy, particularly as it coincided with the escalating conflict between Iran, Israel, and the United States. Upon their return to Iran, Ghanbari and the other players were greeted as heroes in a special ceremony in central Tehran on March 19. The Iranian judiciary's decision to release Ghanbari's assets was made after she declared her innocence and changed her behavior. The release of Ghanbari's assets is significant, as Iranian authorities have been accused of pressuring athletes who compete abroad, threatening their families or seizing their property if they defect or make statements against the Islamic republic. Rights groups have repeatedly highlighted these concerns, citing cases where athletes have faced intimidation and coercion. In related developments, two Iranian women's footballers remain in Australia and have been training with the Brisbane Roar club. The controversy surrounding the team's asylum claims has unfolded against the backdrop of Iran's men's team preparing to play in the World Cup in the United States in June.