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Within its opening weekend on Netflix, Peaky Blinders: The Immortal Man attracted over 25 million streams, outpacing all other titles that week despite already enjoying a UK cinema run and a high‑profile red‑carpet premiere at Birmingham’s Symphony Hall.Banijay Entertainment, a co‑producer of the film, capitalised on the buzz by launching an official Peaky Blinders merchandise store, underscoring how streaming services are now flipping the classic content pipeline—moving from streaming to the big screen rather than the reverse.Beyond promotional stunts, these theatrical forays are becoming a strategic revenue stream and franchise‑building tool. Shows such as Stranger Things, KPop Demon Hunters and The Mandalorian are being repackaged for cinemas, offering fans a premium, event‑style experience that streaming alone cannot replicate."Cinema still creates anticipation, hype and a sense of scarcity that streaming platforms struggle to match," explains Ben Woods, analyst at MIDiA Research. Historically, Netflix limited theatrical releases to qualify films like The Irishman for awards, but the current focus is on monetising proven intellectual property across both mediums.The success of Peaky Blinders—a series with a built‑in audience—demonstrates the model’s viability. Lead actor Cillian Murphy, who also produced the film, described the release as "one for the fans," signalling the intent to reward loyal viewers.Netflix’s own experiment with KPop Demon Hunters proved lucrative: limited theatrical screenings across two weekends generated more than $24 million (£18 million) at the box office and helped the animated musical secure two Academy Awards for Best Animated Feature and Best Original Song.Co‑CEO Ted Sarandos highlighted that the film’s triumph stemmed from its initial Netflix debut, which fed the theatrical audience via the platform’s recommendation engine. While a sequel is slated to follow the same streaming‑first rollout, the Peaky Blinders movie’s cinema‑first launch shows that release strategies remain flexible.Industry observers note that gaps in the traditional release calendar give streaming services opportunities to fill weekends with original content, a tactic Netflix is actively exploiting.Major studios are also blurring the line between streaming and cinema. Disney, for example, transformed its hit Disney+ series The Mandalorian into a feature film, reflecting a broader push to bring Star Wars stories back to theatres.Adapting episodic narratives for the big screen presents creative challenges. As Ben Woods asks, should a film cater primarily to dedicated fans familiar with the series, or aim for a stand‑alone appeal that attracts a wider audience?Fan reaction to The Immortal Man has been mixed on the Peaky Blinders subreddit, with some critics questioning the decision to condense a season‑long arc into a single film. Nonetheless, the movie enjoys a strong critical consensus, holding roughly a 90 % fresh rating on Rotten Tomatoes.Looking ahead, Netflix announced on 20 March that two new post‑war seasons of Peaky Blinders are in development, raising the question of how soon the next installment might receive a cinematic spin‑off.

Ben Jennings offers a visual commentary on the recent overhaul of bin collection services in England. Published on 31 March 2026 in the Guardian's Opinion cartoon series, the illustration captures public concerns about how the new schedule may affect recycling rates and household waste handling.The cartoon, titled "Ben Jennings on changes to bin collections in England – cartoon," depicts a typical street scene where altered collection times create confusion among residents. By emphasizing the everyday impact of policy shifts, Jennings underscores the tension between local government decisions and the practical realities of recycling and waste management.While the piece contains no accompanying editorial text, its visual satire serves as a reminder that changes to public services can have ripple effects on environmental goals and community routines. The illustration, credited to Ben Jennings/The Guardian, invites readers to reflect on the balance between efficiency and sustainability in municipal waste policies.

David Attenborough’s voice returns to British screens in ‘Secret Garden’, a BBC One series launched to celebrate the network’s 100th birthday. Unlike his classic wildlife documentaries, the show turns the lens toward the UK’s own backyards, exploring how gardens can rival tropical rainforests in biodiversity.Series producer Bill Markham explains that the programme deliberately avoids the usual “lions and tigers” spectacle, aiming instead for a relatable, garden‑centred narrative. He notes that British gardens collectively cover more area than all national nature reserves combined, and that an average garden can host up to 2,600 different species.The series tackles the contentious issue of domestic cats. With 9.5 million pet cats in Britain, Attenborough reveals they may kill around 55 million birds each year. Simple measures—such as fitting cats with bells—can slash hunting success by one‑third, while raising bird feeders reduces fatalities further.Markham stresses that the current predator‑prey balance is “unfair on the prey”, noting that cats are “the biggest predator in our gardens” yet are constantly fed, leading to an unsustainable population. He cites ecologist Dr Davide Dominoni, who suggests that keeping cats indoors during the breeding months of April and May could dramatically lower bird deaths.Beyond cats, the series examines other garden‑linked wildlife challenges. Each year, over 30 million pheasants—an Asian species—are released into the countryside, where they prey on native insects, reptiles, and amphibians. Markham argues that despite the countryside lobby’s claim that pheasant shooting sustains rural jobs, the practice “mess‑es with the ecology”.‘Secret Garden’ also showcases rare footage, including a pine marten hunting sand martins, an otter preying on ducks, and intricate mayfly battles reminiscent of the famed “snakes vs. iguana” scene from Planet Earth II. These moments underline the hidden drama unfolding in everyday green spaces.Markham hopes the series will soothe the growing eco‑anxiety many feel about climate change. He points out that the UK boasts roughly 25 million gardens, with 80 % of the population having access. Simple actions—like planting a native tree to boost caterpillar supplies for birds—can make a measurable difference.While the show may provoke cat owners and countryside advocates, Markham believes the nation’s love for “animals, gardens and David Attenborough” will drive a collective re‑thinking of garden stewardship. As Attenborough reflects, his first encounter with nature likely occurred in his own garden, setting him on the path to becoming the world’s most renowned naturalist.‘Secret Garden’ airs from 5 April on BBC One and iPlayer.

Palantir’s senior UK representative has warned ministers against yielding to ideologically motivated campaigners as they explore the possibility of terminating a £330 million NHS contract for the company’s Federated Data Platform (FDP).The FDP, an AI‑enabled system intended to unify patient information across the health service, is part of a broader portfolio that includes contracts with the Ministry of Defence, several police forces and the UK’s financial regulator.Louis Mosley, executive vice‑chair of Palantir UK, told The Times that abandoning the deal would jeopardise patient care and hinder progress on the NHS’s most pressing challenges. He highlighted that the platform is projected to generate £150 million in benefits by the end of the decade, delivering a £5 return for every pound spent.According to the Financial Times, senior officials have begun informal discussions about activating a break clause that would allow the FDP’s operation to be transferred to an alternative provider once the system becomes fully operational next year.Palantir, a US‑based data‑analytics firm with ties to the Israeli and US militaries and former U.S. Immigration and Customs Enforcement contracts, has faced sustained opposition from the British Medical Association, which has long criticised the use of its technology in patient‑care settings.Health officials acknowledge the reputational risk, noting that the controversy now extends beyond traditional Labour‑left and Green Party critics. A Department of Health and Social Care spokesperson emphasised that the FDP is designed to improve care coordination, accelerate cancer diagnoses and increase treatment capacity, while maintaining strict data‑security safeguards.Health Secretary Wes Streeting, speaking on the Guardian Politics Weekly podcast, recognised public unease about Palantir’s political affiliations, referencing founder Peter Thiel’s right‑wing connections. He reassured listeners that Palantir does not have direct access to patient data, stating, "The platform is operated by us; Palantir never sees the data."Adoption of Palantir’s technology within the NHS has risen from 118 to 151 organisations since June, though it remains short of the government’s target of 240 organisations by year‑end. Labour backbencher Clive Lewis noted that the issue is becoming a visible concern for voters, reflecting broader anxieties about AI and foreign‑owned infrastructure in critical public services.

The barnacle geese of Norfolk continue to fascinate and surprise. What was once a rare winter sight, with only a few individuals from the Siberian population visiting, has turned into a spectacle with 700 birds now calling Holkham Park home. Their presence is a testament to their adaptability and the changing climate.The author's fond history with these geese dates back to 2021 when they helped ring 400 of the birds as part of an ornithologist's study. The process involved herding the flightless, moulting flock onto a lake and guiding them into a corral. Each bird received a numbered Darvic ring, allowing for monitoring in the wild.The geese's journey to their wintering grounds is remarkable. After leaving Holkham in August, they flew 70 miles to Southwold, where they joined a breeding flock from Pensthorpe. This flock consists of descendants from deliberate releases in the 1980s.The author expresses a deep affection for these birds, admiring their chalk-faced, velvet-hooded appearance and their quiet defiance in the face of their transplanted ancestry. From the Arctic tundra to Norfolk, they have made a new home, demonstrating their resilience and adaptability.The presence of barnacle geese in Norfolk is not just a local phenomenon but also a reflection of broader environmental changes. Their story serves as a reminder of the complex relationships between species, climate, and human activity.

A Palestinian man has recounted the distressing experience of his brother's arrest at the Rafah crossing, a critical border point between Gaza and Egypt. The incident has brought attention to the ongoing security measures and tensions in the region.The Rafah crossing is a vital lifeline for Palestinians, serving as a primary entry and exit point to and from Gaza. Frequent security checks and arrests have been a recurring theme, reflecting the complex dynamics at play.The man's account sheds light on the human impact of the conflict, emphasizing the need for continued dialogue and understanding in the pursuit of peace and stability.

France concluded their World Cup preparations with a convincing 3-1 friendly win over Colombia, highlighting their attacking firepower and squad depth. The match, played at the Washington Commanders' home stadium in Landover, Maryland, served as a crucial test for coach Didier Deschamps ahead of naming his World Cup squad in May.Desire Doue opened the scoring for France with a low drive that was deflected in by Colombia's Daniel Munoz after 30 minutes. Doue struck again on 56 minutes, assisted by Marcus Thuram, who had also scored earlier just before halftime. Thuram's goal came from a cross by Maghnes Akliouche.Colombia's Jaminton Campaz pulled a goal back, but France's dominance was evident as they controlled the game. Kylian Mbappe, a late substitute, was rested for much of the game due to a recent knee injury. Mbappe remains one goal shy of equalling France's all-time scoring record of 57 goals, currently held by Olivier Giroud.France's performance in this and the previous match against Brazil has shown a balance of style and efficiency, boosting their confidence ahead of the World Cup. Deschamps' team appears to be heading into the tournament with growing certainty.

The recent conflict between the United States and Iran has sparked concerns over military overextension and the US's strategic approach in the Middle East. The war, initiated by President Donald Trump, has been characterized as a 'boomer war,' with limited support among younger generations. According to the article, the conflict's popularity declines with each younger cohort, with only one in five adults under 30 supporting the war.The author, Stephen Wertheim, argues that the war is anachronistic and reflects an outdated approach to foreign policy. He notes that every president since Trump, most notably Trump himself, has repudiated regime-change wars in the Middle East. The conflict has also raised concerns about the US's military capabilities and its strategic priorities in the region.Wertheim suggests that the war may be a last-ditch effort by older generations to impose their will on the region. He notes that sympathy for Israel is declining among millennials and Gen Z, which may have factored into the decision to launch the war. The article also highlights the risks of escalation and the potential for further conflict in the region.The author concludes that the US must reevaluate its approach to the Middle East and avoid tying itself to the region's problems. He argues that Americans must act to make warmakers pay a steep political price to prevent future conflicts. Ultimately, the article suggests that the US-Iran conflict is a critical moment for the US to reassess its foreign policy priorities and avoid further entanglement in the region.

Lonely lives, falling between the gaps, are at the heart of this 1935 psychological thriller by Rodney Ackland, adapted from Hugh Walpole's novel. It's an atmospheric period piece, but isn't entirely a stretch to reflect on our own concerns about solitude in an ageing population.The three ladies in an English cathedral town are without partners, families or much of an income. They eke out their genteel poverty in a rickety boarding house. They weren't raised to work; Miss Beringer, in desperate need of a job, can only imagine becoming a paid companion or, possibly, flower arranging.In Brigid Larmour's finely etched production, irritable passions ferment beneath the frowsty knits and beads. The characters are prey to spite and greed, nerves and night terrors. Voices are tremulous; eyes glance at a fearful future.Beringer is the new lodger: Catherine Cusack, whittled by anxiety, timidly nibbles on a scallop-edged biscuit. She is welcomed by Julia Watson's Mrs Amorest, flustered but keeping up appearances. Down to her last £10, she writes into the void to a long-absent son.The third lady is Agatha. Fruitily overblown in the novel, that's how Edith Evans played her in 1935. Abigail Thaw makes her disconcertingly eccentric: forbidding in jet black, she mocks and snaps at quivering Miss Beringer. She covets Beringer's one cherished possession – a translucent chunk of amber from a beloved female friend.It's a play of cross-hatched conversations and melodramatic plotting. Larmour's design team help turn the screw: the dank-toned house and clothes in tones of moth and cobweb, a bitter wind blowing.Ackland's plays about rackety lives are increasingly revived. He, Walpole and John Gielgud, the play's original director, were all queer artists, and it's tempting to imagine them drawn to these lives on the margins of British society. Though these ladies don't so much rage against the dying of the light as wait, fearfully, to be snuffed out.