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The United Nations’ Under‑Secretary‑General for Humanitarian Affairs, Tom Fletcher, warned the Security Council on Friday that South Sudan is at a dangerous crossroads, facing the prospect of a full‑scale famine and national collapse.Fletcher stressed that “hunger across South Sudan is tightening its grip,” noting that emergency‑level food insecurity is projected for all ten states during the lean season, which runs until the end of July.After a week‑long visit, he reported that humanitarian compounds have been looted and nutrition centres destroyed around Akobo in Jonglei State, where more than 140,000 people are in “dire need of help.” He warned that his next briefing could be dominated by famine warnings.According to the UN official, over 7.5 million South Sudanese will require food assistance this year. The situation is compounded by expected floods that will further isolate communities and damage livelihoods.Escalating violence fuels the crisisUNMISS head Anita Kiki Gbeho told the council that civilians continue to bear the brunt of intensifying clashes between the South Sudan People’s Defence Forces and the Sudan People’s Liberation Movement/Army in Opposition (SPLM/A‑IO), especially in Jonglei.Fighting surged late last year after a 2018 peace deal ended a five‑year civil war. In December, opposition forces seized government outposts in Jonglei, prompting a retaliatory operation in January that forced more than 280,000 civilians to flee.Fletcher urged the Security Council to secure unhindered humanitarian access, increase flexible funding, and demand that all parties fully respect humanitarian law and protect civilians and infrastructure.As the council deliberates the renewal of the UNMISS mandate—currently set to expire on 30 April—Gbeho warned that “the scale and urgency of needs on the ground are not yet matched by the type of sustained commitment and investment required to fully meet the shared ambition of a sustainable path to peace.”

The humanitarian situation in Sudan has taken a devastating turn as the country prepares to mark the third anniversary of the brutal conflict between the army and paramilitaries. Nearly 700 civilians have been killed in drone strikes in Sudan since the beginning of 2026, according to the United Nations.The increasing use of drones in the conflict has been noted by the UN's humanitarian chief Tom Fletcher, who warned that the world has "failed to meet the test of Sudan". The conflict has disrupted life across Sudan, particularly in the southern Kordofan region and areas of the west controlled by the paramilitary Rapid Support Forces (RSF).Doctors Without Borders reported two more deaths following drone strikes launched by the Sudanese army in the Darfur region, and treated 56 people wounded in the attack. The UN Children's Fund (UNICEF) said that drones were "responsible for nearly 80 percent" of the at least 245 children reported killed or injured during the first three months of the year.The UN's World Food Programme (WFP) warned that the situation is being "dangerously compounded" by the war in the Middle East, which has disrupted supply chains for aid groups. The US-Israeli war on Iran has forced aid groups to use costlier, more time-consuming routes, driving up the cost of food, fuel, and fertilizer.Nearly 34 million people, almost two-thirds of the population, need humanitarian support, making Sudan "the world's largest humanitarian crisis". The situation is dire, with hundreds of thousands of children acutely malnourished, and millions being deprived of an education. Women and girls are facing systemic and brutal sexual violence.

Paddington: The Musical was the big winner at the Olivier Awards, taking home seven prizes, including Best New Musical. The show, which features music and lyrics by Tom Fletcher and a book by Jessica Swale, dominated the ceremony at the Royal Albert Hall in London.The duo who play Paddington, James Hameed and Arti Shah, won Best Actor in a Musical for their performances. The show's baddies, Tom Edden and Victoria Hamilton-Barritt, also won awards for Best Supporting Actor and Best Supporting Actress in a musical, respectively. Luke Sheppard was named Best Director for the production, which also picked up awards for Costume Design and Set Design.The ceremony was hosted by Nick Mohammed, who joked about being asked how he got the gig. Performances on stage included stars like Rachel Zegler, who won Best Actress in a Musical for Evita, and Fabian Aloise, who won Best Theatre Choreographer for Evita.Rosamund Pike won Best Actress for her performance in Inter Alia, while Paapa Essiedu won Best Supporting Actor for All My Sons. The awards also recognized regional theatre triumphs, including Kenrex and Punch.The Olivier Awards, overseen by the Society of London Theatre, celebrate the best in London theatre productions. This year's ceremony marked the 50th anniversary of the awards.

The recent ceasefire between the United States, Israel, and Iran has brought a fragile calm to the region, but experts warn that energy prices may take months to normalize. The conflict had a significant impact on global oil and gas supplies, particularly through the Strait of Hormuz, a critical waterway through which 20% of the world's oil and gas exports pass.Iran's response to US-Israeli attacks included choking off the Strait of Hormuz and attacking energy infrastructure in several Gulf countries. This led to soaring prices for energy and byproducts like helium, as well as fertilizers that rely on these inputs, affecting sowing seasons and consumers worldwide, especially in developing countries.Experts stress that a predictable and stable flow of cargo through the strait is needed before markets can stabilize. Currently, only a trickle of vessels are passing through, with five vessels crossing on Wednesday and seven on Thursday, down from 120-140 ships per day before the conflict.Rockford Weitz, a professor at The Fletcher School at Tufts University, described the situation as 'the biggest disruption in the history of global oil markets.' He emphasized that normalization will take time and requires collaboration among global powers and regional players.Additionally, concerns remain about Iran charging toll fees and skyrocketing insurance fees, which could keep oil prices high. However, experts agree that these fees are not the primary cost drivers.The International Monetary Fund (IMF) has warned of a looming inflation crisis and plans to downgrade its forecast for the world economy. Kristalina Georgieva, IMF managing director, stated that growth will be slower, even if the new peace is durable.For now, oil prices are expected to remain higher than pre-war levels due to the overhang of greater risk premium of supplies out of the Gulf. The situation remains uncertain, with experts closely watching for any side deals, such as a potential agreement between Iraq and Iran, which could impact oil production and prices.

Alana King’s leg‑spin dismantled the West Indies in St Kitts, delivering a decisive 5 for 19 from 10 overs and guiding Australia to a commanding nine‑wicket win.The hosts were bowled out for just 136 runs in the third and final ODI, ending a bright start with a collapse that left them 78 for five. King’s spell, her second‑best ODI figures after a 7 for 18 at last year’s World Cup, was pivotal in restricting the Caribbean side.Australia chased the modest target in under 20 overs, thanks to an explosive innings from opener Phoebe Litchfield (68* off 56 balls) and a steady contribution by veteran Ellyse Perry (33* not out). The pair steered the tourists home with ease, sealing a 3‑0 series sweep.Speaking after the match, King highlighted the team’s discipline: “We were very clinical, we nailed our lengths, and we really owned that.” She praised the collective effort of the bowling unit for holding a “very destructive” West Indian side to just about 140 runs.West Indies won the toss and elected to bat, with opener Deandra Dottin (22) and captain Hayley Matthews (34) putting on a 38‑run opening partnership. However, King struck early, catching Matthews off a sliced drive, and soon after, Jannillea Glasgow fell for a duck, leaving the visitors reeling at 78 for five.Middle‑order contributions from Chinelle Henry (40* not out) and Realeanna Grimmond (20) added some resistance, but King completed her third ODI five‑wicket haul, dismissing Afy Fletcher and Karishma Ramharack, while off‑spinner Ash Gardner chipped in with 2 for 29.Australia’s chase was swift; after reaching the target inside nine overs, the result was never in doubt. Perry accelerated the scoring alongside Litchfield, ensuring the tourists cruised to a sixth consecutive white‑ball win on the tour.With the ODI series wrapped up, Australia now turn their focus to the upcoming 2026 T20 World Cup in England, scheduling three preparatory T20s against South Africa before the tournament.

During an emergency session of the United Nations Security Council, humanitarian chief Tom Fletcher pressed members to outline concrete measures for safeguarding Lebanese civilians as Israel intensifies its ground offensive and aerial bombardment.Fletcher highlighted the stark parallel between Israel’s stated objectives in Lebanon and the ongoing genocidal war in Gaza, asking the council how it intends to prevent a repeat of the humanitarian catastrophe witnessed there.Since the escalation on 2 March, more than 1.1 million people have been forced from their homes across Lebanon, a displacement surge linked to Israel’s retaliatory strikes after Hezbollah fired missiles into northern Israel.In a video address, Israeli Defence Minister Israel Katz announced that, once the current operation concludes, the Israeli army will establish a security zone extending to the Litani River and maintain control over the area, effectively creating a new occupied territory.Israeli forces have pushed deeper into the south this week, claiming the moves are necessary to shield northern Israeli communities from missile attacks. Human‑rights organisations have condemned the expansion, warning that targeting civilian infrastructure and preventing residents from returning would exacerbate the crisis.The heightened conflict has also claimed the lives of three UN peacekeepers. Two Indonesian soldiers were killed on Monday when an unexplained explosion destroyed their vehicle near the village of Bani Haiyyan, while a third Indonesian peacekeeper died the previous day after a projectile detonated at a UNIFIL post near Aadshit al‑Qusayr.UN Under‑Secretary‑General for Peace Operations Jean‑Pierre Lacroix said early investigations suggest a roadside blast was responsible for the Monday deaths, emphasizing that such incidents must not occur and that peacekeepers should never be targeted.A spokesperson for Secretary‑General Antonio Guterres condemned the attacks, stating they breach international law and could constitute war crimes. The statement called for accountability and urged all parties to uphold their legal obligations to protect UN personnel and property at all times.

When Hugh Bonneville was first asked to reprise his role as Ian Fletcher in John Morton's workplace satires, his emotions were conflicted. The actor described being 'absolutely delighted' yet 'terrified' at the prospect, calling the experience 'the most painful and horrible' of his television career.Bonneville, now widely recognized for his roles in Downton Abbey and Paddington, first portrayed Fletcher as 'Head of Deliverance of the Olympic Deliverance Commission' in Twenty Twelve. In W1A, he played 'Head of Values' at the BBC. Nine years later, the weary character returns as 'Director of Integrity' at an international football organization hosting a tournament, with its real-world basis deliberately obscured by the production.Despite the seemingly mundane setting of boardroom meetings and PowerPoints, the series stands out for its meticulously constructed naturalism and intricate dialogue. The scripts are twice as long as typical 30-minute sitcoms, featuring stammered half-sentences where the difference between phrases like 'yes well but' and 'but well yes' is profoundly significant.'It's the most impossible thing to learn because sometimes the sentences don't make sense,' Bonneville explains. 'The difference between 'yes well but' and 'but well yes' is profound', he adds, noting that he frequently struggles with the complex dialogue while his co-stars excel.Twenty Twenty Six shifts the setting to Miami, transforming Fletcher from a captain of British politeness into a mediator in American corporate culture. He's reunited with Will Humphries (Hugh Skinner), his hapless intern from BBC days, whose social uncertainty remains unrivalled. 'I'm now describing Will as the Paddington of the office world - he means well, but he's going to bump into everything and set the photocopier on fire,' Bonneville says.The series expands the ensemble with international characters including Belgian chief coordinating attaché Eric Van Dupuytrens, American sustainability head Sarah Campbell, and Mexican 'VP Optics and Narrative' Gabriela De La Rosa. If previous shows examined unspoken British social etiquette, this installment presents more of a culture clash comedy, with Fletcher navigating a world where people express themselves directly rather than through British subtlety.John Morton, the creator, chose the World Cup backdrop not for its football significance but because its unwieldy scale across 16 cities presents fertile ground for comedic mishaps. 'As a writer, you think: hmm, that smells like things could go wrong,' Morton explains. The show addresses contemporary issues including Trump references and environmental concerns, though Morton maintains it's not about football controversies.The filming itself presented unique challenges, with production in a Wembley school transformed to resemble a Miami arts center. Despite the artificial setting, the cast found the UK heat surprisingly authentic to Florida's climate. 'The irony being had we filmed it in Miami, it would have been air-conditioned,' Bonneville laments, capturing the production's British approach to discomfort.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

Surrender to It is a film that seems to have been made without regard for the clichés that have been established by similar movies in the past. Writer-director Tim Bryn Smith appears to have ignored the criticism that greeted films like Peter's Friends back in 1992, which featured a similar premise of actors reuniting.The story revolves around a group of former thespians who met at a drama workshop and are now reuniting for a hiking weekend. The cast includes Daemian Greaves, Melissa May Smith, Fletcher Graham, and Chantelle Lee, among others. However, their performances are marred by stiff gestural quality and amateur production values.The script, credited to Bryn Smith and Chris Wetton, feels disjointed and like it was cobbled together from improv exercises and random suggestions. The film tries to balance maudlin tones with comic subplots, but the result is a mess. One subplot involves a bereaved couple mourning their dead son, while another focuses on a movie star recovering from a scandal.The film's production values are also lacking, with scissorhand editing and poorly executed plot twists. Despite its flaws, Surrender to It will be available on digital platforms from 30 March.