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Israeli and U.S. forces launched a series of air strikes on Tuesday that struck Tofigh Daru Research and Engineering Company, one of Tehran’s largest producers of anaesthetics and anti‑cancer medicines. The state‑run firm, owned by the Social Security Investment Company, saw its drug‑production line damaged, according to an official post on X. In the north‑western city of Zanjan, a separate strike hit the Husseiniya Azam, a Shia congregation hall adjacent to a mosque. Iranian Red Crescent teams rescued two people from the rubble; one of the victims died and several others were injured. Further attacks were reported in the western province of Kermanshah, where a civilian contracting company in Qasr‑e Shirin – a border town with Iraq – was hit. One person was killed and eight injured, the Mehr news agency said. Heavy bombing was also confirmed in Isfahan, a strategic hub for Iran’s defence industry and home to key nuclear facilities such as Natanz. Local officials indicated that the strikes may have targeted “military sites,” though the exact locations and damage assessments remain unclear. Iranian officials condemned the operations. Former foreign minister Javad Zarif denounced the targeting of the pharmaceutical plant as a deliberate attack on a medical facility, calling the aggressors “desperate” and accusing them of “diabolical delusions.” Governor‑level security official Akbar Salehi echoed these concerns, noting that the strikes appeared aimed at military installations without specifying which ones. The broader conflict has already claimed 1,937 Iranian lives since the joint U.S.–Israeli campaign began on 28 February, while 20 Israelis have been killed. Recent Israeli interceptions using the Iron Dome and David’s Sling systems have limited damage on Israeli soil, but impact sites were reported in Tel Aviv, Bnei Brak and Petah Tikva. Amid the escalating violence, diplomatic channels remain active. U.S. Secretary of State Marco Rubio told Al Jazeera that communications between Washington and Tehran continue, primarily through intermediaries, and that the U.S. aims to achieve its war objectives “in weeks, not months.” Pentagon chief Pete Hegseth added that negotiations to end the conflict are “very real, ongoing and gaining strength.” Iran’s Islamic Revolutionary Guard Corps (IRGC) claimed a retaliatory strike, saying it hit an Israeli container ship in the Gulf with a ballistic missile and that Iranian drones targeted a group of U.S. Marines near a UAE military base. Public sentiment in Iran has turned sharply hostile, with pro‑state demonstrations erupting in Tehran as citizens protest the continued air raids. The atmosphere, described by Al Jazeera’s Tohid Asadi as a “cloud of mistrust,” reflects growing frustration over diplomatic dead‑ends and the relentless cycle of attacks.

The Israeli parliament's approval of a legislation seeking the death penalty for Palestinians convicted of deadly attacks has stoked fears among Palestinians and drawn condemnation from the international community. The law, which does not apply to Jewish citizens of Israel, has been met with jubilation among its backers in the country's far right.France, Germany, Italy, and the United Kingdom have all raised concerns over the overtly racist nature of the bill, whose wording appears to exclusively target Palestinians. Rights groups have also criticized the bill, with Amnesty International saying it would make the death penalty 'another discriminatory tool in Israel's system of apartheidThe law targets Palestinians by limiting its application to military courts that only try Palestinians under occupation. Under the new legislation, anyone found guilty of killing an Israeli citizen within the occupied West Bank will, by default, be sentenced to death by the military courts. In contrast, Israeli settlers who kill Palestinians in the occupied West Bank are tried in civilian courts in Israel and have not been prosecuted since the start of this decade.Critics argue that the law is discriminatory by design and that lawmakers have no legal authority to impose it on Palestinians living in the occupied West Bank, who are not Israeli citizens. The Association of Civil Rights in Israel has taken the matter to Israel's highest court, arguing that the measure undermines Israel's commitments to democratic principles.Human rights groups have long argued that the legal systems applying to Palestinians and Israeli settlers in the West Bank are fundamentally unequal, enabling discriminatory detention practices and selective enforcement of laws. Approximately 9,500 Palestinians are currently detained in Israeli prisons under harsh conditions, with about half held under administrative detention or labeled 'unlawful combatants,' denied trial and unable to defend themselves.

A prominent pro-Palestine activist in the United Kingdom has been re-arrested merely weeks after being released on bail, raising questions about the treatment of activists and the limits of free speech.The activist, who had been released on bail following a previous arrest, was taken into custody again, highlighting the ongoing tensions between law enforcement and pro-Palestine advocacy groups in the UK.The re-arrest has sparked concerns among human rights groups and activists, who argue that it undermines the right to peaceful protest and free expression. The UK government has faced criticism for its handling of pro-Palestine activism, with many accusing authorities of suppressing dissenting voices.

Apple has launched its latest laptop, the MacBook Neo, which marks a significant departure from its traditional Mac lineup. The Neo is powered by an A18 Pro chip typically found in iPhones, offering a highly performant experience, particularly in everyday tasks.The MacBook Neo starts at £599 (€699/$599/A$899), making it an attractive option for those looking for a budget-friendly laptop without sacrificing performance. The laptop features a 13in LCD screen with a resolution of 2408x1506 and 219 ppi, 8GB of RAM, and storage options of 256GB or 512GB.Despite its lower price point, the Neo doesn't feel like a cut-price machine. The laptop has a high-quality aluminium body, sleek lines, and rounded corners, similar to the MacBook Air and Pro models. The keyboard and trackpad are also top-notch, with the trackpad being mechanical rather than haptic.The Neo's performance is impressive, handling complex edits to multiple large file photos in Affinity and Pixelmator Pro without breaking a sweat. It's also capable of light video editing, making it suitable for everyday tasks.The laptop's battery life is excellent, managing about 13 hours between charges for general browsing, note-taking, image editing, chat, and emails. The Neo also features a 1080p webcam, good mics, and decent speakers.However, there are some limitations compared to the more expensive MacBook Air, such as no wifi 7, no Thunderbolt, no 5K display support, and only 8GB of memory. Nevertheless, the MacBook Neo sets a new benchmark for budget-friendly laptops, making it an attractive option for students and those on a budget.

James McAvoy, a renowned British actor, has spoken out about the challenges of being typecast due to his Scottish accent. In an interview, McAvoy discussed his directorial debut, 'California Schemin', a film based on the true story of two Scottish men who posed as Los Angeles rappers.McAvoy emphasized the importance of authenticity in storytelling, particularly when it comes to regional accents and cultural representation. He shared his own experiences of being reduced to a "noise" due to his accent, highlighting the need for more nuanced portrayals of Scottish characters in film.The film, which stars Séamus McLean Ross and Samuel Bottomley as the two Scottish protagonists, explores themes of friendship, circumstance, and the limits of authenticity. McAvoy expressed his desire to make films that showcase working-class Scottish stories, saying, "I don’t think we make enough to satisfy the cultural needs of the 6 million people that live in this country."McAvoy also touched on the issue of limited opportunities for Scottish actors, citing the lack of greenlit projects and the dominance of a few established stars. He praised Screen Scotland for its efforts to boost the country's film industry, which aims to be worth £1 billion within five years.'California Schemin'' is set to release in UK and Irish cinemas on April 10, offering a fresh perspective on Scottish storytelling and the complexities of cultural identity.

The recent ruling that Meta and YouTube are liable for creating addictive products has intensified the debate on restricting social media use for under-16s. However, there's another crucial aspect to consider: 85% of kids and teens interact online through video games. The suggestion to curb online gaming alongside social media restrictions raises significant concerns about feasibility and impact.Some online games, like Roblox, have proven to be unsafe environments for children, with cases of grooming and child exploitation. Nevertheless, implementing a ban on online gaming would be a regulatory nightmare. Games like Minecraft or EA Sports FC have different online components, making a blanket restriction difficult to enforce.Banning teens from playing games online entirely would be detrimental. Online games are vital social spaces for millions of teens, offering a few arenas where they can interact without adult surveillance. With two-thirds of council-run youth centers lost since 2010, video games fill a critical gap.The core problem lies in the internet's heterogeneous nature. Games, social media, and YouTube are distinct, making it hard to cancel out potential harms without also eliminating benefits. Instead of banning young people, the focus should be on taking back the internet from manipulative big tech companies.Parents concerned about their children's safety can use existing parental controls to mitigate risks. Features like chat restrictions, time limits, and age-appropriate settings can ensure children enjoy games while staying safe. A ban would introduce no further benefit and could cause significant harm.

The friendly staged at Everton’s Goodison Park gave Merseyside’s hospitality sector a short‑term boost, but it also underscored lingering doubts about Scotland’s chances at the 2026 World Cup in North America.Manager Steve Clarke entered the match after a wholesale reshuffle that saw only Andy Robertson and Scott McTominay retain their starting spots. Robertson’s appearance made him the second‑most capped Scottish player in history, now within ten caps of legend Kenny Dalglish.Scotland began brightly, with George Hirst of Ipswich Town providing the pace and threat that many expect to earn him a place on the U.S. squad. However, the side’s defensive frailties were exposed early, especially between the posts. Angus Gunn was forced into goal despite limited club minutes, while veteran Craig Gordon remains sidelined with injury.Clarke responded by switching from a traditional back‑four to a three‑man defence at halftime, introducing Scott Bain for understudy Liam Kelly. The tactical tweak did little to stem the Ivorian onslaught.The decisive moment arrived when a rebound from an Elye Wahi effort hit the post, allowing Nicolas Pépé to finish cleanly. The goal highlighted the technical and physical superiority of the Ivorian forwards, who continued to dominate the first half with crisp, one‑touch play.Scotland’s supporters voiced their displeasure, booing the team at the break – a clear sign of growing frustration after a series of underwhelming performances, including a recent 1‑0 loss to Japan.Beyond the single goal, the match exposed a broader issue: Scotland’s current squad struggles to match the pace, precision and depth of opponents like Côte d’Ivoire. With the World Cup looming, Clarke faces mounting pressure to close the gap, whether through further tactical adjustments or personnel changes.Late‑stage attempts by Scotland, including a long‑range strike from McTominay and a defensive block by John Souttar, fell short. The Ivorian side, buoyed by Wahi’s continued threat and a solid performance from goalkeeper Alban Lafont, secured a comfortable victory that will linger in the minds of Scottish fans and officials alike.

The Tottenham Hotspur Supporters’ Trust has issued a scathing statement on the club’s recent appointment of Roberto De Zerbi as head coach on a five‑year contract. The Trust says the move places a heavy strain on unity while the team fights to avoid relegation from the Premier League. Central to the criticism is De Zerbi’s public endorsement of Mason Greenwood during his tenure at Marseille. Greenwood, a former England forward, faced serious criminal allegations in 2022—including attempted rape, controlling and coercive behaviour, and assault occasioning actual bodily harm. The Crown Prosecution Service discontinued the case in February 2023 after key witnesses withdrew and new material emerged, though Greenwood has consistently denied the charges. De Zerbi described Greenwood as a “good person” and expressed sympathy for the player, remarks that were swiftly condemned by supporter groups such as Proud Lilywhites (the club’s LGBTQI+ association) and Women of the Lane. The Trust noted it had reached out to Tottenham before the appointment to voice its opposition. “While we recognise the limited pool of managers with recent Premier League experience, this appointment raises serious and far‑reaching concerns,” the Trust said. “De Zerbi’s comments about Mason Greenwood were unnecessary, ill‑judged, and deeply offensive to many supporters, and will alarm victims of male violence.” The Trust warned that unchecked statements could create a divide among supporters at a time when the club’s “All Together, Always” initiative is meant to rally fans behind the team. It called on Tottenham and De Zerbi to publicly reaffirm their commitment to equality, respect and integrity, and to back those words with concrete actions, including sustained support for women’s charities fighting violence. Tottenham have been contacted for comment.

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.