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The UK’s chancellor, Rachel Reeves, is set to sit down with the chief executives of Sainsbury’s, Tesco and Morrisons on Wednesday. The meeting aims to gauge the scale of possible price hikes and shortages of essential household goods as the nation grapples with a sharp rise in energy, fuel and fertiliser costs triggered by the ongoing Middle East conflict. A Treasury source described the gathering as a "fact‑finding, open discussion" intended to identify any supply squeezes and to forecast the impact on the cost of living over the coming months. Allan Leighton, executive chair of Asda, will not attend but has publicly urged the government to "stand up and start doing stuff" to aid farmers and curb fuel prices, warning that food costs will inevitably climb if the conflict persists. Simon Roberts, chief executive of Sainsbury’s, cautioned that price increases are "unlikely to rise until the summer" thanks to long‑term contracts on energy and fertiliser that currently keep a lid on costs. Nevertheless, UK growers are sounding the alarm. Producers of tomatoes, cucumbers, peppers and aubergines say higher input costs could force them to pull plants from the ground, creating potential gaps on supermarket shelves. Lee Stiles, secretary of the Lea Valley Growers’ Association – the region often dubbed London’s "salad bowl" – is lobbying for indoor food producers to be classified as "energy‑intensive users" alongside steel, chemicals, cement and glass, thereby qualifying for additional support with surging energy bills. Stiles also called on retailers to renegotiate contracts with growers to reflect the cost surge since the Middle East conflict began. He warned that the upcoming increase in standing charges on 1 April – a fixed daily fee for accessing the gas and electricity network – will further strain producers’ margins. "Growers have already invested in plants and labour for three to four months," Stiles said. "When you do the maths, the numbers don’t add up. They would lose less money by sending workers home, pulling the plants out and turning off the boiler." If domestic growers cut the season short, European glasshouses, which normally supply the UK’s salad market at this time of year, may struggle to fill the void, risking a repeat of the fresh‑produce shortages experienced in early 2023. The British Poultry Council (BPC) echoed these concerns, highlighting pressures on supplies of oil, gas, fertiliser and essential feed components. "These factors are creating sustained upward pressure on the cost of poultry production," the BPC warned, adding that while some cost increases may be absorbed, others will inevitably be passed on to consumers. Richard Griffiths, BPC chief executive, noted that while many farmers have long‑term energy deals, costs such as diesel are rising rapidly, and there are fears that vital medicines could become unavailable at any price. In response, the government has announced a £117 cut to household energy bills, an increase to the legal minimum wage, and the launch of a £1 billion "crisis and resilience" fund aimed at helping vulnerable households with expenses such as heating oil.

A premature ceasefire agreement could potentially set the stage for future conflict escalation, experts warn. The rushed nature of such agreements often overlooks underlying issues, leading to unsustainable peace and increasing the likelihood of renewed violence.The concern is that without addressing the root causes of the conflict, a ceasefire might merely delay the inevitable, rather than providing a lasting resolution. This could result in another round of conflict in the future, potentially with greater intensity.

The possibility of US ground troops being sent into combat on Iranian soil is growing, driven by President Trump's desire to avoid being personally and politically humiliated in a war he started, mismanaged, and cannot end. Such a self-serving escalation could prove catastrophic for Trump and the American people, given the history of US military interventions in the region.Trump insists that the war is all but won, Iran is suing for peace, and talks are making good progress. However, in the real world, Iran is still fighting on all fronts, Israel is still bombing, the Strait of Hormuz remains largely closed, and the Iran-allied Houthi militia in Yemen has joined the war, attacking Israel and potentially blocking Red Sea trade routes.The US and Iran have each issued maximalist demands, but there is no sign of actual negotiations. They are even further apart than they were before Trump, egged on by Benjamin Netanyahu, abandoned diplomacy last month. Sometime soon, Trump will be forced to confront the huge gap between what he wants and what's on offer. At that point, he could turn to the troop buildup in the Gulf and order ground attacks.It's incredible to think that after all the mortal agony and anguish of Iraq and Afghanistan, a US president is once again seriously contemplating boots on the ground in the Middle East. Trump's stumped, hoist by his own petard, stuck between a rock and a hard place, and up the creek without a paddle. The creek in question is, of course, the Strait of Hormuz.Trump is increasingly isolated and out on a limb. His wealthy Arab business cronies no longer trust him. US bases on their territory now resemble a liability, not a defence. When he demanded NATO's help, Europe said: we'll let you know. Likewise, Iran's ethnic Kurds are less than keen to die for a muppet. Support for the war among the US public and the Maga right, always weak, is a fast-vanishing mirage.If Trump were to order ground attacks – both he and Netanyahu have publicly discussed the possibility – the targets would most likely be the coastal batteries, missile defences, and concealed armed speedboat bases dotting the northern flank of the Hormuz strait. An attack on the Kharg oil export terminal further up the Gulf is also predicted.The inherent, inescapable military risks are daunting. Casualties would be inevitable. Even if operations went well in the short term, questions would immediately arise about potential escalation when Iran counterattacked, expansion of the operational area, and duration of the occupation.

The reintroduction of beavers in Dorset has shown promising results, with the animals building a 35-metre dam and creating a deep, wildlife-rich pool. By coppicing trees, they have allowed more light in and improved habitats for plants, insects, amphibians, birds, and bats.Trail cameras have captured footage of an otter fishing in the pond, as well as a barn owl hunting there. Volunteers have spotted birds including redpolls and water rails. The cameras also captured footage of two of the beavers mating, indicating they have settled in their new home and that there could be kits this summer.Despite some hitches, including the death of a male beaver and the relocation of a female, the western pair of beavers has been busy doing their engineering work. The National Trust, which is in charge of the project, said it was thrilled with the progress, highlighting the astonishing effect on the ecosystem in a relatively short time.Gen Crisford, the National Trust's wetlands project officer, said setbacks were inevitable but expressed hope for a 'happy ever after moment' with the western pair. The project allows for the release of 10 to 25 adult beavers, with the next release expected to take place this autumn.

Asda's executive chair, Allan Leighton, has urged the UK government to take immediate action to support farmers and ease fuel costs, as the conflict in the Middle East threatens to drive up food prices. Leighton warned that food prices would inevitably rise as a result of the conflict, citing pressure on farmers from higher fertiliser, energy, and fuel costs.While Asda has so far received only a trickle of requests for cost price increases from suppliers, Leighton expects the pace of cost increases to be volatile and vary across different commodities. He also warned of temporary shortages at petrol stations as supplies are squeezed by the conflict, with the average price of unleaded petrol in the UK rising to 150p a litre.Leighton accused the government of benefiting from £3bn of income from fuel duties as prices rise and called on them to ease these duties or support farmers on energy or other costs. He suggested that tax from fuel duty should be redistributed to support farmers in some form.The Asda boss's comments come after Simon Wolfson, CEO of Next, suggested that clothing prices could rise by 4-10% if the conflict in the Middle East extends into the autumn and factories are hit by higher fuel and fabric costs. Daniel Ervér, CEO of H&M;, also warned that a prolonged conflict could have a significant impact on consumer spending and cause inflation.Asda's underlying profits dropped by a third to £764m last year, with non-fuel sales sliding 3.3% to £21bn. However, the company reported its first month of underlying sales growth in stores in almost two years in March, after resolving IT problems linked to a switch away from services provided by its former owner Walmart.

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.

When future generations examine television trends, they might be surprised by the glut of dramatisations about famous men caught in sex scandals. Jimmy Savile and Prince Andrew have both received multiple treatments, and now, with almost crushing inevitability, comes Channel 5's Power: The Downfall of Huw Edwards.Edwards, the high-profile BBC newsreader who resigned in 2024 before being charged with three counts of making indecent images of children, remains defensive. Prior to the broadcast, he released a statement claiming the drama is unlikely to convey reality while asserting: I am repelled by the idea that some people enjoy viewing indecent images of children.The drama earns its title by portraying a powerful man utilizing a queasy power dynamic to manipulate a teenage boy into fulfilling his sexual desires. While not the pinnacle of drama, the film succeeds in capturing a sickening feeling in the pit of your stomach.The main draw comes from its casting. Martin Clunes, known for roles that rely on his innate likability, creates an impressively accurate Edwards. He captures the fascinating mix of swagger and vulnerability, along with Edwards' distinctive accent and diction. Even during disturbing scenes, his performance never wavers.For much of the film, Edwards remains a figure of distant menace. Instead, this is really the story of Ryan (Osian Morgan), a teenage boy who finds himself being groomed by Edwards. The drama is constructed around first-hand interviews with Ryan (using a pseudonym to protect his identity), showing how Edwards validated his desire for connection before making the relationship transactional.Most powerfully, the film depicts the effect on Ryan's parents, as their dismay at his increasing waywardness first becomes anger directed at Edwards and then fear that they had become the bad guys.Still, the producers face challenges with a story that isn't visually interesting. Much of the relationship happened over text, meaning excessive time is spent watching people type or narrate messages. The film makes odd stylistic choices, including framing everything around the Queen's death and ending with Edwards reporting on his own charges.Edwards has promised to tell his side of the story, but as the reviewer notes, few will have the stomach to hear it when that day arrives.

Huw Marc Bennett's third album, Heol Las (Blue Street), takes traditional tunes from Glamorgan and submerges them in languid arrangements, touched by global influences and woozy doses of surf rock and sitar. The album thrums with a fitting beauty and energy, as it drifts from the industrial valleys to the Gower peninsula.The album features synthesiser-driven tracks such as Cân Gwasael (Wassail Song) and Yr Abaty (The Abbey), which sound like lost library-music theme tunes for spooky children's TV dramas. Other tracks, such as Y Fedwen (The Birch), are like sparkling radio-friendly nuggets of lost Sain Records psychedelia.Bennett's album also explores themes of Welsh heritage and identity, with Angela Christofilou adding lyrics inspired by Bennett's nieces being the first generation in his family to experience Welsh-medium education. The album is a revitalising and revelatory blend of Wales's past and future.Other notable albums out this month include Joshua Burnside's It's Not Going to Be Okay, Akkajee's Pölynkerääjä (The Dust Collector), and the Weaving's Dlúth & Inneach (Warp & Weft).