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The recent statements and actions by the US, particularly by President Donald Trump, have raised serious concerns about potential war crimes under international law. During a national address, Trump warned that if Iran did not reach a deal with him, the US would target Iranian electric-generating plants and reduce the country to the 'stone ages.'Legal experts and human rights organizations have strongly criticized these threats. Erika Guevara Rosas, Amnesty International's senior director of research, advocacy, policy and campaigns, emphasized that intentionally attacking civilian infrastructure, such as power plants, is generally prohibited under international law. Such actions could cause disproportionate harm to civilians and are considered unlawful and potentially war crimes.More than 100 US experts in international law from prestigious universities, including Harvard, Yale, and Stanford, have expressed similar concerns. They highlighted Trump's comments, including the statement that the US may conduct strikes on Iran 'just for fun,' and Defense Secretary Pete Hegseth's remarks about not fighting with 'stupid rules of engagement.'The experts and legal experts point to the principle of distinction in international humanitarian law, which requires parties to avoid targeting civilian objects. Article 52 of the Geneva Conventions defines civilian objects as those that are not military objectives, and it is a war crime to intentionally direct attacks against them if they are not military objectives.Human rights organizations and experts warn that targeting Iran's power plants would have a devastating impact on the civilian population, affecting hospitals, water supplies, and other vital needs. Sarah Yager, Washington director of Human Rights Watch, noted that such actions would be catastrophic for the Iranian people.

When a loved one passes away while a care home still holds prepaid weeks, many families are told that the provider’s "policy" does not allow refunds. In one recent case, a family challenged this stance, discovered that the contract actually obligated the home to return the unused fees, and successfully secured a refund. The experience underscores a wider issue: care‑home operators often withhold money from bereaved families, banking on their grief and lack of legal knowledge. The author, forewarned by similar reports, enlisted a family lawyer who identified the contractual breach and drafted a decisive email that compelled the provider to comply. Importantly, the complaint was not about the quality of care. The writer notes a clear separation between the compassionate on‑site staff and the profit‑focused head office, suggesting that the latter may deliberately adopt a “no‑refund” stance as a revenue‑preserving tactic. Historically, the practice traces back to the privatisation of care homes under Margaret Thatcher. The original promise was that market competition would increase choice for residents while lowering public spending. In reality, the economics of private care demand near‑full occupancy to stay profitable, forcing operators to raise prices when referrals dip. This creates a paradox: the need for vacant beds to offer choice clashes with the profit motive to maximise occupancy, ultimately undermining the policy’s goals. For families navigating this landscape, the lesson is clear: scrutinise contracts and seek legal advice before accepting a provider’s blanket “no‑refund” policy. A vigilant approach can turn a potentially lost sum into a reclaimed right, and may pressure care‑home chains to rethink opaque refund practices.

Cameron Boozer earned the Associated Press men’s college basketball Player of the Year honor, marking the fifth time a freshman has captured the award and the second consecutive year a Duke freshman has done so. The 6‑foot‑9 forward was a cornerstone of a Duke squad that posted 35 victories, topped the AP Top 25 poll, secured the No. 1 overall seed for March Madness and advanced to the Elite Eight. Boozer’s versatility—scoring against physical defenses, stretching the floor with perimeter shooting, and facilitating the offense—proved decisive throughout the campaign. Joining the ranks of Cooper Flagg (2025), Zion Williamson (2019), Anthony Davis (2012) and Kevin Durant (2007), Boozer joins a short list of freshmen who later became top‑two NBA draft picks. He noted, “It’s not just about me; the team’s success amplifies these recognitions.” In the AP voting, Boozer secured 59 of 61 votes, with the remaining two cast for BYU freshman AJ Dybantsa, who averaged a national‑best 25.5 points per game. Statistically, Boozer averaged 22.5 points (ninth in Division I) and 10.2 rebounds (twelfth), while dishing out 4.1 assists. His shooting efficiency stood at 55.6% from the field and 39.1% from three‑point range**, and he tied for the national lead with 22 double‑doubles. These numbers underscore his readiness for the professional level. Highlights of his season include a career‑high 35 points against Arkansas, a 29‑point effort versus defending champion Florida, and a dominant 18‑point, 15‑rebound performance against Michigan State. Even in Duke’s season‑ending loss to UConn, Boozer contributed 27 points despite a swollen right eye from an early‑game blow. Duke associate head coach Chris Carrawell praised Boozer, saying the program has been “fortunate to have two of the best freshmen ever play back‑to‑back,” and placed him “right up there” with the sport’s recent legends. In related honors, Fred Hoiberg was named AP Coach of the Year after guiding Nebraska to a breakthrough 28‑win season.

Nearly three decades after the groundbreaking debut Endtroducing….. first hit shelves, DJ Shadow is once again revisiting his back catalogue. Following a celebrated 25th‑anniversary reissue that was remastered at Abbey Road Studios, the Californian producer is preparing a new archival release.In May, Shadow will issue The Mo’Wax Singles 1993‑1997, a meticulously curated box set that compiles eight 12‑inch records of his original singles for James Lavelle’s Mo’Wax label. The collection also includes alternative mixes, brand‑new artwork, and material recovered from dusty DAT tapes and original master mixes.“This box wasn’t made for the casual listener, it was made with the hardcore fan in mind,” Shadow explained in a statement. “I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind.”With the release timed to a period of reflection, Shadow is opening the floor to fans and journalists alike. He invites readers to submit questions about his pioneering sampling techniques, collaborations ranging from Wong Kar‑wai and Zack de la Rocha to Danny Brown and Deftones, and even the infamous Miami Beach show that was halted for being “too future.”Submit your queries in the comments by 6 pm BST on 8 April, and the most compelling answers will be featured in an upcoming issue of Film & Music.

Channel 4 is poised to shake up the traditional Boat Races with its debut coverage of the event, bringing a fresh perspective and new talent to the table. The network has acquired the broadcasting rights from the BBC, signaling a significant change in the event's media landscape. The Boat Races, a storied competition between Oxford and Cambridge universities, has been a staple of British sport since 1829. This year's event promises to be exciting, with Oxford's Heidi Long, a bronze medalist in the women's eight at Paris 2024, leading the charge against Cambridge's dominant women's team. Clare Balding, previously the face of the BBC's coverage, will continue as presenter, joined by newcomers Jamie Laing, a reality TV star and Radio 1 DJ, and Ade Adepitan, a TV presenter and Londoner. The on-screen team aims to bring a new dynamic to the event, appealing to a younger demographic. The production company, FilmNova, brings four years of experience from BBC broadcasts and has planned several innovations, including relatable comparisons and humanizing the rowers. One highlight is a 'fantasy boat' featuring well-known sportspeople, such as Serena Williams and Frankie Dettori. The Boat Races also shed light on pressing issues like Thames Water's mismanagement and sewage pollution in Britain's waterways, adding a layer of depth to the event. As Channel 4 takes the reins, the athletes can focus on their goals, with Long and her Oxford teammates striving to end Cambridge's eight consecutive wins. Heidi Long's remarkable story, balancing rowing with medical studies and personal loss, exemplifies the dedication and resilience of the athletes. Her leadership and experience are seen as key factors in Oxford's bid for victory.

Roy Hodgson's return to management with Bristol City got off to a winning start with a hard-fought victory over Charlton. The 78-year-old, who first managed in 1982, oversaw a thrilling second half that saw both teams create numerous late chances. The match began with Emil Riis Jakobsen having a chance to open the scoring within three minutes, but he failed to capitalize. Hodgson was ecstatic when Max Bird set up Scott Twine to score the opening goal. Charlton equalized through Lyndon Dykes after a throw-in down their right side. Hodgson was visibly upset, questioning the throw-in decision. Scott Twine's free-kick proved decisive, as it led to Noah Eile scoring the winning goal from a tight angle. Bristol City could have extended their lead through Riis Jakobsen and Twine, while Charlton's substitutes Matt Godden and Tyreece Campbell also missed chances. Hodgson's victory comes 44 years after his first managerial stint. He emphasized the importance of humility in coaching, advising against getting too proud of wins. His interim role at Bristol City will last for six games before he steps down.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

Eric Overmyer, a highly influential figure in the world of television, has died at the age of 74. He succumbed to complications from Parkinson's disease, leaving behind a legacy of groundbreaking work in the industry. Overmyer was best known for his collaborations with David Simon, creator of 'Homicide: Life on the Street', 'The Wire', and 'Treme'. His work on these series, along with 'Bosch', an Amazon Prime series based on Michael Connelly's novels, cemented his reputation as a masterful showrunner. Overmyer's versatility in television was evident in his extensive portfolio, which included roles as a writer and producer on shows like 'St Elsewhere', 'The Slap Maxwell Story', 'The Cosby Mysteries', and 'Law & Order'. His ability to drive complex narratives with sharp dialogue was a hallmark of his work, influenced by his background as a playwright and poet. His best-known play, 'On the Verge', continues to be frequently produced and showcases his unique storytelling style. Overmyer's impact on television was not limited to his own creations; he also worked with other notable writers, including George Pelecanos and Dennis Lehane. Throughout his career, Overmyer remained busy, working on various projects, including the miniseries 'Jacqueline Bouvier Kennedy Onassis' and the series 'The Affair' and 'The Man in the High Castle'. His legacy in the television industry is undeniable, and his contributions will continue to be celebrated by audiences and creators alike.

Donald Trump has sparked a new low in UK-US relations by mocking Prime Minister Keir Starmer, claiming the UK leader is weak and indecisive. During an Easter lunch speech at the White House, Trump impersonated Starmer, saying the prime minister told him he needed to consult his team before deciding whether to send UK aircraft carriers to the Middle East.Trump stated, 'I asked [the] UK, who should be our best. In fact the king is coming over here in two weeks, he’s a nice guy, King Charles. But should be our best but they weren’t our best. I said: ‘You have two, old broken-down aircraft carriers, do you think you could send them over?’' He then mimicked Starmer, saying, '“Ohhh, I’ll have to ask my team.”' Trump added, '“I said: ‘You’re the prime minister, you don’t have to.’”The US president also mocked Emmanuel Macron, saying the French president was “still recovering from the right to the jaw” and claimed that Macron’s wife, Brigitte, “treats him extremely badly”. These remarks were made at a lunch that was not open to the press but were released by the White House on a social media channel and later deleted.However, Whitehall sources disputed Trump’s claims, stating that he had never asked the UK for the vessels and Britain had not offered them. Despite the controversy, Starmer has remained firm in his stance on the war, saying he would stick to his position “whatever the pressure and the noise”. When asked about Trump’s comments, Starmer emphasized his focus on the British national interest and his determination not to be swayed by external pressure.