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Iran has been accused of using the ongoing war with Israel and the US to hide a surge in executions, with human rights groups raising concerns about the rapid increase in death sentences being carried out in the country.According to Iran Human Rights, at least 145 people have been confirmed killed in 2026 so far, with an additional 400-plus executions reported but not verified. The surge in executions has been overshadowed by the ongoing conflict, with many fearing that the political cost of these executions is very low due to the focus on oil prices and the war.Human rights groups have documented numerous cases of torture, mock executions, and enforced disappearances in Iranian prisons, with many prisoners facing harsh conditions and denied access to basic necessities like food, water, and medicine.The internet shutdown in Iran has made it impossible to determine the exact number of executions carried out this year, with many death sentences and charges not officially announced. Amnesty International has reported that dozens of protesters are facing the death penalty for their involvement in the January protests.Human rights groups have condemned the use of executions as a means of suppressing dissent in Iran, with Amnesty International's Iran researcher stating that the authorities have deliberately weaponized the death penalty to instill fear among the population.

Nasrin Sotoudeh, a prize-winning Iranian human rights lawyer, has been arrested in Tehran, according to her family. Her daughter, Mehraveh Khandan, reported that Sotoudeh was taken from her home in Tehran late on Wednesday, and her whereabouts are currently unknown.Khandan suspects that the arrest may be linked to Sotoudeh's recent interviews about the war, in which she criticized the government. Sotoudeh has a history of representing political prisoners, including opposition activists and women prosecuted for removing their mandatory headscarf. She has won numerous awards, including the 2012 Sakharov Prize from the European Parliament and the 2020 Right Livelihood Award.This arrest comes amid concerns about a rise in executions in Iran, which activists believe is being overshadowed by the ongoing war. The country is currently under a communications blackout, with internet shutdowns and restrictions on international calls. Sotoudeh's health is a significant concern, given her heart condition that worsens under severe stress.Sotoudeh's husband, Reza Khandan, has also been imprisoned since December 2024 for producing and distributing badges with the slogan “I oppose compulsory hijab”. The family is worried about Sotoudeh's health and the psychological pressure she may face if imprisoned again.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.

The Royal Spanish Football Federation (RFEF) and coach Luis de la Fuente have condemned Islamophobic chants that disrupted the 0-0 draw with Egypt in Barcelona during a pre-World Cup friendly.The incident occurred when Egypt's national anthem was jeered, prompting the public announcement system at RCDE Stadium to appeal to fans to refrain from making offensive comments.This event is part of a string of similar incidents that have overshadowed Spanish football in recent years, including the racial abuse of Real Madrid's Brazilian attacker Vinicius Junior.RFEF president Rafael Louzan described the chants as "specific and isolated situations" and emphasized that they must not be repeated.De la Fuente also condemned the behavior of a section of the 35,000-strong crowd, calling it "intolerable" and stating that such individuals "must be removed from society, identified, and kept as far away as possible."The game was moved from Qatar due to the war in the Middle East and was played in a hostile environment.Spain's coach made 10 changes from their previous friendly win over Serbia, with Barcelona winger Lamine Yamal being the only player to keep his place.Egypt were without their star player, Mohamed Salah, who has been sidelined with a muscle problem.

Chelmsford City racecourse, located in Essex, has faced a significant setback with the loss of its licence to host racing fixtures. This development has cast a shadow over the venue's future, particularly after the lucrative Good Friday fixture, which offered £250k in prize money, was cancelled.The troubles for Chelmsford City are not new; the track has experienced a tumultuous history. A notable incident involved Justin Timberlake's concert on 4 July 2025, which led to chaotic scenes as 25,000 fans attempted to leave, resulting in lengthy queues and some spectators abandoning their cars to walk along the nearby A131 dual carriageway.The British Horseracing Authority (BHA) announced on Wednesday that it did not consider it appropriate to grant a racing licence to Golden Mile Racing Limited (GMRL), the company that had applied to take over the licence for the remainder of 2026. As a result, GMRL is not licensed to stage any fixtures, pending the outcome of any appeal.This decision affects not just the upcoming fixtures but also the scheduled meetings on 2 April, 3 April, and 9 April. The permanent loss of Chelmsford City, which hosted 38 meetings in 2025, would create a significant gap in the racing schedule, particularly for top yards preparing for the new summer Flat season.Chelmsford City's history dates back to 2008 when it finally staged its first meeting after years of planning. Despite its US-style oval mile track being praised for its fairness and galloping nature, and its ideal location near Newmarket, the venue has struggled with facilities issues.The track's operator, Great Leighs Estates Limited, went into administration in late March, adding to the uncertainty surrounding Chelmsford City's future.

The Idiot – A fresh five‑part series from the New York Times and Serial Productions, narrated by columnist M. Gessen, follows the unsettling tale of Allen, a self‑styled “idiot” who allegedly orders a hit on his ex‑wife. The narrative blends the investigative depth of earlier Serial hits like We Were Three and S‑Town, delivering a dark, character‑driven thriller that drops new episodes weekly.Friends Keep Secrets – Pop star Selena Gomez teams up with producer Benny Blanco, rapper‑actor Lil Dicky, and his wife Kristin Batalucco for a podcast that pushes the envelope of celebrity banter. Listeners can expect unfiltered conversations that even feature an unexpected Ed Sheeran interview, complete with the kind of raw, off‑beat humor that borders on “brain‑rot” territory.Screwed by AI – Hosted by Avantika Chilkoti of The Economist, this series travels to the Adult Video Network expo in Las Vegas – dubbed the “Oscars of porn” – to explore how the adult‑entertainment sector often foreshadows broader AI trends. The podcast examines the ripple effects on human relationships and the tech landscape, releasing new installments each week.Jacob Reed and Me – Described as an “investigative comedy,” writer Jacob Reed embarks on a nationwide quest to locate every other person sharing his name. The journey becomes a quirky storytelling experiment, featuring encounters with beach‑scene painters, economists, and even porn stars, all while the show’s advertisements are humorously sourced from fellow Jacob Reeds.Raven – This character‑driven investigation follows Raven Chanticleer, the founder of the African American Wax Museum in Harlem. The series weaves together Chanticleer’s flamboyant life story with the mystery surrounding the disappearance of his wax figures after his 2002 death, delivering a richly detailed narrative that unfolds weekly.All six podcasts are widely accessible across major platforms and release new episodes on a weekly schedule, offering a broad spectrum of content for listeners seeking true‑crime intrigue, celebrity insight, technological commentary, and off‑beat humor.

Congo-Brazzaville authorities have taken a significant step in their pursuit of Jean-Guy Blaise Mayolas, the embattled president of the country's football federation, Fecofoot. An Interpol arrest warrant has been requested following his conviction for embezzling $1.1m in funds provided by FIFA.Mayolas, along with his wife and son, was sentenced to life imprisonment earlier this month for their roles in the embezzlement. The funds, part of FIFA's COVID-19 relief plan in February 2021, were intended to support the country's football community. However, the trio fled the country weeks before the hearing, with investigators suspecting they may be hiding in Cameroon or the Democratic Republic of the Congo.The embezzlement scandal involves $500,000 earmarked for the Congo women's team. According to allegations, only $20,000 of the allocated funds was actually paid out. Mayolas has denied all allegations, calling them a conspiracy. This is not the first time Mayolas has faced scrutiny; in 2015, he and other officials received six-month bans from FIFA for ethics violations related to gifts and benefits.The situation has led to significant repercussions for Congo's football community. The country was banned from international football due to third-party interference, resulting in the forfeiture of World Cup qualifiers against Tanzania and Zambia. While Congo has since been reinstated, the scandal continues to cast a shadow over the sport in the region.

Documentary filmmaker Jude Chehab debuts with a complex and moving film that investigates her family's secrets and the secretive Muslim women's order al-Qubaysiat, operating in Lebanon and Syria. Chehab's mother, Hiba, and grandmother, Doria, were devoted followers, and Chehab herself was initiated into the group as a young girl.The film focuses on the emotional fallout of Hiba's expulsion from the group, which inspired feelings of solidarity and freedom but also demanded absolute submission to the leader, known as the Anisa or Teacher. Chehab's storytelling approach eschews sensationalism, instead highlighting the emotional turmoil endured by Hiba and her family.Hiba emerges as a complex figure, not simply a victim, but someone who has undergone a slow liberation. She now leads Muslim study groups, encouraging curiosity and understanding rather than blind faith. This internal emancipation is portrayed as a radical and empowering journey for a Muslim woman rediscovering her voice.The documentary, Q, is set to air on True Story from 3 April, offering a unique perspective on the complexities of faith, identity, and family secrets.

On Palm Sunday, Christians in Lebanon gathered in churches to commemorate Jesus's triumphal entry into Jerusalem, but the celebrations were overshadowed by the escalating conflict between Israel and Hezbollah. The Maronite Catholic church near Dahiyeh in Beirut's southern suburbs was filled to capacity, despite being close to a largely deserted district due to Israeli evacuation orders and ongoing air strikes.In the coastal city of Tyre, church bells tolled and choral music filled the air as residents sought solace in preserving their sacred traditions amid the devastation. Worshippers prayed earnestly for peace, aware of Lebanon's history of sectarian tensions rooted in the 1975-1990 civil war between Christians and Muslims.Mahia Jamus, a 20-year-old university student in Beirut, expressed concern that no one is safe from the conflict's effects. "There's no bombing here right now, but no one is safe from this—not the Christians, not anyone," she said. "No one is spared from its effects."In Tyre, Roseth Katra, 41, emphasized the importance of preserving traditions despite the surrounding devastation. "Amid the wars, the tragedies, and the destruction happening around us, we remain on our land," she said. "Today is Palm Sunday, and we are celebrating."The conflict has resulted in at least 1,238 people killed and over 3,500 wounded in Israeli attacks since March 2, according to Lebanon's Ministry of Health. Israeli troops have launched a ground invasion advancing towards the Litani River, while Hezbollah has claimed dozens of operations against Israeli forces.