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Les Kiss is set to take over the Wallabies in July, inheriting a side desperate to climb back to the top of world rugby. He faces a tight schedule – 14 months and 19 Tests – before the 2027 Rugby World Cup that Australia will host. Describing his mandate, Kiss stresses that he is not aiming for a radical overhaul. "It's not a revolution, it's evolution," he told the Guardian. "Core values like discipline, accountability and strategic planning stay firmly in place." What makes Kiss an outlier is his background: a former rugby league international who never played union at senior level. He says this forced him to "earn his stripes" in the union code, learning that culture and standards in the locker room drive performance on the field. His personal story is rooted in a family that escaped the Hungarian Revolution and settled in Bundaberg, and a playing career that saw him sprint down the wing before a knee injury sidelined him for four years. Those experiences, he believes, forged the resilience he now brings to coaching. After a stint in marketing and junior coaching, Kiss transitioned to union coaching, first as a defence coach for the Springboks (2001‑02), then as an assistant with Ireland (2009‑15), director of Ulster Rugby, and finally a three‑year spell with London Irish in the Premiership. Returning to Australia in 2024 to lead the Queensland Reds, he guided the franchise to its most prolific try‑scoring season in three decades, back‑to‑back quarter‑final appearances and record crowd numbers. The Reds sit 4‑2 in the 2026 Super Rugby Pacific season and are eyeing a top‑four finish. Kiss’s coaching philosophy centres on connection. "Coaching is about rapport and building something strong together," he says, adding that he is fully invested and treats every team like family. His transition to the Wallabies will be smoothed by a close partnership with current head coach Joe Schmidt. The two have shared roughly 40 Tests, developing a strong rapport that Kiss believes will help him "understand the breakdown" and set the right structures for success. The emerging "Kiss army" already includes former All Blacks staffer Scott McLeod as defence coach, analyst Eoin Toolan, set‑piece specialist Tom Donnelly, scrum guru Mike Cron, and consultant Laurie Fisher. Skills coach Mick Byrne and U20s boss Chris Whitaker also remain on board. While his new responsibilities grow, Kiss assures fans he remains 100% committed to the Reds, vowing not to let the franchise down despite his expanding duties. On the player front, Kiss highlights a blend of seasoned talent and fresh faces that could power Australia’s World Cup campaign. The likes of Mark Nawaqanitawase, Max Jorgensen, former winger Dylan Pietsch, and NRL convert Zac Lomax are poised to add dynamism, while 18‑year‑old prodigy Treyvan Pritachard offers a glimpse of the future. Ultimately, Kiss believes the Wallabies embody a uniquely Australian style – inventive, physical, and expressive – forged in backyard games and a culture of resilience. "The Australian way isn’t formulaic; it’s about solving problems on the field in our own special way," he concludes.

The Easter Bunny is facing a significant challenge this year, one that is unrelated to chocolate or egg deliveries. According to a recent opinion piece, the Easter Bunny must navigate the complex issue of oil in the midst of global tensions.Donald Trump's demands have added a layer of complexity to the Easter Bunny's tasks, as the character must now consider the implications of pouring oil on troubled waters. This unexpected twist has left many wondering how the Easter Bunny will manage to balance its traditional Easter celebrations with the geopolitical landscape.The image accompanying the article, created by Fiona Katauskas, depicts the Easter Bunny in a humorous yet thought-provoking scenario, highlighting the challenges faced by this beloved character. As the world continues to grapple with global issues, the Easter Bunny's ability to adapt and overcome obstacles serves as a reminder of the importance of resilience and creativity.

The 70‑year‑old grandson of H. B. Reese, the man who created Reese’s Peanut Butter Cups, has publicly accused the $42 billion Hershey Company of quietly swapping the original milk‑chocolate and peanut‑butter formulas for cheaper compound coatings and “peanut‑butter‑style crèmes.”Brad Reese’s complaint, first aired on LinkedIn on Valentine’s Day, claims the confectionery giant has been “rewriting recipes” across flagship brands, a practice he describes as an “ingredient drift” that undermines both brand integrity and shareholder value.At a recent investor conference, Hershey announced it would restore the classic recipes for roughly 3 % of select products by next year, while insisting that the iconic Reese’s Peanut Butter Cups have never been altered.Chief Growth Officer Stacy Taffet explained that the company is “transitioning our sweets portfolio to colors from natural sources” and is committed to aligning all Hershey and Reese’s offerings with their historic milk‑ and dark‑chocolate formulas.Reese, however, dismissed the move as a “board‑level accountability problem,” arguing that the delayed rollout has already prompted shareholders to sell stock and that “your consumers are revolting.”In an interview with the New York Times, Reese labeled Hershey’s actions a “PR stunt,” insisting that a genuine commitment would mean an immediate return to the original recipes.Hershey counters that the recipe revisions are not a reaction to Reese’s criticism but stem from a strategic decision made after a 25 % increase in research and development spending aimed at talent, technology, and nutrition science.The dispute has taken on a personal dimension for Reese, who alleges the changes began after Hershey acquired the Reese’s brand in the 1960s. He recounts a recent taste test of Reese’s Unwrapped Chocolate Peanut Butter Creme Mini Hearts, stating, “I had to spit it out—it wasn’t real milk chocolate or real peanut butter.”Reese’s family, speaking to USA Today, clarified that his statements are his own and do not reflect the family’s view, adding that they continue to respect Hershey’s leadership and believe H. B. Reese would be proud of the brand’s current stewardship.Undeterred, Brad Reese retorted on LinkedIn that Hershey is “shooting the messenger,” accusing the company of managing perception rather than fixing the alleged product issues and warning that “the evidence chain isn’t going away.”

In a pulsating Friday night showdown, Northampton Saints held off a resilient Castres Olympique side to clinch a 49‑41 victory and book a place in the Champions Cup quarter‑finals.Castres were hampered by discipline, receiving three yellow cards – two within a three‑minute spell in the first half and another ten minutes from the break – and missed three of six conversion attempts, leaving valuable points on the board.Saints, however, kept the ball alive, launching an attack on every possession. They crossed the try line seven times, including a penalty try, with fly‑half Anthony Belleau successfully slotting six conversions.The French side struck first when wing Christian Ambadiang capitalised on a scrum‑half kick to score in the corner after just seven minutes. He added an early intercept try and later forced a penalty try after pulling Saints winger James Ramm over the line, earning himself a yellow card.Discipline continued to bite Castres when second‑row Guillaume Ducat was sin‑binned for a high‑impact collision with Saints flanker Henry Pollock. Even with a numerical advantage, Castres struggled to retain possession, conceding a penalty that scrum‑half Jérémy Fernandez converted.Early in the second half, Saints broke the deadlock with a try from Josh Kemeny, followed by a score from Tommy Freeman nine minutes later, widening the gap.Castres fought back when centre Tyler Ardron intercepted a pass to touch down, but a subsequent handling error by Saints’ Santiago Arata prevented a further Castres try. Saints responded with a rapid interception by Vuate Karawalevu, though the try was disallowed for a prior knock‑on. The Saints then exploited defensive lapses, with George Furbank and James Ramm each adding scores.In the closing stages, Castres’ Vilimoni Botitu found the line, yet a yellow card for Veresa Ramototabua’s high tackle and a late try from Fraser Dingwall sealed the Saints’ win. The victory propels Northampton, last year’s losing finalists, into a quarter‑final clash against either Bath or Saracens.

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.

A stunning visual recap of the week's top stories, curated by photographer Jim Powell, has been published by The Guardian. The selection of images provides a glimpse into global events and everyday life across various countries.The photographs, presented in a gallery format, highlight significant moments that have shaped the week. While specific details about each image are not provided, the collection offers a unique perspective on international news and culture.Published by The Guardian on April 3, 2026, this visual series is a testament to the power of photography in storytelling and global connectivity.

Several ships have successfully navigated the Strait of Hormuz, a vital waterway that has been effectively closed since the start of the war in Iran. The development comes as shipping companies and international leaders work to ensure the passage of critical cargo, including oil and gas supplies that account for about a fifth of the world’s total. A French container ship owned by CMA CGM, the CMA CGM Kribi, which sails under the flag of Malta, is reported to have passed through the strait with cargo. This marks a significant development as it is believed to be the first ship owned by a western shipping line to make the journey. The blockade has led to increased oil and gas prices globally and growing concerns about food security, as a third of the global trade in raw materials for fertiliser normally passes through the strait. International leaders are expected to meet next week to discuss possible solutions, including clearing sea mines and rescuing trapped ships. The UK’s Foreign Secretary, Yvette Cooper, has stated that coordinated action is needed to pressure Iran into reopening the strait. The US President, Donald Trump, has claimed that the US could “easily” open up the strait but that it would require “a little more time”.

Timeforshowcasing delivered a stunning victory in the Burradon Stakes at Newcastle on Friday, defying odds that drifted to 25‑1. Trainer‑owner Charlie Johnston, who also collected a share of the prize money, said the win could fast‑track the filly into Classic company at either Newmarket or the Curragh next month.The Listed mile race featured a strong field of colts and geldings, but the filly settled comfortably before accelerating at the furlong pole and holding off a late surge from Padraig Dawn by a neck.“All day I’ve been thinking, ‘what do people know that I don’t?’ because this filly worked last Thursday and I thought she was in phenomenal order,” Johnston explained. “She started at 6‑1, drifted to 10‑1, then 16‑1 and finally won at 25‑1. I backed her twice – I couldn’t believe how much she drifted.”Timeforshowcasing now has entries for both the English and Irish 1,000 Guineas. Johnston added, “She won’t be out of place in a Guineas, albeit she’d have a bit to find. If the big guns clash at Newmarket, the Irish Guineas might be an option – she won with a bit of dig in the ground at Goodwood last year.”The article also referenced the rapid rise of American Affair, who moved from a Scottish Sprint Cup win to the King Charles III Stakes at Royal Ascot within three months, underscoring the potential for a similar breakthrough. Meanwhile, Jer Batt (3.42) emerges as a strong contender at around 6‑1, having been a close runner‑up to American Affair a year earlier and now carrying a 7‑lb lower mark after a winter wind operation.Other notable horses highlighted for upcoming meetings include Strength Of Spirit (Musselburgh 1.25), freshly gelded and poised for further progress, and the lightly‑raced Midnight Gun (Musselburgh 1.55), who remains fairly weighted on the pick of his best form from last season.Additional betting tips note that Al Qareem (Musselburgh 2.30) is a warm favourite for a 13th career win, while We’re Red And Blue (Haydock 2.12) offers a good chance to confirm recent improvement, and Walden (Haydock 2.46) appears overpriced despite a strong Ascot performance earlier in the year.

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.