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Mr Cobra arrives as the latest statement from Korean‑American experimental musician Lucy Liyou, translating her solo music‑theatre piece into a full‑length album that confronts the corrosive nature of desire. From the opening track, listeners are greeted by a fractured piano motif that feels like shattered glass against an empty canvas, immediately setting a tone of tension and vulnerability.The record refuses to settle into any single genre. Liyou’s soundscapes swell into glossy disco bursts, dissolve into a tongue‑in‑cheek Taylor Swift skit, and even collapse into farmyard noises and text‑to‑speech monologues. This kaleidoscopic approach mirrors the emotional volatility of the central character, Babygirl, who oscillates between yearning and revulsion as she navigates a predatory romance.Key moments illustrate the album’s thematic focus on shame and power dynamics. On “Constrictor (Haha)”, Babygirl’s submissive cravings are drenched in cold‑water imagery, only to be abruptly repelled in the whimsical “Old MacDonald Had a Charm”. By the close of the track she is once again flirting, underscoring the cyclical trap of abusive attraction. Liyou also toys with celebrity culture; the track “Romeopathy” reworks Swift’s “Love Story” into a desperate plea for validation, repeatedly urging Mr Cobra to “just say yes”.While the album’s nursery‑rhyme hooks and disco interludes can momentarily distract from its darker undercurrents, they are integral to the smart, playful chaos that defines Liyou’s artistic vision. Mr Cobra stands as a daring, semi‑autobiographical exploration of how desire can both enthrall and erode, offering listeners a richly layered experience that rewards repeated, attentive listening.

Angelina Jolie leads the new fashion‑driven drama Couture, bringing a rare level of personal honesty by confronting a storyline that mirrors her own double mastectomy performed to prevent breast cancer. While her performance is undeniably courageous, the film’s overall execution falls short of its ambitions.The plot follows Maxine, an American indie filmmaker (Jolie) who arrives in Paris to direct the opening short for a prestigious runway show. She discovers, through a compassionate doctor played by Vincent Lindon, that a recent biopsy confirms she has breast cancer, forcing her to consider postponing or abandoning her next project. Jolie conveys the shock and denial with subtlety, yet the script, penned by director Alice Winocour, often lapses into glib dialogue that undermines the emotional weight of the situation.Supporting characters include Ada, a fledgling South Sudanese model (Anyier Anei), makeup‑artist‑turned‑writer Angèle (Ella Rumpf), and the brooding first‑assistant director Anton (Louis Garrel). Their subplots—most notably Ada’s ankle injury that threatens the runway performance—remain underdeveloped, serving more as decorative set‑pieces than integral narrative threads.Visually, the film captures the glamour of Parisian haute couture with polished cinematography, yet this sheen accentuates the story’s lack of depth. The fashion world is presented with a “precious” aesthetic that feels specious, offering little insight beyond surface‑level allure.Despite these shortcomings, Jolie’s star power shines through. Her willingness to align a fictional role with a deeply personal health battle adds a layer of authenticity that the surrounding screenplay fails to sustain. ‘Couture’ will be available on digital platforms from 20 April, offering audiences a chance to appreciate Jolie’s performance even if the film’s broader ambitions remain unfulfilled.

Beirut, Lebanon – In late March, authorities abandoned a proposed shelter for war‑displaced residents in the Karantina neighbourhood after a wave of public protest.Opponents, including local politicians and community activists, cited practical concerns such as traffic congestion near the port and health risks. However, the core of the backlash was sectarian: many Christian residents invoked demographic fears, chanting slogans reminiscent of the 1975‑1990 Lebanese Civil War to block housing for the predominantly Shia‑Muslim displaced population.The controversy resurfaced painful memories of the 1976 Karantina massacre, when right‑wing Phalangist forces expelled and killed thousands of Muslims. Historian Diala Lteif, researching the district’s history, estimates the death toll at 1,000‑3,000. She warned that the current rhetoric mirrors the “foundational logic” of that tragedy – a drive to segregate neighbourhoods.Israel’s intensified campaign against Lebanon has already forced the displacement of approximately 1.2 million people. The war, reignited on March 2 after Hezbollah’s retaliatory rocket fire, has seen Israeli troops and air strikes devastate southern towns and parts of Beirut, heightening fears that hosting displaced families could draw further attacks.Amid these tensions, a 10‑day ceasefire is slated to begin, yet many Lebanese worry the violence could spiral into renewed communal conflict or even a civil war.Experts note that the association of displaced Shia communities with Hezbollah fuels anxiety. Lara Deeb, an anthropologist at Scripps College, explained that Lebanon’s sectarian political system blurs the line between a religious group and a political party, amplifying mistrust across the board.While the cancelled site remains unused, another displacement centre operated by the Lebanese charity Offre Joie continues to function in Karantina. It currently shelters about 1,000 displaced families from the south, the Bekaa Valley, and Beirut’s southern suburbs.Volunteer Marie Daou described the centre’s conditions as comparatively decent, with reliable hot water and regular meals. Security forces monitor the residents’ identities, and no occupants have left despite more than 40 days of conflict.One resident, 30‑year‑old Nadine, fled her home in Burj al‑Barajneh on March 2. She now lives with five siblings at the centre, saying, “For now, we’re staying here. You can’t go back because there is danger, but nowhere is safe. We will endure.”The episode highlights how historic sectarian wounds intersect with today’s geopolitical crisis, shaping public policy and community responses in a Lebanon already strained by war and displacement.

Fuel‑price protests have erupted across the Republic of Ireland, described by observers as the most serious civil unrest since the state’s founding in the 1920s. Demonstrators, largely farm contractors and hauliers, have staged "go‑slow" convoys on motorways, blocked ports and even targeted the country’s sole oil refinery at Whitegate, County Cork. The unrest mirrors France’s Yellow Vests movement in its focus on carbon taxes and fuel duties, but unlike the French case it is being triggered by an external shock: the closure of the Strait of Hormuz after the United States and Israel launched a military campaign against Iran in late February 2026. The strait carries roughly 20% of global oil and LNG shipments, and its blockage has precipitated a sharp rise in fuel costs in Ireland – diesel up about 28% and petrol by 25%. By the weekend, around 40% of Irish petrol stations were empty, leaving many motorists stranded. In response, the Dublin coalition government ordered the army to clear blockades and authorised the police (An Garda Síochána) to make arrests, though the total number of detainees has not been disclosed. To quell the crisis, the government unveiled a package of concessions worth nearly $600 million. The measures include a 10% discount on diesel and petrol and a postponement of a planned carbon tax, aimed at both motorists and the broader food‑production sector (farming and fishing). The Taoiseach and Tánaiste have appealed for an end to the protests and urged dialogue through representative bodies. Public sentiment is split. A poll by the Sunday Independent found that 56% of respondents initially backed the protesters, but growing disruption – such as the cancellation of scheduled surgeries and travel difficulties for the elderly – appears to be eroding that support. Analysts highlight deeper structural issues in Ireland’s agri‑economy. Patrick Bresnihan of Maynooth University warned that the protests expose “deep inequalities and contradictions” in a system dominated by export‑oriented dairy and beef production, where many workers face precarious, seasonal contracts. While the protests have not ignited a comparable far‑right surge seen in parts of Europe, commentators caution that the unrest could provide fertile ground for populist narratives. Right‑wing groups in Germany, Spain and France have previously linked agricultural grievances to broader anti‑EU sentiment, though such movements remain marginal in Ireland. In Northern Ireland, planned blockades largely failed to materialise. Minor “go‑slow” convoys caused brief diversions, but no major infrastructure was seized and only a handful of fines were issued. Experts, including Queen’s University Belfast anthropologist Dominic Bryan, suggest the limited turnout reflects a lack of cohesive demands and organizational capacity north of the border. Political fallout in Dublin includes a confidence vote survived by the coalition after Sinn Féin’s challenge, and the resignation of junior minister Michael Healy‑Rea, who was cheered by protesters outside Leinster House. Overall, the fuel‑price protests underscore how a regional conflict in the Middle East can cascade into domestic unrest in Europe, intertwining energy security, rural economics and political stability.

Renewed diplomatic activity is gathering momentum as Pakistan assumes a central mediating role in the stalled US‑Iran conflict. A senior Pakistani delegation, headed by Army Chief Field Marshal Asim Munir, arrived in Tehran to convey messages from Washington, while Prime Minister Shehbaz Sharif embarked on a regional tour that includes stops in Saudi Arabia, Qatar and Turkiye. Iran’s foreign ministry confirmed that Tehran and Washington have maintained contact since the Islamabad talks ended on Sunday, and the White House expressed optimism about convening a second round of peace negotiations in the Pakistani capital. Iran’s warning on the Strait of Hormuz added a sharp edge to the diplomatic push. Adviser Mohsen Rezaei cautioned that continued US enforcement of a naval blockade could prompt Tehran to target American vessels in the strategic waterway. The United States has already tightened restrictions on ships linked to Iranian ports, turning several vessels back before they can dock. In parallel, internal divisions in Washington persisted. The Senate rejected a resolution that would have limited US war powers without congressional approval, underscoring the political friction surrounding the conflict. Key diplomatic developments include: Second‑round talks: The White House announced that a follow‑up peace round with Iran is under discussion and that officials are hopeful a deal can be reached. China’s endorsement: Foreign Minister Wang Yi told his Iranian counterpart that Beijing supports maintaining the momentum of the ceasefire and ongoing negotiations. Saudi‑Pakistani engagement: Crown Prince Mohammed bin Salman met Prime Minister Sharif in Jeddah to discuss regional stability and the US‑Iran dialogue, with Pakistan’s mediation highlighted as a focal point. US‑Qatar dialogue: President Donald Trump consulted with Emir Sheikh Tamim bin Hamad Al Thani on regional developments, emphasizing oil market stability and gas pricing. On the US side, the administration imposed fresh sanctions targeting more than two dozen individuals, companies and vessels tied to Iranian oil magnate Mohammad Hossein Shamkhani. The US Central Command reported that 10 vessels were blocked from leaving Iranian ports within the first 48 hours of the naval blockade, a clear signal of escalating pressure. Israel’s Prime Minister Benjamin Netanyahu reiterated that Israel and the United States share “identical” objectives to contain Iran, while also stating that Israeli military operations would continue unabated. He emphasized the priority of dismantling Hezbollah in Lebanon, marking the first direct talks with Lebanese leaders in decades. In Lebanon, the humanitarian toll deepened. The Health Ministry reported that at least 2,167 people have been killed and more than 7,000 injured by Israeli strikes, with approximately 1.2 million residents displaced since March 2. The UN special rapporteur on housing warned that Israel’s tactics mirror those used in Gaza, calling for an immediate halt to the bombing. Economically, the war’s ripple effects are already manifesting worldwide. World Bank chief economist Indermit Gill warned that the conflict could push the number of people facing acute food insecurity up by about 20 %, adding roughly 300 million individuals to the crisis. Meanwhile, optimism over a potential diplomatic breakthrough sent major US stock indices to record highs on Wednesday. Overall, the convergence of high‑level diplomatic outreach, heightened military warnings, and growing economic concerns underscores a pivotal moment in the US‑Iran war, with Pakistan’s mediation and regional engagements shaping the prospects for a ceasefire.

Chancellor Rachel Reeves cautioned that the push to raise Britain’s defence budget will likely demand reductions in other spending areas, notably welfare, as the nation confronts escalating geopolitical pressures. She emphasized that the government is exploring a range of options but aims to avoid new taxes or extra borrowing, noting that “we already spend £1 in every £10 on servicing the debt.” Reeves highlighted her willingness to challenge party orthodoxy, pointing to last year’s budget moves that freed additional funds for defence, and said, “I’m willing to make difficult choices for national security.” Speaking on the sidelines of the International Monetary Fund spring meetings in Washington, she referenced the government’s 10‑year defence investment plan and stressed the importance of allocating resources appropriately. While refusing to detail which welfare programmes might be trimmed, Reeves reaffirmed that “national security always comes first” and confirmed that Labour will keep its manifesto pledge to retain the pension triple‑lock. Her stance mirrors Health Secretary Wes Streeting, who earlier warned that welfare reforms could be required to meet “the challenge of the world we face.” The Starmer administration faces mounting pressure from opposition MPs and senior military figures, especially after US President Donald Trump’s threats to withdraw the United States from NATO and the ongoing Iran‑Israel and Russia‑Ukraine conflicts. Current forecasts show UK defence spending reaching 2.6 % of GDP by April 2027, surpassing targets set by both Labour and the opposition before the 2024 general election. Reeves proudly noted that her previous budgets delivered “the biggest uplift in defence spending since the end of the Cold War,” arguing that a robust economy depends on strong national security. The IMF warned that a further escalation in the Middle‑East could trigger a global recession, with the UK potentially hit hardest among G7 nations, and cautioned that government debt is on track to hit its highest level since World War II. To fund household and business support without widening the fiscal gap, Reeves suggested reprioritising other budgets, criticizing the blanket subsidies of the previous Conservative government that cost over £100 billion and contributed to higher inflation and interest rates. She concluded that “the best way to help families and businesses is to keep prices, costs and interest rates down,” underscoring the fiscal balancing act ahead.

Hull FC's fans and players came together in a heartfelt display of unity and support for coach John Cartwright following the team's loss to St Helens. The emotional show of solidarity came as Cartwright's future with the club hangs in the balance after a tumultuous 10 days.The match saw St Helens secure a 24-14 victory at the MKM Stadium, but the focus was on Cartwright as the game ebbed into its closing moments. The big screen inside the stadium panned to the coach, prompting a stadium-wide round of applause from the fans, despite Hull FC heading for a fifth league defeat in eight games.At full time, hundreds, if not thousands, of fans stayed to applaud Cartwright once again as he conducted his media duties. This display of unity from Hull FC's fans towards their coach mirrored the spirited performance from Cartwright's players on the field.The reason for such emotion was clear: this had all the hallmarks of Cartwright's last stand in charge of Hull after a tumultuous 10 days. The Black and Whites confirmed last week that Cartwright would leave at the end of the season, with the club already understood to have agreed a deal to bring in Steve McNamara next year.Cartwright responded on Monday by expressing his feelings of being 'betrayed and disrespected' by the club's lack of communication over that decision. With time to consider whether an early parting of the ways is the best course of action, Cartwright may have actually coached Hull for the final time.“I honestly don’t know,” Cartwright said when asked what happens next. “I’ll let the dust settle on that. I’ve got a couple of meetings early next week and then we’ll find out. They’re very passionate fans and they’ll have their opinion on something and they’ll make it known. It means a lot to me to see it.”Despite the loss, Hull were superb in the first half, leading 12-6 by the break thanks to tries for Logan Moy and Amir Bourouh. However, St Helens, led by coach Paul Rowley, showed their resilience and navigated an emotionally charged evening to go top of the table.The final act of this night belonged to Cartwright, who, after his media duties, walked down the tunnel with his players in one last show of unity. His players have displayed how they feel; now it is down to Hull’s hierarchy to show their hand.

Rebuilding opens on a bleak, charred horizon, introducing Dusty (Josh O’Connor), a Colorado rancher whose ancestral land has been reduced to ash by a recent wildfire. A bank official’s blunt refusal to extend a loan underscores the decade‑long bleak outlook for the barren property.Stripped of his home, Dusty relocates to a spartan, government‑funded trailer camp and takes a humbling highway‑maintenance job. The film deepens his personal stakes through interactions with his ex‑wife Ruby (Meghann Fahy), their ten‑year‑old daughter Callie‑Rose (Lily LaTorre), and his ailing mother‑in‑law Bess, portrayed by Oscar‑winner Amy Madigan. A poignant scene shows Dusty ferrying Callie‑Rose to the local library, where they share a shaky Wi‑Fi connection for her schoolwork.Amid the trailer community, Dusty forms a tentative bond with the resilient Mali (Kali Reis), hinting at a potential romance beyond mere friendship. Their collective moments around a campfire evoke the tone of Chloé Zhao’s Nomadland, positioning the film within a growing genre of American stories about displacement and survival.Notably, the narrative avoids direct references to climate change or governmental responsibility, presenting the wildfire as an isolated tragedy rather than a symptom of a broader environmental crisis. This omission mirrors a recurring pattern in U.S. cinema, where the focus remains on personal resilience rather than systemic solutions.O’Connor delivers a nuanced performance, channeling the restrained British sensibility of his earlier work into Dusty’s quiet strength and vulnerability. His portrayal anchors the film’s emotional core, while the supporting cast—particularly Madigan’s compassionate Bess and Reis’s tough‑yet‑tender Mali—adds depth to the community portrait.Rebuilding arrives in UK cinemas on 17 April, offering audiences a contemplative look at loss, renewal, and the fragile ties that bind families and strangers alike.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.