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As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

The recent story of Julie Maughan, a grieving mother who lost her eight-year-old daughter Heather Preen due to exposure to polluted water, has left an indelible mark. The Channel 4 docudrama Dirty Business brings to light the struggles of campaigners and families fighting against privatised water companies and a system that often fails to protect them.In a poignant meeting, Julie Maughan's emotional testimony, marked by grief, dignity, and determination, underscored the human cost of water privatisation. Her story starkly contrasts with the detached world of statistics and policy debates, illustrating the moral failure of a system that prioritises profit over people's lives.Clive Lewis, Labour MP for Norwich South, argues that the water industry's model, which allows private companies to profit from a basic necessity while the public bears the risk, is fundamentally flawed. This has led to billions being paid to shareholders while investment falls short and pollution becomes routine.The article highlights the broader implications of water privatisation as a microcosm of a larger systemic problem. With millions of households facing another wave of pressure on their living standards due to an impending energy price surge, the question remains whether the current economic framework can adapt to address these challenges.Lewis emphasises that Labour must decide whether it stands with the electorate or the water companies, advocating for a fundamental reorientation of the economy that prioritises the public interest over profit. The story of Julie Maughan and her daughter Heather serves as a powerful reminder of the human cost of policy failures and the urgent need for change.

In a powerful display of solidarity and a quest for peace, mothers from Israel and Palestine recently gathered for a barefoot walk. This event, marked by a simple yet profound act of walking barefoot, aimed to transcend the complexities and conflicts that have long divided these two nations. The walk, undertaken by mothers from both sides, is a poignant reminder of the universal values of motherhood — love, care, and the desire for a safe and secure future for their children. By choosing to walk barefoot, these women symbolically expressed their shared humanity and their collective yearning for peace. Such initiatives are crucial in fostering dialogue and understanding between communities in conflict. They highlight the role that ordinary people, particularly women, can play in bridging divides and advocating for peace. The barefoot walk serves as a testament to the power of grassroots movements in promoting peace and reconciliation. As the world continues to grapple with conflict and division, the actions of these Israeli and Palestinian mothers offer a beacon of hope. Their courageous stand for peace underscores the importance of people-to-people diplomacy and the need for continued efforts towards achieving lasting peace in the region.

Riz Ahmed's latest venture, 'Bait', is a comedy series that masterfully blends humor with poignant commentary on identity, fame, and the entertainment industry. Ahmed, who created, co-wrote, and stars in the show, plays Shah Latif, a rapper turned actor from a lively west London Pakistani Muslim family.The series navigates Shah's journey as he finds himself in contention to replace Daniel Craig as the new James Bond, a career milestone that brings about a crisis in his life. This predicament leads Shah to question his authenticity and fear of becoming 'bait' – both in the London slang sense of being 'obvious' or 'naff,' and in the sense of being used by the British state to co-opt legitimate dissent.'Bait' skillfully balances humor with emotional authenticity, particularly through its portrayal of family dynamics. Sheeba Chaddha shines as Shah's mother, Tahira, bringing depth and warmth to every scene she's in. The show's humor is largely derived from its witty dialogue, which showcases a dazzling display of linguistic dexterity, effortlessly switching between Urdu, Arabic, MLE, and RP.The series also highlights the strength of the British south Asian actor community, with notable cameos and roles for Himesh Patel, Nabhaan Rizwan, and Sagar Radia. Ritu Arya is excellent as Yasmin, Shah's love interest, and her chemistry with Ahmed is undeniable.While 'Bait' occasionally veers into self-indulgence, its self-referential humor and industry satire add layers to the narrative. The show's exploration of themes such as identity, cultural representation, and the pressures of fame makes it a compelling watch. With its talented cast and clever writing, 'Bait' is a must-watch on Prime Video.

A second set of mountain gorilla twins has been born in Virunga National Park in the Democratic Republic of the Congo (DRC), marking what conservationists are calling an extraordinary event for these endangered primates.Just two months after twin mountain gorillas were discovered by rangers in the Virunga massif in eastern DRC, another rare twin birth has been found by park wardens. This time, an infant male and female have been spotted in the Baraka family, a troop of 19 mountain gorillas that roam the region's high-altitude rainforests.Park rangers have placed the young primates under additional monitoring to help them through the critical initial months, as the infants face significant challenges to becoming fully grown adults. Twins are extremely rare in mountain gorillas, accounting for less than 1% of births, and place extra demands on the mother.The gorilla subspecies, found in only two isolated pockets of the Virunga massif and the Bwindi Impenetrable National Park in southwest Uganda, has high rates of infant mortality, with about a quarter falling victim to disease, trauma or infanticide.In January, Virunga National Park announced that a female mountain gorilla called Mafuko had given birth to twins. The infant males are now 11 weeks old and said to be thriving, with other gorillas in the troop taking extra care of the mother to support her caregiving, according to rangers. Park authorities believe that twin births are more likely when females are in particularly good physical condition.Jacques Katutu, the head of gorilla monitoring at Virunga, said: "Two instances of twin births within three months is an extraordinary event and provides another vital indicator that dedicated conservation efforts, which have continued despite the current instability in eastern Congo, continue to support the growth of the endangered mountain gorilla population within Virunga National Park."Specialist veterinary care has played a leading role in the revival of the subspecies. In Rwanda, Uganda and the DRC, organizations such as the Gorilla Doctors have prevented dozens of deaths by helping animals affected by human behavior, such as by releasing gorillas accidentally caught in poachers' traps. One study attributes half of the mountain gorillas' population increase to the vets.Barely 250 mountain gorillas were left in the 1970s, and many thought the animals faced extinction. Decades of intense conservation work helped population numbers surpass 1,000 in 2018, and conservation authorities have since downgraded the subspecies' status from critically endangered to endangered.The DRC section of the Virunga mountain range remains one of the most dangerous places in the world for wildlife rangers. Over the past 20 years, more than 220 rangers have been killed in the park, where rebel groups such as M23 and other militias, as well as bandits, operate with impunity.

Around 15 years ago, Ashley Markle was introduced to a culinary curiosity that would later become a global phenomenon. While staying at her aunt's house, she encountered a small, plastic-wrapped biscuit that would forever change her perception of cookies. What began as an unknown airline snack evolved into one of the fastest-growing biscuit brands in the US, with Markle becoming an unwitting early adopter of what would become a cultural movement.The spiced caramel biscuit, created in 1932 by Belgian company Lotus, has experienced remarkable peaks in popularity over the past decade. From being described as 'crack in a jar' in 2014 to becoming a staple in freakshakes in 2016, the brand has consistently found new ways to capture consumer interest. The pandemic home-baking boom in 2021 propelled Biscoff into social media stardom, with chef Jon Watts demonstrating multiple Biscoff recipes on daytime television.In January 2026, Biscoff experienced another viral surge, particularly on TikTok and Instagram, where users obsessively shared recipes for a 'Japanese cheesecake' featuring the biscuits. Markle, a social media creator specializing in snack recipes, has seen her Biscoff-related content accumulate millions of views, including a cheesecake recipe that garnered over 4 million views and a two-ingredient cookie recipe with 5.6 million views.The phenomenon extends beyond social media. A teacher named Raj developed such an affinity for Biscoff that he purchased multiple boxes, declaring: 'I'd smoke Biscoff if I could.' At his school, colleagues use the biscuits as incentives for students to attend tutoring sessions, demonstrating the brand's cultural penetration.Food industry experts attribute Biscoff's success to several converging trends. Lisa Harris, co-founder of food consultancy Harris and Hayes, explains: 'Biscoff isn't a single trend in itself, more an expression of various converging trends.' The brand taps into nostalgia, accessible indulgence, and versatility, allowing it to appear in everything from drinks to ice cream to desserts.The brand's partnerships with other companies exemplify modern 'collab culture', with Harris noting that products with distinctive flavors often develop a life of their own among consumers. 'Fans run with it and feel as if they have ownership over the product as much as the brand itself does,' she observes.Lotus Bakeries has responded strategically to the social media buzz. The company is removing the Lotus embossing from biscuits, replacing it with the word Biscoff to better resonate with younger shoppers. Niamh Leonard-Bedwell, fast-moving consumer goods editor at The Grocer, notes: 'In the week to January 17, their volume sales were up 30% on the same time last year.'The business impact has been substantial. In its 2025 annual results, Lotus announced a 10% revenue increase, with more than half coming from the Biscoff brand. The company has expanded internationally with factories in the US and Thailand, with founder's grandson Jan Boone declaring: 'We want to conquer the world.'Despite its sweet reputation, Biscoff is venturing into savory territory with recipes like prawns in Biscoff sauce and creamy Biscoff duck breast. However, chef Jon Watts remains skeptical about these applications, preferring the biscuit's traditional uses in desserts and treats.Industry analysts believe Biscoff's universal appeal will sustain its popularity. Unlike divisive trends like matcha, Biscoff offers a 'quite universally likable flavor' that balances novelty with familiarity. As Kiti Soininen of Mintel notes: 'If it's that sort of safe adventure, where it's got that newness, that freshness, but it's pairing that with familiarity – that hits the mark with a lot of people.'Despite growing concerns about ultra-processed foods, Biscoff's traditional positioning may insulate it from criticism. There's a disconnect between how products are classified and consumer intuition, with Soininen observing: 'If my grandmother can have bought this then it can't be truly ultra-processed.'With retailers developing Biscoff-inspired products including porridge, tea, popcorn, and breakfast cereal, the trend shows no signs of abating. As Markle predicts: 'I don't see anybody deciding that they don't like Biscoff any more.'

Eid al-Fitr, typically a time of joy and celebration at the end of Ramadan, has taken on a somber tone in Gaza this year. The day, usually filled with prayer, feasting, and visits to loved ones, has become a procession through loss as families grapple with the aftermath of the war.The rituals of Eid remain, but the feeling of joy has gone. People exchange greetings of 'Eid Mubarak,' but the words feel hollow. The streets are filled with people observing Eid, but the lightness and celebration are missing. Instead, it feels like a somber procession through grief.Families visit one another, but the visits are tinged with sorrow. Homes that were once filled with laughter and warmth now bear the weight of loss. Many have lost loved ones, and the pain of their absence is palpable. The Eid celebrations have become an act of protection, a way to hold on to tradition and community in the face of devastation.The author's own family has not been immune to the suffering. They visit relatives, each house bearing witness to the devastating impact of the war. They see the faces of surviving children, their first Eid without a parent, and the pain is overwhelming. The author's mother has lost her brother, grandchildren, sons-in-law, and daughter, and the weight of her grief is shared by all who visit.In the end, the Eid celebrations in Gaza have become a testimony to the enduring power of love and kinship in the face of unimaginable loss. The day is a long walk through love, kinship, and ruin, a day that begins with blessings and ends as a somber reminder of what has been lost.

In the Democratic Republic of Congo, a staggering number of children are being forced into mine work due to poverty, with many working in hazardous conditions to extract valuable minerals such as coltan, tin, and tungsten. The situation is particularly dire in the eastern Congolese city of Rubaya, where 15-year-old Mishiki Nshokano is one of the children who has been working in the mines for four years to support his family.Nshokano's story is a heart-wrenching example of the desperation that drives children to work in the mines. With his father passing away in a landslide at a mining site in 2022, Nshokano had to drop out of school to help his family survive. He now works as an artisanal miner, earning a meager $4 a day, which he sends home to his mother to help them get by.The DRC government has laws prohibiting child labor, but the informal mining sector remains largely unregulated. According to the United States Bureau of International Labor Affairs, the DRC has made minimal progress in eliminating the worst forms of child labor, with an estimated 40,000 children working in mines across the country.The situation in Rubaya is further complicated by violence between the Congolese army and various armed groups, including the Rwanda-backed M23 rebel group. The Congolese government has accused the M23 of using women and children for looting activities, but observers note that child miners have been an issue in eastern DRC long before the M23 occupied the area.As the DRC and the US sign strategic agreements to exchange minerals for security guarantees, concerns are growing about the human cost of mineral mining. The UK-based organization Global Witness has called for businesses and governments to consider the human impact of mineral mining, highlighting the need for greater accountability and regulation in the industry.

In a poignant tale of love and resilience, a Ugandan mother has taken a stand against the societal stigma surrounding disability, fiercely advocating for her son Aaron. Her journey is a testament to the power of maternal love and the fight for inclusivity.The mother's unwavering dedication to her child has led her to confront deeply ingrained cultural and social norms that often marginalize individuals with disabilities. By sharing her story, she aims to inspire change and promote acceptance.This heart-wrenching yet uplifting narrative sheds light on the challenges faced by families with children with disabilities in Uganda, highlighting the need for greater awareness and support. Through her courage, this remarkable mother is helping to pave the way for a more inclusive and compassionate society.