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Opening the Curtain on Revolution Days Guardian’s latest theatre review spotlights Revolution Days, a production that channels the trauma of the Arab Spring through the eyes of a young aid worker, Samira. The piece arrives as global attention drifts toward the Iran‑Ukraine‑Gaza crises, reminding audiences of the 2011‑2012 revolutionary wave. From UN Relief to Stage: Mariem Omari’s Narrative Journey The play is the brainchild of Mariem Omari, a former UN relief observer who documented the uprisings for Médecins du Monde. Drawing on her field experience in Jordan, Tunisia, the West Bank and Iraq, Omari crafts a script that blends reportage with theatrical immediacy. Lead role of Samira performed by Olivia Hemmati Directed by Shilpa T‑Hyland Produced by Citizens Theatre in Glasgow and Bijli Productions Run dates: until 23 May 2026 in Glasgow; touring until 20 June 2026 Box‑Office and Touring Numbers: What the Figures Reveal While exact ticket sales are undisclosed, the limited‑run schedule and immediate touring suggest a strategic push to capture both local and regional audiences before the summer theatre calendar peaks. Humanitarian Drama Meets Contemporary Theatre Beyond political spectacle, the production foregrounds secondary traumatic stress, portraying Samira’s mental‑health decline as a mirror to the broader humanitarian fallout of civil unrest. Projected photographs of the 2011 uprisings reinforce the visceral connection between on‑stage narrative and historic reality. Future of Political Theatre in a War‑Torn Media Landscape As global conflicts dominate headlines, productions like Revolution Days may signal a resurgence of politically charged theatre that educates while it entertains. The play’s touring plan hints at a model where regional venues become hubs for socially relevant storytelling, potentially influencing funding bodies to prioritize such works.

Lead: A Bold Fusion of Realism and HorrorClaire Fuller returns with Hunger and Thirst, a novel that fuses the gritty texture of social realism with the unsettling atmosphere of gothic horror. Set in 1987, the story follows Ursula, a young woman haunted by the deaths of her mother and a later, more sinister companion, while the narrative oscillates between documentary‑style observation and nightmarish spectacle.Fuller Blends Social Realism with Gothic Horror in 'Hunger and Thirst'The novel opens with Ursula’s traumatic childhood—spending two days trapped in a Moroccan bathroom by her mother’s corpse after a dengue fever death. By sixteen, she drifts through seven children’s homes before landing a postroom job at Winchester School of Art, where she meets the volatile Sue and her boyfriend Vince. Their obsession with horror films like The Shining and The Stepford Wives steers the plot toward a derelict house, the Underwood, where a seance and a reenactment of a past murder blur the line between art and atrocity. Fuller’s prose captures the “porousness” of identity, as characters literally and figuratively inhabit each other’s bodies.Publication Details and PricingPublisher: Fig TreeRelease price: £18.99Publication year: 2026Previous award: Fuller’s 2021 Costa‑winning Unsettled GroundSocial Critique of Thatcher‑Era Care System Through HorrorThe novel uses its horror framework to expose the under‑resourced British care system of the 1980s, a period when Thatcher’s government prioritized nuclear families over community support. Ursula’s movement between children’s homes and a “halfway house” populated by addicts and ex‑prisoners illustrates the systemic neglect that left many youths adrift. By juxtaposing this social critique with visceral horror, Fuller argues that the genre can convey truths about societal failure more starkly than conventional realism.Potential Legacy and Reader ReceptionFuller’s “outrageous aesthetic gamble” may set a new benchmark for literary horror that does not sacrifice social urgency. If readers and critics embrace the novel’s dual narrative—documentary‑style observation paired with gothic terror—it could inspire a wave of fiction that treats horror as a vehicle for political commentary. The book’s blend of “intense feeling” and “intimate portrayal” positions it as a contender for future literary awards and a touchstone for authors exploring the intersection of genre and social critique.

The LeadA friend of mine was recently left in tears after filling up the car she relies on to drive to work. Thanks to the US-Israeli attacks on Iran, prices at the pumps have soared. She wasn't sure how her family was going to make it to the next paycheck.It is a personal story and a distressing one, but the big picture is truly obscene. Fossil fuel companies are raking in monstrous, unearned war profits taken from the pockets of people like you, me, my friend, and any of us who fills up a vehicle or pays an energy bill.The War-Profits Bonanza$30m an hour: that's the pure, unearned profits banked by the world's top 100 oil and gas companies in the first month of the conflict in Iran, purely due to the spike in the oil price. Now the first numbers are in, and that $30m may have been a major underestimate.Shell's profit for the first three months of 2026 more than doubled to $6.9bn, as did BP's, to $3.2bn. TotalEnergies profits also surged by more than 50%, up to $5.8bn. Even in the Gulf itself, where the flow of oil through the strait of Hormuz has been heavily restricted, some companies have still flourished. Aramco, the state oil company of Saudi Arabia, saw its profits soar by 26% to $33.6bn in the first quarter.The Financial Impact on ConsumersThose four companies alone, benefiting not just from the oil price hike but also bumper oil-trading profits, made $23m an hour for the whole of January, February and March. And the Iran conflict only started on 28 February.To get some idea of the scale of this, imagine I gave you $6,200. What would you do? Pay off a loan? Book a fancy holiday? A second later, I give you another $6,200; then again, for hours, weeks and months. That is the rate of profit of just those four companies.There is plenty more to come for the industry. Oil and gas supplies will take months to return to prewar levels, and reserves are getting dangerously low. Even if the oil price remains at today's level of about $100 a barrel, those 100 companies will make $234bn by the end of the year. Remember, the companies, and petrostates such as Russia, have done no extra work for this, just ridden a soaring oil price. Also remember, you are paying for this. Where I live in the UK, household energy bills are about to jump by £209 ($280) a year for the average home.The Industry's Climate ObstructionThe profits are extreme, but not new: big oil and gas has been wildly profitable for decades. It has made an average $1tn a year in pure profit for about 50 years. The fossil fuel sector also benefits from explicit subsidies that totalled $1.3tn in 2022, according to the International Monetary Fund.These riches have funded the lobbying and campaigns that block climate action and have done so for years, long after the science became crystal clear. As an example of the consequences, the UK's official climate advisers said on Tuesday that all care homes and hospitals will need air conditioning within the coming 10 years, to stop the heat killing people.The Green Transition AccelerationBut here's that silver lining I promised: these peak profits contain the seeds of their own downfall. Sky-high fossil fuel prices are pushing people, companies and nations to supercharge their rush towards green power for the simple reason that it is now cheaper and more reliable. Solar power does not need to transit through the strait of Hormuz, as Bill McKibben has observed.The numbers on the surge in renewable energy deployment, already exponential, are not yet in, but they will almost certainly be huge. Green funds are already attracting billions of dollars in new investments and one consultancy estimates that an oil price of $100 a barrel will drive $4tn of extra green investment by 2030.Big oil remains a formidable political force but, on the ground, people are already voting with their feet. Sales of new electric cars in the UK leapt by 59% in April, for example. The pain and anger of today's energy crisis may yet become a critical turning point in confronting the climate crisis.

The US Stance on Sanctions Against Francesca Albanese The United States has denied that the cancellation of sanctions against Francesca Albanese, the United Nations special rapporteur for the Palestinian territory, constitutes a change in the government’s policy. Court Ruling Leads to Sanctions Removal On Thursday, the Department of State clarified that the administration of President Donald Trump only removed Albanese from a sanctions list due to a recent court ruling. Intention to Reimpose Sanctions “The Government has appealed the court’s order,” the State Department added in its statement, before reaffirming its intention to return Albanese to the list of Specially Designated Nationals (SDNs). The US government intends to restore Ms Albanese’s name to the SDN List if the DC Circuit stays or overturns the court order. Background on Sanctions Against Albanese The Trump administration targeted Albanese with sanctions in July 2025, after she recommended that the International Criminal Court (ICC) issue arrest warrants for Israeli officials, including Prime Minister Benjamin Netanyahu. Impact of Sanctions on Albanese Albanese, a human rights expert, has been outspoken in her criticism of Israeli policies towards Palestinians, and she has issued reports documenting Israel’s ongoing genocide in Gaza. The Palestinian death toll in the narrow territory is estimated to exceed 75,000. Future Outlook While Albanese is Italian, her daughter is a US citizen, and she has assets in the country. In February, her family filed a civil complaint in a US federal court in Washington, DC, seeking to overturn the sanctions as a violation of Albanese’s constitutional rights, including the right to free speech.

The Deadly Attacks in Honduras Two incidents of gun violence have shaken Honduras, killing at least 16 people in the Central American country. On Thursday, gunfire was first reported on a remote palm farm in Rigores, part of the municipality of Trujillo in the country’s north. The Attack on the Palm Farm A spokesperson for Honduras’s National Police, Edgardo Barahona, said that as many as 10 workers were shot dead at the site, though the number is expected to rise. Barahona explained that some distraught family members had come to collect their loved ones’ bodies before investigators could secure the crime scene. Local media indicated that armed suspects fired indiscriminately on labourers, including some who had gathered at a local church. Photos showed bodies, some wearing thick rubber boots for work, strewn on the ground outside. According to one report, three sisters were among the dead. The Ambush of Police Officers Separately on Thursday, a second deadly incident unfolded in another part of northern Honduras, the Cortes department, near the border with Guatemala. In that case, police officers had travelled from the capital Tegucigalpa to Omoa, in Cortes, to carry out an anti-gang operation. But authorities describe what happened next as an ambush. According to reports, the officers entered a building to search for suspects and were fired upon. Six officers were killed, including a deputy commissioner named Lester Amador, according to the National Police. They were from the Anti-Maras, Gangs and Organised Crime Police Directorate (DIPAMPCO), a unit within the police force. Suspects may have also been killed or injured in the attack. The Government's Response After the two attacks, the National Police issued a statement, saying it “will proceed immediately with a direct intervention in the affected areas”. “The state will act firmly to capture those responsible, protect vulnerable communities and guarantee comprehensive justice for all affected victims,” it added. Honduras was under a years-long state of emergency to combat crime starting in 2022. Critics, however, denounced the emergency measures as weakening civil liberties and awarding law enforcement inordinate power, allowing it to carry out human rights abuses.

The Journey of a Reject to Liverpool LegendThere was the Barcelona comeback on the night he ruffled Lionel Messi's hair, the Champions League triumph in Madrid, winning Liverpool's first league title in 30 years and pressing five Manchester City players in one career-defining run at Anfield when 4-1 up. But the best feeling Andy Robertson experienced at Liverpool was "climbing the mountain" with Jürgen Klopp's all-conquering team. Nobody climbed higher or harder.The boy who was rejected by Celtic at 15 and tweeted: "Life at this age is rubbish with no money" after his debut for Queen's Park aged 18 became the man many consider to be Liverpool's finest left-back, and arguably the best in the world at his peak. With 377 fiercely committed appearances in a Liverpool shirt behind him, Robertson will say goodbye on Sunday. The 32-year-old Scotland captain leaves "with no regrets, no bitterness" and "glad that one of our Egyptian friends might take a bit more of the limelight. I can just sneak underneath that."The Climbing of the Mountain Together"We were on the most amazing journey ever, all together," he reflects. "When we started out Mo Salah didn't sign as the best player in the world or the best winger in the world. Virgil van Dijk had the potential to be but wasn't the best centre-back in the world. Alisson wasn't the best goalkeeper in the world. Trent [Alexander-Arnold] wasn't the best right-back in the world. Hendo [Jordan Henderson] was still trying to find his feet as captain. We were all just on this journey from the bottom to the very top together and climbing that mountain was the best feeling ever."Every day we came in knowing we were getting better and better and starting to click as a team. We'd beat teams in the tunnel. Genuinely. When I speak to my Scotland teammates, they were lining up in the tunnel and looking over thinking: 'We're going to need to run our socks off today to get anything.' And more often than not they didn't get anything."We had an unbelievable environment to express ourselves, to play with freedom, but in our minds we knew we had to work at 100%. That was obviously from the manager, from the coaches, and I think then all the staff and people behind the scenes bought into it and you had the whole training ground determined to achieve all our dreams. Everyone was on the same page and we just made magical things happen thankfully."The Impact of Tragedy and TransitionRobertson's reminiscence prompts an inevitable follow-up. Why does Liverpool not feel like that now? His reply stops everyone in their tracks, and brings home the tragic reality of what this season has entailed for the now deposed Premier League champions. "In terms of the club I am leaving behind I think we are not at the 2017 stage, we are at the transition stage," begins one of Diogo Jota's closest friends. The Liverpool forward's death in a car crash alongside his brother in north-western Spain last July cast a dark pall over the campaign."This year hasn't worked out for a variety of reasons. We can't hide away from it, and it is not an excuse, but what we went through in the summer no team will ever go through. No member of staff will go through. I hope they never go through it because the devastation we went through … football didn't matter. We didn't care about football for weeks. None of us wanted to train. You were getting treatment off physios and physios didn't want to treat you. That is the reality of it."As footballers we of course have a duty, we have to move on and we managed that. We started the season fairly well although it was still an emotional time for us. The [season-opening] Bournemouth game was ridiculously emotional with all of Jots' family being there. I think after the 20th minute you saw a real dip in performance because of the emotional impact that it had on all of us.The Future of Liverpool FC"But then the season has been inconsistent. We bought players that we all got excited about, and they will all have an unbelievable career at Liverpool. I have no doubt about that. But they are also young. The one thing I get annoyed about in football is that footballers do not control their price tag. The market controls it. These players will be successful for Liverpool but they probably need a bit of time."Then some players who have played at a ridiculously high level haven't played to that level. If you add all that in then we have had an inconsistent season and that is the huge frustration for us. We have been too easy to play against. There is no hiding away from that but I believe they have more than enough in that changing room to be successful for Liverpool again."

Spotify‑UMG Deal Enables Fan‑Made AI Covers and Remixes Spotify announced a licensing agreement with Universal Music Group (UMG) that will let Premium subscribers use generative AI tools to create covers and remixes of catalog songs. The feature will be offered as a paid add‑on and will include a revenue‑share model for participating artists. Alex Norström, Spotify co‑CEO, said the initiative is “grounded in consent, credit, and compensation for the artists and songwriters that take part.” Sir Lucian Grainge, UMG Chairman and CEO, called it a way for artists to deepen fan relationships while opening new revenue streams. Revenue‑Sharing Model and Pricing Details Remain Vague Tool will be a paid add‑on for Spotify Premium users; exact price not disclosed. Participating artists receive a share of revenue generated from AI‑derived tracks, though the split percentage was not revealed. The agreement follows earlier Spotify teasers involving Sony, Warner, Merlin and Believe. Implications for Music Rights and AI Competition Spotify emphasizes “consent, credit, and compensation,” positioning itself against platforms like Suno that have faced lawsuits. Recent legal settlements: Suno settled a $500 million lawsuit with Warner Music Group; UMG settled its suit with Udio. The deal could set a precedent for label‑first AI licensing, potentially reducing litigation risk for AI music services. Future Outlook: More Label Partnerships and an Expanded AI Music Ecosystem UMG may be the first of several major‑label agreements; Spotify hinted at a broader roll‑out. Combined with other AI announcements (audiobook creation, podcaster tools, concert‑ticket reservations), Spotify is positioning AI as a core growth engine. Industry observers expect increased competition among streaming platforms to offer AI‑enhanced creator tools.

Tinie Tempah and Skye Newman used their Ivor Novello Awards platform to flag a growing class divide in British music, urging the industry to protect small venues and create pathways for artists from disadvantaged backgrounds.Tinie Tempah and Skye Newman Warn of a Growing Class Divide in UK MusicSpeaking on the red carpet, Tempah said the lack of diverse scenes across the country makes the industry “not representative.” Newman, who grew up on council estates in south‑east London, described the structural barriers that make it harder for working‑class artists to break through.The Economic Toll of Venue Closures on Emerging TalentSmall venues act as “training grounds” where artists can log the 10,000‑hour practice myth, testing material in front of live audiences.Loss of these spaces reduces “soft power” – the cultural influence the UK wields globally through music.Without dedicated programmes, talent from under‑served areas remains undiscovered, limiting future revenue streams for the industry.Why Excluding Working‑Class Artists Threatens the UK's Musical InnovationThe duo highlighted that many breakthrough genres – grime, UK garage, drill – originated in grassroots scenes. If those ecosystems shrink, the UK risks missing the next wave that could dominate charts worldwide.What the Future Holds for Inclusive Music PolicyTempah has joined the Save Our Scene campaign, calling for government and industry support to protect venues and fund talent‑search programmes. Newman urges “more programmes to find talent in places where they’re struggling,” suggesting a coordinated effort between charities, local councils, and record labels could reverse the trend.

The Flood‑Prone Playground That Stopped Kids From PlayingFor years the play area at St John’s CofE Primary was unusable after heavy rain; water pooled on the clay‑based tarmac, forcing teachers like Macci Dobie to dismiss children from the playground or even lift them out of puddles. The school’s location in a natural basin made the problem chronic and disrupted daily routines.Designing a Rain‑Garden Play Area with Trees for CitiesWhen parent governor Sarah Taggart launched a climate‑action plan, the school secured Department for Education funding to replace part of the tarmac with a sustainable drainage system. Trees for Cities landscape architect Alfie Davies led the design, installing stepping logs across a rain garden planted with ornamental grasses, shrubs, perennial flowers and a native bird‑cherry tree that tolerates both soggy and dry conditions.Rain garden drains excess water in about 10 minutes after a heavy downpour.Native planting supports pollinators and reduces the urban heat‑island effect.Stepping logs create a functional play element while guiding water flow.How the New Landscape Cuts Drainage Time and HeatThe soil‑based beds absorb runoff, replacing impermeable surfaces that previously caused standing water. By integrating vegetation that transpires water and provides shade, the playground also lowers surface temperatures, addressing the hotter summers projected for London under the climate crisis.Educational and Community Benefits of the Climate‑Adapted SpaceBeyond flood mitigation, the redesign serves as a living classroom. Trees for Cities runs a year‑long engagement programme where pupils monitor water cycles, identify native species and participate in tree‑identification walks. Teachers report higher joy levels and increased curiosity about nature among students.What This Model Means for UK Schools Facing Climate RisksThe success at St John’s provides a replicable template for schools in flood‑risk zones. With modest public funding and partnership with specialist charities, schools can turn vulnerable play areas into climate‑responsive assets, delivering safety, biodiversity and educational value while contributing to national goals on heat‑stress protection for children.