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Johannes Radebe, also known as Jojo from Strictly, is a natural performer who shines brightly as Lola in the musical Kinky Boots. His stage presence is magnetic, and his dancing is mesmerizing. Radebe's portrayal of the drag queen Lola is captivating, with impressive entrances and a strong performance.The musical, based on the 2005 film, tells the story of a Northampton shoe factory that switches to making boots for drag queens. The show features a riot of colors and sparkle, with impressive costumes designed by Robert Jones and Tom Rogers. The story follows Charlie Price, who returns to his hometown to take over the family business and, along with Lola and her friends, devises a plan to save the factory.Radebe's performance is supported by a talented cast, including Courtney Bowman as Lauren and Scott Paige as George. While Radebe's singing voice may not be as strong as his dancing, he brings a unique energy to the role. The show's direction by Nikolai Foster ensures that the cast delivers the right tone, but the musical may lack depth in its storytelling.Overall, Kinky Boots offers an enjoyable night out, with a blend of music, dance, and comedy. The show runs at the London Coliseum until July 11.

Beirut, Lebanon – On 24 March, Foreign Minister Youssef Raggi announced that Iran’s ambassador to Lebanon, Mohammad Reza Sheibani, was declared persona non grata and ordered to depart by 29 March. Two days after the deadline, the envoy remained in Beirut, refusing to leave. The episode unfolds against a broader conflict that has already claimed more than 1,000 lives and displaced over 1.2 million people within a single month of Israeli military action in Lebanon. It also highlights a deepening schism in Lebanese politics between supporters of the pro‑Iranian Shia militia Hezbollah and those demanding its disarmament. Imad Salamey, a political scientist at the Lebanese American University, told Al Jazeera that the ambassador’s defiance is a symptom of a larger contest over legitimacy and authority. IRGC’s Strategic Role Iran’s Islamic Revolutionary Guard Corps (IRGC) helped forge Hezbollah in 1982 as a response to Israel’s invasion. Over the decades, Tehran’s billions of dollars in funding elevated Hezbollah to Lebanon’s most powerful political and military force. Hezbollah’s popularity peaked in 2000 after driving Israeli forces from south Lebanon, but subsequent engagements—including the 2006 war, the 2008 Beirut street battles, the Syrian civil war, and the 2019 domestic protests—have eroded its broader support. When Hezbollah entered open conflict with Israel on 8 October 2023, it enjoyed limited backing beyond the Shia community. By the November 2024 cease‑fire, the group was at a low point, with Israel having killed more than 4,000 Lebanese, including leader Hassan Nasrallah and much of Hezbollah’s command. International pressure then mounted for Hezbollah’s disarmament, prompting Prime Minister Nawaf Salam and President Joseph Aoun to prioritize the issue. According to several analysts, the IRGC exploited the cease‑fire lull to dispatch officials to Lebanon, restructuring Hezbollah’s command and possibly ordering its re‑entry into the war on 2 March—just days after Iran’s Supreme Leader Ali Khamenei was assassinated. Prime Minister Salam has publicly claimed the IRGC is “managing the military operation in Lebanon” and even accused Tehran of launching an attack on Cyprus. Ambassador Refuses to Exit In response to the perceived IRGC influence, Raggi’s declaration stripped Sheibani of diplomatic immunity. Dania Arayssi, senior analyst at the New Lines Institute, described the move as a “landmark decision” given Iran’s entrenched role in Lebanese politics. Iran’s Foreign Ministry, however, maintains that Sheibani will not depart, and Hezbollah has openly pledged to protect him, warning that any government attempt to disarm the militia will be met with “punishment.” Parliament Speaker Nabih Berri—longtime Hezbollah ally—initially backed the government’s ban on Hezbollah’s military activity after the March re‑entry, illustrating the fluidity of alliances within Lebanon’s power‑sharing system. State Authority Tested Hezbollah’s renewed campaign, which includes dozens of cross‑border attacks and direct engagements with Israeli forces on Lebanese soil, is reshaping the political calculus. The militia’s revived confidence challenges the Lebanese government’s ability to enforce disarmament. While the ambassador remains protected inside the Iranian diplomatic compound—effectively beyond the reach of Lebanese law—critics argue that Tehran’s refusal to honor the expulsion order undermines the state’s authority, already weakened by months of war. Salamey summed up the dilemma: “The state is asserting its authority on paper, but internal divisions and competing claims of legitimacy constrain its practical power, testing the limits of Lebanon’s fragile power‑sharing arrangement.”

Eight former premature infants who were airlifted out of al‑Shifa Hospital in November 2023 have been brought back to Gaza, reuniting with their families in Rafah after a humanitarian mission lasting over two years.The children were part of a cohort of at least 25 babies born prematurely who were rescued as Israeli forces stormed the Gaza City medical complex. After receiving critical treatment abroad, the eight toddlers returned accompanied by three relatives and two medical staff, according to the Palestine Red Crescent Society.Hundreds of thousands gathered in Rafah for the emotional reunion. Since the war began in October 2023, the conflict has claimed more than 72,200 lives, including tens of thousands of women and children."Our feelings are indescribable. This is the most important moment in our lives," said Samer Lulu, father of Kinda Lulu, to Al Jazeera. He added that the joy is tempered by the harsh reality of an uncertain future for Gaza’s children.The International Rescue Committee (IRC) warned that the war is reshaping family structures, leaving a growing number of children without parental care. Ulrike Julia, the IRC’s Child Protection Coordinator, emphasized that community‑based care is essential but cannot survive without sustained external assistance.In 2023, the infants were first moved from al‑Shifa to southern Gaza and then evacuated to Egypt for life‑saving treatment. Inside Gaza’s hospitals, doctors faced severe shortages of antibiotics, IV solutions, and even food, supplies that were reportedly blocked by Israeli restrictions.Ola Hijji, mother of toddler Sulaiman Hijji, recalled being forced into a caesarean section at eight months pregnant and losing contact with her child after he was transferred to al‑Shifa’s neonatal intensive care unit. "It’s a beautiful feeling to be reunited," she said.Despite a declared ceasefire in October 2025, Israeli strikes continue near‑daily. The Gaza Health Ministry reported that recent attacks killed over 700 Palestinians and injured many more, including five casualties in a single day of airstrikes across Jabalia and Khan Younis.These reunions underscore the resilience of Gaza’s families while highlighting the urgent need for sustained humanitarian support and a durable path to peace.

On 30 December 2023, Brooklyn‑based musician Wendy Eisenberg emerged from an all‑night rave in Bushwick feeling physically ill and mentally rattled. A spontaneous, anxiety‑driven walk that lasted the entire day became the catalyst for what Eisenberg later described as a personal “exorcism”.During the trek, an old friend suggested Eisenberg pick up a guitar, prompting the artist to return home and begin writing the material that would become their self‑titled album. Eisenberg recalled the intensity of Cat Power’s rapid‑fire creation of Moon Pix, noting that many of the new songs were drafted in a similar dream‑state over the following three to four months.Since the debut Time Machine, Eisenberg has built a reputation as a multi‑instrumentalist who oscillates between confessional folk and avant‑garde improvisation. Collaborator Bill Orcutt praised their guitar work as “musical MSG”, capable of elevating any ensemble. Yet the forthcoming record deliberately steps back from experimental excess, drawing instead on the playful melodies and graceful harmonies of 70s folk‑rock while retaining the ambition of earlier projects.The album’s orchestration, co‑produced with partner Mari Rubio (aka More Eaze), emphasizes beauty through complexity. Eisenberg explains that the “harmonic vocabulary reflects a newfound sense of comfort and happiness”, aiming for an “earned, adult sound of happiness” that mirrors the messy process of self‑acceptance.At the heart of the record lies a deeply personal narrative. A breakup that shattered Eisenberg’s sense of identity forced them to confront both heartbreak and the pressure to conform to “straight” norms. The experience sparked a decisive embrace of their queer, non‑binary, lesbian identity, a transformation Eisenberg describes as a “revelatory moment”.Music has long served as Eisenberg’s refuge; their father’s lullabies and an early fascination with Joni Mitchell, Gram Parsons, and the Everly Brothers laid the groundwork for a lifelong devotion to songcraft. After years of intensive study at the New England Conservatory and experimental collaborations, Eisenberg’s new work channels those influences into a more accessible, yet still richly textured, sound.Beyond the music, the album’s backstory includes an unexpected romance sparked by the British quiz show Only Connect. After meeting Rubio in August 2023, the pair bonded over the show on Valentine’s Day, leading to their first kiss and, months later, cohabitation. Eisenberg credits this partnership with providing the emotional stability needed to complete the album.Critics have already hailed the record as “one of the best things you will hear this year”, noting its blend of 70s singer‑songwriter sensibility with modern lyrical honesty. Tracks such as “Meaning Business” confront PTSD and past trauma, while others explore the joy of self‑realization.The album will be released on Joyful Noise on 3 April 2024, offering listeners a window into Eisenberg’s journey from “exorcism” to artistic renewal, and solidifying their place as a compelling voice in contemporary indie folk.

The recent ruling that Meta and YouTube are liable for creating addictive products has intensified the debate on restricting social media use for under-16s. However, there's another crucial aspect to consider: 85% of kids and teens interact online through video games. The suggestion to curb online gaming alongside social media restrictions raises significant concerns about feasibility and impact.Some online games, like Roblox, have proven to be unsafe environments for children, with cases of grooming and child exploitation. Nevertheless, implementing a ban on online gaming would be a regulatory nightmare. Games like Minecraft or EA Sports FC have different online components, making a blanket restriction difficult to enforce.Banning teens from playing games online entirely would be detrimental. Online games are vital social spaces for millions of teens, offering a few arenas where they can interact without adult surveillance. With two-thirds of council-run youth centers lost since 2010, video games fill a critical gap.The core problem lies in the internet's heterogeneous nature. Games, social media, and YouTube are distinct, making it hard to cancel out potential harms without also eliminating benefits. Instead of banning young people, the focus should be on taking back the internet from manipulative big tech companies.Parents concerned about their children's safety can use existing parental controls to mitigate risks. Features like chat restrictions, time limits, and age-appropriate settings can ensure children enjoy games while staying safe. A ban would introduce no further benefit and could cause significant harm.

Unilever’s latest strategic move pairs its food portfolio – home to brands such as Hellmann’s, Knorr and Marmite – with US condiment specialist McCormick in a deal valued at $44.8 bn. While the transaction will deliver $15.7 bn in cash to Unilever, the bulk of the consideration is equity‑based, giving Unilever shareholders a 55% stake in the enlarged McCormick and leaving Unilever itself with a modest 10% holding. The structure marks a departure from Unilever’s recent clean‑break divestitures, such as the outright sales of its Flora spreads and Lipton tea businesses and the spin‑off of its ice‑cream division (including Ben & Jerry’s) last year. Instead, investors now face a complex share‑exchange that ties their fortunes to a company that will assume significant debt to fund the acquisition. CEO Fernando Fernández framed the transaction as “another decisive step in sharpening our portfolio”, yet market reaction was swift: Unilever’s share price slid 7% on the announcement. The decline underscores investor scepticism that the merger will unlock genuine value. From a financial perspective, Unilever’s food arm contributes annual sales of $12 bn – outpacing McCormick’s $8 bn – and enjoys higher growth (2.7% vs 2%) and superior margins (24% vs 17%). These metrics suggest Unilever could have retained a more profitable segment rather than ceding control to a partner with weaker performance indicators. Critics argue that the combined entity will be a sprawling conglomerate of global powerhouses like Hellmann’s and Knorr alongside niche brands such as French’s mustard and Old Bay seasoning. The anticipated synergies, described by McCormick’s Brendan Foley as “maximal adjacency” and “end‑to‑end flavour experiences”, remain unproven, especially given the modest cash component and the dilution of Unilever’s ownership. Ultimately, the success of the merger hinges on whether the new food business can generate growth that justifies the equity swap and the added debt burden. For now, the market’s 7% share‑price dip reflects a cautious outlook on the promised “trapped value” that Unilever hopes to unlock.

A Tesco store in Orkney, Scotland, recently found itself overwhelmed with an enormous surplus of bananas - 38,000 to be exact. The store had intended to order 380kg of bananas, which equates to approximately 2,500 bananas. However, due to a simple ordering error, they ended up with 380 wholesale boxes, each containing about 100 bananas. The mistake was equivalent to ordering 15.5 million bananas for a Tesco store in Greater London, which would translate to just 1.73 bananas per person based on the city's population of 9 million. The local population of Orkney, comprising about 22,000 people, would have to consume a significant amount of bananas to make a dent in the surplus. Tesco quickly responded to the crisis by giving away boxes of bananas to schools and community groups, relieving the store of its banana burden and bringing joy to many children in the process. The incident highlights the challenges that can arise from simple human error in the retail sector, even if it did result in a rather amusing situation.

Within its opening weekend on Netflix, Peaky Blinders: The Immortal Man attracted over 25 million streams, outpacing all other titles that week despite already enjoying a UK cinema run and a high‑profile red‑carpet premiere at Birmingham’s Symphony Hall.Banijay Entertainment, a co‑producer of the film, capitalised on the buzz by launching an official Peaky Blinders merchandise store, underscoring how streaming services are now flipping the classic content pipeline—moving from streaming to the big screen rather than the reverse.Beyond promotional stunts, these theatrical forays are becoming a strategic revenue stream and franchise‑building tool. Shows such as Stranger Things, KPop Demon Hunters and The Mandalorian are being repackaged for cinemas, offering fans a premium, event‑style experience that streaming alone cannot replicate."Cinema still creates anticipation, hype and a sense of scarcity that streaming platforms struggle to match," explains Ben Woods, analyst at MIDiA Research. Historically, Netflix limited theatrical releases to qualify films like The Irishman for awards, but the current focus is on monetising proven intellectual property across both mediums.The success of Peaky Blinders—a series with a built‑in audience—demonstrates the model’s viability. Lead actor Cillian Murphy, who also produced the film, described the release as "one for the fans," signalling the intent to reward loyal viewers.Netflix’s own experiment with KPop Demon Hunters proved lucrative: limited theatrical screenings across two weekends generated more than $24 million (£18 million) at the box office and helped the animated musical secure two Academy Awards for Best Animated Feature and Best Original Song.Co‑CEO Ted Sarandos highlighted that the film’s triumph stemmed from its initial Netflix debut, which fed the theatrical audience via the platform’s recommendation engine. While a sequel is slated to follow the same streaming‑first rollout, the Peaky Blinders movie’s cinema‑first launch shows that release strategies remain flexible.Industry observers note that gaps in the traditional release calendar give streaming services opportunities to fill weekends with original content, a tactic Netflix is actively exploiting.Major studios are also blurring the line between streaming and cinema. Disney, for example, transformed its hit Disney+ series The Mandalorian into a feature film, reflecting a broader push to bring Star Wars stories back to theatres.Adapting episodic narratives for the big screen presents creative challenges. As Ben Woods asks, should a film cater primarily to dedicated fans familiar with the series, or aim for a stand‑alone appeal that attracts a wider audience?Fan reaction to The Immortal Man has been mixed on the Peaky Blinders subreddit, with some critics questioning the decision to condense a season‑long arc into a single film. Nonetheless, the movie enjoys a strong critical consensus, holding roughly a 90 % fresh rating on Rotten Tomatoes.Looking ahead, Netflix announced on 20 March that two new post‑war seasons of Peaky Blinders are in development, raising the question of how soon the next installment might receive a cinematic spin‑off.

The women's college basketball landscape has witnessed a remarkable phenomenon: for the second consecutive year, the same four teams have secured their spots in the Final Four. UConn, UCLA, Texas, and South Carolina are set to battle it out for the championship, marking a historic repeat. This achievement is a testament to the dominance of these programs, with UConn being the reigning national champion. The Huskies, led by coach Geno Auriemma, have established themselves as a standard in women's college basketball, boasting 12 national championships and 25 Final Four appearances. Under Auriemma's leadership, UConn has won an impressive 1,288 games in 41 seasons. The Huskies (38-0) have been nearly unbeatable this season, with a 54-game winning streak and an average margin of victory of 37.8 points. They are led by first-team All-Americans Sarah Strong and Azzi Fudd, with eight players averaging at least 6.8 points per game. Strong emphasized the team's depth, stating, "I feel like no other team has a bench like us. We can have kind of anyone off the bench step up and change the whole pace of the game." UConn will face a familiar opponent in South Carolina, which they defeated in last year's title game. The Gamecocks (35-3) have reached the Final Four seven times in the past nine seasons under coach Dawn Staley, winning three national championships. They are led by second-team All-American Joyce Edwards, who averages 19.6 points per game. Meanwhile, UCLA (35-1) is seeking its first national championship under coach Cori Close. The Bruins are led by two-time All-American Lauren Betts, who averages 18.5 points and 7.6 rebounds while shooting 60.1% from the field. They will face Texas (36-3), which steamrolled its first four NCAA Tournament opponents by an average of 35.5 points per game. The Longhorns are led by fifth-year guard Rori Harmon and All-American forward Madison Booker.