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A Russian-flagged tanker, the Anatoly Kolodkin, has arrived in Cuba with a cargo of 730,000 barrels of oil, marking the first oil tanker to reach the island in three months. The vessel, under US sanctions, was permitted to deliver fuel for humanitarian reasons.The tanker docked in the Bay of Matanzas, Cuba's largest supertanker and fuel storage port, on Tuesday. Much of the nearby city and the majority of Cuba were without power when the tanker arrived. Cuba has been experiencing an energy crisis, with President Miguel Diaz-Canel stating that the country has not received an oil tanker in three months.The fuel shipment is expected to provide breathing room for Cuba's communist-run government amid growing pressure from the US. The crude on board will take days to process domestically and turn into motor fuel and refined products. The ship is carrying Russian Urals, a medium sour crude, suitable for Cuba's ageing refineries.Cuba produces only 40 percent of its required fuel and relies on imports to sustain its energy grid. Experts estimate that the anticipated shipment could produce about 180,000 barrels of diesel, enough to meet Cuba's daily demand for nine or 10 days.The arrival of the tanker has been welcomed by Cubans, including Energy and Mines Minister Vicente de la O Levy, who expressed gratitude to the Russian government and people for their support. The energy crisis in Cuba has led to long blackouts and severe shortages of food and medicine.

The UK's declining birthrate has been a growing concern in recent years, with long-term fiscal pressures expected to arise from supporting an ageing population. A new report by the Resolution Foundation thinktank, titled 'Bye Bye Baby', suggests that politicians should prioritize tackling housing affordability to encourage young people to have more children.The report highlights a significant shift in the proportion of women who are not yet mothers by age 30, rising from 48% for those born in the late 1980s to 58% for those born in the early 1990s. This trend is most pronounced among non-graduate women aged 25-29, with more than half (54%) having no children by 2023, up from one in three in 2011.The analysis attributes this shift to falling partnership rates and a major shift away from home ownership towards costly private renting and living with parents, making it harder for young people to start a family. The share of non-graduates in their late 20s in private rented accommodation has doubled to 33% in 2023-24, while home ownership has halved over the same period.The thinktank's research suggests that financial constraints play a significant role in young people's decisions to have children. Among 32-year-olds who are not yet parents, twice the proportion of those in the lowest quarter of earners said they intended to remain permanently childless, compared with those in the top quarter of earners.Politicians have proposed various policies to encourage young people to have children, including expanding free childcare and introducing married tax allowances. However, the Resolution Foundation's research suggests that focusing on housing struggles may be a more successful approach.“Deciding whether to have children is a deeply personal choice, but it’s clear that financial constraints are at play too,” said Charlie McCurdy, senior economist at the thinktank. “Policymakers should look to address the financial barriers that are hindering young people’s ability to start a family – such as increasing housing affordability and opportunities to get on the housing ladder – to make parenthood more achievable for those who want it.”

Lonely lives, falling between the gaps, are at the heart of this 1935 psychological thriller by Rodney Ackland, adapted from Hugh Walpole's novel. It's an atmospheric period piece, but isn't entirely a stretch to reflect on our own concerns about solitude in an ageing population.The three ladies in an English cathedral town are without partners, families or much of an income. They eke out their genteel poverty in a rickety boarding house. They weren't raised to work; Miss Beringer, in desperate need of a job, can only imagine becoming a paid companion or, possibly, flower arranging.In Brigid Larmour's finely etched production, irritable passions ferment beneath the frowsty knits and beads. The characters are prey to spite and greed, nerves and night terrors. Voices are tremulous; eyes glance at a fearful future.Beringer is the new lodger: Catherine Cusack, whittled by anxiety, timidly nibbles on a scallop-edged biscuit. She is welcomed by Julia Watson's Mrs Amorest, flustered but keeping up appearances. Down to her last £10, she writes into the void to a long-absent son.The third lady is Agatha. Fruitily overblown in the novel, that's how Edith Evans played her in 1935. Abigail Thaw makes her disconcertingly eccentric: forbidding in jet black, she mocks and snaps at quivering Miss Beringer. She covets Beringer's one cherished possession – a translucent chunk of amber from a beloved female friend.It's a play of cross-hatched conversations and melodramatic plotting. Larmour's design team help turn the screw: the dank-toned house and clothes in tones of moth and cobweb, a bitter wind blowing.Ackland's plays about rackety lives are increasingly revived. He, Walpole and John Gielgud, the play's original director, were all queer artists, and it's tempting to imagine them drawn to these lives on the margins of British society. Though these ladies don't so much rage against the dying of the light as wait, fearfully, to be snuffed out.

Italian regulators have launched an investigation into Sephora and Benefit Cosmetics, both owned by the French luxury group LVMH, over allegations of using 'covert marketing strategies' to sell beauty products to young girls. The probes aim to determine if these brands have been targeting minors with skincare products, such as face masks, serums, and anti-ageing creams, potentially fuelling an unhealthy obsession with skincare known as 'cosmeticorexia'.The Italian Competition Authority stated that the investigations were opened over concerns that important information – such as warnings and precautions for cosmetics not intended for, or tested on, minors – may have been omitted or presented in a misleading manner. The regulator expressed concerns that the frequent and combined use of a wide range of cosmetics by minors, without proper awareness, may be harmful to their health.The trend of young girls and teenagers being drawn to high-end beauty products has been driven by skincare content produced by beauty influencers, many of whom are tweens and teens themselves. This phenomenon, known as 'Sephora kids', has met a backlash from dermatologists who argue that children do not require beauty products and that this early focus on appearance can create anxiety over how their skin looks.Sephora has previously sought to distance itself from this trend, with its North America CEO, Artemis Patrick, stating in a 2024 interview that 'we do not market to this audience'. However, the regulator alleges that the company has adopted a 'particularly insidious marketing strategy' involving the use of 'very young micro-influencers who encourage the compulsive purchase of cosmetics among young people, a particularly vulnerable group'. LVMH said that it, Sephora, and Benefit would 'fully cooperate with the authorities' but declined to comment further, reaffirming their strict compliance with applicable Italian regulations.

The film The Blue Trail (O Último Azul in Portuguese) has struck a chord with older women in Brazil, who see themselves in the protagonist Tereza, a tenacious woman who refuses to be defined by her age.The movie's themes of ageism and ageing resonate strongly in Brazil, where older women are increasingly prop up the community. The film offers a dark solution to the issue, depicting a dystopian future where senior citizens are banished to a remote housing colony.The film's director and screenwriter, Gabriel Mascaro, was inspired by his grandmother, who took up painting in her 80s after losing her husband. The film has been praised for its portrayal of older women as vibrant and full of life.Gilda Olinto, an 80-year-old woman who was given a prize at work recently, felt as if she was being told “nothing more is expected of you”. She relates to Tereza's story and sees her as a woman who “resists and is hungry for life”.The film's star, Denise Weinberg, puts her casting down to the fact that she is one of the few Brazilian actors her age who hasn’t had any cosmetic procedures. She joked with the director: ‘did you choose me because I have wrinkles?’Brazil is undergoing a rapid demographic shift, with the number of over-60s more than doubling between 2000 and 2023. This demographic is expected to account for a third of the population by 2050, prompting questions as to whether the country is prepared for this new reality.

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.

Surrender to It is a film that seems to have been made without regard for the clichés that have been established by similar movies in the past. Writer-director Tim Bryn Smith appears to have ignored the criticism that greeted films like Peter's Friends back in 1992, which featured a similar premise of actors reuniting.The story revolves around a group of former thespians who met at a drama workshop and are now reuniting for a hiking weekend. The cast includes Daemian Greaves, Melissa May Smith, Fletcher Graham, and Chantelle Lee, among others. However, their performances are marred by stiff gestural quality and amateur production values.The script, credited to Bryn Smith and Chris Wetton, feels disjointed and like it was cobbled together from improv exercises and random suggestions. The film tries to balance maudlin tones with comic subplots, but the result is a mess. One subplot involves a bereaved couple mourning their dead son, while another focuses on a movie star recovering from a scandal.The film's production values are also lacking, with scissorhand editing and poorly executed plot twists. Despite its flaws, Surrender to It will be available on digital platforms from 30 March.