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A24 marketed Kristoffer Borgli’s second English‑language film as a darkly comic romance, pairing Zendaya and Robert Pattinson as a seemingly picture‑perfect couple on the brink of marriage. The studio’s teaser, a faux wedding announcement in the Boston Globe, amplified the buzz that began with the trailer’s release and even earlier Reddit speculation. The narrative follows Charlie (Pattinson) and Emma (Zendaya) through a series of sun‑lit flashbacks that culminate in a tense pre‑wedding dinner. During a “worst‑thing‑you’ve‑done” game, Emma confesses that, as a depressed teenager in Louisiana, she once planned a mass shooting and even practiced with her father’s rifle, though she never pulled the trigger. This revelation serves as the film’s central twist and propels the story into a moral quandary about forgiveness and trust. Critics note that the film’s premise is deliberately provocative. Borgli, known for his satirical take on cancel culture in Dream Scenario, uses Emma’s confession to interrogate America’s obsession with gun violence. By placing the “thought crime” in the hands of a Black woman—contrasting with statistics that over 95% of mass shooters are male and more than half are white—the director forces a reversal of the usual gendered narrative surrounding firearms. The twist has provoked strong reactions from survivors and advocacy groups. Tom Mauser, who lost his son in the 1999 Columbine shooting, called the plot “awful” in a TMZ interview, while 2019 school‑shooting survivor Mia Tretta told USA Today that such a storyline “shouldn’t be joked about.” Parkland survivor Jackie Corin offered a more measured view, urging the film’s stars to use their platforms responsibly and questioning whether the project rises to the ethical standards their influence demands. Beyond the controversy, the film boasts technical strengths. Arseni Khachaturan’s cinematography creates a lush visual palette, and the editing maintains a brisk pace as the wedding day approaches. The climactic ceremony—described by many reviewers as the film’s “pièce de résistance”—forces Charlie and Emma to confront the fallout of Emma’s secret amid a chaotic, alcohol‑fueled toast that lays bare the fragility of their relationship. In the final scene, the couple reconvenes at a diner, echoing the opening “can we start over?” motif. The ambiguous resolution suggests that exposing one’s darkest thoughts may either deepen intimacy or foreshadow further turmoil. Overall, ‘The Drama’ is both a compelling watch and a flashpoint for debate about how cinema engages with the United States’ endemic gun‑culture. Whether the film succeeds as a thought‑experiment or merely courts outrage remains a divisive question that will likely fuel discussions well beyond its theatrical run.

The recent commentary on Donald Trump's presidency has highlighted a critical concern: the world cannot afford to wait for him to leave office. Trump's administration has effectively eroded central tenets of the US legal and civic structure, rendering the traditional checks and balances on political power ineffective.Waiting for the downfall of one individual raises two crucial questions. Firstly, will others with similar politics simply take his place? Secondly, if the country and the world wish to move in a different direction, when can we expect to see a plan?It is essential to remember that changes brought about by Trump's presidency cannot always be easily abolished or replaced. The implications of his actions, and those of his administration, are far-reaching and have significant consequences for global stability.Some argue that faith in the November midterm elections may be too optimistic, as Trump and his administration are already preparing to undermine them. The concern is that he will not allow himself to lose.Others suggest that the media and public have a role to play in puncturing Trump's pride and casting doubt on his legacy. Keeping a running count of the death toll of civilians, children, aid workers, and journalists killed since his presidency began could be one way to hold him accountable.The situation has drawn comparisons to the fall of the Roman Empire, with some warning that the current instability could lead to a similar collapse of political structures. As such, there is an urgent need for a plan to address the consequences of Trump's actions and to work towards a more stable future.

Sha’Carri Richardson, the Olympic 100m silver medallist and world‑ranked sixth‑fastest woman, delivered a thrilling victory at the 144th Stawell Gift on Easter Monday, crossing the finish line in a record 13.15 seconds to claim the $40,000 top prize.The 26‑year‑old American entered the historic Australian event – the nation’s oldest and richest running race – as a scratch runner, meaning she started from the zero‑metre mark while rivals enjoyed handicaps based on prior performance.In the women’s final, Richardson edged out Charlotte Nielsen (13.20s) and Chiara Santiglia (13.36s) after a false start by 17‑year‑old Grace Crowe forced the latter to move her blocks back a metre, effectively shortening Richardson’s target.Her semi‑final had been a nail‑biter; Richardson eased up at the line and won by a razor‑thin seven thousandths of a second over Halle Martin, prompting her coach Dennis Mitchell to stress the need for a stronger finish.“I think I realised I was going to win right past 90 metres,” Richardson said post‑race, adding, “The love, the support, the true enjoyment that I had on the track … you all made this moment happen. Thank you.”Richardson’s triumph makes her the third woman ever to win the Stawell Gift from scratch, underscoring the event’s growing international stature and the lucrative incentive for elite sprinters.In the men’s 120‑metre final, Australian Olufemi Komolafe – a 21‑year‑old medical student – secured victory in 11.93 seconds from a five‑metre handicap, with Jake Ireland second in 12.07 seconds. Komolafe expressed disappointment at not facing his idol, fellow American sprinter Christian Coleman, who failed to qualify for the final, finishing fifth in his semi‑final off scratch.Coleman reflected, “I gave it everything I got. You give them that much of a margin, it’s pretty tough. I hope everybody continues to watch and support athletics. I’m looking forward to a strong season and improving my 40‑to‑100 metre transition.”

Romanian director Radu Jude is known for his wildly improvised and low-budget filmmaking style, often incorporating elements of TV ads, AI-generated content, and amateur dramatics into his movies. His latest film, 'Dracula', continues this trend, presenting a satirical take on Romania's dark past and the country's most reliable export: the legend of Dracula. The film is a meta-cinematic experiment, featuring a smug and supercilious film-maker, Adonis Tanta, who introduces the audience to his cheapo film about Dracula, created on his iPad using unbearable AI. The story is interspersed with set-piece mini-films-within-a-film on Dracula-adjacent themes, including a communist-era tale of a truck driver who falls in love with a local woman. Jude's film is a scathing critique of Romania's persistent strains of fascism, antisemitism, clerical arrogance, exploitative service economy, and stakeholder capitalism. Specifically, it relates to a proposal for a Dracula theme park in the late 1990s, in which thousands of Romanian citizens invested money that they would never see again. While the film may test the audience's patience at times, it features moments of startling insanity and is a testament to Jude's innovative filmmaking style. As the reviewer notes, 'one day, I predict, Jude will make a biopic of political vampirism about the most pressing Romanian subject of all: Nicolae and Elena Ceaușescu.' 'Dracula' is set to premiere at the ICA in London on April 10.

Eight OPEC+ participants have consented to raise daily oil‑production quotas by 206,000 barrels for May, a modest adjustment given that several key producers are constrained by the US‑Israeli conflict with Iran that has sealed the Strait of Hormuz.The strategic waterway has been blocked since late February, halting shipments from the core OPEC+ exporters Saudi Arabia, the United Arab Emirates, Kuwait and Iraq, thereby tightening global supply.During a virtual session, the eight members—Saudi Arabia, Russia, Iraq, the UAE, Kuwait, Kazakhstan, Algeria and Oman—endorsed the May quota increase and reiterated their commitment to monitor market dynamics closely.The joint statement highlighted ongoing vigilance over market conditions and expressed concern that attacks on energy infrastructure make restoration costly and time‑intensive, further limiting supply availability.Although the increase accounts for less than 2% of the volume lost due to the Hormuz closure, OPEC+ sources told Reuters the decision signals a willingness to expand output once the strait reopens.Crude prices have surged to around $120 per barrel, a four‑year high, driving up transport‑fuel costs worldwide.JPMorgan warned that if the blockage persists into mid‑May, oil could breach $150 a barrel, an unprecedented level.The May adjustment mirrors the April decision made on March 1, yet the conflict is estimated to have removed between 12 and 15 million barrels per day—approximately 15% of global supply.Iran has allowed certain regional vessels to navigate the strait; Iraqi crude was observed transiting, and Oman is conducting talks with Tehran to facilitate smoother passage.U.S. President Donald Trump has threatened to expand attacks on Iranian civilian infrastructure, including bridges and power plants, if the Strait of Hormuz does not reopen by Monday.

Iran is experiencing the longest nationwide internet blackout ever recorded, according to the global monitoring group NetBlocks. Since the United States and Israel launched their war on Iran on February 28, connectivity has hovered at about 1% of pre‑war levels, effectively cutting the country off from the global web. The blackout follows a prior 20‑day shutdown in January, which coincided with deadly nationwide protests. Combined, these measures mean that Iranian civilians have spent close to two‑thirds of 2026 in digital darkness, relying only on a slow, state‑controlled intranet for basic services and state‑run news. NetBlocks highlighted that while regions such as Myanmar, Sudan, Kashmir and Tigray have endured longer intermittent outages, no other war has forced an entire nation offline to this extent. The monitor added that Iran is the first country to lose previously functional internet connectivity by reverting to a national network. Economic analysts warned that the January shutdown already caused the economy to lose tens of millions of dollars each day in direct damages, with far‑reaching indirect effects. Companies reported that many online businesses could not survive more than three weeks without connectivity, leading to a wave of layoffs and reduced pay raises. One affected worker, Kamran, a product designer in Karaj, said he was dismissed after the latest wave of cuts. He now relies on a local skill‑matching group, but fears competition from thousands of similarly displaced workers. A senior data analyst from a Tehran firm disclosed that the firm is offering lower-than‑expected raises and shifting to three‑month contracts, creating uncertainty about future employment. Compounding the digital crisis, the war has targeted Iran’s steel factories, petrochemical plants and other civilian infrastructure, aggravating pre‑existing problems of high inflation and unemployment. Only a limited segment of the population can access the global internet—either because they are whitelisted by the state or because they pay steep fees for proxy connections that often disappear after a few hours. Government spokeswoman Fatemeh Mohajerani stated that internet access is being granted only to those who can “get the voice out,” such as officials, state‑affiliated entities and news agencies. Citizens on the ground describe a grim reality: frequent power outages, uncertainty about water supplies, and an inability to use services like Google Search or AI tools, even as they watch live feeds from space missions that remain inaccessible. In response to the prolonged shutdown, authorities have begun rolling out a tiered system dubbed “Internet Pro.” Business groups have received a “guide to connect to international internet,” urging them to contact a state‑run messaging app, Bale, for registration. Parallel efforts by a major telecom carrier offer one‑year data packages at prices higher than normal plans, while existing providers have not refunded customers for services they cannot deliver. President Masoud Pezeshkian’s administration, which campaigned on unblocking Iran’s internet, has offered no official explanation for the shutdown, leaving both the battered digital sector and the broader economy facing an uncertain future.

Oman and Iran convened deputy foreign minister‑level talks on Saturday to discuss measures that could guarantee the smooth passage of ships through the Strait of Hormuz, according to a statement from the Omani Foreign Ministry.The meeting, described as an "undersecretary‑level" dialogue, was attended by specialists from both ministries, underscoring the technical nature of the discussions.Officials said the parties examined possible options to ensure safe transit amid the volatile regional environment, with a series of proposals now slated for further study.Tracking data from the shipping journal Lloyd’s List showed that, on Sunday, three Omani vessels – two large oil supertankers and an LNG carrier – navigated the strait outside Iran’s "approved corridor" near Larak Island, sailing unusually close to the Omani coast.Earlier in the week, an Iranian official announced a draft protocol with Oman aimed at monitoring traffic through the strait, which carries roughly one‑fifth of global oil supplies and has been heavily restricted as retaliation for the ongoing US‑Israeli war on Iran.Since the conflict erupted on February 28, Iran’s Islamic Revolutionary Guard Corps (IRGC) has permitted limited transits for vessels from Pakistan, France and Turkey, while an estimated about 3,000 ships remain stranded in the region.The Strait of Hormuz is a critical energy chokepoint; any disruption fuels market volatility and compels oil‑importing nations to scramble for alternative supplies.U.S. President Donald Trump took to social media over the weekend, warning that he would unleash “all Hell” if the waterway is not reopened by Monday, highlighting the geopolitical pressure surrounding the passage.Egypt’s foreign minister, Badr Abdelatty, held separate calls with U.S. special envoy Steve Witkoff and regional counterparts, including Iran’s foreign minister Abbas Araghchi, to explore de‑escalation proposals.Professor Amin Saikal, an emeritus scholar at the Australian National University, cautioned that an expansion of the war would be “hell for the whole region” and stressed the urgent need for a negotiated settlement, though he noted that diplomatic avenues appear increasingly narrow.

Occupied East Jerusalem – While Holy Week traditionally fills the Old City’s Christian Quarter with pilgrims and worshippers, the streets are now eerily quiet and storefronts remain shuttered.Palestinian shopkeeper Boulos, a man in his mid‑30s who asked to remain anonymous, still drags himself to his modest stall a few times a week, selling religious garments behind a half‑closed door to avoid Israeli orders that mandate closure of businesses in the quarter amid the ongoing US‑Israel conflict with Iran.After six years of pandemic‑related setbacks and successive wars, his business had only begun to recover when the October Gaza ceasefire was followed by a new wave of restrictions. “Before the war with Iran, we barely made enough to survive,” he said. “Now there is no income at all.”His only customer that day was an Ethiopian Christian woman buying a kilo of prayer candles for 35 shekels (about $11.20). “What can 35 shekels do for me?” Boulos lamented, underscoring the stark economic squeeze.Unlike many West Jerusalem shops, which have been allowed to stay open because of nearby bomb shelters, the Old City lacks such protection, leaving Palestinian businesses in the Christian Quarter effectively forced to shut. The area, heavily dependent on tourism, shows the least sign of life.Brother Daoud Kassabry, principal of the College des Frères school, described the scene as “the saddest Jerusalem I have ever seen.” Classes have been suspended for over a month, and the community feels the weight of an unprecedentedly difficult period.For the first time in centuries, Israeli police barred Cardinal Pierbattista Pizzaballa, the Latin Patriarch of Jerusalem, and other senior clergy from entering the Church of the Holy Sepulchre for Palm Sunday Mass. The Latin Patriarchate called the incident “unprecedented in centuries.”At a press conference, Cardinal Pizzaballa emphasized that while “all celebrations” have been cancelled for security reasons, “no one, not even the Pope, can cancel the liturgy of Easter.”Following the incident, leaders from Italy, France and the United States condemned the police action. Israeli Prime Minister Benjamin Netanyahu later defended the measure as a safety precaution, citing the absence of bomb shelters near the holy site, despite the cardinal’s residence being only metres away.Netanyahu’s justification raises questions about the long‑standing “status‑quo” arrangement that places custodianship of Christian and Muslim holy sites under the heads of their respective religious institutions and Jordan’s Waqf. Palestinian Christians interpret the rhetoric as evidence of an increasingly hostile environment under Israeli control.Bishop Emeritus Munib Younan recounted being spat on by Jewish yeshiva students in the Old City without any legal consequences. He now prefers to attend services in Bethlehem or a small church outside Jerusalem, where he feels “no one is pointing a gun at you.”“They want to show the world that this country is only meant for them – not Christians, not Muslims,” Younan said, reflecting a sentiment shared by many locals.Netanyahu later announced that religious ceremonies at the Holy Sepulchre would be permitted during Holy Week, but only for clergy, keeping the general public out. Observers noted the inconsistency, pointing out that Muslim worshippers have been barred from the Al‑Aqsa compound since late February, including during Ramadan, with only minimal international rebuke.The cumulative restrictions have crippled the already dwindling Palestinian Christian community, which now makes up less than 2 % of the population in Israel and the occupied territories. Traditional events such as the Way of the Cross procession and Holy Fire Saturday have been cancelled, eroding communal cohesion.Father Faris Abedrabbo of the Annunciation Latin Parish linked the current hardships to the Passion narrative, urging congregants to view their suffering through the lens of “steadfastness” – an active, spiritual resistance rather than passive endurance.Economic despair is prompting a new wave of emigration. Bishop Younan reported that many young Christians ask for help obtaining visas to the United States, Canada or Australia, fearing there is “no future” in Jerusalem. Boulos, the shopkeeper, admits he has considered leaving, noting that “they try to make us lose hope and abandon this land.”Despite the bleak outlook, Boulos continues to visit his shop, saying, “I come here to prove to myself that I still have hope, even if it feels endless.”

Monica Barbaro, known for her Oscar-nominated portrayal of activist Joan Baez in James Mangold's A Complete Unknown, is now preparing for her stage debut in the National Theatre's revival of Les Liaisons Dangereuses. Barbaro, 35, will play Madame de Tourvel, a role previously taken on by notable actresses such as Juliet Stevenson and Michelle Pfeiffer.During an interview, Barbaro joked about her accent, saying, "I feel like I'm imitating an American accent, but it really is mine." She switches to an English accent for rehearsals, where she is working on the play's 18th-century French aristocracy setting. "I feel it's best to use my own voice," she explained.Barbaro expressed apprehension about speaking aloud in a theater for a large audience, a significant departure from her previous work in film. "Speaking aloud in a theatre for this big of an audience is new for me," she said.Her preparation for A Complete Unknown was intense, involving months of studying Baez's voice and music, learning guitar, and wearing prosthetic teeth to capture the singer's distinctive look. "We filmed it only a year and a half ago, and it was put out within months," she reflected. "It was really intense. It took a long time for me to land afterwards and feel more like myself again."Barbaro also discussed her connection to Baez, citing their shared mixed identity (Barbaro is a quarter Mexican) and Baez's activism. "I'm just like: 'Then she marched with Martin Luther King, are we clear on that? Do people know that?' It was really nice to hear from a lot of people who watched the movie that they were intrigued to find out more about her."She met Baez in person last year and described the experience as "so trippy." "It was so strange to hear in person the voice I'd been obsessing over for so long. There's a worship quality to it; I felt in complete awe of her," Barbaro said.Regarding her Oscar nomination, Barbaro called it "totally surreal" but something she tried to process in advance. "It seemed embarrassing to want it, or celebrate it, and I needed to confront that it was something I'd love to have. Then, when it happened – unbridled joy. It was a big shift for an actor who went into the film fangirling over the rest of the cast and the director."Barbaro is currently rehearsing for Les Liaisons Dangereuses at the National Theatre, where she will work with director Marianne Elliott. The play explores themes of power, corruption, and manipulation among the aristocracy, resonating with modern issues such as the Epstein files. "It was about the corruption of a certain class who could operate with impunity, and fuck over anyone they wanted," she said.Barbaro reflected on the enduring power of the play, saying, "As a modern woman with autonomy and independence, the thing I fear most in the world is dying of heartbreak." She emphasized the relevance of the play's themes, particularly systemic abuse and corruption.