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Heart Wall opens to the sound of a bustling karaoke session, with audience members belting out Friday‑night pub anthems before the drama even begins. The musical backdrop becomes the thread that ties together a family still haunted by a tragedy from more than twenty years ago.The story follows Franky (Rowan Robinson), who returns to her north‑west hometown after building a life in London with a boyfriend and a new job. Her parents, Dez (Deka Walmsley) and Linda (Sophie Stanton), remain trapped in their own grief – Dez appears overwhelmed by guilt, while Linda searches for happiness elsewhere. The play centres on this unprocessed grief, but also hints at a mystery surrounding Franky’s sister and the strained marriage of her parents, threads that never fully resolve.Under director Katie Greenall, the production delivers moments of genuine emotional revelation, yet the pacing feels uneven. Scenes of intensity erupt abruptly, then dissolve just as quickly, leaving the narrative feeling rushed despite its dense storytelling. Supporting characters such as Charlene (Olivia Forrest) and the pub manager Valentine (Aaron Anthony) remain under‑developed, serving more as generic placeholders than fully realised figures.Visually, the play benefits from Hazel Low’s meticulous set design, which recreates a cosy, authentic pub that grounds the audience. The karaoke framing injects warmth and musical energy, offering a lively contrast to the heavy themes.Ultimately, Heart Wall attempts to tackle a big, aching emotional core within a tight, interval‑free two‑hour run, but it bites off more than it can chew. With additional runtime – perhaps more karaoke interludes – the drama could better honour the depth of its subject matter.For those interested, the play runs at the Bush Theatre, London until 16 May.

US President Donald Trump has announced that Israel and Lebanon have agreed to a 10-day ceasefire, which will take effect at 5pm US East Coast time (21:00 GMT) on Thursday. The truce was brokered after Trump spoke with Israeli Prime Minister Benjamin Netanyahu and Lebanese President Joseph Aoun.The ceasefire is seen as a significant development in the conflict between Israel and Lebanon, which was drawn into the US-Israeli war on Iran on March 2 when Hezbollah, the Iran-aligned Lebanese armed group, fired rockets at Israel. The conflict has resulted in over 2,196 deaths in Lebanon and thousands more wounded.Lebanese Prime Minister Nawaf Salam welcomed the announcement, describing the ceasefire as "a central Lebanese demand we have pursued since the first day of the war". Netanyahu confirmed he had agreed to the truce, which he said presented his country with an opportunity for a "historic deal" with Beirut.The US State Department said that Israel would retain the right under the agreement to carry out strikes in Lebanon in self-defence "at any time". The ceasefire could be extended by mutual consent. Trump later said the Lebanese government would begin working with Hezbollah to achieve the goal of dismantling the group.The ceasefire follows an intense week of diplomacy, including direct talks between Lebanese and Israeli envoys in Washington, DC, hosted by US Secretary of State Marco Rubio. Trump said he would invite Netanyahu and Aoun to direct talks, believing "that will happen quickly".

San Francisco‑originated Philz Coffee announced on Friday that it will keep Pride flags displayed in all of its locations, overturning a policy introduced just days earlier that called for their removal.Chief executive Mahesh Sadarangani said in a statement, "I made a mistake and I am sincerely sorry," adding that the Pride flag represents "a symbol of safety and belonging for people who don’t always find that in the world," and that he does not wish to deprive any customer of that feeling.When the policy was first unveiled, Sadarangani framed it as a move toward uniformity, indicating that other non‑U.S. flags would also be taken down to maintain consistency across stores.The decision triggered an immediate and vocal backlash from both employees and customers. An online petition opposing the ban quickly amassed more than 7,300 signatures, reflecting the chain’s long‑standing reputation as an ally of the LGBTQ+ community.State Senator Scott Wiener, whose district includes San Francisco, condemned the policy on social media and suggested it was linked to Philz’s recent acquisition by private‑equity firm Freeman Spogli, raising concerns about corporate influence on inclusive practices.Sadarangani credited San Francisco Pride leaders Suzanne Ford and Jupiter Peraza for prompting the reversal, noting their outreach helped the company understand the broader impact of the decision."What gave me reason to engage with Mahesh was something I don’t always see from a CEO in this situation: genuine humility," Ford said. "He reached out, listened, and understood that this wasn’t about optics—it was about whether queer people and the employees who support them feel safe and seen. That matters."Founded in 2003, Philz Coffee has grown from a single San Francisco shop to a network of over 80 locations across California and Chicago, positioning itself as a community‑focused brand.The controversy occurs against a backdrop of nationwide debates over Pride symbols. Republican‑led states have recently removed rainbow flags from public spaces, and the Trump administration previously took down a rainbow flag at New York City’s Stonewall monument before agreeing to a settlement that restored it.Across the country, rainbow crosswalks have been targeted for removal, prompting cities like Miami Beach to install alternative displays—such as rainbow‑colored benches and plaques—to demonstrate solidarity with LGBTQ+ residents.

Chris Evans’ attempt to resurrect the 1990s chatshow juggernaut TFI Friday began quietly on Virgin Radio’s YouTube channel earlier this year. The lo‑fi series, titled TFI: Unplugged, featured a handful of high‑profile guests – Danny Dyer, Chris Hemsworth, Bono and Noah Wyle – and quickly attracted enough viewers for Channel 4 to commission six late‑night episodes. While the media spotlight has been on Claudia Winkleman’s foray into celebrity interviewing, Evans’ revival arrives with far less fanfare and pressure. The new format is deliberately stripped back: a cramped studio, casually dressed staff, and a budget that Evans himself jokes is “only 1% of the original”. Channel 4 commissioning editor Cimran Shah pitched the show as “personality‑led, stripped‑back chat”, positioning it as a precursor to today’s visual podcasts. In practice, the production feels more like a video‑recorded audio interview than a full‑blown TV spectacle. The episode lineup mixes legacy and fresh talent. Vintage performances from Sleeper, The Cure and Garbage provide a nostalgic soundtrack, while contemporary guests such as Jack Savoretti – who Evans repeatedly hails for a recent chart‑topping album – and Indian star Shreya Ghoshal, who covers Coldplay’s “Fix You”, aim to broaden appeal. A promised appearance by Gemma Arterton and Peter Capaldi never materialised; instead, singer‑songwriter Sam Ryder appeared despite having lost his voice. One of the few moments that truly harkens back to the original is a splice of Evans’ 1999 interview with David Bowie, in which the legendary musician bizarrely claims to have contracted gastroenteritis from eating monkey meat. The clip underscores Evans’ desire to remind viewers of the show’s storied past, even if the anecdote feels more odd than iconic. Critics note that the new Unplugged version lacks the “laddish, often cruel humour” that defined the 1990s TFI Friday, including infamous segments like the “Fat Lookalikes”. The original’s chaotic energy and Britpop‑fuelled vibe have been replaced by a more restrained, if still frenetic, studio atmosphere. In terms of relevance, the series appears out of step with current trends. Unlike interview podcasts that create an intimate, off‑camera feel, Evans’ format retains the sweaty, over‑the‑top live‑TV aesthetic without delivering the depth or novelty that modern audiences expect. Overall, TFI Friday Unplugged may not reshape the UK chatshow landscape or outshine Winkleman’s high‑profile debut, but it does carve out a modest niche for nostalgia‑driven viewers. Its inexpensive production model proves sustainable, even if the show remains a modest footnote in the broader revival of British talk‑show culture.

After intensive negotiations, AFC Bournemouth appear set to secure Marco Rose as their next head coach, with an agreement in principle already reached. Rose, the 49‑year‑old German who last managed RB Leipzig until March 2025, will replace Andoni Iraola when his contract expires this summer.Bournemouth’s head of football operations, Tiago Pinto, moved quickly after learning of Iraola’s decision to pursue a new challenge. While the club initially explored a move for Ipswich Town’s Kieran McKenna, the hefty buyout clause attached to his contract made the Rose option more viable.Rose’s availability after a year out of work simplifies the deal, allowing him to begin planning for the 2026‑27 season immediately. The club hopes he can sustain the momentum built by Iraola, who has overseen a remarkable rise since his summer 2023 appointment, including a stunning victory over Arsenal and a genuine bid for European qualification for the first time in the club’s history.Despite selling a substantial portion of their squad – notably losing three‑quarters of their back four last summer and seeing winger Antoine Semenyo depart for Manchester City in January – Bournemouth have benefited from shrewd recruitment, recouping high fees and reinvesting in quality replacements. A looming challenge for Rose will be to fend off interest in midfielder Alex Scott, with Chelsea reportedly among the suitors.Rose brings an impressive résumé, having guided Borussia Dortmund in the Champions League and worked alongside stars such as Erling Haaland and Jude Bellingham. His previous managerial stints include successful spells at RB Salzburg and Borussia Mönchengladbach, underscoring his experience at the highest levels of European football.

Oil and gas prices experienced a significant decline of almost 10% on Friday following Iran's announcement that the Strait of Hormuz is open to commercial shipping. This development could pave the way for tankers carrying millions of barrels of oil and gas to access the global market.Iran's foreign minister stated that vessels are free to transit the Strait of Hormuz during the 10-day ceasefire between Israel and Lebanon. Brent crude, the international benchmark, fell by 9% to $90 a barrel, while the benchmark European gas contract dropped by about 8.5% to €38.80 (£33.80) per megawatt hour.The US naval blockade on Iran's use of the strait remains in full force, according to Donald Trump, until a deal is reached with Tehran. Trump expressed optimism that the process will move quickly, as most points have already been negotiated.The crisis in the Strait of Hormuz has disrupted supplies of Middle Eastern crude and gas, as well as refined fuels from Gulf refineries, in what the International Energy Agency has described as the biggest energy supply crisis in history. Before the crisis, over 130 ships a day travelled through the strait, but this has reduced to a trickle under threats from Iran's Revolutionary Guards.There are currently around 800 tankers stuck in the Gulf, with about 300 being oil and gas tankers. It remains uncertain whether tankers will be required to pay a fee of about $2m (£1.5m) for safe passage through the strait.Analysts, such as Giovanni Staunovo from UBS, view Iran's comments as a sign of de-escalation, but emphasize the need to see a substantial increase in the number of tankers crossing the strait.

Christine Baranski, known for her TV roles in The Good Fight and The Gilded Age, is set to make her West End debut in a revival of Noël Coward's comedy Hay Fever. She will star as Judith Bliss, a newly retired actor, alongside Richard E Grant, who will play her novelist husband.Baranski, a two-time Tony award winner for best featured actress in a play, expressed her excitement to “tear a passion to tatters” in the 1925 play about a family toying with their guests at a country house party. The production, directed by Emily Burns, will run at Wyndham’s theatre from 22 September to 12 December.Baranski described the play as a “101-year-old comedy of appalling manners” that requires “quicksilver delivery and suave flamboyance.” She also praised Grant as “whip-smart and wickedly funny.” This production marks a significant return to the theatre for Grant, who has recently appeared in supporting roles in films like The Thursday Murder Club and Nuremberg.The revival of Hay Fever is part of a recent surge in productions of Noël Coward's works, including Fallen Angels and Easy Virtue. Baranski's West End debut is a long-awaited event, with the actress having attended her first West End play in 1971 as a student at Juilliard.

Social media erupted this week after US media outlets reported that FIFA had prohibited tailgating at the 2026 World Cup stadiums. Fans quickly challenged the claim, pointing to FIFA’s own statement that it "does not have a formal policy that restricts tailgating".FIFA clarified that while there is no global ban, individual venues may impose restrictions in line with local public‑safety regulations. The organization added that detailed fan guidance will be released well before the tournament kicks off.In the United States, tailgating is a long‑standing pre‑match tradition where supporters park near the stadium, grill, drink and socialize for hours before kickoff. The practice, especially popular at NFL games, is considered an essential part of the American match‑day experience.American fans argue that banning the activity would strip away a cultural hallmark. One Philadelphia supporter wrote on X, "FIFA doesn’t understand that you physically cannot stop Philadelphians from tailgating." Others noted that international visitors often enjoy the festive atmosphere, citing videos from the 2025 FIFA Club World Cup.Nevertheless, the Boston organising committee has already announced that tailgating "is not permitted for these events," highlighting the patchwork of local rules that could affect the World Cup.Security protocols for major tournaments require two concentric perimeters around each stadium: an outer ring focused on crowd safety and an inner ring for ticket verification. The exact placement of the outer perimeter depends on each venue’s layout, parking capacity and access routes, and it is designed to keep "unauthorised persons" away from the stadium building.Because FIFA cedes day‑of‑match security decisions to local organising committees, the final stance on tailgating will likely be decided by city officials and may not be disclosed until closer to the event.The United States will host 78 of the 104 matches across 10 venues, including the newly renamed Los Angeles Stadium (formerly SoFi Stadium) for the opening match and the New York‑New Jersey Stadium (formerly MetLife Stadium) for the final. Other sites are Boston’s Gillette Stadium, Philadelphia’s Lincoln Financial Field, Dallas’s AT&T Stadium, Seattle’s Lumen Field, Kansas City’s Arrowhead Stadium, Miami’s Hard Rock Stadium, Atlanta’s Mercedes‑Benz Stadium, Houston’s NRG Stadium, and the San Francisco Bay Area’s Levi’s Stadium.Until local authorities release definitive guidelines, the fate of tailgating at the 2026 World Cup remains an open question, leaving fans to await clarification on whether their beloved pre‑game rituals will survive the tournament’s security framework.

On Thursday, Israeli security forces conducting an operation in Nablus, a major city in the occupied West Bank, fired stun grenades at journalists covering the events. The incident was reported by multiple media outlets present on the ground. According to eyewitness accounts, reporters from local and international news agencies were positioned near the site when the grenades were deployed, causing a sudden flash and loud explosion. No serious injuries were confirmed, but the sudden blast forced the journalists to seek immediate cover and temporarily halted their reporting. Press‑freedom organizations quickly condemned the action, stating that the use of crowd‑control munitions against media personnel undermines the ability to document and verify developments in the region. The incident adds to a growing list of reported confrontations between Israeli forces and members of the press in the occupied territories. Israeli authorities have not yet released an official statement explaining the rationale behind the deployment of the stun grenades. Analysts suggest that heightened security measures during operations often lead to heightened tensions, but emphasize that protecting journalists is essential for transparent reporting in conflict zones. The episode underscores the precarious environment for journalists working in the West Bank, where the line between security operations and press freedom continues to be contested.