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In a powerful display of solidarity and a quest for peace, mothers from Israel and Palestine recently gathered for a barefoot walk. This event, marked by a simple yet profound act of walking barefoot, aimed to transcend the complexities and conflicts that have long divided these two nations. The walk, undertaken by mothers from both sides, is a poignant reminder of the universal values of motherhood — love, care, and the desire for a safe and secure future for their children. By choosing to walk barefoot, these women symbolically expressed their shared humanity and their collective yearning for peace. Such initiatives are crucial in fostering dialogue and understanding between communities in conflict. They highlight the role that ordinary people, particularly women, can play in bridging divides and advocating for peace. The barefoot walk serves as a testament to the power of grassroots movements in promoting peace and reconciliation. As the world continues to grapple with conflict and division, the actions of these Israeli and Palestinian mothers offer a beacon of hope. Their courageous stand for peace underscores the importance of people-to-people diplomacy and the need for continued efforts towards achieving lasting peace in the region.

Riz Ahmed's latest venture, 'Bait', is a comedy series that masterfully blends humor with poignant commentary on identity, fame, and the entertainment industry. Ahmed, who created, co-wrote, and stars in the show, plays Shah Latif, a rapper turned actor from a lively west London Pakistani Muslim family.The series navigates Shah's journey as he finds himself in contention to replace Daniel Craig as the new James Bond, a career milestone that brings about a crisis in his life. This predicament leads Shah to question his authenticity and fear of becoming 'bait' – both in the London slang sense of being 'obvious' or 'naff,' and in the sense of being used by the British state to co-opt legitimate dissent.'Bait' skillfully balances humor with emotional authenticity, particularly through its portrayal of family dynamics. Sheeba Chaddha shines as Shah's mother, Tahira, bringing depth and warmth to every scene she's in. The show's humor is largely derived from its witty dialogue, which showcases a dazzling display of linguistic dexterity, effortlessly switching between Urdu, Arabic, MLE, and RP.The series also highlights the strength of the British south Asian actor community, with notable cameos and roles for Himesh Patel, Nabhaan Rizwan, and Sagar Radia. Ritu Arya is excellent as Yasmin, Shah's love interest, and her chemistry with Ahmed is undeniable.While 'Bait' occasionally veers into self-indulgence, its self-referential humor and industry satire add layers to the narrative. The show's exploration of themes such as identity, cultural representation, and the pressures of fame makes it a compelling watch. With its talented cast and clever writing, 'Bait' is a must-watch on Prime Video.

Billy Idol: A Postpunk Icon's Life and Times are celebrated in a new documentary, Billy Idol Should Be Dead, directed by Swedish filmmaker Jonas Åkerlund. The film offers a nostalgic look back at Idol's career, from his early days in punk and new wave to his rise to fame in the US.With a mix of humor and sympathy, the documentary examines Idol's outrageous excesses, including his struggles with drug abuse and near-fatal accidents. Idol's life was marked by a series of close calls, including a near-fatal overdose in 1984 and a second episode in the late 80s where he collapsed in a Bangkok hotel lift, much to the horror of Mel Gibson and his family.The film also explores Idol's impact on music and pop culture, comparing him to Elvis Presley and Eddie Cochran. Idol's distinctive snarl-sneer and charismatic stage presence made him a big name, particularly on MTV, which was eager for content and drawn to his self-destructive bad-boy image.At 70, Idol looks back on his life with a cheerfully gravelly voice, recalling his experiences with a mix of humor and reflection. The documentary is a nostalgic tribute to a music legend and a celebration of his enduring legacy.Billy Idol Should Be Dead is set to air on Sky Arts on March 26.

The Iranian people's determination for freedom and democracy remains unshaken, even in the face of extreme hardship and oppression. Thousands have died and many more are suffering under the current regime, which continues to patrol streets with guns, beating and arresting citizens. In recent times, the situation has worsened with the outbreak of the US-Israeli war, which has restricted internet access, led to the appearance of checkpoints, and filled Tehran's prisons to capacity. Despite these challenges, the Iranian people's fight for freedom persists. Azar Nafisi, an Iranian-American writer, reflects on her experiences and the resilience of the Iranian people. She recalls the 1979 revolution and the mandatory veil imposed by Ayatollah Khomeini, which led to thousands of women protesting in the streets, chanting 'Freedom is neither eastern nor western. Freedom is universal.' Nafisi emphasizes the importance of cultural heritage in preserving Iranian identity and humanity. Truck drivers across Iran display bumper stickers with poems by Hafez, Saadi, or Ferdowsi, demonstrating the enduring power of literature and art. The writer also remembers her former students in Tehran, particularly Razieh, a young Muslim girl who was imprisoned and executed for her love of literature and independence. Razieh's story serves as a powerful reminder of the sacrifices made in the fight for freedom. Nafisi concludes that even in the midst of war and oppression, there can be hope. The Iranian people's struggle for freedom is a universal fight that can benefit people worldwide, from the UK to Sudan. The preservation of freedom and democracy requires constant vigilance and a willingness to challenge oppression.

When future generations examine television trends, they might be surprised by the glut of dramatisations about famous men caught in sex scandals. Jimmy Savile and Prince Andrew have both received multiple treatments, and now, with almost crushing inevitability, comes Channel 5's Power: The Downfall of Huw Edwards.Edwards, the high-profile BBC newsreader who resigned in 2024 before being charged with three counts of making indecent images of children, remains defensive. Prior to the broadcast, he released a statement claiming the drama is unlikely to convey reality while asserting: I am repelled by the idea that some people enjoy viewing indecent images of children.The drama earns its title by portraying a powerful man utilizing a queasy power dynamic to manipulate a teenage boy into fulfilling his sexual desires. While not the pinnacle of drama, the film succeeds in capturing a sickening feeling in the pit of your stomach.The main draw comes from its casting. Martin Clunes, known for roles that rely on his innate likability, creates an impressively accurate Edwards. He captures the fascinating mix of swagger and vulnerability, along with Edwards' distinctive accent and diction. Even during disturbing scenes, his performance never wavers.For much of the film, Edwards remains a figure of distant menace. Instead, this is really the story of Ryan (Osian Morgan), a teenage boy who finds himself being groomed by Edwards. The drama is constructed around first-hand interviews with Ryan (using a pseudonym to protect his identity), showing how Edwards validated his desire for connection before making the relationship transactional.Most powerfully, the film depicts the effect on Ryan's parents, as their dismay at his increasing waywardness first becomes anger directed at Edwards and then fear that they had become the bad guys.Still, the producers face challenges with a story that isn't visually interesting. Much of the relationship happened over text, meaning excessive time is spent watching people type or narrate messages. The film makes odd stylistic choices, including framing everything around the Queen's death and ending with Edwards reporting on his own charges.Edwards has promised to tell his side of the story, but as the reviewer notes, few will have the stomach to hear it when that day arrives.

A new feature on the Kagi Translate app, called LinkedIn Speak, has been launched to help users communicate in corporate jargon on the professional networking site LinkedIn. This tool transforms basic thoughts into complex, jargon-heavy phrases, making it easier for users to fit in with the site's culture of 'relentlessly go-getting achievers.' The app, which is only a month old, has been used by people who want to improve their chances of getting promoted on LinkedIn, as well as those who simply want to see how it works. For example, entering 'I just saw a lovely donkey' can be translated into 'I recently had a powerful reminder that consistent effort and carrying the heavy loads often go unrecognised, yet they are the backbone of any successful operation.' LinkedIn Speak also works in reverse, allowing users to paste in someone's real LinkedIn update and translate it back into plain English. This feature can help users cut through corporate jargon and understand what is really being said. The developers of Kagi Translate also offer a Gen Z translator, which 'lowkey hits different.' While the app can be useful for those looking to navigate corporate culture, it also raises questions about the impact of AI on communication and the workforce.

The final season of Netflix's Heartbreak High has concluded, but its farewell has left much to be desired. The show, a remake of the 1990s Australian series, had potential with its fresh-faced cast and energetic tone. However, it ultimately succumbed to a polished but contrived approach, straying far from the gritty realism that made its predecessor compelling.The original Heartbreak High was praised for its near-verite realism and diverse cast, tackling tough issues with fearlessness and courage. In contrast, the new series opted for a blinged-out U-turn, adopting a jokey tone and pat writing. While it still addressed important issues like abortion, mental health, and racial tensions, it did so without the same level of authenticity.The final season follows the gang's last year at Hartley High, kicking off with a chaotic muck-up day prank. However, even this moment felt painfully contrived, lacking the realism that once defined the series. The show's approach to emotional moments was similarly forced, designed to generate feeling rather than earn it.Creator Hannah Carroll Chapman may have aimed for a show akin to Sex Education, but Heartbreak High fell short. Its colourful but contrived approach rarely achieved a strong emotional pull, instead favouring sentiment over subtlety in its conclusion.Despite its shortcomings, Heartbreak High still explored complex relationships and character aspirations. However, the show's failure to balance humour and drama, coupled with its contrived emotional moments, left this reviewer underwhelmed.

The military campaign launched by the United States and Israel against Iran has entered its 24th day, bringing the region to a precarious juncture. As US President Donald Trump’s 48-hour ultimatum for Iran to reopen the Strait of Hormuz approaches its expiration at 23:44 GMT on Monday, Tehran has issued stern warnings regarding the potential targeting of its electricity grid. In response, Iran has vowed to strike the energy and water systems of its Gulf neighbors, raising fears of a broader regional energy crisis.The conflict is already having tangible repercussions on the global economy. Financial markets are reacting sharply to the escalating tensions, with stocks in China and Hong Kong on track for their worst performance in nearly a year. The uncertainty has fueled stagflation fears, prompting UK Prime Minister Keir Starmer to convene an emergency meeting to address the mounting economic fallout.In Iran, the situation remains volatile. The Israeli military has conducted a wide-scale wave of strikes targeting infrastructure across Tehran, resulting in powerful explosions reported in the central, southern, and eastern parts of the capital. Verified footage shows massive columns of fire and smoke rising over Karaj following an air attack. The Iranian Revolutionary Guard Corps (IRGC) has retaliated by threatening attacks on power plants in Israel and those supplying electricity to US bases, while also targeting a turbine engine production site in Qom used for drone components.The conflict has also spilled over into Gulf Cooperation Council (GCC) nations. Saudi Arabia’s Ministry of Defence confirmed that two ballistic missiles were launched toward Riyadh, with one intercepted and the other falling in an uninhabited area. The UAE reported debris injuries in the al-Shawamekh area, while Bahrain confirmed attacks on the US Fifth Fleet. In Qatar, seven people were killed in a helicopter crash, and Kuwait has formally protested airspace violations to the International Civil Aviation Organization.The human toll continues to rise. In Israel, alerts were triggered across Jerusalem and central Israel following explosions, with the casualty toll from attacks on Dimona and Arad climbing to at least 180 injured. In Lebanon, authorities report that at least 1,029 people have been killed since March 2, with over 100 of the victims being children. In Iraq, at least 60 people have been killed, primarily among pro-Iran Popular Mobilisation Forces.

Michelle De Swarte's comedy career is a testament to her versatility, having worked as a model, actor, journalist, and now comedian. Her latest touring show, 'The Afters', is a hilarious and mouthy performance that leaves audiences in stitches. While the set may not break new ground in terms of comedy themes, De Swarte's confident and cavalier standup voice makes it a standout.From the outset, De Swarte's ability to turn crowd work into a fine set piece about cultural appropriation and Norfolk seafarers showcases her skill. She follows up with a number about a “poor-off” contest she had with a citizen of Bradford, whose salty tang of truth adds up to something far funnier than the usual comedy of class cliches. Her menopause material is distinguished by her pose of stroppy denial, making it a refreshing take on a commonly tackled topic.De Swarte's say-what-she-sees manner seems wholly unaffected, as she arches eyebrows at various aspects of modernity. Her resistance to touchy-feeliness is evident, and her background – poor, queer, and ruthlessly unsentimental – provides context for her personality and comedic style. The show's later stages feature rough-hewn comic effect as De Swarte recalls her forebears and their attitudes.The show's final section, in which De Swarte recalls her encounters with Jeffrey Epstein and P Diddy, leaves the audience wanting more. Perhaps there's a whole show or book to come from this cheerfully incautious comic voice. For now, 'The Afters' is a must-see for fans of comedy and those looking for a fresh voice in the industry.