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The Iraqi armed group Kataib Hezbollah, which is backed by Iran, has announced that it will release Shelly Kittleson, a journalist from the United States. Kittleson was abducted in the Iraqi capital of Baghdad on March 31, prompting calls for her release from press freedom groups.The group said on Tuesday that Kittleson would be freed on the condition that she leave Iraq immediately. An anonymous Iraqi official confirmed her release to The Associated Press on Tuesday afternoon.Kittleson, a 49-year-old freelance reporter, had been kept in detention in Baghdad. Her release comes at a moment of heightened tension in Iraq, where Iran-backed groups have carried out attacks on US forces amid the US-Israel war on Iran.The decision to release Kittleson was reportedly made in response to 'the national stances of the outgoing prime minister' of Iraq, Mohammed Shia al-Sudani. Abu Mujahid al-Assaf, a security official with the group, warned that the 'exceptional gesture' would not be repeated again.The Associated Press reported that Kittleson was released in exchange for several imprisoned Kataib Hezbollah members, citing anonymous members of the militia. During her detention, publications Kittleson had worked for, including Al-Monitor, praised her for her commitment to covering conflicts in the Middle East.

The UK Home Office has refused rapper Kanye West’s request to travel to Britain, stating that his presence would not be "conducive to the public good" after a wave of criticism over his anti‑Semitic comments and open admiration for Adolf Hitler.West, now performing under the name Ye, submitted a visa application on Monday for a headline slot at London’s Wireless Festival in July. The Home Office issued a denial on Tuesday, effectively barring him from entry.In response, the festival’s organisers announced the cancellation of the entire event and pledged to refund all ticket holders, underscoring the pressure from sponsors and politicians to distance the show from the controversial artist.Amid the controversy, West publicly offered to meet members of the British Jewish community, saying he wanted to demonstrate “unity, peace and love through music” and that “words aren’t enough – I’ll have to show change through my actions.”The backlash intensified after West released a track titled “Heil Hitler” and marketed a swastika‑bearing T‑shirt on his website, actions that have drawn widespread condemnation for glorifying Nazism.West has performed in the United States and Mexico City this year, but was barred from Australia in July 2023 for similar reasons. He later placed a full‑page apology in the Wall Street Journal, attributing his behavior to an untreated bipolar disorder.British government minister Wes Streeting dismissed the bipolar‑disorder explanation as “appalling,” while Prime Minister Keir Starmer called the decision to book West “deeply concerning” given his prior anti‑Semitic remarks and celebration of Nazism.The Campaign Against Antisemitism welcomed the Home Office’s move, stating that it “backed up its words with action” and affirmed that antisemitism has no place in the UK.West’s European tour continues to face resistance; the mayor of Marseille, France, publicly declared the rapper “not welcome” for a scheduled June concert.

American journalist Shelly Kittleson, who was kidnapped from a Baghdad street corner last week, has been released, according to an Iraqi official with direct knowledge of the situation. Kittleson was freed in the afternoon, and before her release, she had been held in Baghdad.The powerful Iran-backed Iraqi militia Kataib Hezbollah said in a statement earlier in the day it had decided to free Kittleson, who was abducted on March 31. The group said its decision came “in appreciation of the patriotic stances of the outgoing prime minister”, Mohammed Shia al-Sudani, without giving more details. It added: “This initiative will not be repeated in the future.”The statement also included a condition – that Kittleson must “leave the country immediately” upon her release. Kittleson, 49, a freelance journalist, had lived abroad for years before the kidnapping, using Rome as her base for a time and building a respected journalism career across the Middle East, particularly in Iraq and Syria.Kataib Hezbollah has previously been accused of kidnapping foreigners, including Elizabeth Tsurkov, a Princeton graduate student with Israeli and Russian citizenship, who disappeared in Baghdad in 2023 and was freed in September 2025. The group never officially claimed responsibility for kidnapping her.Iran-backed militias in Iraq have also launched regular attacks on US facilities in the country since the beginning of the US-Israeli war on Iran.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

Opening night of the Pet Shop Boys’ Obscure tour turned the Electric Ballroom in Camden into a shrine for deep‑cut enthusiasts. Frontman Neil Tennant opened with a cheeky promise – “no hits tonight” – and the crowd responded with delighted roars, eager for the rare material the duo had promised.The Obscure moniker is no accident. Tennant and synth‑master Chris Lowe rehearsed 35 songs from their 42‑year catalogue, deliberately sidestepping the familiar chart‑toppers in favour of B‑sides, album tracks and fan‑favourite deep cuts. A fan‑compiled Spotify playlist of 226 non‑single tracks illustrates just how vast the selection pool is, yet even that list fell short of the band’s final set.Two songs made their live debut: a never‑performed track from the unreleased stage show Naked titled “I Dream of a Better Tomorrow,” and the 1986 B‑side “Jack the Lad” from the Suburbia era, which had never before been heard on stage. Phones rose in the audience as Tennant sang the cheeky tale of a ne’er‑do‑well, capturing a moment that will likely become a new fan legend.Highlights included a soulful rendition of the 1990 ballad “To Face the Truth,” where Tennant’s hand‑over‑stomach gesture added a rare glimpse of vulnerability, and the 1987 piano‑driven “Do I Have To?” showcasing Lowe’s most tender synth‑piano work. The set also featured “King of Rome” (2009), its horn‑laden refrain enveloping the room in a warm, nostalgic glow.Interspersed with the music, Tennant acted as an urbane quizmaster, prompting the audience to shout B‑side titles and rewarding them with trivia – for example, a medley that combined 1993’s “One in a Million” with Culture Beat’s “Mr Vain,” performed for the first time since its original 1994 Latin America appearance.Closing the main set, the 2005 anthem “The Performance of My Life” evoked the duo’s early club‑scene roots, while the encore opened with the poignant B‑side “Your Funny Uncle” (1989), a lament that still resonates with listeners who first found solace in its lyrics during the AIDS crisis.In a final, forward‑looking moment, Tennant introduced “I Dream of a Better Tomorrow,” a brand‑new song taken from the unreleased stage production based on *The Emperor’s New Clothes*. He declared, “change is coming… the start of something new,” hinting at fresh creative directions beyond the archival focus of the tour.The Obscure run, part of the broader Dreamworld tour that began in 2022, demonstrates the Pet Shop Boys’ mastery of both pop craftsmanship and archival curation, offering fans a rare chance to hear the hidden gems that have long lived in the shadows of their massive catalogue.

On day five of the Artemis II mission, NASA announced that the Orion spacecraft successfully executed a lunar flyby, marking a pivotal milestone on its journey back to the Moon. The agency released a collection of high‑resolution photographs taken during the maneuver, showcasing the spacecraft against the stark backdrop of space and the Moon’s illuminated surface. These images not only provide a visual record of the mission’s progress but also underscore the technical precision required for the upcoming crewed lunar landing.

James Gunn's early feature film Slither, initially released in 2006, is being re-released in cinemas ahead of its 20th anniversary. The film, a comedy horror with a heavy focus on body horror, was Gunn's first feature-length project. At the time, it was met with commercial disappointment but has since garnered attention due to Gunn's subsequent success with major franchises such as Guardians of the Galaxy and Superman.The film's plot revolves around an alien lifeform that crash-lands on Earth and takes over a small town in South Carolina. The alien larvae, resembling flaccid phallic worms, infect the townspeople through various orifices, turning them into evil minions or hideously swollen incubators. The movie features Michael Rooker, Elizabeth Banks, and Nathan Fillion in key roles.Despite its thinly conceived science fiction elements and reliance on rubbery practical effects and lame jokes, which align more closely with the style of Troma, a production company where Gunn got his start, the film does showcase Gunn's early experimentation with comic timing and musical cues. A notable scene features a killing spree set to Air Supply's 'Every Woman in the World', a technique Gunn would later refine in his Guardians of the Galaxy films.The cast, including Michael Rooker and Elizabeth Banks, appears to be enjoying the film's humor, bringing some bright spots of wit and amusement to the movie. Slither is set to re-release in UK cinemas on April 10 and will be available on digital platforms from May 1.

Offset, the former Migos member, was wounded in a shooting outside the Seminole Hard Rock hotel and casino in Florida on Monday and is currently listed as stable while being closely monitored by medical staff.The incident occurred in the valet parking zone of the venue, according to the artist’s spokesperson, who confirmed that the rapper – whose legal name is Kiari Kendrell Cephus – was promptly taken to a nearby hospital.Law enforcement officials detained two individuals in connection with the case, and the Seminole police department issued a statement emphasizing that the location remains secure and poses no danger to the public.Details surrounding the motive or events leading up to the shooting have not been released, and investigators are continuing to gather evidence.Offset, who was previously married to fellow rapper Cardi B and shares three children with her, has been a prominent figure in the hip‑hop scene since the rise of Migos. The group gained fame with the 2013 hit “Versace” and later secured Grammy nominations for albums such as 2017’s Culture. Their chart‑topping collaborations include “Bad and Boujee” with Lil Uzi Vert and “MotorSport” featuring Nicki Minaj and Cardi B.The shooting revives memories of the 2022 murder of Migos member Takeoff, who was killed outside a Houston bowling alley. The alleged shooter, Patrick Clark, maintains his innocence and is slated for trial in November.In personal news, Cardi B filed for divorce from Offset in 2024, ending their secret 2017 marriage.Associated Press contributed to this report.

For Konstantin, a 53‑year‑old resident of St Petersburg, the war in Ukraine has become a literal scent in the air. Over the past fortnight he has repeatedly detected the acrid odor of burning crude, fuel and chemicals drifting from Ukrainian drone strikes on Russia’s two largest Baltic oil terminals. The facilities at Ust‑Luga and Primorsk together handle about 40% of Moscow’s seaborne oil exports and roughly 2% of global oil supply, according to the International Energy Agency. Both ports lie within 150 km of St Petersburg, making the smoke visible – and smelt – to locals. Ukrainian drones have flown more than 1,000 km from the front lines to strike storage tanks and loading infrastructure, igniting fires that have burned for days. The smell, described by Konstantin as a mix of diesel exhaust, burning plastic and rotten eggs, first appeared in late March. These attacks are a key element of Kyiv’s strategy to erode Russia’s “unexpected windfall” from oil exports, a revenue stream that has surged as the US‑Israel campaign against Iran pushed global oil prices higher. Satellite imagery shows extensive damage at both terminals, with Ust‑Luga’s sprawling processing complex blackened by fire. As a result, both ports are currently unable to dispatch cargo, forcing traders to reroute oil to smaller Baltic and Black Sea ports that lack the capacity to absorb the displaced volume. Financial analysts estimate that the disruption has already cost Moscow roughly $1 billion in lost export earnings, according to Bloomberg data released on March 31. Moreover, every $10 rise in global oil prices translates into about $1.6 billion of additional monthly income for the Kremlin. Russian officials have blamed European nations for allegedly facilitating the drone overflights, but Ukrainian experts dispute this claim. Andrey Pronin, a pioneer of Ukraine’s drone warfare, emphasized that the strikes are meticulously planned to stay within Russian airspace, bypassing air‑defence systems. Since the campaign began, Ukrainian forces have targeted 13 oil sites, seriously damaging at least eight refineries from the Baltic coast to the Volga region. The attacks are timed to coincide with the heightened profitability Russia enjoys from the Iran‑related oil price surge, according to researcher Nikolay Mitrokhin of Bremen University. Beyond the immediate economic impact, Kyiv views the strikes as leverage in negotiations with Moscow. President Volodymyr Zelenskyy has floated the idea of a temporary moratorium on attacks against Ukrainian energy infrastructure in exchange for concessions, though the strategy also inadvertently benefits Iran by sustaining higher oil prices. On the tactical side, Ukraine now relies heavily on FP‑1 drones produced by the domestic Firepoint company. These unmanned aircraft can carry up to 120 kg of explosives and travel roughly 1,500 km, enabling strikes deep inside Russian territory. For civilians living near the conflict zones, the nightly “fireworks” of explosions have become a grim routine. Abdulla, a Tatar resident of Crimea, described the constant shelling as a new normal, while analysts note that President Vladimir Putin remains resolute, using the ongoing talks with the White House as a diplomatic façade. Overall, the Ukrainian drone campaign illustrates how modern warfare increasingly intertwines kinetic attacks with strategic economic disruption, reshaping the dynamics of the Russia‑Ukraine war and its broader geopolitical reverberations.