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World football’s governing body FIFA announced on Tuesday that it has initiated disciplinary proceedings against the Spanish Football Federation (RFEF) after anti‑Muslim chants were heard during a friendly match between Spain and Egypt on March 31.Spectators at Barcelona’s RCDE Stadium shouted the slogan “Whoever doesn’t jump is a Muslim,” prompting the federation to act. In a statement, FIFA said the incident violated its anti‑discrimination statutes and warranted a formal probe.The episode adds to a recent spate of abusive incidents targeting players in Spain, most notably the repeated racial abuse directed at Real Madrid forward Vinícius Júnior. Spanish police have opened an investigation into the “Islamophobic and xenophobic” chants, while Prime Minister Pedro Sánchez denounced the behaviour as “unacceptable” and warned that a “uncivil minority” would not be allowed to tarnish the nation’s reputation.The Spanish FA issued its own condemnation, and Muslim forward Lamine Yamal, who featured in the match, described the chants as a “lack of respect” from “ignorant and racist” fans. Yamal emphasized that, even though he was not personally targeted, the chants were “disrespectful and intolerable.”Real Madrid coach Álvaro Arbeloa echoed concerns, stating he does not believe Spain is a tolerant country and suggesting that if racism were pervasive, “we would have a problem every weekend at all of the stadiums.”FIFA’s disciplinary action underscores the governing body’s commitment to eradicating discrimination from the sport and signals that future infractions could attract sanctions against national federations.

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.

François Ozon's The Stranger is a lustrously beautiful and superbly realised modern take on Albert Camus's classic novella L'Etranger. Set in 1940s French Algeria, the film follows the story of Meursault, a sensitive white European who commits a racist act under the unbearable noonday sun.The film, shot in Morocco, boasts an almost supernaturally detailed sense of period and place. Ozon's adaptation brings a contemporary perspective to the book's themes of empire and race, making changes that include a critique of the original text. This approach perhaps loses some of the source material's brutal, heartless power and arguably some of the title's meaning.Meursault, played by Benjamin Voisin, is portrayed as a character with an unreadable expression of listless unconcern. His story unfolds through flashbacks, showing his dull office job in Algiers, his blank reaction to his mother's death, and his relationship with Marie, played by Rebecca Marder.The film's climax features Meursault's fatal encounter with the vengeful brother of Raymond's girlfriend, Djemila. When asked for a motive, Meursault simply says: “C’était à cause du soleil” – “It was because of the sun”. This response highlights the absurdity of the situation and the racist undertones of the act.Ozon's adaptation softens the argument presented in Camus's original work, and Meursault is ultimately condemned to death. The film emerges as a passionate act of ancestor worship in honour of a renowned French artwork, while also critiquing the original text and its representation of imperialism.

Italy's World Cup qualifying playoff woes continued as they lost to Bosnia on penalties, following a 1-0 win over Northern Ireland. Alessandro Bastoni's first-half red card in the Bosnia game was pivotal.Bastoni had been jeered by fans in away games for Inter Milan due to his actions in February's Derby d'Italia against Juventus, where he got Pierre Kalulu sent off. He apologized for his behavior, calling it 'really ugly'.Inter Milan bounced back from their slump with a convincing 5-2 win over Roma, Lautaro Martínez scoring. Marcus Thuram and Hakan Calhanoglu also shone, with the latter scoring a goal of the season contender from 30 yards.The win eased Inter's nerves ahead of Serie A title contention, keeping their lead intact. Alessandro Bastoni received a standing ovation when substituted, with fans chanting his name.

Iran’s nationwide internet outage, which started on 28 February following the first US‑Israel strikes, has now stretched beyond 38 days, making it the most prolonged country‑wide shutdown since the Arab‑spring era. Authorities ordered a total cut‑off of global internet services on the day the conflict began, after a brief shutdown in January amid nationwide protests. More than five weeks without external connectivity has left most Iranians dependent on state‑run television and a single satellite channel for news. According to Amir Rashidi, director of the Iran‑focused human‑rights group Miaan, many citizens are unaware of the full scale of the war because “their only sources are Iranian state television and one satellite channel.” This limited media environment means Iranians receive information filtered through government agendas. Doug Madory, director of internet analysis at Kentik, noted that while sub‑national outages have occurred in places like Myanmar, Ukraine and Gaza, Iran’s shutdown is the longest and most severe at the national level since Libya’s six‑month blackout during the Arab Spring. Sudan’s 37‑day shutdown in 2019 is the only comparable recent case. In response, the regime has pushed users onto the National Information Network (NIN), a domestic intranet under development for 16 years. The NIN provides parallel services—local search engines, an Iranian‑styled streaming platform, and messaging apps—but operates under strict government monitoring. Platforms are known to hand over user data to authorities. A Miaan Group report highlighted that domestic search engines censor key terms. For example, searches for “war” or “ceasefire” on Gerdoo, Iran’s home‑grown Google alternative, return no results, while another local engine frames the conflict as a decisive Iranian victory. Circumventing the blackout is costly and risky. Some Iranians travel overland to Turkey to regain connectivity, while others purchase VPNs or special SIM cards on a hidden market at prices ranging from $6 to $24 per gigabyte—five to twenty times the global average—effectively turning internet access into a luxury commodity. Despite the human and economic toll, Miaan Group warns that the shutdown is likely to persist as the government continues to promote the NIN, even though many of its services remain unreliable or non‑functional. There is no clear indication that unrestricted internet access will be restored in the near future.

Utah has enacted a law that effectively shields fossil fuel companies from legal accountability for climate damages. The legislation, signed by Republican Governor Spencer Cox, limits the ability of residents to sue these companies for their role in contributing to climate change. The new law is part of a broader effort by the fossil fuel industry and its allies to secure legal immunity in statehouses and Congress. This push is aimed at countering a wave of litigation filed by states, subnational governments, and individuals who claim that fossil fuel companies knew their products would cause climate damages but sold them anyway. Critics argue that the law prioritizes profits for the biggest polluters over communities already suffering from climate impacts. The law requires challengers to provide 'clear and convincing evidence' that damage or injury has resulted directly from a violation, making it virtually impossible to successfully sue polluters for climate damages. The legislation was sponsored by Republican Representative Carl Albrecht, who has received funding from oil and gas interests. Albrecht's ties to the industry have raised concerns about the bill's motivations. The law closely mirrors a model policy called the Energy Freedom Act, circulated by the conservative group Consumers Defense, which has financial ties to a group linked to Leonard Leo, a key figure in the far-right takeover of the Supreme Court. The passage of Utah's law comes as climate lawsuits against big oil companies are inching closer to trial. Seventy cities, states, and individuals have sued energy majors for allegedly deceiving the public about the climate crisis. New York and Vermont have also passed climate 'superfund' laws requiring major polluters to pay for damages caused by their past planet-heating pollution. Lawmakers and advocates have amassed evidence that oil companies intentionally covered up the climate harms of their products. Climate science continues to warn that fossil fuels are the primary cause of dangerous global warming. Critics argue that the fossil fuel industry is pushing for immunity because it knows it cannot win on the merits of its case.

Aisling Bea, 42, finally steps onto the solo stand‑up circuit with a 75‑minute show titled “Older Than Jesus.” The title, a tongue‑in‑cheek nod to the mid‑life milestone of outliving the biblical figure, hints at the personal reflections that anchor the performance. Although Bea is best known for TV hits and a stint on Taskmaster, this is her inaugural headline tour. The material draws heavily on her recent “accidental pregnancy” and the ensuing transition to motherhood, offering a candid look at the chaos and comedy of late‑stage parenthood. True to her reputation, Bea’s humor remains delightfully reckless. She riffs on childhood memories of crafting DIY Dairylea spreads with second‑hand “bodies of Christ,” reenacts a disastrous Take That movie wrap‑party, and even masquerades as a dad in her sister’s antenatal class. Each anecdote is delivered with a cartoonish egotism that celebrates her own absurdity. Physical comedy spikes the night: a deliberately over‑the‑top “slut drop” followed by a playlist curated for her own C‑section. These moments juxtapose the glamour‑obsessed persona she projects on Instagram with the far less polished reality of a new mother, underscoring the show’s central tension. In the closing segment, Bea pivots from pure silliness to a more earnest commentary, using pregnancy and parenthood as lenses to critique entrenched gender expectations. The moral—delivered with a sincere, if slightly unexpected, earnestness—offers a satisfying resolution to a set that otherwise revels in delightful immaturity. The premiere took place at De Montfort Hall in Leicester on 8 April, with the tour set to continue across the UK in the weeks ahead.

1. Caroline Wozniacki – Australian Open 2018: After 67 weeks atop the WTA rankings without a Grand Slam title, the Danish star finally broke through at the 2018 Australian Open. Facing world‑number one Simona Halep in the final, Wozniacki saved match points, abandoned her defensive style, and surged ahead to claim her first major, collapsing in tears as she declared, “I dreamed of this moment for so many years.”2. Fermín Cacho – 1500m Gold, Barcelona 1992: The Spanish runner seized an unexpected victory in a tactical race that unfolded at a snail‑pace pace. With the field hesitant, Cacho surged from the inside lane, powered a 50‑second final lap and crossed the line in 3:40.12 – a time described as “the slowest winning time you could possibly imagine.” His triumph ignited a national celebration, cementing his status as an Olympic legend.3. Max Holloway – UFC BMF Belt Showdown 2024: The featherweight champion delivered a cinematic finish against Justin Gaethje, opting to trade blows in the final seconds rather than await a decision. Holloway’s knockout with one second left created a historic moment in mixed‑martial‑arts, underscoring his reputation for relentless aggression and love of pure, unfiltered competition.4. Garrincha – World Cup Glory 1958 & 1962: Brazil’s “Joy of the People” dazzled the world with his unorthodox dribbling and infectious charisma. Despite a physical handicap, he helped Brazil capture back‑to‑back World Cups, earning player‑of‑the‑tournament honors in 1962 and becoming a cultural icon whose legacy is measured more by the happiness he sparked than by trophies alone.5. Lungi Ngidi – Test Debut vs India, 2018: The South African fast‑bowler announced himself by dismissing cricket superstar Virat Kohli and finishing with figures of six for 39, earning player‑of‑the‑match as South Africa won by 135 runs. Ngidi’s grin after the wicket captured the pure exhilaration of a young athlete realizing a lifelong dream.6. Marco Tardelli – World Cup Final 1982: In the decisive match for Italy, Tardelli’s thunderous celebration after scoring the equaliser resonated with an estimated 56.7 million Italians. His iconic scream, later described as “the moment it came out,” epitomises the raw, uncontainable joy that sport can unleash.

Elvira Notari—Italy’s first and most prolific female filmmaker—crafted a vivid portrait of early‑20th‑century Naples through melodramas such as È piccerella (1922). The film opens with bustling pilgrimage scenes at the Candelora festival, juxtaposing flamboyant revelry with stark images of poverty, a visual strategy that challenged the sanitized narratives favored by the fascist regime.According to film scholar Giuliana Bruno, Notari’s work was driven by a desire to document reality, exposing class tensions and gendered oppression that Mussolini’s censors deemed unacceptable. A 1928 censorship law explicitly banned Neapolitan films featuring “stallholders, beggars, urchins, dirty alleyways,” effectively silencing Notari’s authentic street‑level storytelling.Despite directing around 60 feature films—many hand‑coloured—alongside her husband Nicola at Dora Film, only three titles (A Santanotte, È piccerella, Fantasia ‘e surdato) and fragments survive today, a loss directly attributable to fascist suppression and the prohibitive cost of sound‑film conversion.The newly released documentary Elvira Notari: Beyond Silence, produced by Antonella Di Nocera and directed by Valerio Ciriaci, reconstructs Notari’s fragmented career by collaborating with contemporary “artisans”—photographers, visual artists, novelists, and musicians who reinterpret her silent‑film aesthetics. Ciriaci notes that the absence of personal archives made the film’s investigative approach essential, turning Notari’s silence into a creative catalyst.Critics emphasize Notari’s lasting influence on Italian‑American auteurs such as Francis Ford Coppola and Martin Scorsese. Elements of her chaotic street festivals anticipate the wedding scenes in *The Godfather* and *Goodfellas*, while her raw urban tableaux echo the gritty New York sequences of *Taxi Driver*.Beyond cinematic technique, scholars like Cristina Jandelli argue that Notari’s intertitles reveal a pronounced class consciousness and a critique of women’s marginalisation in early 20th‑century Italy. Her use of Neapolitan dialect and unvarnished depictions of squalor directly opposed the regime’s propaganda‑driven vision of a unified, pristine Italy.After Dora Film collapsed in 1930, Notari retired to Cava de’ Tirreni and died in 1946, largely forgotten until recent scholarly revival. The documentary positions her as a “symbol of the right to memories,” underscoring the ongoing relevance of silenced female voices in cultural history.*Elvira Notari: Beyond Silence* will premiere at New York’s Film Forum on 6 April 2026 and tour the United Kingdom throughout April and May, offering audiences a chance to reconnect with a pioneering filmmaker whose work was once erased by fascism.