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A remarkable fossil discovery in Victoria, Australia, has revealed that giant echidnas once roamed the region. The Owen's giant echidna, Megalibgwilia owenii, lived during the Pleistocene epoch, which began 2.5 million years ago.The fossil, discovered in the Buchan cave complex in East Gippsland, is a significant find, as it fills a 1,000km gap in the species' known distribution. Previously, specimens of the extinct monotreme had been found across Australia, from Western Australia to Tasmania, but mysteriously absent from the fossil record in Victoria.The Owen's giant echidna was about twice the size of Australia's modern echidnas, growing up to 1 metre long and weighing up to 15kg. Its skeleton is much more robust than that of comparably sized animals, with deeper, more prominent muscle scars and larger attachments for ligaments, indicating it was using much greater force when interacting with the landscape.According to Tim Ziegler, the collection manager of vertebrate palaeontology at the Museums Victoria Research Institute, the fossil was likely used for digging for buried larvae, larger prey of beetles, or bogong moths, or tearing tree bark to access food.The research, published in Alcheringa: An Australasian Journal of Palaeontology, provides new insights into the distribution and habitat of the Owen's giant echidna during the ice age.

The prestigious Olivier Awards have revealed the winners of their 2026 ceremony, celebrating outstanding achievements in British theatre. Paddington: The Musical took home the award for Best Actor in a Musical with James Hameed and Arti Shah winning for their roles.In the category of Best Actress in a Musical, Rachel Zegler won for her performance as Evita at The London Palladium. Julie Hesmondhalgh received the award for Best Actress in a Supporting Role for her performance in Punch at Young Vic and Apollo theatre.Paapa Essiedu won Best Actor in a Supporting Role for his role in All My Sons at Wyndham’s theatre, while Victoria Hamilton-Barritt took home Best Actress in a Supporting Role in a Musical for Paddington: The Musical at Savoy theatre.The award for Best Director went to Luke Sheppard for Paddington: The Musical at Savoy theatre. Fabian Aloise won Best Theatre Choreographer for Evita at The London Palladium.Dead Man Walking by English National Opera at London Coliseum won Best New Opera Production. Into the Hairy by Sharon Eyal for S-E-D at Sadler’s Wells won Best New Dance Production.Wayne McGregor received the Outstanding Contribution to Dance award, while Danielle de Niese was honored with the Outstanding Contribution to Opera award.

Paddington: The Musical was the big winner at the Olivier Awards, taking home seven prizes, including Best New Musical. The show, which features music and lyrics by Tom Fletcher and a book by Jessica Swale, dominated the ceremony at the Royal Albert Hall in London.The duo who play Paddington, James Hameed and Arti Shah, won Best Actor in a Musical for their performances. The show's baddies, Tom Edden and Victoria Hamilton-Barritt, also won awards for Best Supporting Actor and Best Supporting Actress in a musical, respectively. Luke Sheppard was named Best Director for the production, which also picked up awards for Costume Design and Set Design.The ceremony was hosted by Nick Mohammed, who joked about being asked how he got the gig. Performances on stage included stars like Rachel Zegler, who won Best Actress in a Musical for Evita, and Fabian Aloise, who won Best Theatre Choreographer for Evita.Rosamund Pike won Best Actress for her performance in Inter Alia, while Paapa Essiedu won Best Supporting Actor for All My Sons. The awards also recognized regional theatre triumphs, including Kenrex and Punch.The Olivier Awards, overseen by the Society of London Theatre, celebrate the best in London theatre productions. This year's ceremony marked the 50th anniversary of the awards.

Gentleman's Relish, a traditional British condiment, has been discontinued by its manufacturer, AB World Foods. However, Simpson's restaurant in London and Fortnum & Mason have stepped in to keep the spread alive. Jeremy King, who reopened Simpson's in the Strand last month, has instructed his chef to create a version of Gentleman's Relish almost identical to the original.The relish, made from anchovy fillets, rusk, butter, and a secret selection of herbs and spices, was created by John Osborn in 1828. It was a favourite condiment of James Bond writer Ian Fleming and has been named as one of the 10 foods that Nigella Lawson cannot live without. Simpson's serves the relish on toast for £6.50, while Fortnum & Mason offers it in a Tiffany blue pot for £14.95.King's version of the relish is based on a classic Victorian recipe for patum peperium, which he prefers to the mass-produced version. While he would like to sell it as a takeaway product, health and safety regulations prevent this. Nigella Lawson has expressed her love for the relish, saying it's a savoury version of cinnamon toast and just as comforting.

OpenAI has put on hold plans for a landmark UK investment, Stargate UK, citing high energy costs and regulation, in a blow to the government which has put AI at the centre of its growth strategy.The Stargate project was part of the UK-US AI deal announced last September, in which US companies appeared to commit £31bn to the UK’s tech sector. The project aimed to support Britain in building out “sovereign compute” – infrastructure that would allow the government and other UK institutions to run AI models on datacentres in the country.Victoria Collins MP, the Liberal Democrat spokesperson for science, innovation and technology, said: “This is a wake-up call for the government to manage energy costs in the UK and foundation infrastructure.”The Labour MP Clive Lewis said: “When a government has no economic strategy worthy of the name and no real industrial vision, it becomes vulnerable.”An OpenAI spokesperson said: “We see huge potential for the UK’s AI future, and we support the government’s ambition to be an AI leader. We continue to explore Stargate UK.”High energy costs, rising further because of the US-Israel war on Iran, are expected to delay or derail AI datacentre projects worldwide. The UK’s industrial electricity prices were already the highest in Europe before the start of the war.

Evelyn Araluen has been named among the six finalists for the 2026 Stella Prize with her second poetry collection, The Rot. This marks her second appearance on the shortlist, four years after becoming the first poet to win the award as an Australian woman and non‑binary writer. The $60,000 prize will be contested alongside five diverse titles: Geraldine Brooks’ memoir Memorial Days, Miranda Darling’s novel Fireweather, Lee Lai’s graphic novel Cannon, Marika Sosnowski’s hybrid nonfiction 58 Facets: On Violence and the Law, and Tasma Walton’s novel I Am Nannertgarrook. Each shortlisted author receives a $5,000 advance. Earlier this year, Araluen’s The Rot captured the top prize and a $125,000 award at the Victorian Premier’s Literary Awards, praised for its exploration of grief and collective anxiety amid the global coverage of the Gaza conflict. The collection was sparked by an incident at Adelaide Writers’ Week in 2024, where Araluen was heckled for describing the Israeli bombardment of Gaza as genocide. She told Guardian Australia that the poems aim to document a "panicked, distressed window of time" that future readers might view with horror and regret. "I wanted the book to clearly record what we knew and did not stop," Araluen said. "If it reads as naive, let it still serve as a record of an uncomfortable truth we all must face." Araluen, a Goorie and Koori poet, first won the Stella Prize in 2022 for her debut collection Dropbear. This year’s shortlist was selected from 212 submissions, underscoring the depth of contemporary Australian women’s and non‑binary writing. Chair of judges Sophie Gee praised the list, noting that the books “move us to the core through language, the truth of their emotion, and the honesty of what it means to be human, across time and space.” The winner will be announced on 13 May 2026. Last year’s prize went to Michelle de Kretser for her novel Theory and Practice.

Ben Roberts‑Smith, a former Australian special‑forces operative, was taken into custody at Sydney Airport on Tuesday after the Australian Federal Police (AFP) announced he faces five separate war‑crime counts linked to the killing of five individuals in Afghanistan from 2009 to 2012. The charges, each punishable by life imprisonment, allege that the victims were unarmed civilians who were not engaged in hostilities at the time of their deaths. AFP Commissioner Krissy Barrett told reporters that the prosecution will argue the victims were shot either directly by Roberts‑Smith or by subordinates acting on his orders while he was present. Barrett emphasized that the accusations stem from a "complex" investigation conducted jointly by the AFP and the Office of the Special Investigator, a probe that began in 2021. The New South Wales Local Court has scheduled a bail hearing for Roberts‑Smith on Wednesday, where he will appear before a magistrate. This arrest follows a high‑profile legal defeat for Roberts‑Smith: an Australian judge in 2023 ruled that journalists who reported he was "complicit in and responsible for the murder" of unarmed Afghan men had not defamed him, a decision upheld by the Full Court of the Federal Court in May of the previous year. Rawan Arraf, executive director of the Australian Centre for International Justice, described the development as a "significant and long‑awaited step for victims and affected communities" in Afghanistan. She added that prosecuting alleged war crimes by Australian special‑forces personnel is essential for delivering justice and for Australia to meet its international law obligations. Since the 2001 NATO‑led intervention, roughly 39,000 Australian soldiers have served in Afghanistan, supporting operations against the Taliban and other armed groups. Roberts‑Smith, who previously received the Victoria Cross for his fifth tour, was regarded as the most‑decorated living Australian war veteran before the charges. The case also revives attention on former army lawyer David McBride, who remains incarcerated for disclosing information about alleged Australian war crimes in Afghanistan. In response to Roberts‑Smith’s arrest, Senator David Shoebridge posted a brief message on X urging the release of McBride.

Iranian drone attacks on Sunday inflicted serious damage on two of Kuwait's power and water desalination plants and sparked a fire at the Shuwaikh Oil Sector Complex, though no injuries were reported.Fatima Abbas Johar Hayat, spokesperson for Kuwait’s Ministry of Electricity, Water and Renewable Energy, described the incident as “criminal aggression” that caused “serious material damage” and forced the shutdown of two electricity‑generating units.Al Jazeera’s Malika Traina highlighted the strategic importance of the facilities, noting that around 90 % of Kuwait’s drinking water is produced by these desalination plants, making the disruption a critical blow to the nation’s water security.The strikes come as Gulf states bear the brunt of Tehran’s retaliation to recent US and Israeli attacks on Iran. Kuwait and the United Arab Emirates have become the epicentre of these assaults, according to Al Jazeera’s Victoria Gatenby in Doha.Gatenby warned that if President Donald Trump and Israeli Prime Minister Benjamin Netanyahu follow through on threats to intensify pressure on Iran, Tehran may target similar civilian and energy infrastructure across the Gulf.Bahrain also suffered drone attacks, with its Gulf Petrochemical Industries Co reporting damage to several operational units and Bapco Energies confirming a hit on an oil storage tank. Both incidents caused fires that were quickly extinguished, and no casualties were reported.In Abu Dhabi, authorities responded to multiple fires at the Borouge petrochemical plant, attributing them to falling debris from an interception. Operations were suspended pending a damage assessment, but no injuries have been confirmed.Saudi Arabia announced the interception of missiles early Sunday, underscoring the heightened military alert across the region.Gatenby noted that while Iran claims it is only targeting US military assets, the pattern over the past five weeks shows a broader focus on civilian and critical energy infrastructure. Gulf nations have exercised “incredible restraint,” yet their leaders caution that patience is not unlimited and that Saudi Arabia is invoking its right to self‑defence under Article 51 of the UN Charter.The escalating series of attacks highlights the fragile security environment in the Gulf and raises concerns about the resilience of essential services such as power and water supply amid ongoing geopolitical tensions.

When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.