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Tori Amos has taken to the stage, delivering a dramatic deep dive into her vast and sprawling back catalogue. Her 18th studio album, In Times of Dragons, and first tour in three years have generated significant excitement among fans. The allegorical tales that make up her forthcoming record – a metaphorical story about the fight for democracy over tyranny – are evident in her live performances.The concert featured a range of tracks from Amos's extensive discography, including the delicate deep cut Ruby Through the Looking-Glass and the atmospheric, slow-burn jazzy grooves of Little Amsterdam. The love in the room for Amos is palpable, with her songs, voice, and masterful piano playing bringing out an almost devotional following.Amos's musicianship was on full display, accompanied by a drummer, bass player, and three backing singers, whom she refers to as 'angels.' While their presence occasionally detracted from the raw intimacy expected from Amos, it mostly elevated the performance to new levels. Tracks such as Pandora's Aquarium and Witness were lifted to stirring new heights by the vocal back and forth.The setlist may not have been hit-stuffed, but Crucify was a beautiful closer, delivered in a way that felt both tight and loose, detailed yet expansive, tender and rousing. The encore of early career favourite Cornflake Girl had the whole venue on its feet and in dizzy awe. As Amos navigates the brutal state of the world, she has an audience that will gladly follow her deep into the heart of any dragon's den.

Tyson Fury is set to make a highly anticipated return to the boxing ring on Saturday night, facing off against Arslanbek Makhmudov at Tottenham Hotspur Stadium in London. The Gypsy King, known for his bold claims and unorthodox style, has promised a destructive knockout to mark his comeback. “It’s going to be different because, for the first time in forever, I’m the hunter,” Fury declared at the fight’s final press conference. “I’m not the hunted, and we all know that when I’ve always been the hunter in the past, I’ve always fucked people up.” Fury, who announced his retirement from boxing in January 2025 but quickly reversed his decision, expressed his excitement about returning to the sport. He cited his long-term rival Anthony Joshua’s car crash in Nigeria as a defining moment that made him realize the importance of living in the present. Makhmudov, a formidable Russian opponent standing at 6 feet 7 inches and weighing 18 or 19 stone, seemed unfazed by Fury’s bold claims. “I’m happy and very excited to be here. I can’t wait for Saturday night,” he said. The Russian fighter from Dagestan added, “I don’t have pressure, because God prepared me for this moment all my life. I believe this is my time.” Fury, known for his bombastic delivery, also expressed sympathy for his opponent, stating, “I actually feel sorry for Makhmudov because I’m going to make an example of him. He’s a big lump, but I’ll knock his head right off his shoulders.”

The romantic comedy 'You, Me & Tuscany' offers a wholesome and harmless meet-cute that will appeal to fans of the genre. The film stars Halle Bailey as Anna, a young woman navigating life after her mother's death, and Regé-Jean Page as Matteo, a charming Italian man who sweeps her off her feet.The movie's plot is full of familiar romantic comedy tropes, from the fake engagement to the picturesque Italian setting. However, the film's charm lies in its strong performances from the cast, particularly Bailey and Page. The chemistry between the leads is undeniable, and their romance is sweet and engaging.Despite its charm, the film has received criticism for its lack of originality and predictable plot twists. Some critics have argued that the movie relies too heavily on overused romantic comedy clichés, which detracts from its overall impact.The film's success is significant for the romantic comedy genre, as it marks a shift towards more diverse and culturally specific storytelling. The movie's diverse cast and Italian setting offer a fresh take on the traditional romantic comedy, and its positive representation of Black culture is a welcome change.Overall, 'You, Me & Tuscany' is a charming and engaging romantic comedy that is worth watching for fans of the genre. While it may not break new ground in terms of storytelling, the film's strong performances and picturesque setting make it a delightful watch.

The recent ceasefire between the United States and Iran may provide temporary relief, but the oil crisis triggered by their conflict is far from over. After 40 days of fighting, the two nations agreed to a two-week ceasefire, with negotiations set to begin in Pakistan's capital, Islamabad.One of the key points in Iran's 10-point proposal is allowing shipping to resume through the Strait of Hormuz, a critical waterway through which 20 percent of the world's oil and gas is shipped during peacetime. The strait has been effectively closed since the start of the war, causing global oil and gas prices to soar.Following the announcement, oil prices dropped to $92 on Wednesday, down from over $110 for much of the war. However, delays in restarting production and transport mean the energy crisis is far from over. For ships to continue operating, they need certainty about security during the next two weeks of the ceasefire.Even with the waterway reopened, it will take weeks for large oil tankers – now scattered thousands of miles away – to return to the Gulf to collect the millions of barrels sitting in large reservoirs. With very few tankers able to load or unload and their onshore storage full, producers began shutting wells, causing regional oil output to plummet despite efforts to reroute limited volumes via overland pipelines.Economists warn that the true impact on grocery bills will likely persist throughout 2026 and into 2027. Additionally, it will take years for the Gulf energy industry to repair facilities damaged or destroyed during the war.Shipping data shows that combined exports from Iraq, Kuwait, Oman, Qatar, Saudi Arabia, and the United Arab Emirates fell from 469 million barrels in February to 263 million barrels in March – a decline of 206 million barrels, or 44 percent. Iraq's crude exports have been hit the hardest, falling 82 percent from 94m barrels in February to 17m in March.The 206 million barrels of Gulf oil lost since the start of the war would fill approximately 103 Very Large Crude Carriers (VLCCs), the workhorse supertankers of the global energy trade. A single VLCC stretches nearly 330 metres (1,080 feet) in length, nearly the same height as the Eiffel Tower in Paris.To put that in more practical terms, if you drove a pick-up truck that averages 24 miles per gallon (or 10 litres per 100km), one barrel of crude oil would carry you about 730km or 450 miles. That is about the distance from New York City to Cleveland, Ohio.For much of the war, oil has traded above $100 per barrel, hitting a peak of nearly $128 on April 2. The value of 206 million lost export barrels at various oil prices is significant, with Brent crude being the global benchmark.

Renowned artist and stage designer Es Devlin is pioneering a unique approach to addressing AI ethics through her latest project, which combines ceramics and collaboration. At the AI and Earth conference organized by Devlin, a diverse group of artists, AI researchers, spiritual leaders, academics, and tech experts gathered at Oxford Kilns to discuss AI and create pottery.The conference, held in preparation for the opening ceremony of the Schwarzman Centre for the Humanities at Oxford University, aimed to foster dialogue and understanding among individuals with varying perspectives on AI. Devlin's approach emphasizes the importance of human connection and hands-on engagement in the digital age.Participants, including Alan Turing and Isaac Asimov, discussed the implications of AI on society, while Ethan Mollick introduced his concept of centaurs or cyborgs, describing how humans use AI for specific tasks or close collaboration. The event also featured a performance by the University Chamber Choir and a choral piece by Nico Muhly, inspired by the works of 17th-century theologian and poet Thomas Traherne.Devlin's installation, 360 Vessels, will be showcased at the Schwarzman Centre's opening festival, featuring 360 pots created by participants and the public. The project serves as a platform for exploring the intersection of technology, art, and human values.As Devlin noted, 'I am aware that my art and my words and my every choice, my presence, is being used to train the algorithms that concentrate wealth among a small number of individuals, and, in spite of this – however confusing, however painful – I would like to try to stitch my digital shadow back on to my feet and dance with it myself, and invite others to dance with it too.'

The Trump administration has filed an emergency motion to resume construction on its White House ballroom project, citing national security concerns. The project, which has been temporarily halted by a court decision, is estimated to cost nearly $400m and has sparked controversy over its potential impact on the White House's historic design.Lawyers for the Trump administration and the National Park Service have called the court decision to pause construction 'shocking, unprecedented, and improper'. They argue that the court-ordered suspension has left a 'massive excavation' site next to the executive mansion, threatening grave national-security harms to the White House, the President and his family, and the President's staff.The motion outlines various security measures slated to be incorporated into the ballroom project, including drone-proof roofing materials and glass meant to withstand bullets and blasts. 'Time is of the essence,' the motion reads.The court filing is the latest response from the Trump administration to a March 31 ruling from Judge Richard Leon, an appointee of former Republican President George W Bush. Judge Leon had issued a 35-page ruling ordering construction on the project to stop, citing the need for congressional approval for a project so transformative.The Trump administration has appealed Leon's injunction against the project and has claimed broad authority to make changes to the White House, citing past renovations under earlier presidents. The project has grown from a $200m structure to a nearly $400m one, by current estimates, and is set to span 90,000 square feet.

At the start of 2026 Pakistan was sitting on a surplus of imported liquefied natural gas (LNG). Three consecutive years of falling demand – from a peak of 8.2 million tonnes in 2021 to 6.1 million tonnes by late 2025 – were driven by cheap solar panels and reduced industrial activity. The government responded by quietly selling excess cargoes abroad and shutting down domestic wells to avoid over‑pressurising pipelines. Any gas that could not be diverted would have been pushed into household networks at a loss, adding billions to the sector’s crippling debt. Everything changed on 28 February when the United States and Israel launched the "Epic Fury" operation against Iran. The strikes killed Supreme Leader Ali Khamenei and targeted missile sites, air defences and military infrastructure. Iran retaliated with hundreds of missiles and drones, choking traffic through the Strait of Hormuz – a chokepoint for roughly 20 % of global oil and gas. As part of its retaliation, Iranian drones hit Qatar’s Ras Laffan Industrial City on 2 March, the world’s largest LNG export hub. Qatar, the second‑largest LNG exporter after the United States, declared force majeure and halted all production, releasing it from contractual delivery obligations. The fallout was immediate. Qatar’s forced shutdown cut its LNG output by 17 % and disrupted the supply chain that fuels Pakistan, which sources almost all of its imported gas from Qatar and the United Arab Emirates. Pakistan’s LNG arrivals plummeted from 12 shipments in January to just two in March. Monthly cargo data from the Oil and Gas Regulatory Authority (OGRA) show that the country received between eight and twelve shipments a month through 2025, but only two arrived after the conflict began. Price pressure followed. On 13 February state‑owned Pakistan State Oil and Pakistan LNG Limited bought eight cargoes at an average of $10.47 per MMBtu (totaling $257.1 million). By 12 March the two cargoes that did arrive cost $12.49 per MMBtu – a 19 % increase in just one month. Long‑term contracts have left Pakistan with little flexibility. Two government‑to‑government agreements with Qatar, spanning 15 and 10 years, commit the country to nine shipments a month. Even as domestic demand fell – LNG’s share of Asian markets dropped from ~30 % in 2020 to ~18 % in 2025 – the contracts remained binding. Solarisation has been a double‑edged sword. By 2025 Pakistan installed 34 GW of solar capacity, with about 25 GW feeding the national grid, driving an 11 % decline in overall electricity demand between 2022 and 2025. Gas‑fired power plants built for imported LNG are now under‑utilised, especially during daylight hours. Analysts warn that the surplus was predictable. “Pakistan’s energy planning has been locked into long‑term contracts with little room for adjustment,” says Haneea Isaad of the Institute for Energy Economics and Financial Analysis (IEEFA). The resulting circular debt now stands at 3.3 trillion rupees (≈ $11 billion), and the government is negotiating to off‑load 177 unwanted shipments worth $5.6 billion through 2031. With Qatar’s LNG shipments effectively halted, the country faces a potential shortfall of more than 21 % of its power generation capacity. The National Electric Power Regulatory Authority confirmed that LNG supplies are under force majeure, while coal imports from South Africa and Indonesia continue. To mitigate the gap, Pakistan is reviving domestic gas production that had been throttled during the surplus period. Roughly 350–400 million cubic feet per day of domestic gas were previously held back for LNG imports, now being released to the grid. Nevertheless, analysts caution that even with restored domestic gas, imported coal and hydropower, “the energy shortage may persist, especially during the peak summer months.” Summer pressure is already building. The State of Industry Report 2025 recorded peak electricity demand of over 33,000 MW last summer, while winter demand sits around 15,000 MW, helped by solar generation of 9,000–10,000 MW daily. Furnace oil, the primary backup fuel, now costs 35 rupees per unit (≈ $0.12), more than double since the Strait of Hormuz disruption. Consumers with grid electricity face higher bills and possible outages; industrial users reliant on gas risk production cuts; those equipped with rooftop solar and battery storage are best insulated. “Returning to the spot market is unlikely given Pakistan’s dire financial position, and competing with wealthier nations would price the country out,” Isaad warns. “The realistic outcome may be planned load‑shedding of two to three hours daily.”

Peter Whelan and the Irish Baroque Orchestra have returned Handel’s Messiah to Dublin, the city of its 1742 debut, with a landmark recording that is the first period‑instrument rendition by an Irish ensemble. The project seeks to echo the original performance at the Fishamble Street music hall, where audience etiquette was so strict that women were asked to forgo hoop skirts and men to leave their swords at home.The album features a cast of historically informed singers. Helen Charlston delivers the contralto arias once associated with the scandal‑ridden Susannah Cibber, her voice described as firm, slightly metallic and unflaggingly expressive. A rare duet‑and‑chorus version of “How Beautiful Are the Feet,” originally written for two Dublin cathedral countertenors, showcases Alexander Chance in buoyant form, while soprano Hilary Cronin provides a sweet‑sounding contrast.Whelan draws a fleet‑footed performance from a modest 13‑member choir and the orchestra, resulting in vocal lines that are light, precise, and at times almost conversational. Formerly a bassoonist with the orchestra, Whelan is poised to succeed Nicholas McGegan as music director of San Francisco’s Philharmonia Baroque, cementing his status as a rising star in the baroque world.Listeners can stream the recording on Apple Music or Spotify.

In Barcelona, anti‑tourism demonstrators have added a culinary twist to their demands, chanting “Stop brunch!” alongside the more familiar “Ban Airbnb” as they protest soaring rents and the loss of local character.The rise of generic brunch venues—identical hipster cafés with the same menu, décor and background music—has become a symbol of overtourism, pushing out neighbourhood bars and eateries that once served the resident community.In response, Albert Molins, a journalist for La Vanguardia, launched a simple Google Maps list in autumn 2020. The list quickly evolved into a city‑wide movement to resurrect the Catalan tradition of esmorzar de forquilla (literally “fork breakfast”).This hearty mid‑morning meal, historically a 19th‑century labourer’s fuel, typically includes a main dish, wine, bread and coffee, and can be enjoyed for under €15. It is now served in modest, no‑frills taverns that showcase authentic Catalan flavours.Signature dishes differ sharply from the typical brunch fare. Patrons can savour trinxat—a pan‑fried potato and cabbage hash topped with crisp pancetta—fricandó (stewed veal with mushrooms), bacallà amb samfaina (fried cod on stewed vegetables), and the richly spiced botifarra sausage. For off‑al lovers, options such as callos (tripe stew), peus de porc (pigs’ feet) and the indulgent cap i pota (veal head and feet stew) are on offer.The original map has since been redeveloped into the functional EsmorzApp, uniting a growing community of “fork‑breakfast enthusiasts” and attracting younger diners alongside long‑time local patrons.Restaurant owner Gerard Llopart notes that his establishment in Barcelona’s Eixample district now welcomes a broader, more diverse crowd, proving that the revival resonates beyond its traditional base.While the movement does not single‑handedly solve overtourism, it demonstrates how locals can reclaim cultural space and invite tourists to partake in genuine culinary heritage. As Molins puts it, the fork breakfast is “our history,” and visitors are encouraged to download the app and ask for un cap i pota, si us plau?