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The Kilauea volcano, located in Hawaii, has erupted in a dramatic display of natural power. The eruption occurred on April 10, 2026, and has been characterized by lava blasting high into the sky.The Kilauea volcano is one of the most active volcanoes in the world and has been erupting intermittently since 1983. This latest eruption is a significant event for the region, with potential impacts on local communities and the environment.The Hawaiian Volcano Observatory has been monitoring the volcano's activity and has reported high levels of volcanic gas and ash in the atmosphere. The observatory is closely watching the situation and providing updates as more information becomes available.

The United States team landed in Islamabad on Friday, gearing up for Saturday’s planned cease‑fire talks with Iran aimed at pausing the ongoing US‑Israel‑Iran conflict.New friction erupted on Friday when senior officials from both sides exchanged conflicting accounts of a 10‑point Iranian proposal that underpinned Tuesday’s temporary pause in hostilities.Iranian Parliament Speaker Mohammad Bagher Ghalibaf warned on X that two critical measures—a cease‑fire in Lebanon and the release of Iran’s blocked assets—remain unfulfilled, insisting they must be addressed before negotiations can proceed.Ghalibaf, who is slated to attend the summit alongside Foreign Minister Abbas Araghchi, echoed the Iranian military’s joint command warning that its “fingers are on the trigger” after what it described as repeated “breaches of trust” by the United States and Israel.Meanwhile, former President Donald Trump escalated rhetoric, telling the New York Post that the U.S. is loading ships with the “best weapons ever made” and will employ them “very effectively” if a deal is not reached. In subsequent Truth Social posts, he dismissed Iran’s leverage over the Strait of Hormuz as a “short‑term extortion” and claimed the Iranians are “alive today only to negotiate.”The Trump administration credits Tuesday’s cease‑fire agreement with averting a larger U.S. escalation, yet it has not disclosed the exact framework agreed upon, noting it differs from Iran’s published 10‑point plan.Analysts point to substantial gaps between the parties on several fronts: Iran’s future control of the Strait of Hormuz, the status of frozen Iranian assets, the trajectory of Iran’s nuclear program, and Israel’s ongoing offensive in Lebanon.U.S. and Israeli officials assert that a Lebanese cease‑fire was never part of the deal, contradicting Iran and Pakistan’s position. Nonetheless, President Trump told an Israeli reporter that he urged Prime Minister Benjamin Netanyahu to make Israeli operations against Hezbollah “more low‑key” ahead of the talks.Israeli strikes continued, killing at least 300 people nationwide on Wednesday—the deadliest day of the offensive—while Al Jazeera’s correspondent reported no slowdown in southern Lebanon’s fighting. Kuwait also reported intercepting seven drones launched from Iran into its airspace within 24 hours.Despite the heightened rhetoric, U.S. Vice President JD Vance expressed optimism, stating he expects a “positive” outcome from the negotiations and that he has received “pretty clear guidelines” from President Trump. Vance emphasized that the United States is ready to extend an “open hand” to Iran if it negotiates in good faith, but warned that any attempt to “play us” would meet a “non‑receptive” negotiating team.Vance’s leadership reflects a non‑interventionist strand of the Trump administration, stepping in as Iran’s trust in special envoy Steve Witkoff and Trump’s son‑in‑law Jared Kushner has eroded. Witkoff and Kushner previously headed two rounds of indirect talks on Iran’s nuclear program, both of which collapsed—first after Israel launched a 12‑day war on Iran in June 2025, and again after the latest war erupted on February 28.

Jim Jarmusch, the 73-year-old director known for his offbeat Americana films, has spent seven years crafting his latest project, 'Father Mother Sister Brother'. The film, which won the prestigious Golden Lion at the Venice film festival, is an anthology drama that explores the complexities of family relationships through three distinct stories set in New Jersey, Dublin, and Paris.Jarmusch's approach to filmmaking is characterized by his unique ability to elicit low-key performances from big stars and his focus on the quotidian aspects of life. He cites influences from filmmakers like John Cassavetes and David Lynch, but emphasizes his own humanist approach. 'I make films out of the things other people would leave out,' he notes, highlighting his attention to detail and ability to find beauty in everyday moments.The film features a star-studded cast, including Cate Blanchett, Adam Driver, Mayim Bialik, and Tom Waits. Jarmusch's process involves casting first and then writing the script quickly, often in a matter of days. 'I cast first then write fast,' he explains, showcasing his collaborative approach with actors.Jarmusch reflects on his career, mentioning the challenges of getting films made without compromising his artistic vision. 'It's harder every time to get a film made,' he acknowledges, but remains committed to his unique approach. The director also touches on themes of mortality and the cyclical nature of life, emphasizing the importance of living in the present.The film 'Father Mother Sister Brother' is set to release in UK cinemas on April 10, offering audiences a glimpse into Jarmusch's distinctive filmmaking style and thematic explorations.

The latest offering from writer Theo Jamieson and director Adam Lenson is a boldly conceived musical that thrusts a turbulent romance into a sci‑fi framework. The story follows a young astronaut, Daniel, who vanishes from his shuttle with barely enough fuel, prompting a quest to uncover the motives behind his reckless flight.Stuart Thompson (as Daniel) and Poppy Gilbert (as Emily) anchor the piece with performances that are both visceral and nuanced. Their chemistry captures the push‑pull of a relationship scarred by childhood bullying, parental betrayal, and a shared history of trauma, delivering songs that soar and hit hard.Visually, the production leans heavily on interstellar projections that transform the stage into a shifting cosmos, while the score oscillates between Sondheim‑style wit and full‑blown symphonic passages. This combination creates an epic sense of strangeness that distinguishes Flyby from more conventional West End fare.However, the narrative’s fragmented structure hampers its emotional payoff. The non‑chronological storytelling leaves critical gaps, and the metaphor of being "stranded in space" feels over‑extended—especially with the protagonist’s surname, Defoe, a thin nod to Robinson Crusoe. The three narrators, played by Simbi Akande, Gina Beck, and Rupert Young, often drift into digressive asides that dilute the central arc.Despite these flaws, moments of brilliance emerge, particularly in the musical’s treatment of mental‑health themes. The show hints at the potential to join the ranks of modern theatre successes like Next to Normal and Dear Evan Hansen, should its structural rough edges be smoothed.The production is currently staged at Southwark Playhouse, Borough, London and will run through 16 May. Audiences seeking a daring blend of emotional intensity and cosmic spectacle will find Flyby a compelling, if imperfect, experience.

The US Treasury secretary, Scott Bessent, recently convened a meeting with major American bank chiefs in Washington to address growing concerns over the cyber risks associated with Anthropic's latest AI model, Claude Mythos. This model has reportedly exposed thousands of vulnerabilities in software and popular applications.The meeting, which included Jerome Powell, the Federal Reserve chair, and CEOs from prominent banks such as Goldman Sachs, Bank of America, Citigroup, Morgan Stanley, and Wells Fargo, was called to discuss the potential risks posed by this advanced AI technology. Jamie Dimon of JP Morgan was invited but could not attend.Anthropic has restricted the release of Claude Mythos to a limited number of businesses, including Amazon, Apple, and Microsoft, due to concerns that hackers could exploit the model's capabilities to compromise data security. The company has noted that the model uncovered vulnerabilities up to 27 years old that had not been previously identified.This development comes as the US government has designated Anthropic as a supply chain risk, a designation the company is contesting in court. The meeting highlights the increasing concern among regulators and financial leaders about the potential for AI to both enhance and threaten cybersecurity.

Winter Garden Theatre’s latest revival of Arthur Miller’s 1949 classic reimagines the Loman household as a bleak garage, its sheet‑metal doors and dust‑laden floor evoking a timeless industrial backdrop rather than a specific era. Designed by Chloe Lamford, the set’s grayscale palette and sepia‑tinted flashbacks reinforce the play’s decay‑laden atmosphere.Directed by Joe Mantello, the production leans into minimalist staging to amplify the emotional rawness of the script. Nathan Lane inhabits Willy Loman with a mix of frantic energy and tragic vulnerability, his trademark brassiness turning the character’s long‑winded rants into a hypnotic rhythm. Opposite him, Laurie Metcalf delivers a razor‑sharp Linda, whose pragmatic fury and exhausted composure anchor the family’s disintegration.The cast also includes Christopher Abbott as Biff, Ben Ahlers as Happy, and K. Todd Freeman as the Black neighbor Charley, a casting choice that subtly flips the racial dynamics explored in the 2022 revival, where the Lomans were portrayed as a Black Brooklyn family.Lane’s Willy wrestles with the collapse of the post‑war American Dream, clinging to a broken promise of prosperity while refusing Charley’s offer of work—a moment that lands with a palpable “I just can’t work for you” that resonates as a critique of white entitlement and crumbling masculinity.Metcalf’s Linda, meanwhile, embodies the often‑unseen labor of holding a family together, delivering lines with “blistering anger” that underscores the personal toll of Willy’s delusions. Their interplay creates a “stark and gutting tragedy” that, despite its familiar arc, feels freshly relevant.Beyond the performances, the revival reflects a three‑decade‑long journey for Mantello’s vision, now backed by producer Scott Rudin, whose return to Broadway follows years of controversy. The production’s success suggests that Miller’s meditation on failure and aspiration still strikes a chord with contemporary audiences.In a theater climate often wary of bleak narratives, this revival proves that the American Dream’s collapse can still command attention, especially when delivered by a duo as compelling as Lane and Metcalf.

Netflix's vast library of content often includes films that were initially intended for theatrical release but end up being off-loaded to the streaming platform. The latest example is 'Thrash', a shark thriller that was previously known as 'Beneath the Storm' and 'Shiver'. Despite its promising premise, the film fails to deliver, with critics calling it a messily made, choppily edited and entirely misfiring cavalcade of bad decisions and dodgy accents.The film, directed by Norwegian director Tommy Wirkola, tells the story of a hurricane that destroys a town while also thrusting a pack of bull sharks into the streets and homes of those unlucky enough to still be there. However, the film's distracting sense of inauthenticity and lack of suspense make it a disappointing watch. The cast, including Bridgerton's Phoebe Dynevor and Djimon Hounsou, struggle to elevate the poorly written characters and lackluster dialogue.'Thrash' is now available on Netflix, but it's unlikely to be a hit with viewers. The film's cheap production values and lack of originality make it feel like a low-budget B-movie, rather than a film that was once intended for theatrical release. With Netflix spending around $18bn on content last year, it's surprising that they would accept a film of such poor quality.

Maria Semple's latest novel, 'Go Gentle', is a joyfully clever romantic comedy that explores the application of Stoic philosophy to modern life. The story follows Adora Hazzard, a Stoic philosopher and divorcee living on New York City's Upper West Side, as she navigates her life and encounters a handsome stranger.Semple, best known for her bestselling novel 'Where'd You Go, Bernadette', presents a unique blend of humor, philosophy, and romance. The book is a zany high-wire act that seamlessly weaves together elements of comedy, art heist, thriller, and romantic comedy.At its core, 'Go Gentle' is a paean to the virtuous joys of Stoic philosophy. Semple makes Stoicism feel fresh and exciting through Adora's enthusiasm, which is contagious and inspiring. The book fizzes with funny lines, and Semple's writing is full of charm and wit.However, the book's merry chaos sometimes tips over into disjointedness, particularly in the section charting Adora's marriage deterioration through time-stamped nuggets. Despite this, the book's main plot is ingeniously wrapped up at the end, leaving readers feeling both cleverer and sillier.'Go Gentle' by Maria Semple is published on 16 April by W&N (£20). To support the Guardian, buy a copy at guardianbookshop.com. Delivery charges may apply.

A fresh assessment released after the latest wave of Israeli airstrikes confirms that Beirut has endured extensive structural damage. The report, sourced from local authorities, outlines the breadth of destruction across residential districts and key infrastructure.While precise casualty figures remain unconfirmed, officials emphasize that the scale of the devastation will require substantial reconstruction efforts and could exacerbate the humanitarian situation in the capital.International observers note that the heightened damage underscores the escalating intensity of the conflict in the region, raising concerns about further destabilisation and the need for coordinated relief responses.