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The unexpected return of two William Hartnell episodes to the BBC archive has sent shockwaves of excitement through the Whovian community. For the first time since 1965, fans can now enjoy the first quarter of the 12-part adventure 'The Daleks' Master Plan.'The surviving five episodes are now on iPlayer, and the first three make for a stirring introduction to the adventure, with large impressive sets for the Earth control centre and the Dalek ship, contrasting with the dense forbidding foliage of the planet Kembel. Frequent tight closeup shots from director Douglas Camfield on the faces of the cast add to a claustrophobic feel in the jungle sequences.At the time, Hartnell was not to know that within a year he would be 'renewed' as the lead of the show by Patrick Troughton. Hartnell's health problems, reputation for being difficult on set and frequent flubbing of lines during a production schedule that allowed little leeway for second takes has tainted his tenure in the role.Here, especially in the opener, we get to see him in some of his strongest moments as the Doctor. With Stephen (Peter Purves) incapacitated by the poison he picked up in Troy, and Katarina (Adrienne Hill) little more than a hollow vessel of a character, Hartnell has much more to do than usual. The actor gets to show the gleeful side of his nature as he delights at his own invention of the magnetic chair and his ingenuity at repelling – at least initially – boarders to the spaceship.Rediscovering episode one also means we can enjoy beloved children's television presenter Brian Cant flexing his acting chops in something other than Playschool, and all three episodes prominently feature Nicholas Courtney, who would go on to play Brigadier Lethbridge-Stewart for 40 years, as Bret Vyon. A highlight is the Addams family-esque kookiness of the aliens making up the Dalek council, which is certainly preferable to the somewhat cliched prison planet savages set-up of part three.The biggest mystery, of course, is how these episodes have ended up surviving. Film is Fabulous, the people who secured them, have said they are respecting the wishes of the estate of the person who was holding and keeping them anonymous. Perhaps the most intriguing thing is that, given it was never sold overseas, the missing episodes of the Daleks' Master Plan were among the least likely to ever be found, but two episodes were sitting in those film cans all along. Who knows what else might still be out there?

Two long-lost episodes of Doctor Who from the William Hartnell era, which had not been seen since 1965, have been released after being discovered in a private film collection. The episodes, 'The Nightmare Begins' and 'Devil’s Planet', are parts one and three of a mostly lost 12-part adventure called The Daleks’ Master Plan, written by Terry Nation, the creator of the Daleks, and broadcast as part of the third series of Doctor Who in November 1965.The episodes feature Peter Purves as the Doctor’s companion, Stephen. They were recovered by Film is Fabulous, a charitable trust dedicated to securing and preserving private film collections. The original 16mm telerecordings of the two Dalek episodes have been restored and made available on iPlayer in the UK.This discovery marks a significant milestone for fans, as it includes the first appearance of Nicholas Courtney in the show, playing Bret Vyon. Courtney later became a regular character, playing Alistair Gordon Lethbridge-Stewart, known as the Brigadier of Unit. 95 episodes of Doctor Who from the 1960s remain missing from the archives, having been wiped or junked by the BBC during the 1970s.

The Easter bunny has been a staple in many films, often depicted as cute and harmless, but sometimes also menacing and deadly. The Guardian has ranked Easter bunny movies, providing a list of 20 films that showcase the versatility of the Easter bunny character. The list includes Who Framed Roger Rabbit (1988) at number one, a film that combines live-action and animation, featuring a character with characteristics of many cartoon critters. Other notable mentions include Wallace & Gromit: The Curse of the Were-Rabbit (2005) at number three, a stop-motion animated film by Aardman, and Watership Down (1978) at number two, an animated adaptation of Richard Adams's novel. The list also features films like Monty Python and the Holy Grail (1975), which includes a scene with the holy hand grenade of Antioch, and Donnie Darko (2001), which features a sinister figure in a metal-faced bunny suit. Other films, such as No Surrender (1985), Fatal Attraction (1987), and The Favourite (2018), also make the list. The ranking showcases a wide range of Easter bunny depictions, from cute and harmless to menacing and deadly, demonstrating the versatility of the character in cinema.

TikTok announced the removal of a high‑profile Israeli far‑right influencer’s account after The Guardian identified videos in which he assaulted left‑wing activists in the occupied West Bank. The platform said the content breached its community guidelines on hate speech and bullying. The influencer, identified as Roi Star, posted footage in January showing himself entering a house used by activists in Ras Ein al‑Auja and using pepper spray on a protester who tried to stop him. In the same clip, he shouted, “This is Judea, not Palestine,” and later threatened to disclose personal details of the activists and their families. When contacted, Star claimed he was “talking about peace” and argued that the area was an open Israeli public space, insisting that his use of pepper spray was the “most minimal” defensive measure. He later described the incident as “acting” and said his intentions were not “extreme.” TikTok’s statement emphasized that its policies prohibit “violent and hateful individuals, including extremist praise or glorification,” and that the account was taken down for breaching these rules. The company also said it had removed additional videos linked to other Israeli far‑right agitators, though it did not disclose further details. The incident occurs against a backdrop of rising far‑right activity on social platforms since the Gaza war began in October 2023. Israeli forces and settlers have been responsible for the deaths of over 1,000 Palestinians in the West Bank, and recent weeks have seen an escalation of attacks on homes and activists. Human‑rights groups warn that the online amplification of such content fuels real‑world violence. Yuli Novak, executive director of B’Tselem, said dehumanising Palestinians has become “mainstream in Israel,” while digital‑media scholar Prof. Anat Ben‑David highlighted the “troubling convergence between platform dynamics and on‑the‑ground violence.” Activists on the ground report a profound psychological impact, with one resident of Masafer Yatta noting that the videos heighten fear among Palestinians living under daily settler attacks. The phenomenon mirrors the rhetoric of Israel’s far‑right politicians. In August 2025, National Security Minister Itamar Ben‑Gvir faced criticism for posting a video taunting Palestinian leader Marwan Barghouti, while Knesset member Zvi Sukkot was filmed denying settler violence in the West Bank, framing the settlement enterprise as a biblical right. Meta’s Instagram continues to host numerous accounts linked to similar agitators, though the company has not responded to requests for comment. Experts argue that while platform policies technically forbid hate‑speech, their vague language allows harmful content to spread unchecked, underscoring the need for stronger enforcement to curb the digital propagation of extremist narratives.

A federal judge has thrown out the majority of Blake Lively's claims against Justin Baldoni, her co-star and director of the domestic violence film It Ends With Us.In a court ruling on Thursday, Judge Lewis Liman dismissed 10 of the 13 claims in Lively's lawsuit against Baldoni, including claims of sexual harassment, conspiracy, and defamation. Only three claims will now be heard at trial: breach of contract, retaliation, and aiding and abetting in retaliation.The decision leaves Lively's case with a narrower focus, limited to her claims that Baldoni was behind a retaliatory campaign which shared and boosted negative stories about her online.“This case has always been and will remain focused on the devastating retaliation and the extraordinary steps the defendants took to destroy Blake Lively’s reputation because she stood up for safety on the set and that is the case that is going to trial,” Sigrid McCawley, an attorney for Lively, said in a statement.The case is set to go to trial in May after mediation failed last month.

Acclaimed filmmaker Danny Boyle is set to unleash a sprawling, one‑off pop‑culture spectacle at London’s Southbank Centre on 3 May 2026. Titled “You Are Here”, the event will weave together 75 years of British youth movements—from teddy boys and punk to rave and Brit‑pop—across the venue’s historic spaces. Marking the 75th anniversary of the Royal Festival Hall’s 1951 opening, the production anticipates 1,000 performers and more than 10,000 attendees. Boyle, who directed the iconic 2012 Olympic opening ceremony, describes the show as an antidote to the “hi‑tech curation” that dominates modern life, likening today’s media overload to “5,000 channels with everything on”. The immersive experience will unfold in five distinct beats, each spotlighting underground music scenes, sub‑cultural fashion, activism and spoken‑word performance. Poets, MCs and rappers will narrate stories that are then translated by choirs and dancers, creating a “kaleidoscopic narrative” that moves audiences from a high‑energy Northern Soul floor to a communal house‑party atmosphere. Boyle emphasizes that the event is deliberately free of celebrity headliners, allowing the chaos of the performance itself to become the focal point. He calls the Southbank a “gargantuan labyrinth of opportunity” and urges young people to seize the chance to experience culture beyond the “aquarium of indifference” offered by on‑demand streaming and food delivery services. Organisers stress that the show is not a traditional pageant or seated theatre; instead, the entire Southbank site becomes a living stage, inviting visitors of all ages to wander, engage, and reflect on Britain’s evolving identity. Tickets for “You Are Here” go on sale now at southbankcentre.co.uk. The event promises to be a landmark moment for London’s cultural calendar, blending history, music, fashion and activism into a single, chaotic celebration.

The author spent a month testing Meta's smartglasses, which feature an integrated AI assistant voiced by Judi Dench. The glasses can take photos, provide directions, and answer questions, but the author found them to be unreliable and frustrating to use.The glasses raise significant privacy concerns, with the author noting that they can be used for covert recording and that people may not be aware when they are being filmed. The author also experienced creepy feelings while wearing the glasses, particularly when they were used to record strangers without their consent.The author concludes that while smartglasses have the potential to be useful assistive technology for people with disabilities, they are not yet reliable or functional enough to be widely adopted. The author also notes that Meta's plans for facial recognition and data collection raise significant concerns about privacy and surveillance.Experts warn that smartglasses may become a flashpoint in a bigger, existential discussion about how much integration we want with technology, and that regulation is needed to protect bystanders' privacy. The author ultimately decides that the glasses are not worth the risks and drawbacks, and that people should think carefully before adopting this technology.

As Easter approaches, concert halls from London to Leipzig are flooded with performances of Johann Sebastian Bach’s masterpieces, most notably the St Matthew Passion and the St John Passion. Chart data from the Official Classical Chart, Apple Music’s classical rankings and specialist listings show Bach out‑performing every other composer, with releases such as Yunchan Lim’s take on the Goldberg Variations and Raphaël Pichon’s recording of the St John Passion leading the pack.Two vivid descriptors have captured the public’s imagination this week: “Bach the zombie” and “Bach the meat‑grinder.”strong> Violinist James Ehnes coined the former to highlight the music’s ability to survive any arrangement or re‑imagining, while Guardian critic Clive Paget used the latter to describe the relentless, visceral intensity of the opening chorus in Pichon’s St John Passion recording.The “meat‑grinder” metaphor points to Bach’s obsessive repetitions and searing harmonies that convey the raw agony of the Passion narrative. In contrast, the “zombie” image underscores the composer’s uncanny durability: his works thrive whether rendered for saxophone quartet, Wendy Carlos’s synthesizers, Leopold Stokowski’s lush orchestration, or even a mandolin played in a New York park.Bach’s presence on the silver screen further illustrates his cultural elasticity. His slow, stately rendition of the final chorus of the St Matthew Passion underscored Pier Paolo Pasolini’s 1964 film The Gospel According to St Matthew, while the haunting aria from the Goldberg Variations was famously chosen by Hannibal Lecter in The Silence of the Lambs as he prepares a gruesome act. These examples show how Bach can serve as both spiritual solace and chilling inspiration.Modern performers continue to reinvent the canon. Pianist Víkingur Ólafsson, who logged more than ninety performances of the Goldberg Variations in a single year, describes each rendition as a “religious pilgrimage” that reshapes the listener’s experience. Meanwhile, mandolin virtuoso Chris Thile released a second volume of Bach’s Sonatas and Partitas performed on his instrument in Tompkins Square Park. The recording captures ambient city sounds—birds, footsteps, fellow buskers—blending them with Bach’s intricate C‑major fugue to create what Thile calls “the effortless fugue of city life.”These diverse reinterpretations confirm a simple truth: Bach’s music is indestructible. Whether heard in a grand cathedral, a streaming playlist, or a bustling park, his compositions adapt without losing their core emotional impact. This Easter, listeners are invited to embrace Bach not as a relic confined to history, but as a living, breathing force that continues to energise and inspire across genres and generations.

The families of British citizens held in the United Arab Emirates over allegations that they shared images of the conflict with Iran have expressed frustration at the British government's failure to help.Several British citizens are among more than 100 foreign nationals who have been detained under draconian Emirate rules that outlaw publishing or sharing material that could 'disturb public security'.UK government ministers have refused to condemn the arrests, amid claims they are too fearful of offending the Emirates because of their economic clout.The campaign group Dubai Watch, which is supporting nine British detainees, said their identities could not be revealed for fear of reprisals. But it has shown the Guardian anonymised correspondence from their increasingly anxious families.A mother whose daughter is being held wrote: 'This experience is exhausting, mentally and emotionally.'She described reading media reports about the continuing conflict in which Iran has retaliated against US and Israelis strikes by firing drones and missiles against its Gulf neighbours, including the UAE.She said: 'I have just read another article, and quite frankly I could do one purely on the inadequacies and sycophantic responses from this [UK] embassy.'She also expressed increasing fears for her daughter's safety as attacks continued. The mother said: 'I spoke to [my daughter] last night and they are no longer allowed to go outside in the courtyard as it's now deemed too dangerous to do so. This is an even bigger worry as they are all just sitting ducks.'Another message from a woman whose husband had been detained under the same law said the case had been 'mishandled'. She added: 'We are scared because nobody is telling us the truth. Can you please help us.'Police in Abu Dhabi said those detained had 'filmed sites and events and disseminated inaccurate information via social media platforms during the ongoing events, an action that could stir public opinion and spread rumours among community members'. In a statement, the officials said these 'violations' amounted to a 'misuse of social media'.Daisy Cooper, the deputy leader of the Liberal Democrats, confirmed that one of the detainees was a St Albans' constituent. She said their family was frustrated by the lack of consular help.Cooper told the Guardian: 'I'm deeply concerned that my constituent has been held with very little contact with their family, with no clear access to legal counsel, and no confirmation that UK consular officials have been permitted to visit them. The family are distressed and desperate for information about their wellbeing.'Cooper also criticised the UAE's round-up of anyone it has accused of sharing images of the conflict. She said: 'The response from the authorities appears wholly disproportionate given the nature of the allegations.'The Foreign, Commonwealth and Development Office confirmed that five UK nationals were receiving consular assistance in the UAE.David Haigh, a human rights lawyer and founder of Dubai Watch, said: 'There's an awful lot more than five cases. The embassy is overwhelmed.'He added: 'There hasn't been any government intervention because it would offend the UAE and they don't want to do that. Impotent is the best way to describe the response. They're too scared – it's all about the money and investment from the UAE.'