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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.

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.”

What would Henrik Ibsen’s iconic heroine Nora look like in today’s Britain? In this bold re‑imagining, playwright Anya Reiss transports the 19th‑century drama into a world of high‑salary banking, social‑media façades and post‑pandemic consumer excess. Set against a sleek, white‑goods‑strewn stage designed by Hyemi Shin, the story follows Nora (played by Romola Garai) as the wife of a lucrative London banker, Torvald (Tom Mothersdale), who is also battling drug addiction. Though presented as a “trophy wife”, Nora is far sharper than her husband realises – she has secretly rescued the family from financial collapse and funded Torvald’s recovery, all while maintaining a veneer of festive, pre‑Christmas splurging. The familiar Ibsen plot points survive the update: a blackmail threat from Torvald’s colleague Nils Krogstad (James Corrigan) and a visit from the destitute, marriage‑for‑money‑failed friend Kristine (Thalissa Teixeira). Their interactions expose the tension between outward affluence and hidden desperation. Reiss’s version is unmistakably contemporary, peppering dialogue with references to Instagram, a stock market rattled by conflict in the Middle East, and the relentless pursuit of material status. This backdrop reframes the marital power struggle as a clash of class and modern capitalism, asking whether love can ever be insulated from market forces. Despite the heavy thematic load, the cast delivers a series of compelling performances. Garai’s Nora oscillates between calculated seduction – even donning a provocative nurse’s outfit for a flirtatious dance – and a keen intellect that refuses to be reduced to a mere commodity. Her portrayal suggests that, for Nora, the body has become a form of currency, yet she remains acutely aware of the performative nature of both marriage and motherhood. Notably, the children appear only through baby‑monitor audio, a deliberate choice that underscores the couple’s emotional distance and mirrors the original’s focus on Nora’s internal emancipation. The climax arrives in a charged confrontation where Nora questions, “Is love meant to be subject to the market?” The line encapsulates Reiss’s preoccupation with the commodification of intimacy, even as it feels like a summarising refrain rather than a fresh revelation. Ultimately, the production offers a nuanced, if occasionally over‑engineered, vision of Ibsen’s feminist aspirations. It hints at a future where Nora and Torvald might seek couples therapy to untangle their financial and emotional entanglements – a decidedly modern resolution. A Doll’s House runs at the Almeida Theatre, London, until 23 May.

Renowned British perfumer Jo Malone has expressed her surprise and sadness after being sued for over £200,000 in damages by Estée Lauder Companies, the owner of her former perfume brand, Jo Malone London. The lawsuit claims that Malone infringed trademarks by using her name on fragrances she created for the fashion chain Zara.In 1999, Malone sold her perfume brand to Estée Lauder, a US-based multinational cosmetics group that owns brands such as M.A.C, Bobbi Brown, and Estée Lauder. As part of the agreement, Malone was prohibited from using her name for certain commercial activities, including marketing fragrances.Malone stepped down as creative director of Jo Malone London in 2006 and later regretted selling the rights to her name, calling it the “biggest mistake of my life.” In 2011, after a non-compete clause ended, Malone launched the Jo Loves brand. In 2019, Jo Loves collaborated with Zara on a line of eight fragrances, priced at £35.99 each.Estée Lauder took issue with the packaging of these fragrances, which clearly stated that they were created by Jo Malone CBE, founder of Jo Loves. The company claims that this use of Malone's name undermines the brand equity of Jo Malone London and is seeking damages of over £200,000.In response, Malone has defended her use of her name, stating, “My name is Jo Malone. I am the person, the fragrance creator, the entrepreneur, the cancer survivor, the person. I never expected to receive a high court claim with my name on it.” She emphasized that when Zara approached her, they did so as an individual, not as a company or brand.Malone added, “I sold a company, I did not sell myself.” She expressed her concerns about the implications of the lawsuit, asking, “Where do I go from here? Who can I be? I can’t stop being a person. Nobody can stop being the character and the person that you are.”

Zack Polanski, the leader of the Green Party, has made a strong call to action for the UK government to withdraw its trade agreement with Israel in light of the recent Israeli strikes on Lebanon. Polanski expressed his concerns about Israel's actions, accusing them of 'behaving in a completely uncontrolled way.'During the launch of the Green party's local election campaign in London, Polanski urged the government to take a firmer stance against Israel, stating that it is 'outrageous that Israel is still enjoying diplomatic and trade privileges from the international community.' He emphasized the need for robust sanctions against Israel and an end to the 'genocide.'Polanski also criticized the UK government's claim of not being involved in the conflict with Iran, arguing that its bases had been used to aid US bombers attacking Iran. He called for the disentanglement of UK and US military operations and a ban on the US using UK airspace.When asked about the economic implications of ending the trade deal with Israel, Polanski prioritized human lives over financial concerns, stating that the UK should not put 'a cost on people's lives.'In addition to his comments on Israel, Polanski criticized Labour's housing policies, arguing that Green-run councils would focus on building new council houses and 'stand up' to property developers who resist building affordable homes. He accused Labour councils of building 'luxury, unaffordable buildings that no one's ever going to live in.'Labour responded by accusing Green party councillors of trying to block 42,000 homes across the country since 2018 and said they were not delivering social rented housing in areas where they were in power.

The recent two-week ceasefire announced by US President Donald Trump in the war on Iran has sent shockwaves through Israel. The move has been met with criticism from Israel's opposition leader, Yair Lapid, who called it one of the greatest 'political disasters in all of our history'. Prime Minister Benjamin Netanyahu's office issued a statement supporting the US decision, claiming that 'Iran no longer poses a nuclear, missile and terror threat to America, Israel, Iran's Arab neighbours and the world.' However, Netanyahu's war aims of preventing 'Iran from developing nuclear weapons' and creating 'the conditions for the Iranian people so they can remove the cruel regime of tyranny' remain unachieved.Despite significant military successes over the past 40 days of attacks on Iran, neither of Netanyahu's goals has been achieved. The Iranian regime is still in place, its ballistic missile programme could be rebuilt quickly, and it still has 440kg of enriched uranium at 60 percent purity, enough for 10 bombs.Analysts say that Iran has emerged stronger as a result of the war, with key victories including the survival of the Iranian government and its decision to close the Strait of Hormuz, one of the world's key energy arteries. The ceasefire has also given Iran an opportunity to continue with newly imposed levies on ships for safe passage through the Strait.Criticism of Netanyahu's handling of the war has been swift, with Ofer Cassif of the left-wing Hadash party saying that the prime minister has 'failed politically, failed strategically, and didn't meet a single one of the goals that he himself set'. Ahron Bregman, a senior teaching fellow at the Department for War Studies at King's College London, said that 'Israel achieved almost nothing tangible' and that the ceasefire has 'strained the US relationship'.

In the spring of 2002, the modest Free Butt pub on Brighton’s seafront buzzed with a restless energy. Future stars such as Natasha Khan, then a university art student, danced atop the bar while the Yeah Yeah Yeahs thundered through their first UK dates. Behind the scenes, band frontmen like Guy McKnight of Eighties Matchbox B‑Line Disaster served pints, and budding engineers like Steve Ansell of Cat on Form fine‑tuned the sound. The atmosphere felt like a rite of passage, where any performer could slip from a cramped stage to national attention.Unlike the neatly branded scenes of New York’s garage‑rock revival or London’s Libertines‑driven hype, Brighton’s early‑2000s scene resisted a single aesthetic. Rock groups emerged from rehearsal rooms and tiny clubs with wildly different looks and sounds, creating a cultural mosaic rather than a monolithic movement.Electrelane’s guitarist recalls recording their debut Rock It to the Moon in a studio once owned by the Levellers, and crafting their sophomore effort inside a former public toilet. These unconventional spaces proved surprisingly fertile, underscoring the city’s DIY spirit.By the turn of the millennium, the big‑beat dominance of Fatboy Slim and Skint Records had faded, making way for a grassroots rock surge. Sea Power relocated from Reading to Brighton, drawn by the city’s “dilapidated charm and fresh sea air”. Their self‑organized Club Sea Power nights at the Lift offered a chaotic yet liberating platform that eventually caught Rough Trade’s attention.Women played a pivotal role in shaping the scene’s infrastructure. Promoters Lisa Lout and Anna Moulson, both still active, booked seminal shows—including the Strokes’ first UK gig at the Lift in 2001—and helped launch the Great Escape festival. Their efforts ensured that bands such as the Pipettes, Electrelane and Bat for Lashes could share stages and media coverage.Artists recall the city’s palpable sense of belonging. Rose Dougall of the Pipettes describes a landscape where “alternative culture was on every street, from vintage shops to the colour of the houses,” and where “small venues made it feel attainable to launch a project.” Similarly, Brakes frontman Eamon Hamilton contrasts Brighton’s walk‑able, collaborative vibe with London’s darker, more competitive energy.Music journalism mirrored the scene’s intensity. Everett True and photographer Steve Gullick launched Careless Talk Costs Lives in 2002, a deliberately short‑run magazine that championed female writers and bands at a time when the industry was still heavily male‑dominated.As rents surged through the 2010s, many of the cheap flats, rehearsal rooms and iconic venues that underpinned the scene vanished. The Free Butt closed, independent record stores shuttered, and the once‑abundant low‑cost infrastructure dwindled, prompting a migration of creative energy down the coast to places like Margate, Ramsgate, Folkestone and Shoreham.Nevertheless, the remnants of Brighton’s network continue to nurture new talent, from the Kooks to Dream Wife and Gazelle Twin. The city’s strength lies not in a singular sound but in its capacity to host a “constant collision of wildly dissimilar bands,” allowing artists to develop authentically and fearlessly.

Copenhagen returns to the London stage under Michael Longhurst’s direction at Hampstead Theatre, a timing the reviewer calls “terrifyingly timely.” The three‑hander dramatizes the 1941 encounter between Danish physicist Niels Bohr (played by Richard Schiff) and German scientist Werner Heisenberg (Damien Molony), set against the looming threat of Hitler’s nuclear ambitions. The production draws unsettling parallels to contemporary politics, invoking Donald Trump’s recent threats toward Iran as a modern echo of the era’s extremist rhetoric. This resonance, the reviewer notes, amplifies the play’s relevance alongside the theatre’s downstairs offering, ROI (Return on Investment), which also interrogates the morality of scientific discovery. Visually, Joanna Scotcher’s set is a striking, non‑realist circle surrounded by water—a subtle nod to the “heavy water” used in Nazi nuclear research and a poignant reminder of the personal tragedy that befell one of Bohr’s sons. The second half’s dense scientific dialogue is rendered accessible, though the reviewer argues it sometimes falls short of fully unpacking the deeper metaphors embedded in the science. Performance-wise, the age gap between Bohr and Heisenberg (Bohr being sixteen years senior) hampers the on‑stage chemistry. Schiff’s portrayal of the seasoned Bohr occasionally stumbles over lines, while Molony’s Heisenberg comes across as a brooding, almost adolescent figure. In contrast, Alex Kingston’s turn as Bohr’s wife and editor, Margrethe, provides the emotional core, shouldering much of the play’s affective weight. Thematically, the drama wrestles with the question of whether scientists bear a moral duty beyond their research. Heisenberg’s famed uncertainty principle is employed as a metaphor for the psychological ambiguity surrounding their historic meeting. Yet the script conspicuously omits any direct reference to the bombings of Hiroshima and Nagasaki, focusing instead on the fear of a Nazi atomic weapon and sidestepping the United States’ own nuclear legacy. While the production boasts compelling aesthetics and a thought‑provoking premise, the reviewer finds moments of sluggish pacing and a missed opportunity to confront the irony of overlooking the U.S. bombings, especially as contemporary concerns about American military assertiveness rise. The show runs at Hampstead Theatre, London until 2 May.

János Bődey's photograph of two elderly ladies dressed as bride and groom in a Hungarian retirement home has captured the essence of joy and love in old age. The image is part of his series Carnival at the Retirement Home, which showcases the fulfilling lives of pensioners who have overcome difficulties.In Hungary, the average pension is approximately £500 a month, making it challenging for retirees to afford leisure, culture, or travel. Additionally, the health of Hungarian pensioners often falls short of Western standards, and securing a spot in a retirement home can be a lengthy process.Bődey's subjects, Magdolna, 87, and Irén, 86, have lived with their husbands for over 50 and 62 years, respectively, until their spouses passed away. They attribute their long and happy lives to a combination of good genes, an active lifestyle, and a healthy marriage.The photographer's series aims to serve as a role model for both peers and the middle generation, demonstrating that it's possible to lead a fulfilling life in old age. The elderly ladies recommend a healthy, active life with plenty of walking and traveling, as well as avoiding debt.Bődey's work is a departure from his usual coverage of conflicts and social issues. He finds inspiration in the happiness and playfulness of the carnival celebrations, which begin in February to mark the end of winter.The photographer's experience has taught him the importance of preparing for retirement by gathering emotional and financial resources, setting goals, and being creative. His series has been shortlisted for the Sony World Photography Awards 2026 and will be exhibited at Somerset House in London from April 17 to May 4.