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Delta Air Lines chief executive Ed Bastian told investors that customers should expect higher airfares as oil prices climb in response to the ongoing US‑Israel conflict with Iran. The carrier has already absorbed an additional $330 million in fuel costs and anticipates a further $2 billion increase in fuel expenses for the current quarter. Despite the cost pressure, Delta forecasts a 10% rise in revenue, citing robust passenger demand that it describes as a "healthy" travel environment. Bastian noted that the surge in demand is especially strong among affluent travelers who continue to purchase premium‑class seats. Other U.S. airlines have begun raising baggage fees, attributing the move to volatile fuel markets. Bastian suggested that such fee hikes could become a permanent feature of airline pricing, adding that "at this level of fuel pricing, it’s hard to call anything temporary." Oil markets showed a brief reprieve after Iran announced the reopening of the Strait of Hormuz under a two‑week cease‑fire agreement with the United States. Brent crude fell from roughly $110 per barrel to just under $95 per barrel, yet prices remain about $20 per barrel above pre‑conflict levels. U.S. carriers have felt the ripple effects of the conflict. Since the start of the year, American Airlines shares have slipped about 25% and United Airlines about 13%. United’s CEO, Scott Kirby, warned that fares could climb as much as 20% if fuel costs stay elevated, even as airlines strive to keep demand strong. Delta’s stock, which surged 17% last year, has been flat so far in 2026, reflecting both consumer resilience and the headwinds from the conflict. The shares did gain 6% in early trading on Wednesday. To mitigate fuel consumption, Delta plans to trim capacity on lower‑load midweek and overnight routes, mirroring a similar capacity‑reduction announcement from United earlier in the month. Bastian also highlighted that Delta has benefited from a "K‑shaped" economic recovery, where wealthier consumers continue to spend on travel while lower‑income households curb discretionary spending. "Our customers at the top of the K are still investing in travel," he told CNBC, emphasizing that premium travel remains a priority for this segment.

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.

Arthur Rosenfeld, 73, and Meryl Tankard, 70, open the performance by introducing themselves as “sprightly old geezers,” setting a tone of candid humor that runs through the evening. The production, ‘Kontakthof – Echoes of 78,’ is a fresh staging of Pina Bausch’s iconic 1978 work, now re‑imagined by Australian choreographer Meryl Tankard. Unlike the 2010 London run that split the piece between teenagers and senior amateurs, this rendition features the eight surviving members of the original cast—all now in their late sixties to early eighties—performing the very roles they created half a century ago. A ninth dancer was absent due to illness. Their live movements are mirrored on a large screen by the black‑and‑white film of the 1978 performance, creating a visual palimpsest where past and present dance together. The choreography, set to 1930s dance‑hall songs, remains a wry commentary on courtship, power dynamics and consent. Tankard’s direction emphasizes the passage of time, allowing audiences to witness the same steps executed by bodies that have aged, yet retain a striking vitality. Dancers such as Josephine Ann Endicott, now in her seventies, glide across the stage in silk dresses, their frames more fragile but their confidence undiminished. Moments of poignancy arise when the film shows cast members who have since passed away. Onstage, John Giffin reaches for his late partner’s face, only to grasp empty air—a visual metaphor for loss that resonated deeply with the audience. Personal revelations punctuate the performance: Beatrice Libonati, 71, describes herself as “paranoid and a misanthrope,” while Tankard admits, “I wish I’d had children; I miss my mother every day,” underscoring the undercurrent of longing that runs through the piece. Beyond its narrative, the production offers a meditation on continuity. Bausch’s signature walking patterns—slow circles and linear traverses—are repeated, suggesting that despite changing bodies, the human species continues to tread familiar social routes. The music, unchanged from the original, carries on until the final dancer pauses, symbolising the inevitable end of the dance of life. The show runs at Sadler’s Wells, London through 11 April, offering a rare glimpse into how art can bridge generations and celebrate the endurance of the human spirit.

Bruce Miller returns as showrunner to bring Margaret Atwood’s 2019 novel The Testaments to the screen, positioning it as a direct sequel to the acclaimed series The Handmaid’s Tale. The new eight‑part drama, now streaming on Disney+, shifts the narrative focus to the next generation of women living under Gilead’s regime. While the series adopts a lighter, almost YA‑ish tone compared with its predecessor, the underlying brutality remains unmistakable. Viewers are confronted with “bloody punishments, rotting corpses on gibbets and relentless indoctrination,” now filtered through the eyes of teenage protagonists. The visual palette expands beyond the iconic red, white and green of the original. Young girls of privileged status appear in pink dresses and cloaks, older students—dubbed “Plums”—wear purple headpieces that are more stylish than the oppressive bonnets of the handmaids, and menstruating women are marked by a teal hue, signaling a grim rite of passage. Central to the story is Agnes (Chase Infiniti), the adopted daughter of Commander MacKenzie and the secret first child of June/Offred. Her journey intertwines with that of Daisy (Lucy Halliday), a “Pearl Girl” recruited from outside Gilead, whose mysterious background fuels the series’ central mystery. Ann Dowd reprises Aunt Lydia, now presiding over an elite preparatory school where she tasks Agnes with mentoring Daisy. Their evolving relationship, alongside flashbacks that flesh out Aunt Lydia’s own history, anchors the ten‑episode arc. Beyond the personal dramas, the series continues to examine groupthink, systemic corruption and the subjugation of women. Scenes such as Agnes kneeling before her father in newly‑colored robes starkly echo real‑world teenage experiences of power dynamics, albeit in a far more visceral setting. Occasional moments of dark humour provide brief relief, but the overarching message remains clear: the mechanisms of oppression are timeless, and the fight for autonomy persists across generations. The Testaments is now available on Disney+, offering both fans of the original series and newcomers a stark reminder of how dystopian fiction mirrors historical and contemporary tyrannies.

Wayne Koestenbaum's latest novel, 'My Lover, the Rabbi', defies expectations with its unapologetically obsessive prose and exploration of desire. The story centers around a man who works as an antique furniture restorer and his overwhelming desire for a man who works in a synagogue. This central fact is accepted by all characters, and the writing treats realist conventions with a kind of exalted scorn.The book's 188 chapters are short and plunge the reader into a world of carnality, confusion, and bizarrely specific detail. The title of the book is reiterated throughout, becoming almost a mantra. This insistent and anxious formality is at the heart of the book's uncanny life, matching style to subject in a brilliant and unconventional way.As the plot emerges, it seems almost 19th century in its storyline, with themes of infidelity, illegitimacy, madness, shopping, coincidences, and death. The narrator's need to discover the secret of his rabbi's attractiveness drives the plot, much like Proust's Swann. The mystery of the rabbi's allure and the death of his three-year-old son become central to the narrative, revealing vistas of unknowability.The book's whirlwind invention culminates in a final, fugue-like recapitulation, where the narrator's obsessive desire morphs into a vision of the unknowability of any object of desire. This gloriously original evocation explores what it might feel like to admit to the inability of love to triumph over death. Koestenbaum's writing is like that of the best kind of angel, unafraid to come down to earth and explore the complexities of human desire.

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.

Bill Ackman's Pershing Square has unveiled a €55.75 bn cash‑and‑shares bid to acquire Universal Music Group (UMG), valuing the label at €30.40 per share – a 78% premium over the previous close of €17.10. The proposal translates to roughly $64.31 bn, positioning it as one of the largest recent takeovers in the entertainment sector. The offer is tied to a strategic plan to relocate UMG’s primary listing from Amsterdam to New York. A U.S. listing would broaden the investor base, potentially attracting index funds and enhancing liquidity, which Ackman argues could lift earnings and drive a higher market valuation. In a letter to UMG’s board, Ackman praised chairman‑CEO Lucian Grainge while criticizing what he described as an “underutilized balance sheet” and the company’s €2.7 bn investment in Spotify Technology. He suggested that a refreshed governance structure – including former Hollywood super‑agent Michael Ovitz as board chair and two Pershing Square directors – would better position the label for future growth. Market reaction was immediate: UMG shares jumped 13% on the news, while Bollore Group’s stock rose 5% and Vivendi’s shares climbed over 10%. Pershing Square currently holds a 4.7% stake in UMG, making it the fourth‑largest shareholder. Key shareholders whose support is essential include Bollore Group (18.5% stake), Vivendi (13.4%), and China’s Tencent. Notably, the Bollore family controls about 80% of UMG’s voting rights, giving it decisive influence over any transaction. Industry analysts point to several headwinds that have pressured UMG’s share price, which has fallen nearly one‑third since its 2021 IPO. Streaming growth is decelerating, and concerns about AI‑generated music – from copyright disputes to fully synthetic songs – are reshaping the competitive landscape. A recent survey found that 97% of listeners can differentiate between AI‑created tracks and human‑composed music. Despite these challenges, global music revenues continue to rise year over year, prompting major labels such as Sony and Warner Music to double‑down on streaming partnerships with platforms like Spotify, Amazon, Apple and Deezer. Under the proposed structure, Pershing’s SPARC Holdings would merge with UMG, creating a Nevada‑incorporated entity listed on the New York Stock Exchange. If approved, the deal could set a precedent for how legacy entertainment firms adapt to evolving technology and investor expectations.

Iran has warned that Saudi Arabia and the United Arab Emirates could become new targets if the United States proceeds with attacks on Iranian civilian infrastructure, according to a statement cited by the Tasnim news agency. The warning came late on Tuesday, as U.S. President Donald Trump issued an ultimatum demanding Iran reopen the Strait of Hormuz by 00:00 GMT (3:30 a.m. Tehran time) on Wednesday, threatening to "destroy a whole civilisation" if the demand is not met. Closing the strategic waterway would further destabilise the global oil market, already rattled by the ongoing blockade of Gulf oil exports. In response, Iran’s First Vice President Mohammad Reza Aref affirmed the country’s readiness for any scenario, stating on X that national security and infrastructure sustainability have been meticulously calculated and that “no threat is beyond our preparedness and intelligence.” Meanwhile, U.S. forces intensified strikes on Iranian targets, hitting railway and road bridges, an airport, a petrochemical plant, and the Kharg Island oil export terminal. Gulf states on high alert Regional authorities have taken precautionary measures: Bahrain’s Khalifa Bin Salman Port announced a temporary suspension of operations from early April 8, and the U.S. State Department issued a shelter‑in‑place order for American citizens in Bahrain, alongside travel advisories for the Hajj pilgrimage and for Riyadh. Kuwait’s Ministry of Interior imposed a curfew from 12 a.m. to 6 a.m. (GMT 21:00–03:00) as a precaution, while the King Fahd Causeway linking Saudi Arabia and Bahrain was closed twice on Tuesday due to alerts in Saudi Arabia’s eastern region. Israel warned its citizens of a likely surge in attacks as the deadline approaches, citing the Karish and Tanin offshore gas fields as potential targets. Explosions and rocket fire were reported across the region, including near a U.S. diplomatic facility in Baghdad, in the Iraqi capital, and over Bahrain and the UAE. The UAE’s Ministry of Defence confirmed that its air defences are currently engaging missile and drone attacks from Iran, and Qatar’s Ministry of Defence reported intercepting a missile aimed at its territory. These developments underscore a rapidly escalating security environment in the Middle East, with the potential to impact global energy supplies and international trade.

Lin Yu-ting, the 30‑year‑old Taiwanese Olympic champion, secured a bronze medal at the Asian Boxing Elite Championships in Mongolia, marking her return to competition after a gender‑eligibility controversy that clouded her 2024 Paris Olympic triumph.Competing in the 60kg division for the first time, Lin was defeated in the semifinals by North Korea’s Won Un Gyong, resulting in a third‑place finish.Her coach, Tseng Tzu‑chiang, told Taiwan’s Central News Agency that the shift to a higher weight class presented “new opponents’ skills, strategies and styles,” and that the tournament served as a valuable learning opportunity.Lin had opted out of last year’s World Championships after World Boxing announced mandatory sex testing for female athletes, a policy introduced following the high‑profile gender disputes involving Lin and Algerian boxer Imane Khelif after their gold medals in Paris.Following an appeal by Taiwan’s boxing federation, World Boxing cleared Lin to compete in the female category last month, enabling her participation in the Asian championships.Looking ahead, Tseng indicated that Lin aims to compete at the Asian Games in Nagoya, Japan later this year, noting that while her physical condition was not yet optimal, the experience provides “room for improvement and a clear path forward.”In parallel, the International Olympic Committee has introduced a new eligibility policy that excludes transgender female athletes from women’s events, aligning with a U.S. executive order. The IOC stated that eligibility will be determined by a mandatory gene test, limiting participation to “biological females.”