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Lead: Customers Stuck Between Closed Branches and Unreliable Apps When the Lloyds branch in Staines shut its doors, long‑time customer Patricia Payne—who travels four miles from Chertsey for cash withdrawals—found herself with "one option" left for in‑person banking. The closure coincided with an IT outage that left thousands of Lloyds customers unable to make payments, highlighting the fragility of relying solely on digital channels. Lloyds Shuts Staines Branch Amid Ongoing IT Outage The Staines branch, one of two Lloyds closures in Surrey that week (the other in West Byfleet), was part of a plan to shutter almost 150 outlets by March 2027. The branch’s poster urged customers to use the mobile app, yet many, like the 78‑year‑old Payne, struggle with online banking and depend on physical counters for withdrawals and transaction help. Scale of UK Bank Branch Closures: 6,795 Since 2015 Since January 2015, a total of 6,795 bank branches have closed across the UK, representing 69% of the branches that were open at the start of 2015. Overall, around 7,000 branches have disappeared since 2015, with a peak in closures in 2017. Lloyds and Santander have announced fresh rounds of closures this year. Consequences for Rural Communities and Small Businesses Residents of Surrey’s high streets describe the area as a "banking desert". Without nearby branches, pensioners and tradespeople must queue at post offices or rely on cash machines in supermarkets. Small‑business owners like fruit‑and‑veg stallholder Radhe Mali warn that the loss of local banks hampers cash‑based operations, while customers such as Lynne Bulmer express anxiety over the shift to online banking. Future Outlook: Government Review and Potential Policy Response In response to mounting public concern—a YouGov poll found 76% of Britons consider local branch access important—the government launched an independent review to assess the real‑world impact of branch closures and identify who is most affected. The review may lead to regulatory measures aimed at preserving face‑to‑face banking services, especially in underserved areas.

The Ancient Art of Altamira The aurochs, the mammoth, and the steppe bison are long extinct, but their painted likenesses still look relatively fresh across the walls and roofs of Altamira. Or so said Diego Garate Maidagan, who is one of the very few humans allowed to enter that exalted cave in northern Spain. The Technique of Prehistoric Painters Garate's specialism requires close attention to the etching or “pecking” technique whereby the artists used flint blades to outline figures on the rock before applying their ochre and charcoal. Altamira is rare and precious, he told me, because those reds and blacks are still so solid and vivid. The colours were preserved in the near-quarantine conditions imposed by that long-ago landslide. The Impact of Human Presence on Cave Art The site was opened to the public in 1917, partly closed in the 1970s, then shut for good in 2002, as a century or so of gaping admiration revealed the paint-stripping effects of moisture and carbon monoxide from the breath of too many beholders. A replica cave, with replica artwork, was created on an adjacent site. Today, only Garate and other select scholars have access to the original sanctuary. The Future of Cave Art Research In the far north of the Basque Country, the recent search for such apparitions has stirred “a little revolution”, by Garate’s reckoning. He and his colleagues in Santander planned a campaign to test a working theory: that the caves of northern Spain and south-western France were once lavishly decorated with pictograms and petroglyphs, now barely visible to the untrained eye. Unlocking the Secrets of Prehistoric Image-Making The general idea, Garate told me, was to reverse-engineer the processes of prehistoric image-making: to unpack the practical, mechanical decisions of the artists, and thus to better understand their skill set, their knowledge base, their means and modes of communication. One project gauged the “luminous intensity” and “radius of action” achieved by burning different woods and fats to light the cave.

A Surrealist Masterpiece Emerges from the Depths of Psychiatric ConfinementA recently discovered painting by the surrealist artist Leonora Carrington, made during her confinement in a Spanish psychiatric hospital during the second world war, will go on public display for the first time in London this summer. Known as Villa Pilar, the work was painted in 1940 while Carrington was a patient at sanatorium Morales in Santander, after fleeing Nazi-occupied France following the arrest of her partner, the German artist Max Ernst.The Unveiling of a Hidden Masterpiece from a Turbulent PeriodCarrington suffered a psychological breakdown in Madrid and was admitted to the institution, where she underwent traumatic psychiatric treatments that she later described in her memoir Down Below. But encouraged by her psychiatrist, Dr Luis Morales, Carrington sketched each day, and created two paintings, Down Below and Villa Pilar, which depict the psychiatric hospital as a symbolic underworld. Carrington described her "down below" period as an experience akin to "being dead."A Life Marked by Rebellion and Artistic InnovationBorn into a wealthy Lancashire family in 1917, Carrington rebelled early against the expectations placed on upper-class women. She studied at the Chelsea School of Art before meeting Ernst at a dinner party in London in 1937, when she was 20 and he was 46. The two began a relationship that scandalised their respective social circles and moved together to Saint-Martin-d'Ardèche in the south of France, where they lived and worked until the German invasion.She found kindred artistic spirits in renowned surrealists like André Breton, Salvador Dalí, and Man Ray, who, like her, were fascinated by dreams, the subconscious and the occult. When she eventually settled in Mexico in the 1940s, she became one of the country's most celebrated artists and part of an influential community of women creatives working outside the male-dominated European surrealist movement – alongside figures including the Spanish painter Remedios Varo and the photographer Kati Horna.Carrington was later embraced as a feminist icon, and she always resisted attempts to reduce her to her gender, once remarking: "I didn't have time to be anyone's muse ... I was too busy rebelling against my family and learning to be an artist." She died in Mexico City in 2011, aged 94.The Rediscovery and Symbolic Meaning of Villa PilarCarrington gave Villa Pilar to Dr Morales when she left the sanatorium, and it remained in his family for decades. It was only rediscovered during research for the exhibition by the Faro Santander team, who persuaded the Morales family to loan it publicly for the first time.Vanessa Boni, curator of the exhibition, said Carrington created the work as "a parting gift" to thank Morales for helping her recovery, despite the "brutal" treatments she endured, including cardiazol injections. "As we know from her memoir, it was really traumatic," she said. "Dr Morales kept the painting his entire life, and when he passed away, it was handed down to his daughter."The work depicts the hospital as being populated by hybrid human-animal figures moving through vivid green gardens – imagery that would become central to Carrington's later practice. "It speaks to ideas of inner transformation, metamorphosis and otherness," Boni said. "Both paintings are set in a verdant green landscape, including a green sky, which was a symbolic colour for her."A Transatlantic Exhibition JourneyVilla Pilar will join the exhibition Leonora Carrington – the Symptomatic Surreal at the Freud museum, where Sigmund Freud spent the final year of his life after escaping Nazi-occupied Vienna. To mark the unveiling, the exhibition has been extended until 10 August before travelling to Faro Santander, a new arts centre in the northern Spanish city, in September.Daniel Vega Pérez de Arlucea, director of Faro Santander, said: "This is not simply a matter of showcasing the work of one of the most important surrealist artists, but of recognising and revisiting a chapter of her life deeply rooted in this city."After leaving Santander, Carrington travelled through Lisbon and New York before settling in Mexico, where she became one of the leading figures of surrealism. In 2024, one of her paintings was auctioned for £22.5m, a record for a UK-born female artist.While in New York, Carrington gave her Santander sketchbooks to the surrealist collector Julien Levy, whose collection was sold at auction and dispersed into private collections in 2004. This exhibition marks the first attempts since then to bring the contents together for a major public display.

The AI Funding Surge Cognition, the makers of the autonomous AI software engineer named Devin, has raised more than $1 billion at a $25 billion pre-money valuation, the company announced on Wednesday. Valuation Leap That’s a major leap from its $10.2 billion post-money valuation when it closed a $400 million funding round just eight months ago in September. Investor Lineup The round was led by Lux Capital and General Catalyst, with existing investors pouring in, including Founders Fund, 8VC, and others. The round also included new investors Ribbit Capital, Atreides, and Layer Global. Market Confidence This is a giant vote of confidence from top-tier VCs that there will be room for independent AI software coding startups. Last year, all signs pointed to model makers swallowing this hot market themselves. Certainly Anthropic’s Claude Code, OpenAI’s Codex, and maybe even Google’s coding agent Jules, (after Google’s acqui-hire deal of Windsurf last year), have captured a lot of it. Customer Traction But Cognition, which acquired the remaining bits of Windsurf last year, says it counts big enterprises like Mercedes-Benz, NASA, Goldman Sachs, and Santander as customers. It also says it’s reached $492 million in annualized revenue run-rate as enterprise usage of Devin has grown 50% month over month for the past six months.

The International Committee of the Red Cross (ICRC) reports that displacement in Colombia doubled in 2025, with over 235,619 people forced from their homes, marking the worst humanitarian year in a decade.The Surge in Displacement Amid Colombia’s Fragmented ConflictSince the 2016 ceasefire with the Revolutionary Armed Forces of Colombia (FARC), the conflict has splintered into multiple dissident and criminal groups. The ICRC’s annual report highlights that this fragmentation has reignited violence across the country, especially in the border department of Norte de Santander, where 42 % of the displaced are concentrated.Numbers That Reveal a Humanitarian Crisis235,619 individuals displaced in 2025 (double the 2024 figure)Mass‑displacement events affected > 87,000 peopleExplosive‑related casualties: 965 killed or injuredExplosive incidents rose > 33 % year‑on‑yearLockdowns in small communities increased by nearly 100 %Why the Conflict’s Fragmentation Is Deepening SufferingFragmented armed groups compete for control of illicit economies, leading to a surge in the use of drones and improvised explosive devices. Civilians face “lockdowns” that restrict access to education, crops, and essential services, eroding the social fabric and livelihoods of entire regions.What the Future Holds for Peace Efforts and Civilian SafetyPresident Gustavo Petro’s “Total Peace” negotiations remain stalled as right‑wing factions demand a hardline approach ahead of the May 31 elections. Analysts warn that without a credible security framework, displacement trends are likely to continue rising, pressuring both national and international actors to intervene.

The Savings Landscape in the UKEarning as much as 7% on your savings sounds great – but what's the catch? The top-paying accounts often come with strings attached, which could mean your money is not working as hard as you thought. That's important because there is a lot of cash sitting in fixed-rate savings accounts that are about to reach the end of their term. The total amount in accounts maturing between April and June is £90bn, according to the savings app Spring – and that money will need to find a new home.On top of that, there is an estimated £329bn sitting in current accounts earning 0% interest, and another £99bn in savings accounts paying 1% or less, all of which should be doing more. At a time when inflation is creeping up, it is crucial that your savings keep pace with the cost of living.The Hidden Limitations of High-Yield AccountsRegular savings accounts are a great way to build a pot, and many of them have decent interest rates – but they often limit how much you can save and for how long. The Co-operative Bank's Regular Saver (available to the bank's current account holders) pays a generous 7% interest, for example, but only on up to £250 a month. Saving the maximum into this account every month – so £3,000 over 12 months – could earn you £114 interest after a year.If that is less than you expected, the reason is that you are drip-feeding the money in over the 12 months rather than putting it all in as a lump sum at the beginning, so you are only getting 7% on the full £3,000 for one month. If you have a decent-sized lump sum to invest, you may find that something like a high-paying fixed-rate savings account is a better bet. For example, someone with a £5,000 lump sum who put it all in a savings account paying quite a lot less – 4% – could earn close to double that amount of interest in a year: £200.The Financial Impact of Bonus Rate StructuresSome top-paying accounts include "bonus rates", which disappear after a certain period, leaving you with a less generous rate. The Post Office's Online Saver, for example, offers a rate of 4.1% interest – but that is boosted by a 3.2% bonus rate for 12 months. So the interest rate without the bonus after 12 months is just 0.9%. Similarly, Tesco Bank's Internet Saver pays 4.12%, which includes a 12-month bonus rate of 3.07%.Some bonus periods may be shorter, lasting only three or six months. Savers don't need to completely avoid such accounts, but they should make a note of when the bonus ends and then move their money. Derek Sprawling at Spring says: "Check how long any bonus lasts, what balance it applies to, and what rate you will earn once it ends."Access Restrictions That Limit FlexibilityEasy access accounts are great for anyone who might need to get hold of their money quickly. But the access might not be as easy as you think. Analysis by Spring found that 77% of easy-access accounts that come with paid-for or premium current accounts have extra restrictions. Almost half have tiered interest rates, while nearly a third have withdrawal restrictions.Be sure to understand the rules or you may face a penalty, such as a reduced interest rate or forfeiting the interest you have earned. Sometimes there is a clue in the name. Mansfield building society's Triple Access Bonus Saver pays 4.25%, which includes a 1% bonus for 12 months – but you are restricted to three withdrawals in each calendar year.How Balance Tiers Affect Your ReturnsThe interest rate you get can sometimes depend on your balance. Some accounts offer a better rate the more money you have, while others pay the top rate only up to a certain amount, so those with a larger pot miss out. The Santander Edge Saver account pays 6%, for example, but only on balances up to £4,000. Savers with this amount stashed away could earn £200 over a year. But those with more won't earn any extra – no interest is paid on balances above £4,000 – so they would be better-off taking their additional savings elsewhere.Other accounts have eligibility criteria that restrict who can open one. These might include needing a current account with the bank or a minimum deposit. Other accounts are open only to certain professions, such as teachers, or to people in particular regions or postcodes.The Future of UK Savings and Consumer ProtectionAs more consumers become aware of these traps, financial institutions may face pressure to offer more transparent products. James McCaffrey at the credit score app TotallyMoney warns: "When it comes to savings, if it looks too good to be true, it might well be. Check the small print – headline-grabbing rates don't always tell the full story."With billions of pounds sitting in low-yield accounts and maturing fixed-term products, the coming months will see many UK savers making critical decisions about where to park their money. Those who take the time to understand the full terms and conditions of high-interest offers will be best positioned to maximize their returns while maintaining the flexibility they need.

Background and TriggerUS and Israeli strikes on Iran have escalated into a regional conflict, prompting Iran to close the Strait of Hormuz and attack neighbouring oil producers.Resulting spikes in energy prices have fueled inflation concerns and heightened mortgage‑cost pressures in the UK.Emergency Summit DetailsThe meeting, scheduled for Wednesday, will bring together the chief executives of HSBC, Barclays, Lloyds, NatWest and Santander with Chancellor Rachel Reeves. The agenda centres on:Immediate steps to shield the most vulnerable borrowers.Early insight into consumer behaviour as the crisis unfolds.Long‑term regulatory considerations ahead of Reeves’s Mansion House speech.Economic Impact on HouseholdsThe Bank of England warns that more than 1 million UK households could see their loan‑service costs rise sharply. In parallel, the government’s mortgage charter obliges banks to support 1.6 million customers whose fixed‑rate deals expire before year‑end. Assuming an average mortgage balance of £200,000, this represents roughly £320 billion of exposure that could be destabilised without coordinated forbearance.Mortgage Market ResponseSince the conflict began, banks have withdrawn about 1,500 mortgage products and raised rates on the remaining 7,000 offerings. The rate hikes, dubbed “Trumpflation”, have pushed the Bank of England’s forecast that 5.2 million borrowers – about 58 % of all UK mortgage holders – may face higher payments by the end of 2028. This potential shock underscores the urgency of the summit’s forbearance discussion.Regulatory and Financial OutlookBank CEOs are finalising year‑end results, likely to incorporate revised UK‑growth outlooks reflecting the war‑induced volatility. Longer‑term regulatory reforms, a theme of Reeves’s previous “boot on the neck” speech, will also be on the table, aiming to balance financial stability with the Labour Party’s pro‑growth agenda.

BackgroundThe Financial Conduct Authority (FCA) has finalized a £9.1 billion redress scheme for victims of a motor‑finance scandal that saw drivers overcharged on loans between 2007 and 2024. About 42% of the total bill (£3.8 billion) is assigned to the financing arms of major carmakers.Financial GapCollectively, carmakers have earmarked only £803 million, leaving a shortfall of roughly £3 billion. This gap represents 79% of the carmakers’ £3.8 billion liability and about 40% of the £7.5 billion intended for direct customer payouts.Carmaker ProvisionsMercedes‑Benz: £424 millionBMW: £207 millionRenault: £74 millionFord: £61 millionStellantis: £37 millionToyota: provision disclosed but amount not specifiedVolkswagen and Ferrari: no funds set aside to dateEven with these provisions, the industry must scramble to mobilise the additional £3 billion before the scheme launches this summer.Bank ProvisionsHigh‑street banks (Lloyds, Santander, Barclays) have provisioned £3.9 billion of the £5.2 billion they expect to owe, covering 75% of their liability.Unlike carmakers, banks have been more proactive, reflecting the higher materiality of finance to their core operations.Regulatory & Political ContextThe FCA released the final terms last month and set a deadline of 5 pm on 27 April for challenges to the scheme. Ministers, including Chancellor Rachel Reeves, have warned that overly large payouts could deter investment and jobs in the UK, prompting discussions about Supreme Court interventions.ImplicationsThe £3 billion shortfall could force carmakers to seek additional financing, potentially affecting cash flow and investment plans.Failure to meet the shortfall may trigger legal challenges that could delay payouts to consumers.Disparities in provisioning highlight differing risk management cultures between automotive manufacturers and banks.

Mexico’s art world is in uproar after an agreement with Banco Santander to export a landmark segment of the Gelman collection to Spain. The collection, hailed as one of the most significant assemblages of 20th‑century Mexican art, features masterpieces by Frida Kahlo, Diego Rivera, Rufino Tamayo, José Clemente Orozco, María Izquierdo and David Alfaro Siqueiros. Approximately 400 cultural professionals have signed an open letter demanding clarity from the Mexican government about the fate of the works, especially those by Kahlo that the state has designated as an "artistic monument". Historian Francisco Berzunza warned that Kahlo is "the most important artist in the history of our country" and that her works should remain accessible in Mexico. The disputed batch comprises 160 paintings, sketches and photographs originally owned by collectors Jacques and Natasha Gelman and purchased by the Zambrano family in 2023. Under the Santander deal, the pieces—currently on public display in Mexico for the first time in two decades—are slated to travel to Spain this summer to become a centerpiece of the new Faro Santander cultural centre. Santander’s announcement promised to handle "conservation, research and exhibition" of the collection, yet it omitted the duration of the Spanish stay. The bank’s director, Daniel Vega Pérez de Arlucea, later told El País that the legislation governing the works is "flexible" and that the collection would enjoy a "permanent presence" at the centre, intensifying concerns. Mexican officials have attempted to reassure the public. President Claudia Sheinbaum stated, "Our desire is for the collection to remain in Mexico," while Culture Minister Claudia Curiel de Icaza emphasized that the export is only temporary and that the artworks are expected to return by 2028. Santander also issued a statement insisting the deal does not constitute a sale or permanent removal. Nevertheless, critics argue the contract is ambiguous. The agreement, viewed by the Guardian, allows Faro Santander to retain control of the collection at any point between June 2026 and 30 September 2030, with the possibility of extensions by mutual consent. Such language fuels fears that the pieces could become effectively permanent fixtures abroad. Legal experts note that Mexican law protects works declared national artistic monuments, mandating that they may leave the country only temporarily and that the National Institute of Fine Arts and Literature (Inbal) is responsible for their repatriation. With Inbal owning just four of Kahlo’s roughly 150 pieces, many fear the deal undermines the protective framework. Berzunza summed up the stakes: "If the works were not to return, a fundamental part of this artist’s body of work – and her history – would be lost. These pieces are essential to telling her story and to understanding our identity as Mexicans."