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Big Mood returns for a second season on Channel 4, aiming to blend a serious look at bipolar disorder with broad‑scale comedy. Lead actress Nicola Coughlan reprises Maggie, now emerging from a harrowing episode of lithium poisoning that left her hallucinating and confused. The debut series introduced Maggie in the throes of a manic episode, followed by a depressive crash after she stopped her medication to protect her creative output. While the first season earned praise for its insightful depiction of mental illness, the new installment quickly pivots toward slapstick scenarios – from a militant maid of honour to a secret‑husband extortion plot – that dilute the original emotional weight. Central to the drama is Maggie’s strained bond with best friend Eddie, played by Lydia West. Their friendship, already intense in season one, becomes increasingly implausible as Eddie abandons London for California without explanation. In season two, Eddie resurfaces under the control of a dubious wellness guru named Whitney, who has siphoned her finances and seeks to erase any lingering connection with Maggie. Rather than deepening the exploration of mental health, the series now focuses on a far‑cical showdown between the two women. Maggie, now in a “stable girl” routine of retinol and Hello Fresh meals, obsessively attempts to expose Whitney as a fraud, enlisting Eddie’s friend Will – a character described as “incorrigibly nice” yet treated with contempt by both protagonists. The tonal shift raises questions about the show’s core ambition. While Coughlan delivers an empathetic performance that captures Maggie’s inner turmoil, the surrounding plotlines feel disjointed and at times toxic, especially in the portrayal of the once‑intoxicating platonic romance that now appears more destructive than supportive. Humor, inherently subjective, may still resonate with viewers who appreciate the series’ millennial‑centric chaos. However, the blend of “knockabout farce” with moments of genuine drama feels uneven, suggesting that the show’s initial promise of a heartfelt, realistic bipolar narrative has been eclipsed by over‑reaching comedic contrivances. In conclusion, Big Mood season two struggles to reconcile its dual aims. The ambitious premise that once offered a nuanced look at mental illness now feels buried beneath a barrage of gimmicks, leaving audiences to wonder whether it’s time for the characters – and perhaps the series itself – to move on.

"The failure is big," Liverpool midfielder Ryan Gravenberch declared after the Champions League loss to Paris Saint-Germain. The defeat not only eliminates Liverpool from Europe but also seals a season that will finish trophyless. Manager Arne Slot has repeatedly insisted that the future looks very bright for Anfield, yet the club’s reality is starkly different. A business model built on lucrative broadcasting and commercial revenues now faces a potential top‑five miss, a scenario that would be financially and reputationally humiliating for a side that spent nearly £450 million on its squad last summer. Slot’s request for three seasons to steer Liverpool’s transition is under intense scrutiny. In the past 16 days Liverpool have played five matches: three defeats, two aggregate exits totalling 8‑0, and a solitary league win sparked by 17‑year‑old Rio Ngumoha. The pattern underscores a season riddled with setbacks. Sporting director Richard Hughes observed that despite a respectable xG of 1.94 against PSG, Liverpool’s performance fell short, a symptom of deeper issues. The situation worsened when forward Hugo Ekitiké collapsed with a suspected Achilles injury in the 27th minute, likely ruling him out for the remainder of the campaign. His absence further hampers the newly assembled £320 million front line of Alexander Isak, Hugo Ekitiké and Florian Wirtz, who have barely featured together. Slot’s tactical gamble of starting Isak after a four‑month hiatus and deploying a back five at the Parc des Princes backfired. Isak managed only five touches before being substituted at halftime, illustrating that a Champions League quarter‑final is not the venue for experimentation. After the second leg, Slot attempted to inject optimism, stating, "The good thing is Alex is back" and reiterating that the club can compete with Europe’s champions on home soil. Critics argue this positivity is misplaced, especially as Liverpool scrambles through the run‑in with key players missing. With six league games remaining, a fit Isak could be the difference between securing Champions League qualification and enduring further humiliation. Both Isak and Wirtz must begin to justify their hefty transfer fees, despite recent injury concerns and underwhelming output. In a candid interview with Ziggo Sport, Gravenberch summed up the mood: "No, actually not. It’s disappointing. We have to pick ourselves up as Sunday is waiting. We still have six matches in the league and we just want to play in the Champions League next year as well." He added that the season feels plagued by setbacks—late goals conceded and missed chances—making this a tough, failure‑laden campaign from which the squad must learn.

Conversations about mundane topics are often dreaded, but research suggests that people enjoy them more than they anticipate. A study involving 1,800 volunteers found that participants enjoyed chatting about dull subjects, such as the stock market or vegan diets, more than they expected. The findings indicate that by avoiding potentially dull exchanges, individuals may miss out on the mood boost and health benefits that come with connecting with others. Elizabeth Trinh, a PhD candidate in management and organisations at the University of Michigan, noted that people tend to underestimate how interesting and enjoyable conversations about boring topics can be. Trinh and her colleagues conducted a series of experiments to gauge how people responded to conversations on dull topics. Participants were asked to predict how much they would enjoy discussing topics they considered boring, and then engage in brief conversations about those topics. The results, published in the Journal of Personality and Social Psychology, showed that people consistently found the conversations more enjoyable than they expected. The surprise enjoyment arises because individuals base their expectations on static components, such as the topic and the other person, rather than dynamic components, like the conversation itself. Trinh suggests that people may benefit from lowering the bar for what makes a conversation worth having and reframing conversational goals. Instead of focusing on enjoyment, individuals could think about what they might learn from the conversation. Nicholas Epley, a professor of behavioural science at the University of Chicago, added that the fear of a boring conversation shouldn’t prevent people from starting one. “If a conversation is boring once you’re in it, you also have a surprising amount of power to make it better!”

Mid Wales Opera's OpenStages productions are undertaken with a missionary zeal, nurturing both local communities and up-and-coming singing talent. Their recent staging of Purcell's Dido and Aeneas, realized remarkably over a single intensive week of work, is a testament to this commitment.The opera, tailored by Purcell for the ladies of Josias Priest's boarding school in Chelsea in 1689, features a motley crew of amateurs forming a chorus portraying Carthaginian courtiers, followers of a witches' coven, and sailors. The young cast, some already launched on singing careers, delivered polished performances under the care of conductor Jonathan Lyness, particularly in their recitatives.Director Richard Studer's simple yet effective set design, featuring a central high pavilion on a raised dais against a cathedral backdrop, elegantly framed the action. The chorus, dressed in black with pale golden patches on their cheekbones, contrasted with the titular pair, Queen Dido and Aeneas, in standout white with elaborate golden facial adornments.Kathy Macaulay's portrayal of Dido conveyed vulnerability from the outset, while Alaw Grug Evans' expressive performance as Belinda added depth to the narrative. The production's inexorable progress towards Dido's final aria, When I am lain in earth, brought the tragedy full circle, underscored by the MWO string ensemble's lamenting mood.

Rory McIlroy has joined an elite club by defending his Masters crown at Augusta National, becoming just the fourth golfer ever to win the tournament back‑to‑back. The Northern Irish star edged out world No. 1 Scottie Scheffler by a single shot, marking his sixth major championship and cementing his place in golf history. Speaking after the victory, McIlroy emphasized that the win is a stepping stone, not a final destination. “I just won my sixth major and I feel like I’m in a really good spot with my game and my body,” he said. “I still have things I want to achieve and I want to enjoy the journey.” His parents, Rosie and Gerry, who missed the 2025 ceremony, were present this year, adding a personal dimension to the triumph. “It’s amazing to have them here,” McIlroy remarked, noting that their presence reinforced his motivation and gratitude. Despite the celebratory mood, McIlroy’s performance was far from flawless. He hit only 55% of fairways and recorded 48 of 72 greens in regulation over four rounds. A six‑shot lead after 36 holes evaporated by the 54‑hole mark, and a wayward drive into the trees on the final tee underscored the pressure he faced. Reflecting on the difficulty of the feat, McIlroy admitted, “I don’t make it easy. I used to win by eight shots in my early 20s. This year I realised it’s just really difficult to win the Masters.” He described the moment of uncertainty on the 18th tee as “the greatest stress,” highlighting the thin margin between victory and defeat. Looking ahead, McIlroy signaled that his ambitions extend beyond the Masters. While he plans to take a brief break, he dismissed the notion of a post‑victory lull, stating, “I don’t think I’ll go through that lull of motivation… I still want to enjoy it as well.” With his back‑to‑back Masters titles now secured, the golfer’s next targets remain speculative, but his confidence suggests a continued push for further major victories and possibly a career Grand Slam.

Birmingham City defeated Wrexham 2-0 at St Andrew’s, a result that pushes the Red Dragons further from the Championship playoff places. The loss leaves Wrexham four points behind sixth‑placed Hull City with only four games remaining.After a 5-1 drubbing by Southampton, the defeat marks Wrexham’s first back‑to‑back losses since August. Manager Phil Parkinson tried to steady the mood, saying, “We’ve had a tough week, but we’re not down and out yet. People may write us off, but inside the dressing room we’re still fighting.”Goals came from Carlos Vicente, who headed in his third goal for Birmingham since joining in January, and Christoph Klarer, who added a second‑half strike to seal the win.Wrexham’s attack was virtually silent – they failed to register a single shot on target, and goalkeeper James Beadle had little to do. In contrast, Birmingham’s keeper Arthur Okonkwo made several first‑half saves, keeping the hosts in control.The victory gave Birmingham their first win in over a month and lifted them to 15th place in the league table. The hosts dominated possession, forcing early saves from Okonkwo and creating chances for Ibrahim Osman and August Priske, though those early efforts were thwarted.In the second half, a well‑timed delivery from Kai Wagner allowed Vicente to rise highest at the far post and head home. Later, a corner from Paik Seung‑ho found Klarer, who muscled past Max Cleworth and finished confidently.Substitutes Josh Windass and Nathan Broadhead were introduced by Parkinson in a bid to spark Wrexham’s attack, but the visitors could not muster any meaningful threat in the final quarter.Birmingham manager Chris Davies praised his side’s performance: “We were excellent throughout. When the opposition doesn’t have a shot on your goal and you score two – we could have scored five – that’s everything.”

The UK housing market is experiencing a downturn due to the Iran conflict, which has led to increased uncertainty and fear among buyers and sellers. This conflict has resulted in lenders pulling hundreds of mortgage products within 48 hours of the war's outbreak, replacing them with more expensive deals.As a result, buyers and sellers are having second thoughts, with some pulling out of deals altogether. The mood in the market is one of 'fear and uncertainty,' according to Andy Wicking, director of the Charles Bainbridge estate agency in Canterbury.In the first three months of this year, just 47% of homeowners who asked Wicking to value their property went on to list it, a significant drop from 68% in the same period in 2025. Wicking notes that owners are still asking for valuations but not acting on them.At the bottom end, first-time buyers and those with the smallest deposits and least experience of riding out a turbulent market are pulling out. Wicking says, 'The chains falling down at the lower end, they're the really cautious ones.'For those who do make it to market, prices are slumping. A house valued at £600,000 may now go on at £575,000 to get buyers through the door. Surveyors are increasingly down-valuing properties too.The conflict has also led to a rise in interest rates, with the average two-year fixed-rate mortgage standing at 5.90% on Wednesday, up from 4.83% at the start of March. Nearly a million homeowners are due to come off five-year fixed deals this year, with those who have secured new deals paying an average of £94 more a month.The timing of the conflict couldn't be worse for owners who usually bring their homes to market after hunkering down for the winter. As Brian Swint, an independent mortgage broker, notes, 'It's the fear.'

Benin is set to choose a new head of state on Sunday, April 12, 2026, in an election that appears to favor the governing coalition’s nominee, finance minister Romuald Wadagni. The 49‑year‑old, a former Deloitte executive, has been hand‑picked by outgoing President Patrice Talon, who is constitutionally barred from seeking a third term after a decade in power. With roughly eight million eligible voters on the rolls, the contest requires a candidate to secure more than 50 % of the vote; otherwise a runoff would be scheduled for May 10. In practice, only two names appear on the ballot: Wadagni, representing the Progressive Union Renewal‑Republican Bloc alliance, and Paul Hounkpe, the 56‑year‑old former teacher and culture minister who runs under the Cowry Forces for an Emerging Benin (FCBE) banner. Wadagni’s campaign emphasizes continuity of Talon’s economic reforms. Under Talon, Benin’s budget tripled and the country posted its strongest GDP growth in over twenty years, with the International Monetary Fund estimating a 7 % expansion in 2025. Investment in trade, agriculture and the Cotonou port has driven this performance, though benefits remain uneven, especially in the poorer northern regions. Security concerns dominate the northern frontier, where al‑Qaeda and IS‑linked militias from the Sahel have intensified cross‑border raids. Recent attacks by the JNIM network killed 54 soldiers in 2025 and another 15 in early 2026. A failed coup attempt in December 2025, allegedly motivated by neglect of troops in the north, left about 100 suspects awaiting trial. Wadagni has pledged to create municipal police forces to protect border towns, while Hounkpe warns that the current administration has sidelined citizens despite macro‑economic gains. Beyond economics and security, the election raises questions about Benin’s democratic health. Talon’s government has been criticized for suppressing protests, extending presidential terms from five to seven years, and enabling the president to appoint Senate members—moves that have effectively eliminated opposition representation. In the January parliamentary vote, Talon’s allies captured all 109 seats, and the main opposition party, the Democrats, failed to field a presidential candidate. Observers note that voter turnout will be a key barometer of public sentiment. The last presidential election saw only about 50 % participation. Al Jazeera reporter Ahmed Idris described the atmosphere at a governing‑party rally in Cotonou as “lively,” but cautioned that it may not reflect the broader mood in a nation where democratic space appears to be shrinking. Should Wadagni win, he pledges to build on a decade of “economic transformation,” expanding development hubs and healthcare access while maintaining fiscal discipline. Hounkpe, positioned as a moderate alternative, promises to lower basic commodity prices and secure the release of political prisoners detained under Talon’s rule. The outcome will shape Benin’s trajectory at a critical juncture: balancing sustained economic growth, confronting escalating security threats from the Sahel, and navigating the tension between authoritarian tendencies and the country’s reputation as one of West Africa’s more stable democracies.

Renowned jazz composer and pianist Jason Moran recently discovered a fake album on Spotify bearing his name. The album, titled For You, had a moody Japanese anime-style cover and featured indie pop music, which was a far cry from Moran's actual work.Moran is not alone in this experience. At least a dozen famous musicians, including Benny Green, Antonio Hart, and Dee Dee Bridgewater, have been targeted by AI bots impersonating them on music streaming platforms. The issue has led to frustration and surreal experiences for the musicians, who are now having to deal with the deluge of AI-generated music.Spotify has acknowledged the problem and has taken steps to address it, including removing over 75 million "spammy tracks" from its platform in the past year. The company is also working on a new tool to give artists more control over what shows up under their name.However, for musicians like Moran, these fixes aren't enough. He's concerned about the additional work for artists who don't put their music on Spotify, and for musicians who are no longer alive. Morgan Hayduk, a co-CEO of Beatdapp, estimates that 5% to 10% of all streams across the industry are fraudulent, which breaks down to a value of $1 billion to $2 billion per year.The issue highlights the challenges of regulating AI-generated content and the need for more effective solutions to prevent music impersonation on streaming platforms.