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Survivors of alleged sexual abuse by Mohamed Al Fayed, the former owner of Harrods, are demanding justice for those they claim enabled and turned a blind eye to the abuse. A group of 50 survivors, supported by prominent figures including actor Richard Gere and women's rights advocate Gloria Allred, are seeking more than just financial compensation. “If they think the money is the important factor, they are so far off the mark,” said Jen Mills, a member of the Justice for Fayed and Harrods Survivors group. The group claims there are “dozens of individuals who must be held to account” across various eras. The campaign group is pushing for Harrods to release the findings of an internal investigation into what staff knew about the abuse. They also want stricter regulation of HR professionals and an explanation for why the Metropolitan police and General Medical Council did not investigate complaints at the time. “It’s not just about what happened to us, it’s about making sure that this stops and that this doesn’t get to continue to the generations coming through,” Mills emphasized. Harrods recently closed a compensation scheme set up after dozens of women came forward with allegations of abuse by Al Fayed, who died in 2023 at the age of 94. Harrods states that the scheme represents only one form of redress available to survivors and was designed to provide resolution without a protracted legal process. A spokesperson for Harrods said: “We recognise differing views, however Harrods has always stated that the scheme represents only one form of redress available to survivors.” The group plans to meet with Prime Minister Keir Starmer and is seeking a committee of MPs to help push forward an investigation into the abuse at Harrods and the lack of prosecutions.

The heads of the United Kingdom, United States and European Union central banks and treasuries are set to join a high‑level war game in Washington on Saturday, designed to probe how they would manage the failure of a globally significant bank. Participants include senior officials from the US Federal Reserve, the European Central Bank and the Bank of England, whose governor Andrew Bailey also chairs the Financial Stability Board. Their presence underscores the seriousness with which regulators are treating cross‑border coordination. The exercise is a “desktop” stress test conducted behind closed doors at the Federal Deposit Insurance Corporation (FDIC) headquarters. It will simulate a Lehman Brothers‑style collapse and test the joint response mechanisms of the three jurisdictions. Holding the drill during the International Monetary Fund and World Bank spring meetings provides a rare opportunity for the officials, who are already gathered in the capital, to engage in face‑to‑face scenario planning. Regulators have warned that the financial system faces new strains from artificial‑intelligence advances, risky private‑credit lending and market volatility linked to the US‑Israel conflict over Iran. In particular, the latest AI model from US firm Anthropic, called Mythos, has been flagged for its ability to uncover vulnerabilities in IT systems, raising concerns about cyber‑related financial shocks. Bank of England Governor Andrew Bailey emphasized the urgency, stating, “It is a very serious challenge for all of us. It reminds us how fast the AI world moves.” His remarks highlight the intersection of technological risk and traditional banking stability. The FDIC described the event as a “trilateral principal level exercise” aimed at coordinating resolution strategies for global systemically important banks (G‑SIBs). While the agency did not disclose the specific scenarios, it stressed that the drill would enhance each jurisdiction’s understanding of resolution regimes, strengthen cross‑border coordination, and bolster confidence in orderly bank resolutions. Since the 2008 Lehman collapse, such stress‑testing simulations have become routine among regulators, serving as a preventive measure against repeat systemic failures. By convening senior policymakers and central bankers for this war game, authorities hope to sharpen their collective response toolkit, ensuring that any future bank failure can be managed swiftly and with minimal disruption to the global economy.

Heart Wall opens to the sound of a bustling karaoke session, with audience members belting out Friday‑night pub anthems before the drama even begins. The musical backdrop becomes the thread that ties together a family still haunted by a tragedy from more than twenty years ago.The story follows Franky (Rowan Robinson), who returns to her north‑west hometown after building a life in London with a boyfriend and a new job. Her parents, Dez (Deka Walmsley) and Linda (Sophie Stanton), remain trapped in their own grief – Dez appears overwhelmed by guilt, while Linda searches for happiness elsewhere. The play centres on this unprocessed grief, but also hints at a mystery surrounding Franky’s sister and the strained marriage of her parents, threads that never fully resolve.Under director Katie Greenall, the production delivers moments of genuine emotional revelation, yet the pacing feels uneven. Scenes of intensity erupt abruptly, then dissolve just as quickly, leaving the narrative feeling rushed despite its dense storytelling. Supporting characters such as Charlene (Olivia Forrest) and the pub manager Valentine (Aaron Anthony) remain under‑developed, serving more as generic placeholders than fully realised figures.Visually, the play benefits from Hazel Low’s meticulous set design, which recreates a cosy, authentic pub that grounds the audience. The karaoke framing injects warmth and musical energy, offering a lively contrast to the heavy themes.Ultimately, Heart Wall attempts to tackle a big, aching emotional core within a tight, interval‑free two‑hour run, but it bites off more than it can chew. With additional runtime – perhaps more karaoke interludes – the drama could better honour the depth of its subject matter.For those interested, the play runs at the Bush Theatre, London until 16 May.

Juba, South Sudan – Growing up, Khloe Nyanda was taught to stay small and avoid taking up space. Defying that lesson, the 21‑year‑old law student at the University of Juba pursued modeling after being inspired by South Sudanese supermodel Adut Akech, whose refugee‑to‑runway story she describes as a "crown".Nyanda’s ambition mirrors that of a new generation of South Sudanese talent, with 95% of models from the country naming Akech as their spark. She began modeling in 2023, but her family remained skeptical, fearing the clash between academic responsibilities and a fashion career.Her personal journey has been marked by familial estrangement after she rejected an arranged marriage and a modelling coach’s advances, leading to loss of support from her stepbrother and other relatives.Beyond social pressures, Nyanda faces systemic obstacles. Since 2023 she has endured multiple visa rejections despite contracts with agencies in London, Paris, and Italy. An attempt to attend Milan Fashion Week was denied by the Italian embassy in Nairobi over bank‑statement issues, while two separate applications to the French embassy in Kampala were also turned down. The absence of South Sudanese embassies in France and Italy forces hopeful models to obtain travel documents from neighboring countries, inflating costs and delays.Another emerging model, 20‑year‑old Alek Mayen Garang, balances her senior‑year studies with runway aspirations. Born in Greater Jonglei and raised in Renk, she spent part of her childhood in Kampala before returning to South Sudan amid the 2016 conflict. Garang draws inspiration from Anok Yai, the American‑South Sudanese model named Model of the Year at the 2025 British Fashion Awards.Unlike Nyanda, Garang found an ally in her elder sister, who accompanied her to her first runway show and helped negotiate parental approval. Her early challenges were technical—learning to walk in heels, maintaining strict diet and skincare regimens—and the lingering fear of rejection at auditions.Both women are part of a broader South Sudanese surge in global fashion. Nine of the world’s top 50 models on models.com hail from South Sudan, underscoring the country’s deep talent pool. Former models have transitioned to design and entrepreneurship, founding South Sudan Fashion Week and creating bespoke wedding gowns.Industry veterans now coach new talent, urging them to prioritize education alongside modeling. Yet a new anxiety looms: the potential rise of AI‑generated Black models, which could further destabilize already precarious careers.Within South Sudan, the Ministry of Culture, Museums and National Heritage has been criticized for its limited engagement with the modeling sector. Advocates argue that official endorsement could shift parental attitudes and legitimize modeling as a respectable profession.Garang recently won the “creativity” award at the national Miss Junub beauty pageant, expanding her vision from personal success to mentoring emerging designers and models. Nyanda, meanwhile, envisions a future beyond the runway: she plans to invest her earnings in establishing a credible mother agency, as well as a school and hospital for orphans, aiming to reinvest in her homeland.“South Sudan is not a place I am running from; it is the place I am running for,” Nyanda declares, embodying a resolve to reshape societal expectations and create pathways for the next generation of South Sudanese talent.

Every year on April 17, Palestinians commemorate Prisoner’s Day to bring attention to the thousands of men, women, and children held in Israeli prisons. This year’s observance is particularly significant due to Israel’s recently enacted death penalty law, which exclusively targets Palestinians convicted of deadly attacks.Rights groups have strongly criticized the law, labeling it a violation of international law and inherently discriminatory. The United Nations human rights chief has even suggested it could constitute a possible “war crime”.According to the prisoners’ rights group Addameer, nearly 10,000 Palestinians are currently being held in Israeli prisons, both within Israel and in occupied territories. These individuals are viewed by Palestinians as political prisoners who must be freed.The historical context of Prisoner’s Day dates back to April 17, 1971, when Mahmoud Bakr Hejazi was released in the first prisoner exchange between Israel and Palestine. In 1974, the Palestinian National Council officially designated April 17 as Prisoner’s Day, which has since served as a day of national and international solidarity with the Palestinian struggle against Israel’s continued occupation.Administrative Detention and Its ImplicationsAs of early April, 9,600 Palestinians were in Israeli custody. Of these detainees:3,532 are administrative detainees – held without charge or trial.342 are children.84 are women.119 are serving life sentences.Administrative detention is a longstanding Israeli policy allowing authorities to hold Palestinians without charge or trial for six-month periods that can be renewed indefinitely. Critics argue that this system is widely abused and denies due process, with over one-third of detainees being held under administrative detention.The Plight of Palestinian ChildrenIsrael is the only country that tries children in military courts, often denying them basic rights. 342 children were being held in Israeli prisons this month, with over 12,000 Palestinian children detained by Israeli forces since the outbreak of the second Intifada in 2000. These children are often subjected to physical and psychological torture, interrogated without parental or legal presence, and exploited for information or used as leverage against their families.The New Death Penalty LawThe new law allows military courts to impose the death penalty on Palestinians convicted of killing Israelis in acts of “terror.” This law, approved on March 30 and set to take effect by the end of April, applies to Palestinians from the West Bank tried in Israeli military courts. The Palestinian Authority has condemned the bill as a “war crime against the Palestinian people”, citing violations of the Fourth Geneva Convention.The rights group B’Tselem noted that the conviction rate for Palestinians tried in military courts is about 96 percent, often based on ‘confessions’ obtained through pressure and torture.A Legacy of DetentionSince 1967, Israeli forces have detained an estimated one million Palestinians, or about 20 percent of the Palestinian population. This systemic practice has fragmented communities, perpetuated cycles of trauma, and generated widespread resentment. For many families, arrests have become an inevitability, with freedom remaining uncertain for those currently behind bars, just as it has for generations before them.

A World Athletics Nationality Review Panel has rejected eleven requests from athletes seeking to transfer their sporting allegiance to Turkiye. The panel described the applications as part of a coordinated recruitment strategy orchestrated by the Turkish government through a state‑financed club offering lucrative contracts. The denied petitions originated from five Kenyan runners—including former women’s marathon world‑record holder Brigid Kosgei—four Jamaican throwers, notably Olympic discus champion Roje Stona and shot‑put bronze medallist Rajindra Campbell. The remaining two athletes were Nigerian sprinter Favour Ofili and Russian heptathlete Sophia Yakushina. World Athletics explained that approving the transfers would compromise its eligibility and allegiance regulations, which are designed to ensure a genuine connection between athletes and the nations they represent and to safeguard the sport’s integrity worldwide. “The applications formed part of a coordinated recruitment strategy led by the Turkiye government acting through a wholly‑owned and financed government club, to attract overseas athletes through lucrative contracts,” the governing body said in a statement. The panel warned that such moves aim to boost Turkiye’s representation at future events, including the Los Angeles 2028 Olympic Games. These rules were tightened in 2019 after World Athletics chief Sebastian Coe likened some athlete switches to human trafficking. The current framework requires demonstrable ties—such as residency, heritage, or long‑term commitment—to the new country. Turkiye has a history of naturalising foreign talent; its squad at the 2016 European Championships featured athletes from Kenya, Jamaica, Ethiopia, Cuba, Ukraine, South Africa and Azerbaijan. Notable success stories include Ramil Guliyev, who switched from Azerbaijan and won the 200 m world title in 2017. Other nations, like Qatar, have similarly used financial incentives to attract athletes, exemplified by Egyptian‑born weightlifter Fares Ibrahim Hassouna**, who secured Qatar’s first Olympic gold in Tokyo 2021. Bahrain’s Winfred Yavi also switched from Kenya at age 15 and later claimed Olympic and world titles in the steeplechase. World Athletics clarified that the refusal does not bar the eleven athletes from competing in individual meets, road races, or training in Turkiye; it merely blocks official national representation under the Turkish flag.

Amid a wave of Israeli air strikes that have killed hundreds and displaced roughly 20 % of Lebanon’s population from the south, Lebanese banker Antoun Sehnaoui attracted fierce criticism after being publicly praised for his pro‑Israel activities. Sehnaoui, who chairs Societe Generale de Banque au Liban (SGBL), attended an event at the United States Holocaust Memorial Museum – a venue he has financially supported. The commendation came from Morgan Ortagus, the U.S. Middle‑East envoy who, according to reports, is also Sehnaoui’s romantic partner. Ortagus framed support for Israel as a matter of "moral clarity", even when it entails personal risk. She highlighted Sehnaoui’s funding of a U.S.–Israeli opera project, noting that such transactions are technically illegal in Lebanon under the country’s ban on dealings with Israeli entities. Describing the banker’s lineage, Ortagus said he hails from generations of "committed Lebanese Christian Zionists" and that his family has been "trained to support the State of Israel and the Jewish people." She also referenced his father, Nabil Sehnaoui, a principal backer of the Lebanese Forces militia, which allied with Israel during the 1982 invasion and was implicated in the Sabra‑Shatila massacres. The timing of the endorsement proved especially contentious. Since mid‑March, Israel has been accused of employing a “quadruple‑tap” bombing technique designed to maximise civilian casualties, and more than a million southerners have fled their homes, deepening sectarian tensions. Lebanese social‑media users reacted with outrage, calling for Sehnaoui’s imprisonment, accusing him of betraying his nation, and even alleging he had converted to Judaism. One commentator, academic Makram Rabah, argued that while a museum visit should not be controversial, the overt support for Israel amid a fragile ceasefire is. Ortagus’s own record – marked by staunch opposition to Hezbollah and open advocacy for Israel since her appointment in April 2025 – has already drawn scrutiny over her suitability as a neutral broker in the region. Beyond the political backlash, Sehnaoui faces serious legal challenges. Lebanese prosecutors have filed money‑laundering charges against him and SGBL, alleging illicit currency‑trading activities that exacerbated the country’s financial crisis that began in 2019. The bank denies any wrongdoing. In the United States, a 2020 civil lawsuit filed by families of Hezbollah‑linked attack victims accuses SGBL of providing material support to the militant group – a claim the bank also rejects. Lebanese MP Paula Yacoubian warned that Sehnaoui’s recent maneuvers appear designed to secure personal immunity in exchange for facilitating Israel‑Lebanon normalisation, rather than delivering tangible benefits such as the safe return of displaced residents. While the controversy rages, a tenuous ceasefire has allowed tens of thousands of residents to return to the devastated south, many seeking the remains of loved ones or assessing the damage to their homes.

The LeadAnthropic announced the launch of Claude Design, an experimental product that lets users create visuals—prototypes, slides, one‑pagers and more—simply by describing what they need. Targeted at founders and product managers lacking a design background, the service aims to turn ideas into polished visuals in minutes.Claude Design: Text‑to‑Visual Prototyping for Non‑DesignersThe workflow is straightforward: users type a prompt, Claude generates an initial design, and users can refine it with direct edits or follow‑up requests. Example prompts include “prototype a serene mobile meditation app with calming typography, nature‑inspired colors, and a clean layout.”Generate full‑page mockups, slide decks, and one‑page summaries.Iterative refinement via natural‑language instructions.Export options: PDF, URL, PPTX, or direct hand‑off to Canva for further editing.Powering the Service: Claude Opus 4.7 and Research PreviewThe engine behind the product is Claude Opus 4.7, offered in a research‑preview mode for Claude Pro, Claude Max, Claude Team and Claude Enterprise subscribers. This version leverages the latest multimodal capabilities to interpret visual design intent from textual descriptions.Positioning Against Canva and the Broader AI Design LandscapeWhile Canva recently expanded its own AI features, Anthropic frames Claude Design as a complement rather than a competitor. By focusing on rapid idea‑to‑visual conversion for users who start from a concept rather than a design tool, Claude Design fills a niche in the AI‑augmented design market.Enterprise‑Ready Features and Integration PathwaysClaude Design can ingest a company’s existing design system—reading codebases and design files—to ensure visual consistency across projects. Teams can maintain multiple design systems, refine components, and export assets directly to Canva where they become fully editable and collaborative.Design‑system alignment for brand consistency.Seamless export to Canva for collaborative editing.Support for PDF, URL, and PPTX formats.Future Outlook: Anthropic’s AI‑Workplace AmbitionsThe launch underscores Anthropic’s broader push into enterprise and prosumer AI tools, following earlier releases like Claude Cowork and its agentic plug‑ins. With venture interest valuing the company at $800 billion or more, Anthropic appears poised to challenge rivals such as OpenAI in the AI‑driven productivity space.

The newly opened V&A East Museum in Stratford marks the latest milestone in the East Bank cultural quarter on the Queen Elizabeth Olympic Park. The £135 million, architect‑designed outpost sits beside the V&A Storehouse—recently listed among Time’s “World’s Greatest Places to Visit 2026”—and joins Sadler’s Wells East, the London College of Fashion and the forthcoming BBC Music Studios.Once described by V&A East director Gus Casely‑Hayford as “a place where fridges went to die”, the area has been transformed into a vibrant creative hub. Yet outside London, many venues face falling visitor numbers, job cuts and closures, highlighting a stark contrast with the newly polished facilities.Culture Secretary Lisa Nandy is betting on the Arts Everywhere Fund—a £1.5 billion package over five years announced in 2025—to shore up the sector’s creaking infrastructure. This week, £130 million was distributed to more than 130 museums, theatres, venues and libraries, representing the largest cash injection into the arts for a decade.The funding reaches a diverse range of institutions, from Newcastle’s iconic Baltic Centre for Contemporary Art to the modest Armitt Museum in Ambleside, and from the Royal Shakespeare Company in Stratford to Gloucestershire’s trailblazing TwoCan Theatre Company, which offers workshops for deaf, neurodivergent and disabled participants.Despite these initiatives, the UK remains among the lowest spenders on culture in Europe, with per‑capita public funding down nearly a third since 2010. Nevertheless, the cultural sector contributed an estimated £40 billion to the economy in 2024, underscoring its role as a significant wealth generator and a soft‑power asset.Financial support must also reach the people who run these institutions. Over the past year, staff at several leading museums have staged protests and faced redundancies, and even before its doors opened, V&A East workers sent an open letter demanding a living wage for all employees.In its inaugural year, the V&A Storehouse attracted 500,000 visitors, many of whom were younger, more diverse and locally based than the museum’s traditional audiences. The new V&A East hopes to replicate this success, emphasizing the need for parallel investment in arts education to nurture future audiences.Decades of neglect cannot be reversed overnight, and costs continue to rise. While the Arts Everywhere Fund is a cause for celebration, it also signals Labour’s broader commitment to making art accessible to everyone, reinforcing the message that, even in tough times, culture matters.