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German film-maker and author Alexander Kluge, a leading figure in the New German Cinema movement, has died at the age of 94. Kluge was known for his intellectually stimulating films and his role in shaping the cinematic landscape of post-war Germany. Kluge's career was marked by his innovative approach to filmmaking, which often incorporated cinematic collages and experimental techniques. His film Abschied von Gestern (released as Yesterday Girl in the US) was one of the first films to emerge from the Oberhausen Manifesto, a call to the German film industry to break free from traditional and shallow filmmaking. Kluge's contributions to German cinema were significant, and his influence can be seen in the work of other notable directors such as Rainer Werner Fassbinder and Werner Herzog. He continued to produce films and television programs throughout his career, including arts, magazine, and interview programs for German television through his production company DCTP. Kluge's wartime experiences had a profound impact on his life and work, shaping his commitment to pacifism. However, his comments on the topic have been met with controversy, particularly in the context of Russia's invasion of Ukraine. Throughout his career, Kluge collaborated with other artists and writers, including Ben Lerner, with whom he co-authored a poetic dialogue book, The Snows of Venice. Kluge's legacy as a pioneering film-maker and author continues to be celebrated, and his influence on German cinema and culture remains significant.

Following Donald Trump's recent claims that the US is engaged in 'strong talks' to end the war with Iran, Qatar took the unusual step of publicly distancing itself from any alleged diplomatic negotiations. The Gulf state's government spokesperson Majed al-Ansari explicitly stated, 'Qatar was not involved in any mediation efforts,' adding pointedly, 'If they exist.'This represents a significant departure from Qatar's traditional role as a chief mediator in Middle East conflicts, having previously facilitated negotiations between Israel and Hamas, the US and the Taliban, and peace deals in Lebanon and Sudan.Over the past three weeks, Gulf states have found themselves on the frontlines of the conflict after their mediation efforts to prevent war were ultimately rejected by the US. The pattern of broken negotiations is particularly telling: the US attacked Iran twice during talks aimed at halting the Iranian nuclear program, which were championed by Oman. Discussions last June were halted as the US and Israel conducted strikes on Iran's nuclear facilities, and revived talks in February were similarly undermined when Trump began bombing Tehran before the final round of meetings.Since the war began, Gulf states have been forced to spend billions defending against daily Iranian missile and drone attacks, with their economies and sovereignty suffering substantial damage. Analysts suggest their reluctance to engage with the alleged ceasefire efforts reflects both the heavy toll of continued warfare and lingering suspicion about whether Trump's peace initiatives are genuine or merely a pretext for further escalation.As Bilal Saab, senior managing director of advisory group Trends US and former Pentagon official in the first Trump administration, explained: 'They've been burned by their previous experience. They previously thought they played a useful mediating role – until they realised that it was all for naught. Not to mention that they have been directly implicated in the war and are still being attacked by the Iranians. So there's a lot of pent-up frustration and disappointment.'By Wednesday night, the Iranian regime had outright rejected Trump's 15-point plan to end the war, submitted to Tehran via Pakistani generals, as 'extremely unreasonable' and presented their own substantially different proposal.The concern among Gulf states is that any negotiations could become a front for military escalation or even the assassination of additional Iranian leaders. This anxiety is compounded by the simultaneous deployment of thousands of US troops to the region and the persistent fear of being used as pawns in the US and Israel's Middle East strategy.Professor Bader al-Saif of Kuwait University noted: 'Whenever the word negotiation was used by the Trump administration, we unfortunately ended up under the rubric of war.' He emphasized that while Gulf states are reluctant to engage with what they perceive as a potential Trumpian charade, they recognize the critical importance of shaping any realistic peace negotiations that could affect their future.The existential threat to Gulf economic ambitions is particularly concerning. The prospect of Trump ending the war with the current Iranian regime still in place—potentially more vengeful than before and acutely aware of the damage its missiles can inflict on multi-billion-dollar infrastructure—poses significant risks. Additionally, there remains no clear solution to Iran's effective control over the Strait of Hormuz, through which most of the region's oil and gas exports flow.Analysts suggest that beyond relying on US-led negotiations, Gulf states should pursue their own separate dialogue with Iran. As al-Saif stated: 'They shouldn't only count on the US to do the negotiation. They should go and strike a deal with Iran for themselves. This was not our war, and if we can shield ourselves from being impacted any further, we should do it to protect our own national interests.'

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

In 2025, England's rivers and seas were hit by 291,492 instances of raw sewage discharge from storm overflows, a 35% reduction from the previous year. The discharges lasted for 1.8 million hours, a significant decrease from almost 4 million hours in 2024. The Environment Agency (EA) reported that some water companies achieved reductions of over 60% and 70% compared to the previous year. However, campaigners argue that the discharges, which are only supposed to occur in extreme weather conditions, are still too frequent and harmful to the environment. Richard Benwell, chief executive of Wildlife and Countryside Link, stated, 'When sewage is pouring out even in a dry year, you really know the system is broken.' He emphasized that rivers, lakes, and seas should not be used as pressure valves for pollution. The water industry acknowledged that dry conditions contributed to the reduction in discharges but also cited record levels of investment in the system. Water UK stated that the industry aims to halve spills over the next five years by building bigger storm tanks and expanding capacity at sewage treatment works. Michelle Walker, technical director for the Rivers Trust, highlighted that many discharges occur on dry days and are therefore illegal. She warned that the impact of these discharges will be more concentrated and damaging in already stressed ecosystems. The government and water companies face criticism for the ongoing pollution. Water minister Emma Hardy said there is still an unacceptable amount of sewage entering waterways and a long way to go in cleaning up rivers, lakes, and seas.

UK Prime Minister Keir Starmer has announced plans to address addictive features in social media platforms, signaling a potential regulatory shift following a significant US court ruling that held Meta and YouTube accountable for harms caused by their technology designs.The prime minister emphasized that the recent California court verdict reflects rising public expectations for more aggressive regulation of social media platforms. "I'm absolutely clear that we need to go further," Starmer stated, adding that "the status quo isn't good enough" in terms of protecting children online.Starmer specifically mentioned that the government is consulting about banning social media for under-16s and expressed strong commitment to addressing addictive features within social media platforms. These remarks come amid growing international pressure on tech companies to address the potential harms of their products on young users.In the landmark US case, a California jury found Meta and YouTube negligent for failing to provide adequate warnings about the potential dangers of their platforms. The plaintiff, a 20-year-old woman who claimed she became addicted to social media during her childhood, was awarded $6 million (£4.5 million) in damages, with Meta responsible for 70% of the payment and YouTube covering the remainder.The Duke and Duchess of Sussex welcomed the verdict as "a reckoning" for tech companies, stating in a joint statement: "For too long, families have paid the price for platforms built with total disregard for the children they reach." They emphasized that "today, the truth has been heard and precedent has been set" regarding children's safety versus corporate profits.Both Google, which owns YouTube, and Meta have indicated they will challenge the decision. Google claimed the case "misunderstands YouTube, which is a responsibly built streaming platform, not a social media site," while Meta stated it "respectfully disagrees with the verdict and is evaluating our legal options." The verdict came after nine days of deliberation in the first lawsuit concerning social media's alleged harm to young people to reach trial.The ruling has resonated beyond the courtroom, with European Commission digital chief Henna Virkkunen noting that such cases send "a very clear message" to online platforms about the risks they pose. Campaigners for safer social media have celebrated the decision as a potential watershed moment in regulating platforms like TikTok, Instagram, and X.The Molly Rose Foundation, established after the death of 14-year-old Molly Russell who was exposed to harmful content on Instagram, called for legislation that would make "safety and wellbeing the price for tech firms to pay for doing business in the UK." Thomas Lancaster, a computing expert at Imperial College London, emphasized that policies must be effectively enforced to protect those they're designed to safeguard.Sacha Haworth, executive director of the Tech Oversight Project, declared that "the era of big tech invincibility is over," suggesting that the verdict validates concerns about tech platforms' impact on young people that have been raised for years.

The World Health Organization (WHO) has issued a dire warning about a health crisis unfolding in real time across the Middle East, emphasizing the urgent need for a complete cessation of hostilities to mitigate the humanitarian catastrophe.Dr. Hanan Balkhy, the WHO's regional director for the Eastern Mediterranean, stressed that hospitals and healthcare facilities must be treated as safe havens to protect patients and healthcare workers. The region, encompassing 22 countries and territories including Iran, Gulf states, Gaza, Sudan, Afghanistan, and Pakistan, is facing severe disruptions in healthcare services due to the ongoing conflicts.The violence has resulted in significant loss of life and displacement, with over 1,000 people killed in Lebanon, 1,500 in Iran, and 16 in Israel, alongside reports of numerous deaths in the West Bank and Gulf Arab states. Moreover, 3.2 million people have been displaced in Iran and over 1 million in Lebanon within a month, exacerbating the crisis.Balkhy expressed deep concern about the long-term impacts on maternal mortality, mental health, and the plight of orphaned children left without education. The WHO has verified dozens of attacks on healthcare facilities in Lebanon, Iran, and Israel since the conflict began, including a recent attack on a hospital in Sudan that killed at least 70 people.The organization is also preparing for potential attacks on nuclear sites and water desalination plants, which could have catastrophic health repercussions. Balkhy urged for a significant de-escalation or a permanent pause in hostilities to prevent further humanitarian disaster.

United Nations experts have issued a strong appeal to Israel, demanding the immediate release of Dr. Hussam Abu Safia, a Palestinian physician from Gaza. According to reports, Dr. Abu Safia has been subjected to severe torture and other forms of abuse while in Israeli detention.The UN special rapporteurs, Tlaleng Mofokeng and Ben Saul, expressed grave concern over Dr. Abu Safia's health condition, which they described as dire. They alleged that he has been systematically denied critical medical examination and treatment, and deprived of essential care, putting his life, health, and wellbeing at grave risk.Dr. Abu Safia, the former director of Kamal Adwan Hospital in northern Gaza, was detained by Israeli forces in December 2024. His arrest and detention have been widely condemned, with Amnesty International describing it as a reflection of Israel's systematic targeting of Palestinian health workers and the decimation of the healthcare system in Gaza.The UN experts also highlighted the broader context of Israel's war on Gaza, which has resulted in over 930 attacks on the healthcare sector since October 2023, according to World Health Organization (WHO) figures. All 36 hospitals in the Strip have suffered damage, and only half are partially functional.The situation for Palestinian healthcare workers has been particularly dire, with at least 1,722 medical workers killed between October 2023 and October 2025, an average of more than two killed every day.The UN experts urged the international community, including countries with influence on Israel, to take action to ensure prevention, recourse, and justice. They emphasized that Israel must release Dr. Abu Safia and all healthcare workers, and ensure they have access to appropriate medical care.

Matt Brittin, Google's former top executive in Europe, has been selected as the next director general of the BBC. Brittin, who stepped down as Google's president in Europe, the Middle East, and Africa last year, will replace Tim Davie at a critical juncture for the corporation. The 57-year-old's appointment was confirmed after a BBC board discussion on Thursday. Brittin, a former Olympic rower and Doctor Who fan, is seen as a substantial figure capable of diving straight into crucial government talks over the renewal of the BBC's royal charter. However, his lack of editorial experience has been noted by insiders, who worry about his ability to deal with the periodic crises that occur at the corporation. The BBC is now expected to create the role of deputy director general to support Brittin, with a new head of BBC News also to be appointed. Brittin expressed his excitement about the role, stating: “Now, more than ever, we need a thriving BBC that works for everyone in a complex, uncertain and fast-changing world.” Samir Shah, the BBC's chair, praised Brittin's experience, saying he had “deep experience of leading a high-profile and highly complex organisation through transformation”. The appointment comes after some early favourites for the role dropped out or declined to apply amid concerns that scrutiny and political attacks aimed at the BBC have made leading it one of the hardest jobs in public life. Brittin's lengthy career at Google will also be significant in his new job, particularly as the BBC lays out plans to save considerable costs using a new tech division and forges a new relationship with YouTube, which is owned by Google. The licence fee model is also under pressure, with more people opting not to pay.