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NASA has announced a significant shift in its lunar exploration strategy, cancelling plans for a lunar orbit space station known as Gateway. Instead, the agency will utilize the station's components to construct a $20bn base on the moon's surface over the next seven years.The decision was made by NASA's new chief, Jared Isaacman, who was sworn in at the agency in December. Isaacman outlined the changes to the agency's flagship moon program, Artemis, at an event at NASA's Washington headquarters."It should not really surprise anyone that we are pausing Gateway in its current form and focusing on infrastructure that supports sustained operations on the lunar surface," Isaacman told delegates at the event.The Lunar Gateway station, largely already built with contractors Northrop Grumman and Lanteris Space Systems, owned by Intuitive Machines, was meant to be a space station parked in a lunar orbit. Repurposing the craft for a lunar surface base is not simple, but Isaacman emphasized that the agency can repurpose equipment and international partner commitments to support surface and other program objectives.The changes imposed by Isaacman on the flagship US moon program in recent weeks are reshaping billions of dollars' worth of contracts under the Artemis effort, sending companies scrambling to accommodate the extra urgency as China makes progress toward its own 2030 moon landing.

The 2026 Bafta TV award nominations have been announced, with Adolescence, Jack Thorne's groundbreaking drama about a teen accused of murder, leading the pack with 11 nominations. The Netflix psychological crime drama, described by the Guardian as “the closest thing to TV perfection in decades,” has garnered significant attention, including the first Bafta TV performance nominations for supporting actor and actress awards for four of its stars: Ashley Walters, Christine Tremarco, Erin Doherty, and Owen Cooper.Created by Thorne and Stephen Graham, and directed by Philip Barantini, the drama was also nominated for Bafta’s Memorable Moment award for the scene where Jamie snaps at the psychologist. Jane Millichip, CEO of Bafta, praised the diversity and originality of British storytelling, highlighting 124 nominated programmes.First-time nominees include Ellis Howard (What It Feels Like for a Girl) and James Nelson-Joyce (This City is Ours) for best leading actor, as well as best leading actress nominee Narges Rashidi (Prisoner 951). Nine-year-old Rafael Mathé also received his first Bafta nod for best supporting actor in The Death of Bunny Munro, alongside Owen Cooper for Adolescence.A Thousand Blows, a historical drama series created by Steven Knight, received seven nominations, including drama series, leading actress, and costume design. Andor, a politically charged thriller, and Trespasses, an adaptation of Louise Kennedy’s novel, both received six nominations. The Celebrity Traitors received five nominations for presenter Claudia Winkleman and performances.The BBC received the most nominations for a broadcaster, with 73, followed by Netflix and Sky with 28 nominations and Channel 4 with 25. The 2026 TV Baftas will take place on Sunday, May 10, 2026, hosted by Greg Davies.

Ofcom, the UK's broadcasting regulator, has reversed its decision not to investigate complaints of climate change denial on television and radio. This move comes after a letter from the Good Law Project (GLP) in January, which requested an explanation for the rejections. Ofcom will now reassess the complaints, which include comments from TalkTV and TalkRadio guests who made misleading statements about climate change. The complaints in question include a TalkTV guest who claimed climate change was a 'deliberate effort to create fake anxiety' and another guest who described Labour's energy policies as 'suicidal' and 'driven by pseudoscience'. Ofcom's reassessment led to the conclusion that its approach to 'due impartiality' in the broadcasts required reconsideration. Campaigners have welcomed Ofcom's decision, with the GLP spokesperson stating that 'rightwing channels have been allowed to spout dangerous climate lies, unchecked, for too long.' The GLP awaits the conclusion of the investigations, vowing to hold Ofcom accountable if it fails to take action against Talk's misinformation. Ofcom's broadcasting code states that factual programmes and that . The regulator has opened investigations into whether the TalkTV and TalkRadio programmes breached these rules. This development marks a significant shift in Ofcom's approach, as it had previously rejected over 1,000 climate-related complaints since 2020 without investigation. The regulator's decision comes amid increasing scrutiny from campaign groups and politicians, who argue that Ofcom is to deal with the scale of climate misinformation in the media.

President Trump's assertion of 'very good' talks with Iran has raised eyebrows, especially after Tehran denied any negotiations were underway. The sudden detente comes as US markets prepare for another volatile trading day, with oil and energy markets closely watching developments.Trump, standing beside Air Force One, attempted to sell the unexpected diplomatic shift, but provided few details. He hinted at a potential deal involving Iran's nuclear program and control over the Strait of Hormuz, a critical waterway for global oil supplies.The reported interlocutor, Mohammad Bagher Ghalibaf, the speaker of Iran's parliament, has denied any talks with the US, suggesting that Trump is trying to mitigate financial damage from Iran's closure of the Strait of Hormuz. Ghalibaf accused Trump of using 'fake news' to manipulate markets and escape the quagmire in which the US and Israel are trapped.Despite skepticism, international leaders, including Keir Starmer and Benjamin Netanyahu, have cautiously welcomed the talks. Netanyahu emphasized that any deal must safeguard Israel's interests, while also continuing to strike targets in Iran and Lebanon.The negotiations may be another attempt by Trump to buy time, particularly for oil and energy markets. The Pentagon is still positioning military assets, and a potential strike or occupation of Iran's islands or coastline remains a contingency plan if diplomatic efforts fail.

Iran has strongly denied allegations of launching a missile attack on a joint US-UK military base on the Indian Ocean island of Diego Garcia. The Iranian Ministry of Foreign Affairs described the claim as an 'Israeli false flag' attack, accusing Israel of spreading disinformation. The denial comes after NATO Secretary-General Mark Rutte stated that the alliance could not confirm Israel's claim that the projectiles used were Iranian intercontinental ballistic missiles. This development has raised questions about the credibility of Israel's allegations and the potential motives behind them. Iran's Foreign Affairs spokesman, Esmaeil Baghaei, wrote on X that the accusations reflected a pattern of 'disinformation' and criticized NATO's support for the US and Israel. He emphasized that the world has grown tired of 'false flag' storylines, suggesting that such claims are becoming increasingly discredited. Earlier, US media outlets reported that missiles were launched between Thursday night and Friday morning but failed to hit the Diego Garcia base. If Iran were confirmed to be behind the attacks, it would imply that it possesses ballistic missiles with a range of over 4,000km, capable of reaching as far as London. Iranian Foreign Minister Abbas Araghchi had previously stated that Iran had intentionally limited its missile range to below 2,000km to avoid being perceived as a threat by other countries. UK Foreign Secretary Yvette Cooper condemned what she called 'reckless Iranian threats' but emphasized that London would not be drawn into a wider conflict in the Middle East. The UK-US military airbase on Diego Garcia is home to nearly 2,500 mostly American personnel and has supported various US military operations over the years. Israel's military chief, Eyal Zamir, claimed that Iran used a two-stage intercontinental ballistic missile with a range of 4,000km to target the base. Israel has long considered Iran's missile and nuclear programs a threat and has lobbied the US for military intervention.

Satellite images of Tehran have revealed that toxic fires caused by Israeli bombings on oil depots were still burning days after the strikes, posing serious health risks to millions of residents in the Iranian capital.The bombings, which occurred on March 7, caused clouds of smoke to blanket the city with pollutants ranging from soot to oil particles to sulphur dioxide. A passing storm then showered Tehran with poisonous, oil-filled rain.Residents have reported headaches, eye and skin irritation, and difficulty breathing. Experts have warned that these symptoms could be just the beginning, with long-term risks of cardiovascular disease, cognitive impairment, DNA damage, and cancer.Four fuel facilities in and around the capital were hit, including the Shahran depot in the north-west, the Aqdasieh oil depot in the north-east, the Tehran refinery in the south, and the Shahid Dolati facility in the west.Satellite images taken two days after the strikes showed the Shahran depot and the Tehran refinery were still burning. Another image taken by the European Space Agency satellite on Tuesday – 10 days after the strikes – showed that those two fires had smouldered, but smoke and flames were visible at the Aqdasieh oil depot.Iran has described the attacks as “ecocide”, which is described as wanton acts of environmental destruction.The United Nations Environment Programme (UNEP) has warned that heavy smoke from burning oil was “directly inhaled by people in Iran – including young children – raising serious concerns about long-term impacts on both human and environmental health”.

Jenni Murray, a trailblazing broadcaster and longest-serving presenter of Woman's Hour, has died at the age of 75. Murray brought a unique calm authority to the BBC Radio 4 weekday show for an impressive 33 years, transforming it into a platform for discussing subjects such as the menopause, domestic violence, genital mutilation, and sexual politics.Under Murray's tenure, which began in 1987, Woman's Hour evolved significantly from its origins in 1946 as a program focused on cooking, cleaning tips, and romantic serials. By the time Murray took over, the show had become a sisterhood of the airwaves, as described by the Sunday Times in 1996.Murray was renowned for her fearless and thoughtful questioning of guests, which included politicians, film stars, authors, poets, chefs, gardeners, lawyers, and anxious parents. One notable interview was with Margaret Thatcher in 1990, where Murray exposed the ideological differences between the feminist approach and Thatcher's views on childcare and gender equality.Murray also conducted incisive interviews with other prominent figures, including Edwina Currie, who revealed her affair with John Major, and Tessa Jowell, discussing her financial decisions. Her conversations were marked by a flair for the dramatic and a deep empathy for her guests.Throughout her career, Murray was not without controversy. In 2017, she faced backlash for an article she wrote questioning the use of the term 'real woman' by trans individuals. The BBC subsequently warned her about maintaining impartiality on controversial topics.Murray's contributions to broadcasting were widely recognized. She was awarded an OBE in 1999 and a dame in 2011. Woman's Hour won the Television and Radio Industries Club's award for best radio program in 2004, and Murray received two Sony awards in 2010 and 2011.Murray's legacy extends beyond her broadcasting career. She was a champion of women's rights and a prolific author, writing several books, including her memoirs and a history of women's suffrage.

When Resident Evil emerged in the mid-1990s, it stood in stark contrast to the prevailing gaming landscape. The PlayStation and Saturn consoles were dominated by bright, arcade-style games like Daytona and Tekken, while Japanese publisher Capcom was primarily known for Street Fighter and Mega Man sequels. Scary games were rare at the time and mostly confined to the PC, making Capcom's horror title Biohazard (the Japanese name for the series) a radical departure that caught the attention of games journalists.Three decades later, the series has not only survived but flourished, becoming one of gaming's most successful franchises. Resident Evil has sold more than 180 million copies worldwide, with 11 core titles, numerous spinoffs and remakes, plus extensive film, television, and anime tie-ins. Its characters and monsters have become cultural icons, with its design tropes now embedded in gaming practice.The origins of Resident Evil can be traced back to 1989's Sweet Home, a Capcom role-playing game for the Famicom (Japanese NES). The game featured a group of filmmakers searching a haunted mansion for valuable artifacts, and while it was a modest domestic success, it never received an international release. However, senior producer Tokuro Fujiwara couldn't let go of his vision for horror as a distinct game genre."We have Tokuro Fujiwara to thank for the existence of Resident Evil," says Alex Aniel, author of acclaimed Resident Evil history book Itchy, Tasty. "He directed Sweet Home having believed that horror could become its own game genre, but wasn't satisfied with its rudimentary portrayal. He wanted to give horror another try once the technology was there to allow it – that opportunity finally arrived with the release of the original PlayStation."In 1993, young producer Shinji Mikami was brought in to oversee a horror game project inspired by Sweet Home. He expanded the haunted mansion concept, drawing influence from George A Romero's Dead trilogy and Alone in the Dark, creating a world haunted not by ghouls but by zombies, mutants, and monsters. The heroes were an experienced SWAT team investigating disappearances at a rural mansion owned by the sinister scientific organization: Umbrella Corp.The original vision for full real-time 3D visuals proved too ambitious for PlayStation hardware, leading Mikami and programmer Yasuhiro Anpo to develop a compromise: 3D characters combined with prerendered 2D backgrounds viewed from fixed camera angles. This restricted, expressionistic style emphasized the intense claustrophobia of the environment, with information always kept from the player by blind corners and shadowy doorways.This combination of tension, omission, and restriction is fundamental to Resident Evil's success as a horror franchise. Even as the camera evolved to over-the-shoulder views and first-person perspectives, characters remained vulnerable. Ammo, save points, and health items are jealously rationed, with extremely restricted inventories. This approach makes Resident Evil operate more like classic horror literature than a typical power fantasy video game.The series has also expertly referenced horror conventions while paying homage to its inspirations. "Kamiya's biggest source of inspiration came from Alien and especially its sequel, Aliens," says Aniel of Hideki Kamiya, who directed Resident Evil 2 and Resident Evil Zero. "For example, in Resident Evil 2, humans infected with the G-virus grow a parasite that eventually ruptures their host and emerges from within, growing into deadly creatures."Resident Evil has also demonstrated remarkable versatility in exploring different horror genres – gothic horror in its mansions and monstrous enemies, sci-fi horror in its biological experiments, and folk horror in its sinister villages and religious cults. This comprehensive approach allows it to mirror societal fears, a point underscored by the COVID-19 pandemic."The Covid pandemic reminded us just how real our fear of viruses should be," says Bernard Perron, professor of cinema and video games at the University of Montreal. "In that sense, the fear of a corrupt corporation like Umbrella, along with mad scientists who do not necessarily have humanity's best interests at heart, continues to resonate. These anxieties remain deeply embedded in our posthumanist societies."Throughout its evolution, Resident Evil has maintained a balance between familiarity and innovation. Characters like Jill Valentine, Claire Redfield, and Leon Kennedy provide continuity – relatable but cool figures who spout wry jokes like Hollywood heroes. Meanwhile, charismatic antagonists such as Albert Wesker, Lord Osmund Saddler, and Lady Dimitrescu ensure consistent engagement.The series also excels in pacing and structure, carefully delineating between exploration, puzzle-solving, and combat sections. Locations are filled with beautiful details – lavish furniture, eerie oil paintings, ornate gardens – making exploration pleasurable. After intense battles, players can retreat to safe spaces like Save Rooms, creating a rhythm that prevents fatigue."The series offers deep and entertaining gameplay experiences, but with a very low barrier to entry, even for newcomers," says Aniel. "The Resident Evil games are more accessible than ever: since they are often on sale, they are affordable even for customers in emerging global markets, available on every major game platform."Ultimately, Resident Evil's longevity stems from its ability to create uncertainty while maintaining familiarity. "You know what you will get, but you also don't know," the article concludes. "Around every corner there could be a shock or there could be nothing – it's the uncertainty that gets you. It allows us to write in our own fears and anxieties, or to discover new ones we hadn't considered or acknowledged. Like all great horror fiction, Resident Evil has survived because it looks us right in the eye and says, I know what scares you. Come and see."

The world of sports is witnessing a surge in teenage sensations, with young athletes excelling in various disciplines at an unprecedented rate. Max Dowman became the youngest ever scorer in the Premier League, while Sky Brown won her second world championship in skateboarding at just 17. This trend raises questions about whether these prodigies are simply outliers or if there is a pattern emerging. Data suggests that peak performance age across various sports is increasing, with the average age of Olympians rising by two years between 1992 and 2021. However, the emergence of young talents like Luke Littler, a two-time darts world champion by 18, and Emma Raducanu, who won a women's singles title in a grand slam at 18, indicates a shift towards younger athletes dominating sports. Formula One may hold some clues to this phenomenon, with driver academies evolving into advanced athlete development programs. The Premier League's elite player performance plan, introduced in 2012, has also contributed to the rise of young talents, providing them with excellent resources, including physical, medical, psychological, and educational support. Experts like Sean Cumming, professor in paediatric exercise science, highlight the importance of biobanding and tailored training programs for young athletes. However, concerns remain about the risks of injuries and the need for careful workload management for these young athletes. While some, like Des Ryan, director of sports and physical wellbeing at the University of Galway, express reservations about feeding youth athletes into adult sports, the trend of teenage sensations is likely to continue. As sports science and athlete development programs advance, we can expect to see more young athletes making a significant impact in their respective sports.