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Two long-lost episodes of Doctor Who from the William Hartnell era, which had not been seen since 1965, have been released after being discovered in a private film collection. The episodes, 'The Nightmare Begins' and 'Devil’s Planet', are parts one and three of a mostly lost 12-part adventure called The Daleks’ Master Plan, written by Terry Nation, the creator of the Daleks, and broadcast as part of the third series of Doctor Who in November 1965.The episodes feature Peter Purves as the Doctor’s companion, Stephen. They were recovered by Film is Fabulous, a charitable trust dedicated to securing and preserving private film collections. The original 16mm telerecordings of the two Dalek episodes have been restored and made available on iPlayer in the UK.This discovery marks a significant milestone for fans, as it includes the first appearance of Nicholas Courtney in the show, playing Bret Vyon. Courtney later became a regular character, playing Alistair Gordon Lethbridge-Stewart, known as the Brigadier of Unit. 95 episodes of Doctor Who from the 1960s remain missing from the archives, having been wiped or junked by the BBC during the 1970s.

For theatre enthusiasts, April brings a range of exciting productions and performances. Patrick Stewart is set to read all 154 of Shakespeare's sonnets on Audible, a project that began as a pandemic hobby where he recited one sonnet each day on social media. This comprehensive collection, which includes his personal commentaries, will be available from April 7 and lasts almost four hours. In another notable production, Complicité presents 'I Don't Do Innocents', a radio play by Anne Carson directed by Simon McBurney, featuring a cast that includes Emma Corrin and Carson herself reading the stage directions. On the BBC, Sam Ryder gives a sneak preview of his Jesus Christ Superstar, which is set to appear at the London Palladium this summer, as part of the musical-theatre jamboree on iPlayer. Hosted by Jason Manford in Manchester, the event also features Victoria Hamilton-Barritt singing from Paddington: The Musical. Additionally, James Ijames' historical satire 'The Most Spectacularly Lamentable Trial of Miz Martha Washington' is set to run from April 9 to May 3. This play, which explores the life of the inaugural first lady of the US, could pair interestingly with 'Oh, Mary!' in the West End. The BBC is also celebrating the 120th anniversary of Henrik Ibsen's death with a comprehensive iPlayer season featuring various adaptations of his works, including two renditions of 'Hedda Gabler' and 'The Master Builder'. Other highlights include Rosie Sheehy's performance in 'King John' on Marquee TV and 'End' at the National Theatre, part of a trilogy by David Eldridge, which makes a compelling double bill with Stephen Poliakoff's 'Close My Eyes'. Finally, 'Back to the Future: The Musical' is set to embark on a UK tour after its run in London, with an Amazon Prime documentary offering a 'making of' insight into the show.

The recent conflict between the United States and Iran has sparked concerns over military overextension and the US's strategic approach in the Middle East. The war, initiated by President Donald Trump, has been characterized as a 'boomer war,' with limited support among younger generations. According to the article, the conflict's popularity declines with each younger cohort, with only one in five adults under 30 supporting the war.The author, Stephen Wertheim, argues that the war is anachronistic and reflects an outdated approach to foreign policy. He notes that every president since Trump, most notably Trump himself, has repudiated regime-change wars in the Middle East. The conflict has also raised concerns about the US's military capabilities and its strategic priorities in the region.Wertheim suggests that the war may be a last-ditch effort by older generations to impose their will on the region. He notes that sympathy for Israel is declining among millennials and Gen Z, which may have factored into the decision to launch the war. The article also highlights the risks of escalation and the potential for further conflict in the region.The author concludes that the US must reevaluate its approach to the Middle East and avoid tying itself to the region's problems. He argues that Americans must act to make warmakers pay a steep political price to prevent future conflicts. Ultimately, the article suggests that the US-Iran conflict is a critical moment for the US to reassess its foreign policy priorities and avoid further entanglement in the region.

The BBC series 'Babies' is redefining television storytelling by tackling the sensitive topic of miscarriage with a unique blend of realism and emotional depth. Created by Stefan Golaszewski, the show follows a couple, Lisa and Stephen, as they navigate the aftermath of a miscarriage and the challenges of expressing their grief.Golaszewski's approach to the subject matter is characterized by his meticulous attention to detail and commitment to recreating real life on screen. The show's cast, including Siobhán Cullen and Paapa Essiedu, praise Golaszewski's dedication to authenticity, which involved painstaking planning and a focus on naturalistic dialogue.The series explores themes of male friendship and the difficulties of expressing vulnerability, as well as the societal stigma surrounding miscarriage. Golaszewski hopes that 'Babies' will contribute to a broader conversation about miscarriage awareness and help to reduce the sense of isolation that many people experience after suffering a miscarriage.The show's use of naturalistic storytelling and emotional depth has been praised by critics and audiences alike, with many noting its impact on their perspective on miscarriage and its effects on individuals and relationships.

Stephen Colbert is stepping behind the camera to co‑author the screenplay for a forthcoming Lord of the Rings film, teaming up with franchise veteran Peter Jackson. The announcement arrives as CBS prepares to conclude Colbert’s run on The Late Show in May 2026.Born in Washington, D.C., and raised in a large Catholic family, Colbert faced a tragic plane crash in 1974 that claimed his father and two brothers. The loss drove a ten‑year‑old Colbert into the worlds of fantasy literature and tabletop role‑playing games, especially J.R.R. Tolkien’s novels and Dungeons & Dragons. He later reflected that these early escapades sharpened his improvisational instincts—a skill that would become central to his comedy career.After studying drama at Northwestern, Colbert honed his craft at Chicago’s Second City, where he met future collaborators Steve Carell, Amy Sedaris and Paul Dinello. Their partnership produced cult projects such as Exit 57 and Strangers with Candy, laying the groundwork for Colbert’s breakthrough on Comedy Central’s The Daily Show in 1997.On The Daily Show and later The Colbert Report, he created the satirical pundit persona “Stephen Colbert,” a parody of right‑wing commentators that introduced the now‑iconic concept of “truthiness.” While the character was deliberately absurd, Colbert often slipped personal touches—his Catholic upbringing and Tolkien enthusiasm—into the act, even securing a cameo from Viggo Mortensen in 2007.When he succeeded David Letterman on The Late Show in 2015, Colbert abandoned the on‑air alter‑ego and presented himself as a more authentic host. His tenure coincided with the 2016 U.S. presidential election, prompting a shift toward sharper political commentary. Despite a decline in overall late‑night ratings, Colbert’s show regularly outperformed rivals Jimmy Fallon and Jimmy Kimmel, becoming the most‑watched network late‑night program in the United States.The decision by CBS to end The Late Show has been framed as a strategic retreat from the costly late‑night market, not a punitive move against Colbert’s outspoken criticism of former President Trump. Nonetheless, the cancellation has sparked speculation about the network’s motives amid broader industry consolidation.In a recent interview, Colbert described late‑night television as a “third space” for Americans—a communal venue that bridges home and work. He emphasized that his goal has always been to foster connection, whether through humor or more serious conversations, such as a 2021 interview with Andrew Garfield about personal grief.Looking ahead, Colbert insists he is not retiring from entertainment. Writing a new Lord of the Rings movie feels like a full‑circle moment, returning him to the literature and role‑playing that helped him survive childhood trauma. The project promises to blend his deep‑seated fandom with his seasoned storytelling abilities, potentially ushering in a fresh creative phase beyond the talk‑show circuit.

The UK's physics community is reeling from a devastating blow as the government slashes funding for particle theory research. Grants from 2026 to 2030 have been cut by nearly 70%, leaving fewer than 20 postdoctoral researchers to work in the field across the country. This drastic reduction has sparked fears that some physics departments may close and that the UK's reputation as a hub for physics research could be irreparably damaged.Brian Cox, a prominent TV scientist and professor at the University of Manchester, described the impact as 'unquantifiable' and warned that it amounts to the 'destruction of the future'. The cuts have been criticized by scientists around the world, with over 600 international researchers signing an open letter in support of the UK's physics community.The Science and Technology Facilities Council (STFC) has defended the cuts, citing 'particular pressures' due to inflation and higher operating and staffing costs. However, many scientists argue that the cuts are a shortsighted move that will ultimately harm the UK's scientific progress and reputation. The UK's physics community has a rich history, with notable figures such as Stephen Hawking, Peter Higgs, and Paul Dirac making groundbreaking contributions to the field.The cuts have also sparked concerns about the impact on young researchers, who are the lifeblood of scientific progress. Prof Jeff Forshaw, also at Manchester, described the cuts as 'annihilating' a field of research that inspires young people into physics and fires up the public imagination. The situation has prompted alarm around the world, with Prof Ed Witten, considered one of the greatest physicists since Albert Einstein, expressing concern that the UK is following in the footsteps of the US, which has also made major cuts to science funding.

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.

Egil Johansen, the landlord of the Kenton pub in Hackney, east London, describes recent incidents involving children as "like the wild west." He has now banned children entirely after a three-year-old fell down a cellar hatch while parents sat elsewhere, a five-year-old crashed into staff carrying drinks, and six parents brought 10 hyperactive children after a birthday party while ignoring their behavior."In every case, the parents blame us when something goes wrong or get really angry when we ask them to control their children," says Johansen, who has run the pub for 17 years. "I'm legally obliged to keep children safe on my premises and if the parents let their children run riot, the only answer is to not allow them in at all."Johansen initially tried banning children only after 5pm, but this interim measure failed to address the underlying issues. Despite online criticism framing him as the "baddie," he expresses sadness about the situation: "I'm a publican; I'm a people-person. It gives me no joy to ban anyone, but it's just not safe: parents don't control their children and our other customers were beginning to go elsewhere. I had no choice."The Kenton's decision reflects a growing trend among UK pubs seeking to differentiate themselves from establishments that "resemble soft play centres without the ball pit." While some welcome this shift, others view it as unwelcoming to families, creating a culture war in the pub industry.Lee Jones, landlord of the Brewers Arms in West Malvern, Worcestershire, reversed a previous child ban: "We're dog-friendly, child-friendly, adult-friendly. We're just friendly – we don't distinguish. Pubs are for the community and I don't see bans in the spirit of what we're here for." Jones reports that when children become rowdy, staff can address the issue with parents, though this is rarely needed.Stephen Boyd, who runs the Alma in south London, took a different approach after attempting to attract young families. He found families with children consumed disproportionate time and resources with special requests for diluted drinks, heated beverages, and customized meals, while adult customers waited longer for their orders."You just need a couple screaming, banging on a table or running up and down, and it dictates the whole atmosphere of the pub," Boyd says. "Parents would take massive umbrage if staff asked them to stop their children doing something." After implementing a child ban, he describes the change as "a fucking revelation" with staff retention improving and takings doubling.Despite the positive results, Boyd faced significant backlash: "I got a lot of online hate. Mainly from people who had never been to the pub but felt I was doing something morally hateful."Tom Stainer, chief executive of the Campaign for Real Ale, acknowledges the debate is "very live" but emphasizes: "But you do have to look at the responsibility of the parents in these situations, not just at the pubs. They're the ones responsible for making sure that their children behave."Financial considerations also drive some decisions. Mandy Keefe, landlady of the Wheel Inn in Ashford, banned children partly for behavioral reasons but also financial ones: "If a third of my Sunday customers were children eating from a reduced-rate child's menu and not drinking any alcohol, that wouldn't be financially viable."Across the UK, pubs are making individual decisions based on their specific circumstances, but as Johansen's experience demonstrates, it only takes one serious incident to settle the question for good.

Irvine Welsh's cult classic novel Trainspotting is to be reimagined as a musical, with its West End debut scheduled for July at the Theatre Royal Haymarket in London. The musical adaptation, also titled Trainspotting, will be a collaboration between Welsh and composer Stephen McGuinness.Welsh's 1993 debut novel has already been adapted into a film and a play, and has spawned several sequels and soundtrack albums. The musical will feature a mix of original songs and tracks from Danny Boyle's 1996 film adaptation, including Iggy Pop's 'Lust for Life'.“It wasn’t the most obvious book to be successful,” Welsh noted. “And it wasn’t the most obvious movie or stage play to be successful. It’s confounded expectations – especially my own.”The story follows four friends struggling with addiction and crime in Edinburgh. Welsh cited musicals like West Side Story, Oliver! and Rent as examples of successful adaptations of complex, serious material.The musical will include a couple of new characters and contextual material from Welsh's 2012 prequel, Skagboys. Robbie Scott, 26, will play the lead role of Mark Renton, marking his West End debut.“It’s got real sass and vigour in the way the actors spark off against each other,” Welsh said. “I’m really looking forward to an audience seeing it.”