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Prime Minister Keir Starmer seized the launch of a new package of workers’ rights, due to take effect on Monday, to launch a direct attack on the Green Party and Reform UK. He warned that supporting any rival would place recent gains in sick pay, parental leave and the curbing of zero‑hours contracts in jeopardy. Speaking ahead of the May 7 local elections, Starmer framed Labour’s agenda as the only one offering a "serious, credible economic strategy" capable of delivering the reforms. He dismissed business critics as "vested interests" who had warned against the measures. The reforms include several headline‑making changes: the two‑child benefit cap is lifted – a demand long championed by child‑poverty advocates – and the government touts this as one of its proudest achievements. A 4.8% rise in the state pension will raise weekly payments to £241.30, while the standard allowance for Universal Credit climbs by 2.3%. Under the Employment Rights Act 2025, statutory sick pay becomes a right from the first day of illness, and workers will be entitled to paternity and unpaid parental leave immediately upon starting a job. These "day‑one rights" are presented as the most significant strengthening of workers’ protections in a generation. Labour is positioning these policies as a bulwark against potential losses in English council and mayoral contests, where it faces challenges from Reform on the right and the Greens on the left. Recent YouGov data placed the Greens and Reform each at 21%** of voting intention, with Labour trailing at **17%**. Starmer’s rhetoric signals a leftward shift within Labour, amid pressure from potential leadership rivals such as Angela Rayner and Andy Burnham. He acknowledged past opposition from business leaders who warned of costs and disruption, but asserted that Labour chose to stand with "working people". Not all left‑wing allies are satisfied. Unite’s General Secretary Sharon Graham criticised the Employment Rights Act as "a shell of its former self," while the union recently slashed its membership fees to Labour over disputes like the Birmingham bin strike. The Conservative Party, represented by Kemi Badenoch, condemned the removal of the two‑child benefit cap, claiming it would cost billions and "reward worklessness". Government analysis estimates the change will channel at least £1 billion annually to 186,000 work‑less households, with a typical family of two unemployed adults and three children seeing a **£6,400** income boost. The bulk of the benefit is projected to flow to a handful of cities – Leeds, Manchester, Birmingham, Bradford and Glasgow – each set to receive over **£200 million** per year. Starmer likened the current reforms to the Blair government’s introduction of the minimum wage 27 years ago, positioning them as a historic step forward for the UK labour market.

LIV Golf is shifting its focus from recruiting individual stars to securing whole tournaments, with the Saudi‑funded circuit now eyeing the possibility of hosting traditional national open championships. This strategic pivot could reshape the ongoing power tussle in elite golf. The proposal threatens the DP World Tour—formerly the European Tour—which already boasts a dense calendar of national opens across Europe and emerging markets like China, India and Australia. Adding more of these marquee events to LIV’s roster would intensify competition for the most coveted tournament slots. Although the recent exodus of top players from established tours to LIV appears to have stalled or even reversed, the battle for prime tournament markets is far from settled. Securing historic national opens would give LIV a foothold in events that carry deep cultural and commercial weight. To date, LIV has built a largely international schedule, staging events in Australia, South Africa, Mexico City, Hong Kong and Singapore for the 2026 season. While these locations broaden the circuit’s global reach, none possess the longstanding prestige of a national open. By contrast, the DP World Tour has successfully leveraged national opens to expand its brand beyond Europe, tapping audiences in Asia and the Pacific. This experience underscores the strategic value of such tournaments for sponsors and broadcasters. Meanwhile, the DP World Tour is engaged in high‑level negotiations with the PGA Tour to extend a strategic alliance that currently runs until the end of 2027. The PGA is reportedly pushing for a reduced annual financial underpin for DP World prize funds, and the emerging threat from LIV is a key bargaining chip in those talks. Recent player movements have added nuance to the rivalry: the PGA Tour welcomed back Brooks Koepka and Patrick Reed after their departures to LIV, yet the Saudi Public Investment Fund shows no sign of scaling back its ambitious golf project. On the player front, Jon Rahm, who remains with LIV, is slated to address the media at Augusta National ahead of the Masters. Having lost an appeal over fines imposed for playing on LIV, Rahm is currently barred from the Ryder Cup and has refused to settle the penalties, leaving him in strained relations with the DP World Tour. His comments are expected to dominate the pre‑Masters press conference.

When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

James, the Manchester‑originated nine‑piece, have turned a five‑decade career into a living testament to longevity, headlining arenas while celebrating the surprise success of their 2024 album Yummy, which finally secured a UK No.1 spot 42 years after the band first formed.The group continues to defy conventional touring formulas. Frontman Tim Booth describes their shows as “crazy, idiosyncratic,” with nightly set‑list revisions and unreleased songs that often lack finished lyrics. One such piece, the eight‑minute “Nantucket,” features a wordless chorus, an electro‑violin groove and verses that proclaim a mission to inspire, embodying the band’s experimental spirit.Rather than relying solely on a greatest‑hits marathon, the two‑hour, 21‑song performance weaves in moody interludes, deep‑cut selections, and influences ranging from Brian Eno’s ambient textures to the pulsating beats of Italian house. Lyrical barbs aimed at billionaires and organized religion sit alongside anthemic warmth, creating a communal atmosphere. The opening number “Come Home” subtly nods to Booth’s Leeds roots, while trumpeter Andy Diagram sports a “No more war” T‑shirt, and Booth often reaches out to audience members, reinforcing the show’s inclusive vibe.Driving the rhythm is veteran drummer David Baynton‑Power, complemented by recent additions Chloe Alper and Debbie Knox‑Hewson, who inject fresh sonic layers. Booth, now 66, remains the band’s charismatic talisman, occasionally appearing on a balcony for “Born of Frustration” and the soaring “Say Something,” moments that feel almost ritualistic. Arena‑sized sing‑alongs erupt during “Getting Away With It (All Messed Up)” and the classic “Sit Down,” and when Booth finally dives off the stage, he is hoisted aloft by a sea of hands, underscoring the band’s unique connection with fans.The concert at P&J Live in Aberdeen on 7 April exemplified why James remains a special, brilliant force in live music, continuing a tour that proves their relevance and humanity endure across generations.

Mexico’s art world is in uproar after an agreement with Banco Santander to export a landmark segment of the Gelman collection to Spain. The collection, hailed as one of the most significant assemblages of 20th‑century Mexican art, features masterpieces by Frida Kahlo, Diego Rivera, Rufino Tamayo, José Clemente Orozco, María Izquierdo and David Alfaro Siqueiros. Approximately 400 cultural professionals have signed an open letter demanding clarity from the Mexican government about the fate of the works, especially those by Kahlo that the state has designated as an "artistic monument". Historian Francisco Berzunza warned that Kahlo is "the most important artist in the history of our country" and that her works should remain accessible in Mexico. The disputed batch comprises 160 paintings, sketches and photographs originally owned by collectors Jacques and Natasha Gelman and purchased by the Zambrano family in 2023. Under the Santander deal, the pieces—currently on public display in Mexico for the first time in two decades—are slated to travel to Spain this summer to become a centerpiece of the new Faro Santander cultural centre. Santander’s announcement promised to handle "conservation, research and exhibition" of the collection, yet it omitted the duration of the Spanish stay. The bank’s director, Daniel Vega Pérez de Arlucea, later told El País that the legislation governing the works is "flexible" and that the collection would enjoy a "permanent presence" at the centre, intensifying concerns. Mexican officials have attempted to reassure the public. President Claudia Sheinbaum stated, "Our desire is for the collection to remain in Mexico," while Culture Minister Claudia Curiel de Icaza emphasized that the export is only temporary and that the artworks are expected to return by 2028. Santander also issued a statement insisting the deal does not constitute a sale or permanent removal. Nevertheless, critics argue the contract is ambiguous. The agreement, viewed by the Guardian, allows Faro Santander to retain control of the collection at any point between June 2026 and 30 September 2030, with the possibility of extensions by mutual consent. Such language fuels fears that the pieces could become effectively permanent fixtures abroad. Legal experts note that Mexican law protects works declared national artistic monuments, mandating that they may leave the country only temporarily and that the National Institute of Fine Arts and Literature (Inbal) is responsible for their repatriation. With Inbal owning just four of Kahlo’s roughly 150 pieces, many fear the deal undermines the protective framework. Berzunza summed up the stakes: "If the works were not to return, a fundamental part of this artist’s body of work – and her history – would be lost. These pieces are essential to telling her story and to understanding our identity as Mexicans."

When Kayleigh Davies, a seasoned valuer at the auction platform Auctionet, examined the base of a vase marketed as a genuine Lalique piece, she immediately recognised the deception. The word “Lalique” had been crudely engraved onto the bottom, a trick the seller hoped would inflate the price.Davies rejected the item, noting that without the fraudulent engraving it would have been a saleable piece. Her experience underscores a growing problem: traditional antique scams are being amplified by the reach of internet marketplaces.Typical red flagsFraudsters often disguise flaws—such as restored cracks or repainted toy cars—while claiming pristine condition. Even high‑value items like original‑packaged Star Wars figures can be misrepresented by placing cheap replicas in authentic‑looking boxes.Other warning signs include unexplained scuffs on glassware, suspiciously perfect finishes on aged objects, and a lack of clear provenance for autographs. Davies advises buyers to ask probing questions; a dishonest seller is likely to become evasive or refuse further details.Electrical collectibles, such as vintage lamps, pose additional hazards, as faulty wiring can lead to fire risks.Consumer safeguardsPlatforms like eBay enforce strict policies against counterfeit goods and offer a “money‑back guarantee” that protects purchasers when items do not match their listings.In the UK, Citizens Advice confirms that buyers have a legal right to a refund for fake products. If a seller refuses, shoppers can:Initiate a chargeback through their bank if they paid by debit card or used a credit card for purchases under £100.File a Section 75 claim for credit‑card purchases over £100, shifting liability to the card issuer.Suspected fraud can also be reported to the national Report Fraud centre, and to local Trading Standards via Citizens Advice.By staying vigilant, demanding documentation, and leveraging consumer‑rights mechanisms, buyers can reduce the risk of falling victim to counterfeit antiques and collectibles.

Iran carried out the execution of Abolhassan Montazer and Vahid Baniamerian on Saturday morning, following a Supreme Court ruling that confirmed their death sentences for membership in the outlawed People’s Mojahedin Organization of Iran (PMOI/MEK) and involvement in "armed rebellion" through multiple terrorist acts. The two men were hanged after a Revolutionary Court sentenced them in late 2024, a case that underscores Tehran's intensified crackdown on dissent amid the US‑Israeli war on Iran that began on February 28. This latest execution follows the hanging of four other PMOI members—Mohammad Taghavi, Akbar Daneshvarkar, Babak Alipour and Pouya Ghobadi—on March 30‑31, bringing the total number of executed opposition figures to six since the conflict escalated. The PMOI condemned the hangings in an April 2 statement, labeling Tehran's actions a "futile" attempt to suppress opposition and warning that such brutality will only fuel the resolve of Iran’s youth to challenge the regime. Human‑rights groups have also decried the executions. Amnesty International reported that the men were allegedly tortured while in custody and transferred to an undisclosed location shortly before their deaths. The organization warned that additional protesters—some sentenced to death for participation in the January anti‑government demonstrations—could face execution after being moved from Ghezel Hesar prison. Amnesty’s deputy regional director for the Middle East and North Africa, Diana Eltahawy, said, "It is unconscionable that even as the population endures mass bereavement from aerial bombardments, the Islamic Republic continues to weaponize the death penalty to eradicate dissenting voices and terrorise its people." The wave of hangings also includes the case of Kouroush Keyvani, a dual Iranian‑Swedish national convicted of spying for Israel, whose execution sparked outrage in Stockholm and the European Union. Another individual convicted of acting on behalf of Israel and the United States during the protests was executed on Thursday. These developments occur against a backdrop of intensified military confrontations, with Iran reporting the downing of U.S. aircraft and ongoing aerial bombardments by Israel and the United States, further complicating the nation’s internal security landscape. International observers warn that the continued use of capital punishment as a tool of political repression not only violates human‑rights norms but also risks deepening regional instability as the war persists.

Iranian officials have asserted that they successfully downed two United States warplanes in separate incidents. The first aircraft was reported to have been shot down over Kohgiluyeh and Boyer-Ahmad province, while the second went down in the Gulf region. According to Tehran’s statements, two U.S. crew members have been rescued, but at least one airman is still unaccounted for. The incident, confirmed by Iranian sources, is being presented as evidence of the country’s advancing air defense capabilities and its resolve to protect sovereign airspace. The downing of the aircraft arrives amid already strained U.S.-Iran relations, raising concerns about potential escalation. Analysts note that such incidents could prompt diplomatic protests, affect regional security calculations, and influence the operational posture of U.S. forces stationed in the Middle East. While the exact models of the downed warplanes have not been disclosed, the events underscore a broader narrative of increasing military assertiveness in the region. The loss of a U.S. crew member, if confirmed, would add a human dimension to the geopolitical fallout, potentially prompting calls for heightened caution on both sides. International observers are monitoring the situation closely, as the incident may impact ongoing negotiations, trade routes through the Gulf, and the strategic balance between regional powers.

Canadian astronaut Jeremy Hansen described the new space‑thriller Project Hail Mary as “a real treat” after watching it with his family and fellow Artemis II crew members ahead of their upcoming lunar fly‑around.During a live broadcast organized by the Canadian Space Agency, Hansen highlighted how the film exemplifies the synergy between art and science, noting that it “inspires people to imagine the sacrifices required to save humanity.”Co‑star Ryan Gosling, who shares Hansen’s Canadian roots in London, Ontario, sent his best wishes to the four astronauts before the mission’s scheduled launch on Wednesday.Hansen’s participation marks a milestone: he is the first non‑U.S. citizen to travel to the Moon. If the mission proceeds as planned, Artemis II will travel more than 250,000 miles from Earth, surpassing the distance record set by Apollo 13 in 1970.The crew’s ambition echoes past cinematic portrayals of space, recalling the acclaimed 1995 film about Apollo 13, and underscores the growing cultural interplay between Hollywood storytelling and real‑world exploration.