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UK lawmakers have urged the government to reconsider its £330m contract with Palantir, a technology company known for its work with Donald Trump's ICE immigration agency and the Israeli military. The contract is for the NHS federated data platform (FDP), which has sparked concerns over data privacy and the company's ties to Peter Thiel, a Trump-supporting tech billionaire.MPs, including Luke Taylor and Samantha Niblett, have described the deal as 'shameful' and 'dreadful', questioning whether Palantir can be trusted with the health records of tens of millions of British citizens. The government has confirmed it will review the contract in spring 2027, when a break clause is due.Despite £210m already being spent on the contract, the government has faced rising pressure from doctors, MPs, and the public to reconsider its deal with Palantir. The company has countered that its software has helped deliver 110,000 additional operations and reduced discharge delays.The FDP has been one of the most controversial contracts in the UK public sector, with internal documents revealing health bosses' concerns over 'negative sentiment' about the system. The government has said 137 NHS trusts have signed up to use the Palantir-powered system, but there are concerns that usage is 'shallow'.

Tiger Woods, the 50-year-old golf legend, has been in a tumultuous situation after his DUI arrest on March 27. According to court filings released recently, Woods told police that he had taken several prescription medications, including Vicodin, on the day of the crash. He claimed to have taken these medications for high blood pressure, cholesterol, and pain management. Woods denied drinking alcohol, and a breath test confirmed that there was no alcohol in his system. However, he refused a urine test for drugs. Prosecutors are seeking access to Woods's prescription records from the months leading up to the crash, but his attorneys have objected, citing privacy concerns. In a series of bizarre remarks, Woods told officers at the scene that 'all the drones' were flying over his home and referenced '10 to 15 drones coming over my … car' with 'GoPros on 'em'. He then claimed to have spoken to 'the president' in a conversation that was cut short. Woods has pleaded not guilty to DUI charges stemming from the crash and is due back in court next month. His attorney has requested a protective order to limit the use of any records obtained. Woods has been in a relationship with Vanessa Trump, former daughter-in-law of Donald Trump, for over a year. Donald Trump himself stated that he had spoken with Woods since the incident, noting that the golfer 'lives a life of pain' due to his injuries. Woods has been involved in previous high-profile car incidents, including a life-threatening 2021 crash in Los Angeles and a 2017 DUI arrest linked to prescription medication use. He has struggled with chronic pain and injuries in recent years, including a seventh back procedure and a ruptured achilles tendon.

For the first time, two preliminary pencil sketches by E.H. Shepard for the beloved children's book Winnie-the-Pooh have been made public. These unseen drawings were created before the book's publication in 1926 and showcase Shepard's early thoughts on bringing A.A. Milne's iconic character to life.The sketches, shared by Shepard's family to mark the centenary of the book, provide insight into the artist's creative process. One drawing, captioned 'Climbing very cautiously up the stream,' depicts Pooh and his friends Christopher Robin, Piglet, and Owl. It was intended for Chapter VIII, where Christopher Robin leads an expedition to the North Pole.The sketch shows Pooh, Christopher Robin, Piglet, and Owl on an adventure. Photograph: Courtesy of Peter HarringtonThe other sketch is a delicate study for Chapter III, where Pooh and Piglet go hunting and nearly catch a Woozle. According to Philip W Errington, a senior specialist at Peter Harrington Rare Books, these drawings showcase Shepard's 'absolute, vibrant creativity' and exceptional skill in rendering movement.The drawings will be exhibited at Peter Harrington Rare Books in London as part of a special exhibition starting on April 17. Errington noted that it is 'extraordinarily rare to encounter preliminary drawings of Winnie-the-Pooh that capture what might be called the first moment of inspiration.'

Samuel Hasselhorn, now in his mid‑30s, has become a leading figure among the new generation of lieder singers. His latest collaboration with pianist Ammiel Bushakevitz forms part of Harmonia Mundi’s ambitious Schubert 200 project, which aims to record the entire catalogue of Franz Schubert’s songs before the 2028 bicentenary of his death.The album, aptly titled Hoffnung (German for “hope”), focuses on the composer’s optimistic output from 1826. It opens with a delicate rendition of Im Freien, where Hasselhorn’s clear diction and Bushakevitz’s lyrical phrasing create an intimate, nocturnal atmosphere that lasts six minutes.Across the record, Hasselhorn demonstrates a rare timbral and emotional flexibility. Dark, chocolate‑rich tones anchor his lower register, while the upper range remains light and airy, avoiding any hint of forced crooning. Highlights include the lyrical gems Alinde, Im Frühling and Der Wanderer an den Mond, each benefiting from his nuanced control.Moments of dramatic intensity—such as the wintery turbulence of Über Wildemann—reveal “an iron fist in a velvet glove.” By contrast, the buoyant Fischerweise bubbles with open‑hearted vitality, and Hasselhorn breathes fresh life into classic Shakespearean settings like Who is Silvia? and Hark! Hark! The Lark!Listeners can stream the album on Apple Music or Spotify via the embedded player above, experiencing a performance that not only honors Schubert’s hopeful spirit but also showcases the evolving artistry of today’s leading baritone.

For the first time in Hollywood history, an authorized generative‑AI version of a major star headlines a feature film. The western As Deep As the Grave showcases a digitally recreated Val Kilmer, whose voice was synthesized by UK‑based firm Sonantic using archival recordings. The project, delayed by Kilmer’s death in April 2025, received full cooperation from his estate and his daughter Mercedes, who helped craft the visual deep‑fake of the actor. Mercedes Kilmer confirmed that her father embraced emerging technologies as a storytelling tool, a sentiment the filmmakers say they honored throughout production. At Wednesday’s CinemaCon trade show in Las Vegas, the trailer revealed that Kilmer’s character, Father Fintan—a Catholic priest and Native American spiritualist—appears for roughly one hour of screen time. The footage shows the priest at different ages, including a spectral elder who advises a child, “Don’t fear the dead and don’t fear me.” Writer‑director Coerte Voorhees explained that the narrative was built around Kilmer’s heritage and his love of the Southwest. He added that the production adhered to SAG‑AFTRA guidelines and that the estate was financially compensated for the use of archival material. The film also stars Tom Felton, Abigail Breslin and Abigail Lawrie. In a March interview with Variety, Voorhees noted that Kilmer’s family repeatedly emphasized the project’s importance to the late actor. The Kilmer case follows a growing trend of AI‑generated performances. In 2022, Bruce Willis consented to a digital twin after a dementia diagnosis, while actors such as Matthew McConaughey and Michael Caine have licensed their voices to AI firms for approved uses. Estates of legends like Laurence Olivier, Judy Garland and James Dean have similarly partnered with the marketplace ElevenLabs. Beyond film, celebrities are exploring AI for digital meet‑and‑greets; Paris Hilton and Kendall Jenner have reportedly signed deals with Meta for AI‑powered appearances on Instagram, and users can even query an AI version of Deepak Chopra for advice on a range of topics. Nevertheless, some stars remain cautious. Morgan Freeman, Tom Hanks and Scarlett Johansson have publicly expressed skepticism about deep‑fake replicas of their likenesses.

The heads of Amazon MGM Studios used Wednesday’s CinemaCon trade show to temper expectations surrounding the next James Bond film. Executives confirmed that the iconic spy has not yet been cast, citing a deliberate, respectful approach to the decision.Courtenay Valenti, Amazon MGM’s head of film, addressed the crowd with a measured tone: “We know you’re eager to learn who will embody James Bond, but we’re taking the time to do this with care and deep respect.” She stressed that the role is “a lifetime dream” and a responsibility the studio does not take lightly.Valenti highlighted the caliber of talent attached to the project, noting that the franchise will be paired with renowned director Denis Villeneuve, acclaimed producers Amy Pascal and David Heyman, executive producer Tanya Lapointe, and screenwriter Steven Knight. This combination, she argued, sets the stage for a film worthy of the Bond legacy.The upcoming installment is slated for a 2028 release, implying that principal photography is likely to commence in late 2026. The timeline follows earlier announcements in June 2025 (Villeneuve as director) and August 2025 (Knight as writer).Speculation about potential leads has centered on three actors: Callum Turner, Aaron Taylor‑Johnson, and Jacob Elordi. If Elordi were chosen, he would become the youngest, tallest, and second Australian to portray the famed spy.Despite his recent Oscar‑nominated turn in Frankenstein and a high‑profile role in Wuthering Heights, Elordi’s schedule appears unusually open, fueling further conjecture.Valenti concluded with confidence: “The film is coming, and when the time is right, we’ll have much more to share.”

For the first time, a detailed map identifies the UK’s most severe ammonia pollution hotspots in regions where intensive pig and poultry farms are most concentrated.The analysis, produced by Compassion in World Farming (CiWF) and the environmental group Sustain, shows the highest emission densities in Lincolnshire, Herefordshire and Norfolk. These counties host a large number of confined‑livestock units that drive dangerous levels of ammonia, a nitrogen‑based gas primarily released from animal manure.In the United Kingdom, agriculture accounts for 89% of national ammonia emissions. When released into the atmosphere, ammonia reacts with other pollutants to form fine particulate matter (PM2.5), a leading cause of premature death. The Committee on the Medical Effects of Air Pollutants (COMEAP) estimated that PM2.5 exposure caused between 28,861 and 29,000 early deaths in 2010.The timing of the report is notable: the government is currently reviewing planning regulations that would make it easier to approve new intensive livestock facilities, despite growing concerns over air quality, water contamination and local opposition.Health professionals warn that ammonia‑derived PM2.5 fuels heart disease, stroke, asthma and chronic lung conditions. Dr Amir Khan, a GP and CiWF patron, said, “As a GP, I see first‑hand the toll that air pollution takes on people’s health – and ammonia from intensive farming is a major, yet often overlooked, part of that problem.”Beyond human health, excess nitrogen from ammonia deposition acidifies soils and pollutes rivers. Recent activism in Shropshire halted a proposed poultry megafarm of 230,000 chickens after campaigners argued the council failed to assess the full environmental impact.Rising numbers of industrial poultry units—known as IPUs—along the River Wye and River Severn valleys are identified as a key driver of river pollution. Chicken manure is especially rich in phosphates, which deplete oxygen in waterways and threaten aquatic life.Calculations for the map were based on permitted stocking numbers and average ammonia production factors for different livestock categories, including broiler chickens, indoor egg layers and pigs.Local residents are already feeling the impact. Michele Franks, who lives near a Lincolnshire poultry megafarm, described how shed clean‑outs force her to stay indoors, causing “chest tightness, eye irritation and breathing difficulties” that can last for days.CiWF and Sustain are calling for an end to the expansion of factory farming. Anthony Field, head of Compassion in World Farming UK, warned, “Factory farming sits at the heart of the UK’s ammonia crisis. By cramming large numbers of animals into confined spaces and relying heavily on fertilisers, these intensive systems release far more ammonia than the environment or our bodies can cope with.”

Telenor, majority-owned by the Norwegian government, entered Myanmar in 2013 with promises to connect isolated users. However, allegations suggest that the company provided data on over 1,200 customers to the military regime, aiding in the arrest and persecution of anti-coup activists.Aung Thu, an activist, claims that his data was released by Telenor in late September 2021, leading to his re-arrest and charge under counter-terrorism laws. A class-action lawsuit filed in Norway seeks €11m in compensation for 1,253 customers allegedly affected.Telenor's transparency reports reveal it complied with 96% of 153 data requests from authorities. The company's actions have raised concerns about its role in propping up the military junta and breaching trust with its customers.Norwegian politicians and human rights activists have called for accountability and greater transparency on the government's role in the matter. The incident has sparked debate about Norway's image as a defender of peace and human rights.

Young Vic artistic director Nadia Fall insists that theatres facing fiscal pressure must rely on daring, crowd‑pulling programming to restore solvency. Announcing a fresh slate of productions, she highlighted an anti‑Trump musical adaptation of Thelma & Louise as a flagship effort to attract diverse audiences. Since assuming leadership in 2025, Fall has overseen a £500,000 deficit that forced staff reductions. She stresses that while increased philanthropy is essential, the director’s most immediate lever is the choice of shows that can “program our way out of the crisis.” The upcoming musical, set to open on 3 September, features a score by Grammy‑winning Neko Case of the New Pornographers, and benefits from the involvement of original screenwriter Callie Khouri. Fall hopes the production’s feminist angle—positioned against the backdrop of “Trump’s America” and rolling back of women’s rights—will resonate with audiences. Other autumn highlights include Shedinburgh, an immersive showcase bringing Edinburgh Fringe talent such as Sara Pascoe and Inua Ellams to London for the first time, and Eurotrash, starring Ben Whishaw and Kathryn Hunter, adapted from Christian Kracht’s dark novel about a mother‑son road trip in the Swiss Alps. Fall also confirmed her direction of August Wilson’s Gem of the Ocean and the South London staging of Tiago Rodrigues’ father‑daughter drama La Distance. Additionally, a world premiere of Debbie Tucker Green’s near‑future dystopia Dissent will explore themes of surveillance and censorship that echo contemporary societal concerns. Her remarks came as a new Arts Council England report revealed a 64% decline in the number of plays touring England since 2019, underscoring the sector’s precarious state. While past successes—such as James Graham’s Punch, which earned two Olivier Awards—demonstrate the potential of strong programming, Fall warns that the split of box‑office receipts and Theatre Tax Relief often deters collaborative ventures across the country. Calling for “government‑level incentives” to make nationwide partnerships viable, Fall concluded that the future of UK theatre hinges on a combination of bold artistic choices, private investment, and supportive public policy.