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David Attenborough’s voice returns to British screens in ‘Secret Garden’, a BBC One series launched to celebrate the network’s 100th birthday. Unlike his classic wildlife documentaries, the show turns the lens toward the UK’s own backyards, exploring how gardens can rival tropical rainforests in biodiversity.Series producer Bill Markham explains that the programme deliberately avoids the usual “lions and tigers” spectacle, aiming instead for a relatable, garden‑centred narrative. He notes that British gardens collectively cover more area than all national nature reserves combined, and that an average garden can host up to 2,600 different species.The series tackles the contentious issue of domestic cats. With 9.5 million pet cats in Britain, Attenborough reveals they may kill around 55 million birds each year. Simple measures—such as fitting cats with bells—can slash hunting success by one‑third, while raising bird feeders reduces fatalities further.Markham stresses that the current predator‑prey balance is “unfair on the prey”, noting that cats are “the biggest predator in our gardens” yet are constantly fed, leading to an unsustainable population. He cites ecologist Dr Davide Dominoni, who suggests that keeping cats indoors during the breeding months of April and May could dramatically lower bird deaths.Beyond cats, the series examines other garden‑linked wildlife challenges. Each year, over 30 million pheasants—an Asian species—are released into the countryside, where they prey on native insects, reptiles, and amphibians. Markham argues that despite the countryside lobby’s claim that pheasant shooting sustains rural jobs, the practice “mess‑es with the ecology”.‘Secret Garden’ also showcases rare footage, including a pine marten hunting sand martins, an otter preying on ducks, and intricate mayfly battles reminiscent of the famed “snakes vs. iguana” scene from Planet Earth II. These moments underline the hidden drama unfolding in everyday green spaces.Markham hopes the series will soothe the growing eco‑anxiety many feel about climate change. He points out that the UK boasts roughly 25 million gardens, with 80 % of the population having access. Simple actions—like planting a native tree to boost caterpillar supplies for birds—can make a measurable difference.While the show may provoke cat owners and countryside advocates, Markham believes the nation’s love for “animals, gardens and David Attenborough” will drive a collective re‑thinking of garden stewardship. As Attenborough reflects, his first encounter with nature likely occurred in his own garden, setting him on the path to becoming the world’s most renowned naturalist.‘Secret Garden’ airs from 5 April on BBC One and iPlayer.

The Royal Liverpool Philharmonic, led by conductor Daniela Candillari, presented a unique concert experience that juxtaposed the serene with the apocalyptic. The program began with Elgar's Serenade for Strings, a piece that epitomizes Victorian salon music. The performance was gentle and dainty, with a lovely translucent quality to the Allegretto.The highlight of the evening was undoubtedly Mark Simpson's oratorio, 'The Immortal', inspired by Victorian occultism. This 2015 work invites the audience to a seance, featuring texts from mediums of the time and the words of Frederic Myers, founder of the Society for Psychical Research. The piece was characterized by its impossibly dense, deliberately impenetrable textures and apocalyptic soundscapes, complete with amplified howls and shrieks from the vocalists of Exaudi and solo baritone Rory Musgrave.In contrast, the performance of Sibelius's Second Symphony was smooth and polished, but lacked real tension and buildup. The symphony's ominous timpani rumble and scherzo were played with speed, but without the intensity one might expect. Overall, the concert promised life and death but ultimately left the audience hovering in between.

The conflict in the Middle East has taken a dramatic turn as Yemen's Iran-backed Houthis launched a second wave of attacks on Israel since joining the conflict on Saturday. The Houthis have vowed to continue their military operations in the coming days until Israel "ceases its attacks and aggression".In a significant escalation, two powerful explosions shook northern Tehran early on Sunday, with air defenses operating in the Iranian capital. The blasts occurred around 7:20 am, but it was not immediately clear what was targeted.Meanwhile, the US is reportedly preparing plans for ground operations in Iran, with the Trump administration having already deployed US Marines to the Middle East. The Pentagon is considering weeks of ground operations in Iran, potentially including raids on Kharg Island and coastal sites near the Strait of Hormuz.The entry of the Houthis into the conflict poses a direct threat to the Bab al-Mandab strait at the southern end of the Red Sea, a critical choke point in the supply chain of energy supplies and other trade in and out of the Middle East. A shutdown of the Bab al-Mandab, located between Yemen and the Horn of Africa, would amplify the already grave impact of the war on the global economy and could also reignite a Saudi-Yemen conflict.Exiled Iranian Crown Prince Reza Pahlavi has told one of the US's biggest annual gatherings of conservatives that he is ready to lead a new Iranian government and would call on the country's citizens to rise up when the "right moment arrives".Iran's Revolutionary Guard has threatened to target US universities in the Middle East after saying US-Israeli strikes had deliberately targeted two Iranian universities.

Israel has confirmed that it has struck a uranium processing facility in the central Iranian city of Yazd, in an escalatory move that comes as regional diplomats have been attempting to broker an agreement to halt the joint US-Israeli war on Iran.The Israeli Air Force said it hit a plant used to extract raw materials essential to the uranium enrichment process, describing it as a 'unique facility' in Iran's nuclear infrastructure. Iran's Atomic Energy Organization confirmed the strike, but said there were no casualties or radiation leaks.A projectile also hit near the Bushehr Nuclear Power Plant, Iran's Atomic Energy Organisation said. The attack caused 'no casualties, financial, or technical damage,' the organisation said.Friday marked day 28 of the conflict, and the assault by the Israeli army was part of a broad wave of attacks on sites across the country. The Khondab Heavy Water Complex in central Iran was hit, as well as two major steel plants: the Khuzestan Steel facility and the Mobarakeh Steel complex in Isfahan.Foreign Minister Abbas Araghchi said Iran will 'exact heavy price' for Israeli attacks on several important infrastructure sites. 'Israel has hit 2 of Iran's largest steel factories, a power plant and civilian nuclear sites among other infrastructure,' said Araghchi in a post on X.Strikes also hit areas in and around Tehran, the city of Kashan and Ahwaz, while 18 people were killed in Qom. More than 1,900 people have been killed in US-Israeli attacks on Iran since the war began on February 28.Iranian officials said US-Israeli strikes have damaged at least 120 museums and historical sites across the country since hostilities began.Negar Mortazavi, a senior non-resident fellow at the Center for International Policy, told Al Jazeera that even Iranians who had been critical of their own government increasingly view the war as an assault on the Iranian people rather than its leadership, saying the targeting of water, electricity, gas, cultural heritage, schools and hospitals was 'unacceptable.'Israeli Defence Minister Israel Katz said Israel would 'intensify' its campaign and expand the range of sites it targets, accusing Tehran of deliberately directing missiles at Israeli civilians.

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.

Australia's recent introduction of 'hate speech' laws has sparked controversy, with human rights groups warning that the legislation could be used to suppress legitimate criticism of Israel's actions in Palestine. The laws, which were rushed through the New South Wales federal parliament in January, specifically target speech considered anti-Semitic and carry a maximum penalty of two years' imprisonment for those found guilty. Arif Hussein, senior lawyer at the Human Rights Law Centre, has expressed concerns that the legislation could be used to unfairly impact peaceful protest and speech regarding Israel's actions in Palestine. “There are serious concerns that the new laws could have a chilling effect on legitimate activism and protest and unfairly impact peaceful protest and speech regarding Israel’s actions in Palestine,” Hussein said. The laws have been introduced in response to a mass shooting at Sydney's Bondi Beach in December, which killed 15 people. However, critics argue that the legislation prioritizes the protection of the Jewish community over other vulnerable groups. Greens party spokesperson Senator David Shoebridge has criticized the laws, saying they were 'deliberately designed to not protect' vulnerable communities such as Muslims, women, and LGBTQ+ Australians. “Unfortunately, the Albanese Labor government and the Liberals made the decision to protect just one religion,” he said. The laws have also been criticized for their broad and poorly defined criminal powers, which could be used against legitimate human rights groups, including those focused on Palestine. Police powers across Australia have also been strengthened to crack down on pro-Palestine protests, with reports of excessive force used against demonstrators. The controversy surrounding the laws highlights the challenges of balancing free speech with the need to combat hate speech and protect vulnerable communities.

When Hugh Bonneville was first asked to reprise his role as Ian Fletcher in John Morton's workplace satires, his emotions were conflicted. The actor described being 'absolutely delighted' yet 'terrified' at the prospect, calling the experience 'the most painful and horrible' of his television career.Bonneville, now widely recognized for his roles in Downton Abbey and Paddington, first portrayed Fletcher as 'Head of Deliverance of the Olympic Deliverance Commission' in Twenty Twelve. In W1A, he played 'Head of Values' at the BBC. Nine years later, the weary character returns as 'Director of Integrity' at an international football organization hosting a tournament, with its real-world basis deliberately obscured by the production.Despite the seemingly mundane setting of boardroom meetings and PowerPoints, the series stands out for its meticulously constructed naturalism and intricate dialogue. The scripts are twice as long as typical 30-minute sitcoms, featuring stammered half-sentences where the difference between phrases like 'yes well but' and 'but well yes' is profoundly significant.'It's the most impossible thing to learn because sometimes the sentences don't make sense,' Bonneville explains. 'The difference between 'yes well but' and 'but well yes' is profound', he adds, noting that he frequently struggles with the complex dialogue while his co-stars excel.Twenty Twenty Six shifts the setting to Miami, transforming Fletcher from a captain of British politeness into a mediator in American corporate culture. He's reunited with Will Humphries (Hugh Skinner), his hapless intern from BBC days, whose social uncertainty remains unrivalled. 'I'm now describing Will as the Paddington of the office world - he means well, but he's going to bump into everything and set the photocopier on fire,' Bonneville says.The series expands the ensemble with international characters including Belgian chief coordinating attaché Eric Van Dupuytrens, American sustainability head Sarah Campbell, and Mexican 'VP Optics and Narrative' Gabriela De La Rosa. If previous shows examined unspoken British social etiquette, this installment presents more of a culture clash comedy, with Fletcher navigating a world where people express themselves directly rather than through British subtlety.John Morton, the creator, chose the World Cup backdrop not for its football significance but because its unwieldy scale across 16 cities presents fertile ground for comedic mishaps. 'As a writer, you think: hmm, that smells like things could go wrong,' Morton explains. The show addresses contemporary issues including Trump references and environmental concerns, though Morton maintains it's not about football controversies.The filming itself presented unique challenges, with production in a Wembley school transformed to resemble a Miami arts center. Despite the artificial setting, the cast found the UK heat surprisingly authentic to Florida's climate. 'The irony being had we filmed it in Miami, it would have been air-conditioned,' Bonneville laments, capturing the production's British approach to discomfort.

Meta, the world's most powerful social media company, has faced a severe public reckoning in recent days, with juries in California and New Mexico delivering back-to-back verdicts that hold the company liable for harming young people. This marks a significant shift in accountability for social media companies, which have long operated with minimal regulation and few consequences in the US.In the California case, a jury ordered Meta and YouTube to pay $6 million in damages over claims that they deliberately designed addictive products to hook young users. The following day, a jury in New Mexico ordered Meta to pay $375 million in damages over claims that its products led to child sexual exploitation, among other harms.These verdicts are the first to go to court, and they set a precedent for over 2,000 plaintiffs, including families, school districts, and state attorneys general, who have brought lawsuits against Meta, YouTube, TikTok, and Snap. The cases borrow from a familiar playbook, echoing those brought against big tobacco companies in the 1990s, which focused on cigarettes' addictive qualities and their makers' public denials despite knowledge of their products' harms.Lawyers for the plaintiffs argue that social media companies have profited from targeting children while concealing their addictive and dangerous design features. The verdicts signal that public perception of social media and its makers is shifting, with jurors now laying blame on the business practices of a multi-trillion-dollar industry.Meta and YouTube have both said they disagree with the verdicts and will appeal. However, the rulings mark a significant turning point in the growing scrutiny of social media companies and their impact on young people.The cases are part of a broader effort to challenge tech companies' practices, with online safety advocates urging Congress to pass regulation, forming coalitions of parents, teens, and advocates, and bringing thousands of lawsuits front and center. The goal is to force social media companies to redesign their products and do more to protect children online.

A landmark verdict in a social media trial has held Meta and YouTube accountable for deliberately designing addictive products that harmed a young user. The jury awarded the plaintiff $6m in damages, with Meta to pay 70% and YouTube the remainder.Human rights groups, including Amnesty International and Human Rights Watch, have praised the decision, calling it a "watershed moment" for corporate accountability in the digital age. They argue that social media companies must change their design features to ensure children's safety.The plaintiff, a 20-year-old who went by the initials KGM, testified that she became addicted to YouTube at age six and Instagram at nine, which led to a long cycle of depression, self-harm, and body dysmorphia. Plaintiffs have taken issue with features such as infinite scroll and autoplay, arguing that they prioritize engagement over users' well-being.However, not all tech freedom and human rights groups agree on the verdict's implications. Fight for the Future, a US-based digital rights group, has expressed skepticism, worrying that the decision could be used to justify legislative solutions that raise free speech concerns.