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Oppdal, a mountain village in central Norway, hosted its first interspecies council on a snowy morning at the Bjerkeløkkja conference centre. Thirty‑eight local participants each represented a different species – from a northern bat to a birch tree – and voiced the needs of the natural world in a structured decision‑making process.The council draws on the legacy of the Council of All Beings, a practice created in the 1980s by environmentalists John Seed and Joanna Macy. Phoebe Tickell, a scientist and “moral imagination” activist mentored by Macy, adapted the ritual into a governance methodology that expands representation beyond humans.Facilitators first identified the multispecies stakeholders in the region, then briefed human representatives – chosen either randomly or for expertise – on the perspectives they would embody. The session concluded with a manifesto of principles for human governance and an impact‑evaluation plan to track participants’ connection to nature six months later.Oppdal’s mayor, Elisabeth Hals, noted that the village’s population swells from 5,000 to over 30,000 in winter as tourists flock to private cabins (hytter). The municipality plans to add 1,000 new apartments by 2035 to promote year‑round tourism, a move that has sparked debate over land use, farming, and conservation.During the council, a birch “worried there’s too much of me,” while a rockfoil flower urged humans to “slow down and listen to where nature can tolerate more activity.” The River Driva lamented being treated as a mere resource, and a fox enthusiastically pointed at a wader, highlighting the emotional range the exercise seeks to capture.Proponents argue that such empathy‑building exercises are crucial as wildlife populations have fallen by roughly 70 % over the past 50 years. Tickell contends that “imperfect representation beats exclusion” and envisions interspecies councils becoming as routine as environmental impact assessments.Across the UK, 13 councils have recognised river rights since 2023, and a coalition of artists, ecologists, lawyers and policymakers is exploring similar biodiversity governance around the North Sea. In London, multispecies assemblies have already informed stewardship of the River Roding and land‑use consultations.Oppdal’s experiment aims to create “institutional trace” – genuine decision‑making power backed by robust methodology and longitudinal research – rather than a tokenistic green‑washing exercise. If successful, the model could be replicated internationally, giving non‑human nature a formal seat at the policy table.

Argentina's glacier law has been in effect since 2010, and was the first legislation in Latin America to protect glaciers. It has been a point of contention for mining companies and provincial authorities ever since.The law bans 'any activity' that can affect the 'natural condition' of a glacier or the periglacial frozen land surrounding it, or that results in 'its destruction, movement or interferes with its advance'. That includes the construction of infrastructure not for scientific purposes and any industrial activity. Mining companies, including Barrick, have previously sought to have the law deemed unconstitutional, but the supreme court rejected the challenge.However, a recent reform to the glacier law driven by the far-right government of Javier Milei will relax restrictions, paving the way for mines in high-altitude areas blanketed with ice and snow, which are sources of water. The new law, approved on Wednesday by 137 votes to 111, with three abstentions, will enable provincial authorities to decide which glaciers are protected and which are open for development based on whether they represent a 'relevant water function'.Environmentalists and community members such as Zeballos, a 51-year-old accountant turned activist, have long alleged that Veladero, owned by Canada-based Barrick Mining Corporation and China's Shandong Gold, is operating illegally in an area considered off-limits by Argentina's Ley de Glaciares – or glacier law. The reform has sparked a wave of protests, with Greenpeace activists staging a demonstration on the steps of the National Congress.'What is at stake is the protection of key water reserves in Argentina,' says Andrés Nápoli, a lawyer and executive director of the Foundation of Environment and Natural Resources (Farn), an environmental and human rights NGO. 'Saying that you have to destroy glaciers to guarantee the energy transition is an oxymoron.'About 7 million people, 16% of the population in Argentina, live in areas that depend on glaciers, according to environmental organisations. Glaciers don't just feed rivers; they balance fragile ecosystems hit hard by a heating planet. In Argentina's northwest, scientists say they have shrunk by 17% in the past 10 years.

The play Good Golly Miss Molly! is a joyous tribute to community spirit, set in the 1970s in Tunstall, where residents resisted a council plan to demolish their houses. The show, written by Bob Eaton, uses rock'n'roll standards to tell the story of a community coming together.Eaton's show has taken a hold of the audience, with its insinuatingly woven narrative of social history, pop, and politics. The story revolves around the residents of Hawes Street, who fought against the council's slum clearance programme and successfully argued for home improvements instead.The director cleverly uses music as the glue that binds the community together, telling the story through a band reuniting for a nostalgic knees-up in a social club. The play's protagonist, Molly, played by Shirley Darroch, evolves from a belligerent schoolgirl to a lead singer, NUM staffer, and residents' association chair, finding self-fulfilment along the way.The company's performance is tremendous, with doo-wopping, harmonising, and swapping instruments, making the angst and yearning of the songs a perfect expression of the working-class struggle.While the conflict could be more fully explored, the play gives a joyful sense of the music pulling the audience into the action, providing an exuberant lift to the company's 40th anniversary season.The play is showing at the New Vic theatre, Newcastle-under-Lyme, until 2 May.

Linguist George Lakoff warned that metaphors can kill, noting how euphemistic language in the Gulf War concealed harsh realities. He argued that framing conflict with business‑like cost‑benefit analogies or heroic narratives masks civilian suffering. Historically, the U.S. military has preferred sanitized terms such as “collateral damage” and “surgical strikes” to describe civilian casualties. In stark contrast, President Donald Trump has resorted to overtly hostile language, issuing a series of threats that culminated this week with the claim that “a whole civilisation will die tonight” unless Iran accepts a deal. The threat emerged amid a fragile two‑week ceasefire that the United States helped broker after the conflict it ignited six weeks earlier. While the ceasefire offered a brief respite, its stability was immediately questioned, and upcoming talks in Islamabad faced similar uncertainty. At the same time, Israel intensified its campaign in Lebanon, launching a ten‑minute strike—dubbed “Operation Eternal Darkness”—that killed dozens of civilians, including children, a poet, and journalists. In Gaza, despite a ceasefire declared six months ago, Israeli forces have continued to kill hundreds of Palestinians, accompanied by rhetoric that borders on annihilation. Legal experts stress that Trump’s ultimatum would compel the U.S. military to carry out clearly illegal acts. Although soldiers are obligated to obey only lawful orders, the administration’s erosion of institutional checks has left them with few avenues to refuse. Political philosopher Mathias Risse observed that the language of civilizational destruction is not merely a symptom of atrocity but a tool of it, effectively making the threat itself a war crime. Scholars note that such an explicit declaration of intent is rare, and pursuing accountability through international law may seem futile. Nevertheless, the editorial argues that any attempt to hold Trump accountable is essential; allowing the threat to go unchecked would further undermine the rules‑based international order. The Pope and a prominent Hollywood actor have publicly condemned the president’s statements, underscoring the moral urgency of the issue. Failure to challenge this rhetoric, the piece warns, could erode legal and normative standards worldwide, leaving Iran and other populations exposed to heightened peril.

Midway through the fifth day of the County Championship’s second round, Ollie Pope joined an elite group by becoming the 11th centurion in Division One this season. Five of those centuries belong to Surrey, with Jamie Smith already on two. The pre‑season favourites, despite a drawn opening match, looked formidable at the close of play, sitting at 412 for six.Leicestershire’s situation could not be more contrasting. Fresh from promotion, the side suffered a defeat to Sussex in their opener and, by the second session, appeared short on confidence, ideas and quality. Late‑stage wickets offered a brief spark, but the scoreboard told a different story.A crowd of 4,700 spectators braved a brisk early‑spring day at the Oval. With Surrey’s top six all boasting international caps, the match was inevitably examined for potential England implications. The first surprise came from Leicestershire’s own Josh Hull, who marked the second anniversary of his solitary Test appearance.Now 21, Hull has shed the rawness of his debut against Sri Lanka in September 2024, showing improved pace and reliability. He opened his season with a wicket in his first over, dismissing Dom Sibley lbw, and later produced a short ball that struck Pope’s helmet and an edge from Smith before being pulled after a brief spell.When Hull returned for a fourth spell deep in the final session, Smith repaid the effort with a brutal low‑flying pull for six, pushing his total past 150 runs. The partnership underscored Surrey’s growing dominance as the day progressed.Jamie Smith’s 166 from 240 balls marked his second century in the opening two Championship games, a knock highlighted by a patient start – one run from his first ten balls – before accelerating with a flurry of boundaries.Smith’s innings unfolded with cautious intent: after a modest 28, he unleashed three fours in as many deliveries, eventually reaching 166 before being caught by Ajaz Patel off Ben Green’s 90th over. The innings demonstrated both resilience and flair, cementing his role as a key run‑maker.For Pope, the century arrived after a seven‑month drought without a first‑class fifty and a solitary century against India at Headingley 21 innings earlier. His 24‑run start, achieved on half the balls faced by Smith, quickly turned into a commanding display as he steadied the innings.Both batsmen left the Oval with the confidence of seasoned internationals. A delayed emergence of Dan Lawrence after Pope’s boundary suggested the wicket was never in serious contention. Ben Foakes contributed a steady 62, while Leicestershire, with an average of 226 for the season, will need to conjure more surprises to bridge the gap.

The latest offering from writer Theo Jamieson and director Adam Lenson is a boldly conceived musical that thrusts a turbulent romance into a sci‑fi framework. The story follows a young astronaut, Daniel, who vanishes from his shuttle with barely enough fuel, prompting a quest to uncover the motives behind his reckless flight.Stuart Thompson (as Daniel) and Poppy Gilbert (as Emily) anchor the piece with performances that are both visceral and nuanced. Their chemistry captures the push‑pull of a relationship scarred by childhood bullying, parental betrayal, and a shared history of trauma, delivering songs that soar and hit hard.Visually, the production leans heavily on interstellar projections that transform the stage into a shifting cosmos, while the score oscillates between Sondheim‑style wit and full‑blown symphonic passages. This combination creates an epic sense of strangeness that distinguishes Flyby from more conventional West End fare.However, the narrative’s fragmented structure hampers its emotional payoff. The non‑chronological storytelling leaves critical gaps, and the metaphor of being "stranded in space" feels over‑extended—especially with the protagonist’s surname, Defoe, a thin nod to Robinson Crusoe. The three narrators, played by Simbi Akande, Gina Beck, and Rupert Young, often drift into digressive asides that dilute the central arc.Despite these flaws, moments of brilliance emerge, particularly in the musical’s treatment of mental‑health themes. The show hints at the potential to join the ranks of modern theatre successes like Next to Normal and Dear Evan Hansen, should its structural rough edges be smoothed.The production is currently staged at Southwark Playhouse, Borough, London and will run through 16 May. Audiences seeking a daring blend of emotional intensity and cosmic spectacle will find Flyby a compelling, if imperfect, experience.

A £7.5m refurbishment of a Derbyshire railway viaduct has sparked outrage among nature lovers and conservationists. The project, undertaken by Network Rail, has resulted in the blocking of swift nesting holes that have been used by the birds for generations.Campaigners had appealed to Network Rail to preserve the tiny gaps in the stonework, which serve as ancestral nesting sites for the swifts. However, three holes were filled with mortar in February, sparking concerns about the impact on the local swift population.“It’s utterly heartbreaking,” said Deb Pitman, a swift campaigner. “Seeing footage of what happens when swifts return to a blocked nest is deeply upsetting. They repeatedly try to access their entry point, sometimes with fatal consequences.”The swift population in Britain has declined by 66% between 1995 and 2022, largely due to the widespread loss of nesting holes in older roofs and buildings. Campaigners argue that preserving the swift holes in the viaduct would have no impact on the structural integrity of the structure.Network Rail claims to have consulted ecologists and created exclusion zones to protect the nesting swifts during the refurbishment work. However, campaigners dispute this, citing 38 pieces of evidence that show at least nine nest sites on the viaducts.The British Transport Police’s wildlife crime team is investigating whether nesting birds may have been disturbed during the refurbishment work. Campaigners plan to hold a vigil beneath the viaduct on Saturday in the hope that the holes will be unblocked before the swifts return around the end of April to breed.

Britain’s recent reversal of the on‑shore wind ban, announced by Energy Secretary Ed Miliband, has set in motion a wave of proposals to install more than one hundred colossal turbines across the Cambrian Mountains of mid‑Wales. The Cambrians, a 500‑square‑mile stretch of moorland and high ground that remains the most extensive wilderness south of Scotland, could soon host turbines reaching 220–230 metres – roughly 50% taller than any existing on‑shore turbine in England and Wales and more than twice the height of Big Ben. Each turbine would sit on a 2,000‑tonne concrete foundation and require at least 100 tonnes of steel. The scheme also envisions over 200 km of new pylons to link the farms to the National Grid, alongside roads, repair bays and storage depots. Analysts note that the construction phase would generate a substantial carbon footprint, especially given the turbines’ relatively short operational life of 20–25 years. Environmental organisations, including the Wild Wales Trust and the Campaign for the Protection of Rural Wales, have rallied against the plans, warning that they would "degrade and industrialise huge areas of the uplands and valleys" and could encroach on Wales’s sole UNESCO biosphere reserve in the Dyfi valley. Local opposition is hampered by the region’s sparse population, but activists have been posting hand‑drawn notices on the Glaslyn uplands and highlighting the visual impact of proposed turbine clusters – for example, a hilltop site slated for 26 turbines that would dominate the skyline across the country, and a location dubbed “Artists Valley” that could be renamed after a row of 37 similar structures. Critics argue that Wales, which is moving toward renewable self‑sufficiency and already exports surplus power, does not need these installations for its own energy security. Instead, the turbines appear designed to feed the broader UK grid, echoing historic instances where Welsh resources were harnessed for the benefit of other regions, such as the 1960s water transfers to Liverpool. With the Cambrian Mountains lacking any national‑park protection – a status denied in the 1950s due to local farming opposition – the landscape remains vulnerable to large‑scale industrialisation. The proposed developments raise a fundamental question: should a politician’s ambition for renewable credentials outweigh the preservation of one of Britain’s most pristine natural areas?

In an era where pop stardom is measured by a patchwork of streaming figures, award nods and high‑profile support slots, Holly Humberstone has built a credible résumé without ever cracking the singles chart. The 26‑year‑old from Lincolnshire has leveraged a Brit Rising Star award, a coveted opening for Taylor Swift, and four million monthly Spotify listeners to cement her place in the contemporary pop landscape.Her second album, ‘Cruel World’, marks a decisive shift from the gothic melancholy that defined her debut, Paint My Bedroom Black. The new record embraces an 80s‑inspired synth‑pop palette brimming with ear‑catching hooks, delivering lyrics that are both earnest and conversational, reminiscent of Swift’s confessional style.Highlights include the sun‑soaked breakup anthem ‘To Love Somebody’, which builds to a stadium‑ready pre‑chorus, and the irresistibly catchy ‘White Noise’, a nostalgic nod to disco that channels the energy of early‑2000s Kylie Minogue. Even the cheeky, self‑aware line on “Drunk Dialling” – “I’m gonna shake my nonexistent ass to this shitty song” – showcases Humberstone’s willingness to blend humor with polished production.The album’s production is consistently confident, featuring a surprising happy‑hardcore breakdown on the closing track “Make It All Better.” Combined with Humberstone’s knack for crafting crowd‑pleasing melodies, these elements suggest she is poised for a long‑term pop career that can thrive in both traditional and modern market models.