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Mercedes driver George Russell has expressed understanding if Max Verstappen decides to leave Formula One due to his dissatisfaction with the current regulations. Verstappen, a four-time world champion, has been vocal about his discontent with the new rules, which he believes overly emphasize energy management.Russell, currently second in the world championship behind his teammate Kimi Antonelli, noted that Verstappen has achieved everything he set out to do in the sport, having won four world championships. “Formula One is bigger than any driver,” Russell said. “You wouldn’t want to lose Max because we all enjoy racing against him.”Verstappen has hinted at exploring opportunities in other racing disciplines, such as GT racing, and is set to participate in the Nurburgring 24 Hours in May. His race engineer, Gianpiero Lambiase, is leaving Red Bull to join McLaren, adding to speculation about Verstappen's future in F1.Russell also acknowledged that the current performance disparity between Red Bull and teams like Mercedes could affect any driver's motivation. “Now, the complaints he currently has are different to the complaints of Mercedes, Ferrari and McLaren because we are at the front end of the grid,” Russell added.Meanwhile, Antonelli, just 19 years old and in his second season, has taken the championship lead with back-to-back wins, setting new expectations for himself and his team.

Richard Wagner’s near‑death at sea in 1839 inspired the legend of the cursed ghost ship that underpins The Flying Dutchman. The Welsh National Opera (WNO) brings this myth to life in a fresh production that treats the libretto as a poetic meditation on birth, love, and mortality. Directed by Jack Furness, the opening scene intertwines a woman’s labor with the overture’s turbulent surges, symbolising the birth of Senta—destined to lose her mother and become haunted by the Dutchman’s promise of redemption, which can surface only once every seven years. Visual motifs—circling movements, blood‑red dresses echoing the ship’s sails—reinforce the cyclical fate of both protagonists. Designer Elin Steele and lighting designer Lizzie Powell conjure stormy seas and mist without literal ships, allowing the audience to focus on the raw emotions conveyed by the singers. Minimalist set pieces, occasional gold‑dust flourishes, and precise costume changes keep the drama tight and immersive. The cast delivers a musically rewarding performance. James Creswell shines as Daland with crystal‑clear German diction, while Simon Bailey portrays the tormented Dutchman with a compelling blend of menace and sympathy, especially in the final act. Rachel Nicholls as Senta offers a believable, passionately deluded love, delivering bel canto lines with immaculate pitch. Tenors Trystan Llŷr Griffiths (the Steersman) and Leonardo Caimi (Erik) make strong impressions, though the opera’s numerous choruses feel over‑extended. The WNO orchestra, under the authoritative baton of outgoing music director Tomáš Hanus, creates a convincing tempest that underpins the drama. Facing a thin 2026/27 season, the company is eager to prove its vitality, making these performances a must‑see—though audiences should not anticipate a conventional resolution. Staging dates include the Wales Millennium Centre in Cardiff (19 April), Theatre Royal Plymouth (24 April), Birmingham Hippodrome (7 May) and Milton Keynes Theatre (15 May).Review by Rian Evans, The Guardian, 17 April 2026.

Asif Kapadia has been appointed to direct the final chapter of the ITV documentary series “70 Up,” slated for broadcast later this year. The series, which launched in 1964, was voted the most influential UK television programme of the last 50 years in a 2024 Broadcasting Press Guild poll. Kapadia, celebrated for his award‑winning documentaries on Amy Winehouse, Ayrton Senna and Diego Maradona, described the role as an "incredible honour and privilege" and called the original “Up” series the ultimate portrait of human life. ITV’s factual controller Jo Clinton‑Davis praised the appointment, noting that Kapadia will bring “passion, creativity and incredible flair” while safeguarding the series’ legacy, which she said has become “part of our cultural fabric.” The series was conceived by Granada’s Tim Hewat, who adapted the Jesuit maxim “Give me the child until he is seven and I will show you the man” into a longitudinal study of British social class. Michael Apted, who served as the series’ long‑time director, passed away in 2021; his earlier prediction that the project would continue “as long as I’m above ground” has now been fulfilled. Over the decades, viewers have followed fourteen participants from childhood to senior age. Notable stories include Liverpool’s Neil Hughes, who dreamed of becoming an astronaut at 14, later endured homelessness, and ultimately emerged as a lay preacher and Liberal Democrat councillor. Only one participant, Charles Furneaux, chose to exit the experiment early, while others, such as scientist Nick Hitchon, have passed away. With Kapadia at the helm, “70 Up” will serve as a tribute to both Apted’s pioneering vision and the courage of the cast, who have shared their lives across seven‑year intervals for more than six decades.

The most iconic sequence in wildlife filmmaking history has been revisited in a new documentary, 'A Gorilla Story: Told By David Attenborough'. The film, directed by Oscar-winning James Reed and produced by Leonardo DiCaprio, follows up on Attenborough's 1970s encounter with a family of gorillas in Rwanda. During the filming of 'Life on Earth,' Attenborough had a playful and profound encounter with the gorillas, which he described as having 'more meaning and mutual understanding in exchanging a glance with a gorilla than with any other animal I know.' The documentary reveals that while conservation efforts have led to a significant recovery of Rwanda's gorilla population, the specific family Attenborough met has undergone significant changes. The dominant silverback, Gicurasi, is aging, and a new challenger, Ubwuzu, is asserting his dominance, leading to power struggles and violence within the family. The film beautifully captures the personalities and social dynamics of the gorillas, but its short runtime of just over an hour leaves some storylines underdeveloped. Despite this, the documentary shines when Attenborough reflects on his past experiences and the gorillas he has come to know. As Attenborough approaches his 100th birthday, his appearance in the documentary adds an emotional and elegiac tone. His reflections on Pablo, a gorilla who protected his family to the end, are particularly poignant, showcasing Attenborough's ability to articulate moments with 'exactly the right weight.' 'A Gorilla Story: Told By David Attenborough' is now available on Netflix, offering a unique blend of natural history and personal reflection.

Javokhir Sindarov sealed the men’s Candidates in Pegeia, Cyprus, with a historic 10 out of 14 points, finishing 1.5 points clear of Anish Giri. The 20‑year‑old Uzbek also posted the highest tally of six wins and eight draws since the current Candidates format began in 2013. In the women’s section, India’s Vaishali Rameshbabu claimed the title by a narrow ½‑point margin over Kazakhstan’s Bibisara Assaubayeva. Sindarov’s play evoked the classic Soviet master Mikhail Botvinnik, with meticulous opening preparation that often anticipated his opponents’ ideas deep into the endgame. When pressure mounted – notably in his second round against world No. 3 and US champion Fabiano Caruana – his defensive technique remained precise and confident. Final standings (14 rounds): Sindarov 10, Giri 8.5, Caruana 7.5, Wei Yi 7, Hikaru Nakamura 6.5, Praggnanandhaa Rameshbabu 6, Matthias Blübaum 6, Andrey Esipenko 4.5. The upcoming world championship match will be a best‑of‑14 showdown, pitting Sindarov against reigning champion Gukesh Dommaraju. Both will be 20 years old when the contest takes place in the second half of 2026, though the venue remains undecided. Gukesh’s recent dip to 15th in the ratings has added intrigue to the encounter. Analysts rate Sindarov as at least a 60 % favourite, while India’s grandmaster cohort – led by former champion Viswanathan Anand – is expected to rally behind Gukesh. Speculation also surrounds Magnus Carlsen, the current world No. 1, who stepped away from the classical crown in 2023. He indicated a willingness to defend only against Alireza Firouzja, but Firouzja’s recent focus on blitz and fashion has left the door open for a possible Carlsen‑Sindarov clash, should the Norwegian be persuaded. Sindarov’s rise is remarkable: he earned the grandmaster title at 12 years 10 months, later fell into a teenage obsession with the video game Counter‑Strike, and refocused on chess after defeating Firouzja at the 2021 World Cup. His resurgence helped Uzbekistan win gold at the 2022 Olympiad. Financial projections suggest a potential $10 million revenue stream for a Carlsen‑vs‑Sindarov title match, a figure that could also bolster Carlsen’s claim as the all‑time No. 1 ahead of Garry Kasparov. Nonetheless, Carlsen’s aversion to the intensive computer‑prep demanded by modern classical play remains a major hurdle. Carlsen may instead target the forthcoming 2027 FIDE World Total Championship Tour, which blends classical, rapid, and blitz formats, offering a more varied competitive landscape. In the Women’s Candidates, Vaishali Rameshbabu staged a stunning turnaround. After a 0‑5 start, she surged to the top after round 11, maintained a one‑point lead despite a round‑12 loss to China’s Zhu Jiner, and clinched the final round with a decisive victory over Kateryna Lagno in a sharp Sicilian Dragon, delivering the winning combination 39 Rd8+! 40 c4! Women’s final scores (14 rounds): Vaishali 8.5, Assaubayeva 8, Aleksandra Goryachkina 7.5, Zhu 7.5, Anna Muzychuk 7, Kateryna Lagno 6.5, Divya Deshmukh 5.5, Tan Zhongyi 5.5. Five‑time women’s world champion Ju Wenjun enters the upcoming title defence as a clear favourite, holding a peak rating above 2600 and currently rated 2559 against Vaishali’s 2470. Elsewhere, English GM Dan Fernandez posted an unbeaten 7/9 at the Menorca Open, achieving a 2601 performance rating and boosting his chances for selection to the England Olympiad squad. Young talents also featured: Argentina’s Faustino Oro and England’s Supratit Banerjee – both 12‑year‑olds – failed to secure their final GM norms, while India’s 10‑year‑old prodigy Aarit Kapil became only the fifth player ever to earn an IM norm before turning 11, later flirting with a historic GM norm. The English Chess Federation will host a 24‑hour chess marathon on Chess.com in memory of coaches GM Jonathan Hawkins and IM Adam Hunt, with proceeds supporting Macmillan Cancer Support. 4020: 1…Bxd4! 2 cxd4 Nf4! 3 Qb3 Qxf1+! 4 Kxf1 Rc1+ 5 Qd1 Rxd1 #

From my home in Hawai‘i, the reef is more than a backdrop—it feeds families, shields shorelines, and anchors our culture. Today that vital connection is under unprecedented threat. Scientists report the most extensive coral‑bleaching episode ever recorded, persisting for 33 months into 2025. At a projected 1.5 °C rise in global temperatures, the IPCC warns that up to 90% of the world’s coral reefs could disappear. That temperature threshold is not a distant projection; it is looming now. Even if climate targets are eventually met, reefs continue to be battered by plastic waste, coastal development, agricultural runoff, and overfishing. Their degradation weakens natural storm barriers, leaving coastal communities more vulnerable to floods and erosion, jeopardising homes, jobs, and cultural heritage. In Hawai‘i we speak of kuleana—a generational duty to protect what sustains us. That principle must expand to every person on the planet: caring for reefs is caring for ourselves. On the ground, communities in French Polynesia have shown that, when equipped with the right tools, they can actively restore damaged reefs. Likewise, my collaboration with the Global Fund for Coral Reefs and the UN Environment Programme demonstrates how targeted financing can create sustainable livelihoods, boost marine conservation, and help coastal societies rebound after extreme weather. Time, however, is not on our side. The next twelve months could become a defining turning point for coral ecosystems. New scientific findings and a series of high‑profile gatherings—including the Kenya Ocean Conference, the International Coral Reef Symposium in New Zealand, and the upcoming Global Coral Reef Summit—will focus world attention on reef survival. The responsibility now lies with governments, businesses, and individuals alike. Proven actions include: cutting carbon footprints, eliminating plastic leakage, protecting keystone species, supporting reef‑positive enterprises, investing in resilient coastal economies, enacting protective legislation, and amplifying public advocacy. Moments like 2026 are not just about pledges; they are about swift, measurable change. Coral reefs cannot wait for perfect plans—they need us to act now, embodying the spirit of kuleana for the sake of our children and the ocean that sustains us. Jason Momoa is an actor, filmmaker, and UNEP Advocate for Life Below Water, dedicated to protecting oceans and raising global awareness of coral‑reef conservation.

Angelina Jolie leads the new fashion‑driven drama Couture, bringing a rare level of personal honesty by confronting a storyline that mirrors her own double mastectomy performed to prevent breast cancer. While her performance is undeniably courageous, the film’s overall execution falls short of its ambitions.The plot follows Maxine, an American indie filmmaker (Jolie) who arrives in Paris to direct the opening short for a prestigious runway show. She discovers, through a compassionate doctor played by Vincent Lindon, that a recent biopsy confirms she has breast cancer, forcing her to consider postponing or abandoning her next project. Jolie conveys the shock and denial with subtlety, yet the script, penned by director Alice Winocour, often lapses into glib dialogue that undermines the emotional weight of the situation.Supporting characters include Ada, a fledgling South Sudanese model (Anyier Anei), makeup‑artist‑turned‑writer Angèle (Ella Rumpf), and the brooding first‑assistant director Anton (Louis Garrel). Their subplots—most notably Ada’s ankle injury that threatens the runway performance—remain underdeveloped, serving more as decorative set‑pieces than integral narrative threads.Visually, the film captures the glamour of Parisian haute couture with polished cinematography, yet this sheen accentuates the story’s lack of depth. The fashion world is presented with a “precious” aesthetic that feels specious, offering little insight beyond surface‑level allure.Despite these shortcomings, Jolie’s star power shines through. Her willingness to align a fictional role with a deeply personal health battle adds a layer of authenticity that the surrounding screenplay fails to sustain. ‘Couture’ will be available on digital platforms from 20 April, offering audiences a chance to appreciate Jolie’s performance even if the film’s broader ambitions remain unfulfilled.

US tech firms, including Microsoft, have successfully influenced the EU to conceal the environmental impact of their datacentres, an investigation has revealed. The EU's proposal to create a database of green metrics for datacentres was amended to include a secrecy provision, almost verbatim from industry lobbying efforts in 2024. This confidentiality clause, included in EU rules, restricts public access to individual datacentre emissions data, leaving only national-level summaries of energy footprints. Researchers and legal scholars warn that this blanket confidentiality may violate EU transparency rules and the Aarhus convention on public access to environmental information. The rise of AI chatbots has led to a surge in datacentre construction, increasing demand for power, partly met by burning fossil gas. The EU aims to triple its datacentre capacity in the next five to seven years to become a global leader in artificial intelligence. Industry groups, including DigitalEurope and Video Games Europe, lobbied for the change, citing commercial interests. Microsoft stated it supports greater transparency while protecting confidential business information. Legal experts argue that the confidentiality clause contravenes EU transparency rules and the Aarhus convention. The EU is obliged to ensure systematic availability of environmental information to the public under the convention.

British financial institutions are set to receive Anthropic’s latest AI model, Mythos, within the coming week, despite the company’s own assessment that the technology poses a significant security risk.Anthropic, the creator of the Claude suite, has so far limited Mythos to a handful of U.S. tech giants such as Amazon, Apple and Microsoft. The firm now plans to extend the rollout to major UK banks, a move announced by Pip White, head of Anthropic’s UK, Ireland and Northern Europe operations, during a Bloomberg Television interview.The concern stems from Mythos’s ability to identify and exploit software flaws at a level that rivals the most skilled human hackers. In a recent blog post, Anthropic warned that such capabilities could trigger severe repercussions for economies, public safety and national security if misused.Finance ministers, senior executives and regulators convened in Washington for the IMF and World Bank spring meetings to discuss these emerging threats. Canadian Finance Minister François‑Philippe Champagne emphasized the need for vigilance, describing the AI risk as an “unknown unknown” that demands robust safeguards to protect the resilience of the financial system.Bank of England Governor Andrew Bailey, who also chairs the Financial Stability Board, described the situation as a “very serious challenge” and highlighted the dilemma regulators face in timing the introduction of rules: acting too early could stifle innovation, while delaying could allow risks to spiral out of control.European Central Bank President Christine Lagarde echoed these concerns, noting that while Anthropic’s initiative reflects responsible innovation, the absence of a clear governance framework leaves the technology vulnerable to misuse. She called for the development of comprehensive standards to guide safe deployment.As UK banks prepare to integrate Mythos into their operations, the financial sector stands at a crossroads between harnessing AI’s economic benefits and averting potential cyber‑security crises.