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The Last Blossom, directed by Baku Kinoshita and written by Kazuya Konomoto, is a quiet, contemplative anime feature that rarely gets a theatrical release. The film opens in a lonely prison cell, where the elderly former yakuza Akutsu finds an unexpected confidant in a talking balsam flower.Over the course of one sleepless night, Akutsu's life story unfolds in bursts. Thirty years prior, another balsam flower grows in the back yard of Akutsu's humble house, which he shares with Nana and her baby son, Kensuke. The relationship between the taciturn man and the bubbly young woman is seemingly platonic; Kensuke is not his son. Yet there are hints of romantic attraction; they share bowls of piping hot ramen noodles, play endless rounds of Reversi, and join in harmonising the Ben E King classic Stand By Me.In contrast to this alternative nuclear family, the yakuza world is still strictly traditional, revolving around machismo and codes of brotherhood. When Kensuke is diagnosed with a heart condition, Akutsu is lured into a criminal plot, which leads to his incarceration. Though encompassing much bloodshed and even a hidden treasure subplot, The Last Blossom is most moving as an exploration of human conscience, where a capacity for violence and kindness coexist.The paradox is reminiscent of Shōhei Imamura’s Palme d’Or winner The Eel, starring Koji Yakusho as a wife-murderer who shelters a pregnant woman after his prison release. With his unassuming buzzcut, in stark contrast to his flamboyant yakuza peers, Akutsu bears a striking resemblance to Yakusho’s protagonist. Though a minor work compared to Imamura’s, The Last Blossom similarly questions conventional notions of justice, and the impossibility of weighing one’s good and bad deeds.The Last Blossom is in UK and Irish cinemas from 27 March, and in Australian cinemas from 23 April.

In 1926, Cornwall's moors experienced a significant spell of dry weather, leading to gorse fires that blazed day and night. The fires, used to improve grazing and hunting conditions, had a profound impact on the local ecosystem.Driving through Cornish lanes at nightfall, the windscreen appeared segmented, with the lower part reflecting the road and headlights, while the upper segment was filled with night. The sides were crowded with gorse bushes, which glowed in silhouette as the headlights passed over them. The gorse, described as 'creeping hedgehogs' or 'huge mounds,' was particularly vibrant, with some bushes appearing as discs of solid yellow against the obscure blue background.The fires, although a lovely yet fearsome sight, came at a cost to the local wildlife. Many stonechats, whinchats, and yellow-hammers had to seek new nesting places, while anemones just beginning to open were scorched to death. The fires transformed the ancient growth into flames and black ashes in mere minutes.The spectacle of the gorse fires was breathtaking, presenting as a pillar of smoke across the sea, a rosy scarlet glare behind the skyline, or a windswept sea of flames. This event highlighted the delicate balance between land management practices and the preservation of natural beauty and wildlife in Cornwall.

Satellite images of Tehran have revealed that toxic fires caused by Israeli bombings on oil depots were still burning days after the strikes, posing serious health risks to millions of residents in the Iranian capital.The bombings, which occurred on March 7, caused clouds of smoke to blanket the city with pollutants ranging from soot to oil particles to sulphur dioxide. A passing storm then showered Tehran with poisonous, oil-filled rain.Residents have reported headaches, eye and skin irritation, and difficulty breathing. Experts have warned that these symptoms could be just the beginning, with long-term risks of cardiovascular disease, cognitive impairment, DNA damage, and cancer.Four fuel facilities in and around the capital were hit, including the Shahran depot in the north-west, the Aqdasieh oil depot in the north-east, the Tehran refinery in the south, and the Shahid Dolati facility in the west.Satellite images taken two days after the strikes showed the Shahran depot and the Tehran refinery were still burning. Another image taken by the European Space Agency satellite on Tuesday – 10 days after the strikes – showed that those two fires had smouldered, but smoke and flames were visible at the Aqdasieh oil depot.Iran has described the attacks as “ecocide”, which is described as wanton acts of environmental destruction.The United Nations Environment Programme (UNEP) has warned that heavy smoke from burning oil was “directly inhaled by people in Iran – including young children – raising serious concerns about long-term impacts on both human and environmental health”.

Jenni Murray, a trailblazing broadcaster and longest-serving presenter of Woman's Hour, has died at the age of 75. Murray brought a unique calm authority to the BBC Radio 4 weekday show for an impressive 33 years, transforming it into a platform for discussing subjects such as the menopause, domestic violence, genital mutilation, and sexual politics.Under Murray's tenure, which began in 1987, Woman's Hour evolved significantly from its origins in 1946 as a program focused on cooking, cleaning tips, and romantic serials. By the time Murray took over, the show had become a sisterhood of the airwaves, as described by the Sunday Times in 1996.Murray was renowned for her fearless and thoughtful questioning of guests, which included politicians, film stars, authors, poets, chefs, gardeners, lawyers, and anxious parents. One notable interview was with Margaret Thatcher in 1990, where Murray exposed the ideological differences between the feminist approach and Thatcher's views on childcare and gender equality.Murray also conducted incisive interviews with other prominent figures, including Edwina Currie, who revealed her affair with John Major, and Tessa Jowell, discussing her financial decisions. Her conversations were marked by a flair for the dramatic and a deep empathy for her guests.Throughout her career, Murray was not without controversy. In 2017, she faced backlash for an article she wrote questioning the use of the term 'real woman' by trans individuals. The BBC subsequently warned her about maintaining impartiality on controversial topics.Murray's contributions to broadcasting were widely recognized. She was awarded an OBE in 1999 and a dame in 2011. Woman's Hour won the Television and Radio Industries Club's award for best radio program in 2004, and Murray received two Sony awards in 2010 and 2011.Murray's legacy extends beyond her broadcasting career. She was a champion of women's rights and a prolific author, writing several books, including her memoirs and a history of women's suffrage.

The online gaming industry has become a cutthroat world where success is fleeting. Developers are under pressure to create games that generate immediate and significant returns, making it difficult for them to sustain player engagement. Consider the case of Highguard, a free-to-play game that launched with a peak of 100,000 concurrent players on Steam. However, 90% of players abandoned the game within a week, and the developer, Wildlight Entertainment, announced that it would end service on March 12, after fewer than 50 days online. The game's failure can be attributed to several strategic errors, including a refusal to conduct public play tests before release and a complex structure that was difficult for players to understand. However, the main reason for its failure is the increasingly demanding expectations for immediate returns in the live-service game market. Live-service games are investments that are meant to deliver endless revenue, and developers are under pressure to emulate the success of genre juggernauts like Fortnite. However, executives and developers have different priorities, and the online commentariat is often negative about these types of games. Sony, for example, has greenlit several live-service games, but most of them have been canceled before release. One of its few successes is Helldivers 2, which sold 20 million copies and still has a healthy player base. Bungie's new game, Marathon, has also received critical acclaim, but its fate is uncertain due to the high expectations for returns. The game's developers have spent years maintaining Destiny, a trailblazing online shooter, which gives Marathon a significant advantage. However, the pressure to generate profits is still a major challenge, and the game's success is not guaranteed. In conclusion, the online gaming industry is becoming increasingly challenging, and developers are under pressure to create games that generate immediate returns. While some games, like Marathon, show promise, the existential threat facing them is the same: profit margins.

Graham Napier, a former Essex all-rounder, recalls the 2008 T20 Blast match where he scored 152 not out off 58 balls, breaking the English record for the highest score in T20 cricket. This impressive performance caught the attention of England's selectors and teams from the Indian Premier League (IPL), including Mumbai Indians, who were interested in signing him.Napier, who didn't have an agent at the time, was eventually signed by Mumbai Indians for an undisclosed fee. However, his availability was curtailed by Essex, and he only played one game for Mumbai, scoring 15 runs and taking one wicket. Napier reflects on the experience, stating that he was frustrated by not being allowed to participate in the auction and that the hype surrounding his performance was intense.Tymal Mills, a veteran of franchise T20 leagues, had a more successful auction experience, being picked up by London Spirit for £130,000 in the Hundred auction. Mills had previously been sold to Royal Challengers Bangalore for £1.4m in the 2017 IPL auction. However, he admits that he didn't deliver on his whopping auction fee in 2017, taking only five wickets in five games before injury struck.Mills offers advice to young players, including James Coles, who was signed by London Spirit for £390,000. Mills cautions that the auction process can be bruising and that players must be prepared for the highs and lows of the experience.Napier, now a fire safety officer in Suffolk, has no regrets about his career, stating that he's proud of his achievements and the experiences he had. He notes that loyalty was a significant factor in his career, playing for the same team from age 10 to retirement at 36.

The world of ballet has long been associated with a specific physical ideal, particularly when it comes to foot shape. However, dancers with flat feet are proving that this condition is not a barrier to success. For Claudia Efemini, picking up her ballet shoes again after six years was a bittersweet experience. While she was excited to revisit a childhood hobby, she was also disheartened by the memory of being discouraged from pursuing ballet due to her flat feet.The industry's obsession with 'perfect' feet, characterized by high arches, has led some dancers to use fake arches, or farches, to create the illusion of more flexible feet. However, flat-footed dancers like Alex Maureen and Ruth Essel are thriving in the ballet world. Maureen, a performer and dance instructor at New York University, and Essel, founder of Pointe Black, a London-based ballet school, reject the notion that flat feet are an obstacle to success.Research shows that Black people are more prone to having flat feet, but Essel and Maureen's experiences demonstrate that this condition does not predetermine one's potential in ballet. Through education and self-advocacy, they have overcome discouraging beliefs about their feet and developed strategies to work with their body types. Essel, with a background in psychology, learned about anatomy and exercises to strengthen her ankles and improve foot mobility.Injury prevention is crucial for flat-footed dancers, who tend to land on their heels. Maureen and Essel stress the importance of educators adapting to different body types and seeking specialist advice when needed. They also highlight the need for greater diversity in ballet, including more Black pointe shoe fitters and physiotherapists.Maureen and Essel have developed checklists for their students before they start using pointe shoes, ensuring a comfortable and supportive fit. As Maureen advises, 'You just need your shoe to work for you, not against you.' For aspiring ballerinas with flat feet, Maureen's words of encouragement are 'Give yourself grace. Be kind to yourself.'