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When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

NASA has unveiled a series of photographs documenting the Orion spacecraft as it reaches the four‑day mark of the Artemis II mission.The images, released by the agency, capture key phases of the flight, offering a visual update on the vehicle’s trajectory and system performance as it continues its historic test flight around the Moon.While the photo set provides a rare glimpse into the mission’s progress, NASA has not disclosed additional technical details beyond the visual record at this stage.

James, the Manchester‑originated nine‑piece, have turned a five‑decade career into a living testament to longevity, headlining arenas while celebrating the surprise success of their 2024 album Yummy, which finally secured a UK No.1 spot 42 years after the band first formed.The group continues to defy conventional touring formulas. Frontman Tim Booth describes their shows as “crazy, idiosyncratic,” with nightly set‑list revisions and unreleased songs that often lack finished lyrics. One such piece, the eight‑minute “Nantucket,” features a wordless chorus, an electro‑violin groove and verses that proclaim a mission to inspire, embodying the band’s experimental spirit.Rather than relying solely on a greatest‑hits marathon, the two‑hour, 21‑song performance weaves in moody interludes, deep‑cut selections, and influences ranging from Brian Eno’s ambient textures to the pulsating beats of Italian house. Lyrical barbs aimed at billionaires and organized religion sit alongside anthemic warmth, creating a communal atmosphere. The opening number “Come Home” subtly nods to Booth’s Leeds roots, while trumpeter Andy Diagram sports a “No more war” T‑shirt, and Booth often reaches out to audience members, reinforcing the show’s inclusive vibe.Driving the rhythm is veteran drummer David Baynton‑Power, complemented by recent additions Chloe Alper and Debbie Knox‑Hewson, who inject fresh sonic layers. Booth, now 66, remains the band’s charismatic talisman, occasionally appearing on a balcony for “Born of Frustration” and the soaring “Say Something,” moments that feel almost ritualistic. Arena‑sized sing‑alongs erupt during “Getting Away With It (All Messed Up)” and the classic “Sit Down,” and when Booth finally dives off the stage, he is hoisted aloft by a sea of hands, underscoring the band’s unique connection with fans.The concert at P&J Live in Aberdeen on 7 April exemplified why James remains a special, brilliant force in live music, continuing a tour that proves their relevance and humanity endure across generations.

Duncan James from Blue has opened up about his favorite songs, sharing a personal playlist that reveals a lot about his musical tastes and experiences. The song he inexplicably knows all the lyrics to is Can't Help Falling in Love by Elvis, which he even sent as his audition tape to join Blue.James also shared his go-to karaoke song, It's Raining Men by Geri Halliwell, which he sang at his 30th birthday party. Interestingly, Geri Halliwell herself walked in during the performance and joined James' mum on stage.Other notable songs on his playlist include Sadeness (Part I) by Enigma, his first single purchase, which his friend bought for him at Woolworths. James also confessed that Fantasy Island by Tight Fit was the first song he fell in love with, likely due to his crush on a guy in a zebra print headband from the music video.James also talked about the song that makes him cry, My Life Is Going On by Cecilia Krull, from the Spanish Netflix series La Casa De Papel (Money Heist). On a lighter note, he shared his least favorite song to have sex to, One Love by Blue, which he found creepy.The song that changed James' life was All Rise, which became a worldwide hit and started Bluemania. He also revealed his favorite song to play at a party, Defying Gravity from Wicked, which gets him dancing on tables.On a more sentimental note, James shared the song he can no longer listen to, Meu Abrigo (My Shelter) by Melim, which reminds him of his ex. He also confessed to secretly liking Doctor Jones by Aqua, despite pretending to hate it. Finally, the song he'd like played at his funeral is Bohemian Rhapsody by Queen, which he believes is one of the greatest songs ever written.

A United States federal judge has rejected a motion from the Department of Justice to reconsider his earlier ruling dismissing subpoenas against Jerome Powell, the chairman of the Federal Reserve.In a six-page opinion published on Friday, Judge James Boasberg reaffirmed his decision to nullify the subpoenas, stating that they were issued for an 'improper purpose': to pressure Powell into compliance with President Donald Trump's demands.The subpoenas were part of an investigation into Powell's handling of renovations to the Federal Reserve's historic buildings in Washington, DC, which have gone over budget. The Trump administration has accused Powell of 'malfeasance' and called for his premature resignation.Boasberg criticized the Trump administration's efforts, saying they presented 'no evidence whatsoever of fraud' and that the subpoenas were an attempt to undermine the Federal Reserve's independence.The ruling is likely to set the stage for the Trump administration to appeal, with US Attorney Jeanine Pirro previously denying any political motivation for the investigation.

Bath Rugby staged an impressive comeback to defeat Saracens 31-22, earning a hard-fought win in the Champions Cup. The match saw Henry Arundell score two crucial tries for Bath, helping his team overcome a 10-0 deficit at halftime.The turning point came in the second half with the introduction of Thomas du Toit, whose impact was immediate. Bath's scrum was significantly bolstered by his presence, allowing them to dominate possession and create scoring opportunities.Henry Arundell's speed was on full display as he scored his first try from 40 meters out just four minutes into the game. He sealed the win with his second try in the final play of the match.Despite a strong performance from Saracens, particularly in their maul defense, Bath managed to pull away with Joe Cokanasiga and Ben Spencer also making significant contributions. Spencer's try was a highlight, showcasing his skill and pace.Saracens fought hard, with Max Malins and Noah Caluori scoring tries, but ultimately, Bath's relentless forward pressure secured their victory. The win sets up a quarter-final clash against Northampton at home.Bath captain Ben Spencer acknowledged the team's imperfections but emphasized their determination to improve. Saracens director of rugby Mark McCall expressed pride in his team's performance, despite the loss, highlighting their capability to compete at a high level.

In a stark display of class, Chelsea dispatched Port Vale 7‑0 to secure a place in the FA Cup semi‑finals, the opening strike arriving just 64 seconds after kickoff courtesy of Jorrel Hato. The early goal set the tone for a match that quickly turned into a one‑sided affair. Manager Liam Rosenior entered the game under pressure, having suspended vice‑captain Enzo Fernández for both the cup tie and the forthcoming Premier League clash with Manchester City. Rosenior’s decision followed Fernández’s overt interest in a move to Real Madrid during the international break. The victory offers a brief respite after a run of four consecutive losses – two heavy defeats to Paris Saint‑Germain in the Champions League (8‑2 on aggregate) and league setbacks against Newcastle and Everton. With Chelsea still vying for a top‑five finish and a return to Europe’s elite competition, the result provides a needed morale boost. Port Vale, languishing at the bottom of League One and facing certain relegation, entered the tie hoping for a historic moment. Their last deep run in the competition dates back to 1954. Despite a passionate 6,000‑strong fanbase, the early concession left little room for optimism. After Hato’s swift opener, João Pedro added a second before halftime, and captain Cole Palmer forced an own‑goal to make it 3‑0. The second half saw Chelsea extend the lead with headers from Tosin Adarabioyo and Andrey Santos, a tap‑in by Estêvão Willian, and a penalty converted by substitute Alejandro Garnacho. The financial disparity was stark: Chelsea’s squad is valued at £439.8 million, whereas Port Vale’s XI cost the club nothing. Rosenior made three changes from the previous league outing, dropping Marc Cucurella and Moisés Caicedo and leaving Fernández on the bench. Port Vale manager Jon Brady attempted to shield his side with a defensive 5‑4‑1 setup, but the early goal shattered any hopes of containment. Subsequent Vale chances, including a corner from Pedro Neto, resulted only in panic‑filled scrambles. While Chelsea’s first half lacked sustained excitement, the quality of their finishers was evident. A well‑timed give‑and‑go between Malo Gusto and João Pedro produced a third goal, and Palmer’s rebound added a fourth after a save from goalkeeper Joe Gauci. In the latter stages, Estêvão saw two attempts denied by the woodwork before finally scoring from a rebound off Garnacho’s penalty. The final tally was sealed when Garnacho out‑maneuvered substitute Tyler Maglorie to net the seventh. Beyond the scoreline, the match underscores Chelsea’s urgent need to stabilise under Rosenior’s stewardship, especially with a crucial league encounter against Manchester City looming. For Port Vale, the defeat adds to a bleak season that will likely end in relegation, but the historic FA Cup appearance will remain a bright spot for their supporters.

Real Mallorca delivered a stunning upset to Real Madrid, winning 2‑1 thanks to an added‑time strike from Vedat Muriqi. The victory pushes the champions to four points behind Barcelona ahead of their upcoming clash with Atlético Madrid.The match began with Mallorca absorbing early pressure; goalkeeper Leo Román denied Kylian Mbappé twice with diving saves. Mallorca took the lead in the 42nd minute when Manu Morlanes headed home a cross from Pablo Maffeo.Real responded late, with Éder Militão—returning from a hamstring injury—equalising in the 88th minute. Just three minutes later, Muriqi, the league’s second‑highest scorer behind Mbappé, netted the winner, marking Mallorca’s first triumph over Real in three years and lifting them two points above the relegation zone.Muriqi, who had faced criticism after Kosovo’s World Cup qualifying loss, broke down in tears after the final whistle, saying, "Sometimes emotions get the better of you… I’m just happy to repay the supporters, we want to stay in this division for them."In Germany, Bayern Munich staged a dramatic comeback, scoring three goals in the final nine minutes to edge Freiburg 3‑2. Tom Bischof equalised, and Lennart Karl clinched the winner in stoppage time, despite the absence of injured striker Harry Kane. Bayern now travel to Real Madrid for their Champions League quarter‑final first leg.Freiburg had opened the scoring early in the second half with a long‑range strike from Johan Manzambi, and later doubled the lead via a Lucas Hoeler volley after a corner error by Manuel Neuer. However, Bayern’s late surge erased the deficit.Meanwhile, Borussia Dortmund secured a 2‑0 away win at VfB Stuttgart with late goals from Karim Adeyemi and Julian Brandt. The victory keeps Dortmund in second place on 64 points, nine behind Bayern, while Stuttgart slips to fourth.In Italy, Massimiliano Allegri of AC Milan reiterated his focus on the club, dismissing any immediate interest in the vacant Italy national team manager role after Gennaro Gattuso stepped down following a World Cup playoff defeat.

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.