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Ukraine has made significant gains on the battlefield, halving the Russian rate of advance in the past three months and reclaiming 470sq km of occupied territory this year. The country's military has also dealt a major blow to Russia's oil export capacity, striking key terminals and refineries, including Ust-Luga and Primorsk, which account for about 60% of Russia's oil export capacity.Ukrainian President Volodymyr Zelenskyy has secured agreements with several Gulf states, including Saudi Arabia, the UAE, and Qatar, to export Ukrainian drone know-how in return for joint drone production support. This has enabled Ukraine to increase its drone production and effectively counter Russian advances.The Ukrainian military has also targeted Russian munitions production, striking the Promsintez explosives plant in the Samara region, which produces 30,000 tonnes of military explosives annually. According to estimates, Russia has lost 45% of its missile production capacity due to Ukrainian strikes.In response to Ukrainian attacks, Russia has begun to extend its drone strikes throughout the day, imitating Iran's tactics against the US and Israel. However, Ukraine has successfully shot down over 90% of the drones launched by Russia.

At the Oxford Brookes Headington campus, a group of over 100 students are working tirelessly to build the fastest and best-designed race car possible for this year’s Formula Student competition.The Oxford Brookes Racing (OBR) team, the UK’s most prestigious Formula Student team, has won more design awards than any other UK university and frequently secures top spots in the international race held annually at Silverstone.Success in the competition is crucial as it gets the team noticed by the industry, where a handful of engineering jobs can have upwards of 10,000 applicants. Several OBR alumni are currently working in every Formula One team.“A lot of the coverage on TV is based around the drivers, but not really the actual engineers,” said Thomas Cawdery, a team manager and third-year motorsports technology student. “This is what you don’t see in Formula One. The engineers who make it happen.”The OBR team is entirely run by students and operates out of two buildings, where scores of people are working hard – cutting and shaping carbon fibre chassis by hand, and running simulations on computers. Students of all ages are teaching and learning from one another.While actual Formula One cars have much more power than the students are allowed for safety reasons, the complexity of the cars is very similar. “They’re the same if not more complex than Formula One cars,” Cawdery said.The OBR team surpasses industry expectations in some aspects, particularly in terms of gender balance. Unlike most Formula One teams, where only about 10% of engineers are women, OBR has a much better gender balance.Emma Deery, a first-year mechanical engineering student, finds the inclusive environment encouraging. “In the industry, a lot of women find themselves the only woman on their team. Here it’s different. We have a lot more women and a lot of women in leadership roles.”The OBR team will compete for the top spot this summer against 102 other teams from 27 countries. The competition is a useful recruitment tool for big industry names, as it showcases innovative engineering skills.Ross Brawn, the legendary former team principal, once said, “There are two really innovative forms of motorsport left. One of them is Formula One and the other one is Formula Student.”

The Royal Shakespeare Company's upcoming production of Bertolt Brecht's 'The Resistible Rise of Arturo Ui' offers a timely warning against the rise of fascism, echoing current events in Britain and the US. The play, a satire about the rise of Hitler, features Mark Gatiss as Arturo Ui and music by the alternative rock band Placebo.Gatiss notes that the rhetoric used by Arturo Ui is 'the same rhetoric today', describing it as 'really frightening'. The play's themes of corruption, violence, and the dangers of unchecked power are as relevant today as they were when Brecht wrote the play in 1941.The production features a unique blend of music and theatre, with Placebo's Brian Molko and Stefan Olsdal creating a score that captures the brutality and urgency of the play. The music is designed to be 'loud and abrasive', with Molko describing the process of creating the score as 'like being in a dark room and feeling your way around'.Gatiss, who has a history of playing villains, says that he has put a moratorium on playing characters akin to Sherlock's Mycroft Holmes, but was drawn to the role of Arturo Ui after seeing a production at Darlington Civic Theatre with Robin Askwith in the lead. The play's director, Seán Linnen, encouraged the cast to experiment and find new ways to bring the play to life.The production's themes and message are particularly relevant in today's world, with Gatiss stating that 'we feel helpless' in the face of rising fascism. The play's epilogue, which calls on the audience to act against the rise of fascism, still gives Gatiss 'goosebumps'. As Gatiss notes, 'you have to do something. Go down swinging, at least.'

A recent performance at the Royal Festival Hall by the renowned Argentinian pianist Martha Argerich and her Korean mentee Dong-Hyek Lim left the audience in awe. The duo's setlist included Mozart's Sonata for Two Pianos in D Major K448 and Ravel's two-piano arrangement of La Valse, as well as a surprise encore of Schubert's Fantasia in F minor D940.The performance was marked by a sense of gentle anarchy, with Argerich and Lim chatting and occasionally bowing between works. Their onstage negotiations about swapping pianos and furious looks at page-turners added to the charm. The audience was treated to moments of astonishing pianistic ventriloquism, particularly in the second movement of the Mozart sonata, where Lim imitated Argerich's gossamer touch in a breathtaking sotto voce passage.Argerich, widely regarded as the greatest pianist alive today, brought her unique touch to the performance, conjuring 50 shades of grey in the Schubert and veiled, suspended-animation pianissimo in portions of the Rachmaninov. Lim, on the other hand, favoured bright attack and primary colours. The Ravel arrangement was deliciously muddy, with the work's intoxicating pulse gradually rising from the depths as the two pianists exchanged bass detonations.The encore, a monumental 20-minute rendition of Schubert's Fantasia, was a testament to the duo's exceptional chemistry and skill. Argerich pushed forwards, ever-faster, her hands barely skimming the keyboard, as Lim scrambled to keep up, the waltz teetering on the brink of catastrophe in a high-wire act that couldn't have been more thrilling.

Bath’s historic Farleigh House training centre has been spruced up this week with black flags fluttering alongside a new “Choose Greatness” banner, signalling the club’s ambition as they approach a Champions Cup last‑16 tie with Saracens. For Max Ojomoh, the atmosphere feels like a personal challenge. Just weeks after collecting the Man of the Match award for his decisive performance against Argentina, the 25‑year‑old found himself omitted from Steve Borthwick’s Six Nations squad. Ojomoh believes that a dominant display for Bath – especially after the 62‑15 demolition of Saracens in the Premiership – could revive his England prospects, but he also acknowledges that national selectors may have a specific back‑line profile in mind for the upcoming World Cup. Reflecting on his Argentina heroics, Ojomoh said, “If that was my final Test, I’m happy to have left a mark on international rugby.” Yet the disappointment of watching England lose to Ireland from a Moroccan pub underscores how close the margins are for a player on the fringe. He explained the selection dilemma: with centre Ollie Lawrence returning from injury, the squad needed a more physical ball‑carrier, and Ojomoh’s role as a second‑receiver/playmaker meant he was the one to make way. England’s coaching staff have asked him to sharpen three key areas – post‑contact metres, defensive intensity and overall work‑rate. While these are valid targets, Ojomoh points out that few English centres combine his blend of pace, vision and creative kicking. Back at Bath, his partnership with newly‑signed Finn Russell has blossomed. “When we signed Finn, I didn’t expect us to think alike on attack,” Ojomoh remarked, highlighting a shared instinct that fuels his confidence. Coach Johann van Graan’s influence is evident, with the club’s motivational signage and a focused training environment that Ojomoh describes as “single‑minded”. He hopes the upcoming match will provide a platform for a first home Champions Cup quarter‑final since 2002. Family wisdom also plays a role; his father, former England centre Steve Ojomoh, reminded him that “the cream always rises to the top”. With a business degree from the University of Bath and a hobby of online chess, the younger Ojomoh is aware that consistent club performances could shift national perception. Looking ahead, Ojomoh is determined to make the 2027 World Cup squad. He admits that obsession over selection can be self‑destructive, emphasizing the need for mental clarity and playing with the same confidence he shows in his head. As Bath prepares for the high‑stakes clash with Saracens, Ojomoh’s mantra remains clear: choose greatness, stay true to his strengths, and let his on‑field X‑factor speak for itself.

Nearly three decades after the groundbreaking debut Endtroducing….. first hit shelves, DJ Shadow is once again revisiting his back catalogue. Following a celebrated 25th‑anniversary reissue that was remastered at Abbey Road Studios, the Californian producer is preparing a new archival release.In May, Shadow will issue The Mo’Wax Singles 1993‑1997, a meticulously curated box set that compiles eight 12‑inch records of his original singles for James Lavelle’s Mo’Wax label. The collection also includes alternative mixes, brand‑new artwork, and material recovered from dusty DAT tapes and original master mixes.“This box wasn’t made for the casual listener, it was made with the hardcore fan in mind,” Shadow explained in a statement. “I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind.”With the release timed to a period of reflection, Shadow is opening the floor to fans and journalists alike. He invites readers to submit questions about his pioneering sampling techniques, collaborations ranging from Wong Kar‑wai and Zack de la Rocha to Danny Brown and Deftones, and even the infamous Miami Beach show that was halted for being “too future.”Submit your queries in the comments by 6 pm BST on 8 April, and the most compelling answers will be featured in an upcoming issue of Film & Music.

The US labor market demonstrated unexpected strength in March, with employers adding 178,000 jobs, significantly exceeding economists' predictions of around 70,000. This growth comes after a revised report showed that the economy lost 133,000 jobs in February, a worse figure than initially stated. The unemployment rate decreased to 4.3%, according to data from the US Bureau of Labor Statistics. The job figures for January were revised upward from 126,000 to 160,000. With these revisions, total employment in January and February is 7,000 lower than previously reported. Despite the positive March numbers, the overall trend in the US jobs market has been sluggish since last year. In 2025, only 116,000 jobs were added to the economy for the entire year, which is roughly the same number added per month in previous years. The slowdown in hiring is attributed to caution among employers, particularly due to consumer inflation experiencing fluctuations over the last year. US inflation dipped to 2.3% in April 2025 before rising to 3% in September. Since the start of this year, price increases have remained steady at 2.4%. The ongoing US-Israel war with Iran is expected to drive inflation higher if the situation escalates. The labor market's uncertainty is also reflected in the 'quits rate,' which fell to 1.9%, the lowest since 2020. This suggests that workers are choosing to stay in their current jobs due to uncertainty in the labor market. Adding to the economic pressure, US average gas prices recently surpassed $4 a gallon, and experts warn that every $10 increase in the price of a barrel of oil can lead to a 0.2% climb in inflation, reminiscent of the price shocks seen in 2022 following Russia's invasion of Ukraine.

In Barcelona, anti‑tourism demonstrators have added a culinary twist to their demands, chanting “Stop brunch!” alongside the more familiar “Ban Airbnb” as they protest soaring rents and the loss of local character.The rise of generic brunch venues—identical hipster cafés with the same menu, décor and background music—has become a symbol of overtourism, pushing out neighbourhood bars and eateries that once served the resident community.In response, Albert Molins, a journalist for La Vanguardia, launched a simple Google Maps list in autumn 2020. The list quickly evolved into a city‑wide movement to resurrect the Catalan tradition of esmorzar de forquilla (literally “fork breakfast”).This hearty mid‑morning meal, historically a 19th‑century labourer’s fuel, typically includes a main dish, wine, bread and coffee, and can be enjoyed for under €15. It is now served in modest, no‑frills taverns that showcase authentic Catalan flavours.Signature dishes differ sharply from the typical brunch fare. Patrons can savour trinxat—a pan‑fried potato and cabbage hash topped with crisp pancetta—fricandó (stewed veal with mushrooms), bacallà amb samfaina (fried cod on stewed vegetables), and the richly spiced botifarra sausage. For off‑al lovers, options such as callos (tripe stew), peus de porc (pigs’ feet) and the indulgent cap i pota (veal head and feet stew) are on offer.The original map has since been redeveloped into the functional EsmorzApp, uniting a growing community of “fork‑breakfast enthusiasts” and attracting younger diners alongside long‑time local patrons.Restaurant owner Gerard Llopart notes that his establishment in Barcelona’s Eixample district now welcomes a broader, more diverse crowd, proving that the revival resonates beyond its traditional base.While the movement does not single‑handedly solve overtourism, it demonstrates how locals can reclaim cultural space and invite tourists to partake in genuine culinary heritage. As Molins puts it, the fork breakfast is “our history,” and visitors are encouraged to download the app and ask for un cap i pota, si us plau?

Matildas captain Sam Kerr is set to leave Chelsea FC at the end of the Women's Super League season to join expansion club Denver Summit in the United States.Kerr's future at Chelsea had been uncertain, with her contract expiring at the end of the season and little discussion of a new deal. The 32-year-old has won the Women's Super League title five times and three FA Cups with Chelsea.According to reports, Kerr has signed with Denver Summit, a significant coup for the ambitious new club. The move would mark Kerr's return to the US, where she previously played for Western New York Flash, Sky Blue FC, and Chicago Red Stars.Kerr has an American wife, former US international Kristie Mewis, and her signing would be a boon for Denver Summit, which counts US ski star Mikaela Shiffrin and NFL great Peyton Manning among its owners.The news was met with a statement from Kerr herself, who refuted the report on Snapchat, saying: “Don’t believe everything you read in the media man, they know a decision before me.” Chelsea FC subsequently retweeted her response.Kerr's potential move comes as she prepares to captain the Matildas in a pair of international friendlies in Kenya later this month.