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Israeli forces have carried out a devastating bombardment across Lebanon, killing at least 254 people and wounding 1,165 others in air strikes that targeted areas in Beirut, the Bekaa Valley, Mount Lebanon, Sidon, and several villages in southern Lebanon.The Israeli military said that the attack was its largest coordinated assault on Lebanon since it started a new military operation in the country on March 2, “targeting more than 100 Hezbollah command centres and military sites”.The attacks have sparked widespread international condemnation, with leaders from around the world calling for an end to the violence. Lebanon’s Parliament Speaker Nabih Berri called the attacks a “full-fledged war crime,” while Hezbollah said it had a “right” to respond to the attacks.International Reactions:• Iran: The Iranian Revolutionary Guard Corps (IRGC) warned that it will respond to the attacks on Lebanon if Israel does not stop the assault.• US: President Donald Trump said Lebanon was not part of the ceasefire deal with Iran due to Hezbollah.• Qatar: The foreign ministry condemned the “brutal series” of Israeli attacks on Lebanon, calling them a “dangerous escalation and a flagrant violation of the sovereignty of the sister Lebanese Republic.”• Egypt: The Ministry of Foreign Affairs called Israel’s attacks on Lebanon had a “premeditated intent” to undermine regional and international efforts to reduce escalation.• UN: The United Nations strongly condemned the strikes by Israel across Lebanon that resulted in significant civilian casualties.

Mint, the new drama from Charlotte Regan, is a bold reimagining of the classic love story, Romeo and Juliet. This electrifying drama tells the tale of impossible love between two people from bitter crime rival families.The series stars Emma Laird as Shannon, the daughter of a Scottish crime family, and Benjamin Coyle-Larner, also known as Loyle Carner, as Arran, the prodigal son of a different crime family. Their eyes meet across a down-at-heel train station, and they are incompatible and irresistible to one another.Charlotte Regan drew inspiration from her own experiences and those of her cast and crew. The drama features a unique visual style, with sparse dialogue and a focus on visual storytelling. The show's use of Super 8 fragments and VHS-style footage adds to its distinctive aesthetic.The cast, including Laura Fraser and Lindsay Duncan, deliver powerful performances that bring depth and nuance to the story. Emma Laird praises Regan for keeping her acne in the show, saying it's a huge part of her character's authenticity.Mint is available on BBC iPlayer from Monday, April 20th, with the series airing on BBC One from 9 pm that night.

Aston Villa took a significant step towards the Europa League semi-finals with a 3-1 victory over Bologna in the first leg of their quarter-final tie. The Premier League side capitalized on a mistake by Bologna goalkeeper Federico Ravaglia to take the lead through Ezri Konsa. Despite being second best for much of the match, Villa's clinical finishing and composure under pressure proved decisive.Ollie Watkins doubled Villa's lead shortly after halftime with a cool finish, showcasing his ability to remain calm in pressured situations. This goal was crucial in shifting momentum in Villa's favor, as Bologna struggled to create clear-cut chances. Watkins added a second goal in the 90th minute, securing a 2-0 lead for Villa before the match ended 3-1 in their favor.Bologna's English winger Jonathan Rowe had a standout performance for the hosts, creating several chances and eventually scoring a late consolation goal. However, it was not enough to overturn Villa's advantage. Unai Emery's tactical acumen was evident as Villa focused on set pieces, which ultimately led to their opening goal.The result puts Aston Villa in the driving seat ahead of the second leg, with Bologna facing a tough task to qualify for the semi-finals. Villa's performance demonstrated their resilience and adaptability in a challenging away match, setting them up well for the return fixture.

On a Wednesday night, Israel launched a massive air campaign against Lebanon that resulted in the deaths of over 300 civilians and struck more than 100 targets within ten minutes, including densely populated neighborhoods in central Beirut. The operation, described by Israeli officials as the largest strike against Hezbollah since the month‑long war with Iran began, has drawn sharp international condemnation. The Israeli government, led by Prime Minister Benjamin Netanyahu, maintains that the attacks were narrowly aimed at Hezbollah operatives who allegedly relocated command posts to civilian districts such as the Dahieh suburb. Critics, however, argue that the scale and timing of the strikes suggest a broader political motive: to disrupt the US‑Iran ceasefire negotiated by former President Donald Trump, a deal many view as unfavorable to Netanyahu. Evidence fueling this theory includes the lack of any prior warning and the targeting of locations where high‑profile Hezbollah figures were present. Among the dead was Ali Yusuf Harshi, the nephew and personal adviser of Hezbollah secretary‑general Naim Qassem, leading some observers to speculate that the operation may have been a failed attempt to eliminate Qassem himself—mirroring Israel’s 2024 alleged assassination of former Hezbollah leader Hassan Nasrallah. Hezbollah officials later claimed they had been “notified of a ceasefire” and were committed to it from the morning of the attack, yet by Thursday both sides were again exchanging heavy fire. Netanyahu’s public justification for the strike—citing the killing of an aide to Qassem—appeared thin, reinforcing the perception that the operation was designed to act as a “spoiler” to a ceasefire he had previously opposed. Analysts at the Soufan Center in New York warned that, even if Lebanon is technically outside the ceasefire framework, the sheer magnitude of Israel’s assault will be viewed as escalatory. They argue the strikes serve a dual purpose: to widen the rift between Iran and its proxies and to retaliate against what Israel perceives as being sidelined in the ceasefire negotiations. Iranian President Masoud Pezeshkian condemned the attacks, stating they breach the ceasefire agreement and render ongoing talks meaningless. He warned of a possible Iranian response against Israel, underscoring the fragile nature of the diplomatic effort. Marion Messmer, director of the international security programme at Chatham House, highlighted a deeper strategic dilemma: the United States’ difficulty in managing its alliance with Israel amid the broader US‑Iran conflict. She noted that Israel’s insistence that its Lebanese operations are unrelated to the ceasefire reveals a “key vulnerability” in Washington’s ability to steer its regional partners, potentially trapping the US in a conflict it seeks to exit. Further complicating the picture, the Israeli Defense Forces reportedly assess that defeating Hezbollah remains unrealistic despite the intensified bombing campaign, suggesting that the current strategy may be more about political signaling than achieving decisive military objectives. In sum, the Israeli strike on Lebanon not only caused a tragic loss of civilian life but also raised serious questions about the durability of the US‑Iran ceasefire, the strategic calculations of Netanyahu’s government, and the broader stability of Middle‑East geopolitics.

Israeli airstrikes devastated Lebanon on Wednesday, killing more than 300 people and wounding 1,165 in a span of just 10 minutes. The strikes, which targeted over 100 sites across the country, have been described as one of the deadliest mass killings in Lebanon since the end of the civil war in 1990.Omar Rakha, a survivor, recounted his terrifying experience: he was bleeding and face down on the street when he realized a building next to his in Beirut's Barbour neighborhood had been destroyed by two Israeli bombs. The neighborhood, once considered safe, felt like a war zone.The Israeli military claimed it had targeted Hezbollah 'command and control centers' in the bombing campaign dubbed 'Operation Eternal Darkness.' However, residents and Lebanese officials argue that the strikes mainly killed civilians. Lebanon's prime minister, Nawaf Salam, accused Israel of targeting 'densely populated residential neighborhoods' and killing unarmed civilians in breach of international law.Dr. Ghassan Abu-Sittah, a surgeon at the American University of Beirut Medical College, described the overwhelming influx of wounded, including children pulled from under the rubble. 'The youngest was an 11-month-old. I had to operate on him just to relieve some pressure in the head,' he said.The airstrikes have escalated tensions and raised concerns about the potential for further conflict. The war in Lebanon, which started after Hezbollah launched rockets at Israel on March 2, has left around 1,800 people dead and 5,873 wounded.

England's hopes of winning the Women's Six Nations title have been hit by a series of setbacks, including injuries and pregnancies. Prop Hannah Botterman has been ruled out of their opener against Ireland with an ankle injury, and her participation in the tournament is uncertain.The team is already dealing with several injuries, two retirements, and four pregnancies, including that of Rosie Galligan, whose partner is England teammate Marlie Packer. Coach John Mitchell said that Botterman's ankle is not yet mechanically sound, and they will have more information on her return timeline next week.England remain favorites for the grand slam, but Mitchell acknowledged that the team has been affected by the post-World Cup euphoria. Ellie Kildunne will start at full-back, with Claudia Moloney-MacDonald and Jess Breach on the wings. New captain Meg Jones, who took over from pregnant Zoe Stratford, will start at outside centre.Mitchell believes that the team has built a legacy and has the opportunity to create a dynasty. However, he also acknowledged that there will be challenges along the way, including a Lions tour in 2027 and the fact that several players are becoming mothers.

Doug Allan, a pioneering wildlife cinematographer, died at the age of 74 while on a trek in Nepal, his management firm said, noting he passed away "immersed in nature and surrounded by friends."Best known for his role as principal camera operator on landmark BBC series including Planet Earth, Frozen Planet and The Blue Planet, Allan amassed a remarkable collection of honors, among them eight Emmy Awards, five BAFTAs, and an OBE awarded in 2024 for services to broadcast media and environmental awareness.Born in Dunfermline, Fife, he earned an honours degree in marine biology from Stirling University in 1973 and soon after joined the British Antarctic Survey as a research diver at Signy Island. It was during this period that his passion for filming blossomed, leading to a pivotal encounter with Sir David Attenborough in 1981, which set him on the path to a distinguished career.Allan’s early forays into polar filming began with a 16 mm camera he purchased for an Antarctic expedition, capturing emperor penguins and selling the footage to the BBC—a move that launched his lifelong partnership with the broadcaster.His dedication to extreme‑environment storytelling earned him the Polar Medal twice, underscoring his expertise in filming some of the planet’s harshest locales.In a 2017 interview, Allan revealed he had spent roughly 620 days tracking and recording polar bears. He recounted a memorable moment when a bear’s wet nose brushed a window, likening it to “a squeegee mop cleaning the glass.” Another close encounter saw a hungry walrus seize his legs underwater, which he repelled by striking the animal with his camera.Allan’s visual legacy, described by his representatives as "breathtaking and intimate moments in the natural world," continues to inspire audiences to appreciate and protect Earth’s wonders.

What would Henrik Ibsen’s iconic heroine Nora look like in today’s Britain? In this bold re‑imagining, playwright Anya Reiss transports the 19th‑century drama into a world of high‑salary banking, social‑media façades and post‑pandemic consumer excess. Set against a sleek, white‑goods‑strewn stage designed by Hyemi Shin, the story follows Nora (played by Romola Garai) as the wife of a lucrative London banker, Torvald (Tom Mothersdale), who is also battling drug addiction. Though presented as a “trophy wife”, Nora is far sharper than her husband realises – she has secretly rescued the family from financial collapse and funded Torvald’s recovery, all while maintaining a veneer of festive, pre‑Christmas splurging. The familiar Ibsen plot points survive the update: a blackmail threat from Torvald’s colleague Nils Krogstad (James Corrigan) and a visit from the destitute, marriage‑for‑money‑failed friend Kristine (Thalissa Teixeira). Their interactions expose the tension between outward affluence and hidden desperation. Reiss’s version is unmistakably contemporary, peppering dialogue with references to Instagram, a stock market rattled by conflict in the Middle East, and the relentless pursuit of material status. This backdrop reframes the marital power struggle as a clash of class and modern capitalism, asking whether love can ever be insulated from market forces. Despite the heavy thematic load, the cast delivers a series of compelling performances. Garai’s Nora oscillates between calculated seduction – even donning a provocative nurse’s outfit for a flirtatious dance – and a keen intellect that refuses to be reduced to a mere commodity. Her portrayal suggests that, for Nora, the body has become a form of currency, yet she remains acutely aware of the performative nature of both marriage and motherhood. Notably, the children appear only through baby‑monitor audio, a deliberate choice that underscores the couple’s emotional distance and mirrors the original’s focus on Nora’s internal emancipation. The climax arrives in a charged confrontation where Nora questions, “Is love meant to be subject to the market?” The line encapsulates Reiss’s preoccupation with the commodification of intimacy, even as it feels like a summarising refrain rather than a fresh revelation. Ultimately, the production offers a nuanced, if occasionally over‑engineered, vision of Ibsen’s feminist aspirations. It hints at a future where Nora and Torvald might seek couples therapy to untangle their financial and emotional entanglements – a decidedly modern resolution. A Doll’s House runs at the Almeida Theatre, London, until 23 May.

The latest Cannes lineup reveals a clear pivot from the usual Hollywood glamour toward a roster dominated by celebrated world‑cinema auteurs such as Pedro Almodóvar, Cristian Mungiu and Asghar Farhadi. While last year’s festival was anchored by a Mission: Impossible spectacle starring Tom Cruise, this edition offers a more eclectic mix, including debut features from Andy Garcia (who also stars in his crime drama Diamond) and John Travolta, who directs the aviation‑themed Propeller One‑Way Night Coach based on his own novel.Under the stewardship of director Thierry Frémaux, Cannes continues to bar films that are exclusive to streaming platforms, a stance that has been vindicated by recent Oscar successes for festival selections. The festival also entered the AI debate: Steven Soderbergh’s documentary John Lennon: The Last Interview employs artificial intelligence to reconstruct visual elements of the legendary interview, sparking both fascination and unease among attendees.Gender representation remains skewed, with a noticeable predominance of male directors in the competition slate, although the final list is still pending. Notably absent are any British filmmakers, despite the inclusion of Polish auteur Paweł Pawlikowski, whose biopic of Thomas Mann, Fatherland, could be loosely claimed as a UK entry given his long residence there.Geopolitical undercurrents are hard to ignore. Russian director Andrey Zvyagintsev returns with Minotaur, a film about a beleaguered Russian businessman. Zvyagintsev, once favored by Vladimir Putin, now lives in exile in France, adding a layer of political intrigue to his work amid the ongoing war in Ukraine.The competition also features a strong historical thread: László Nemes’s Moulin revisits occupied France, Emmanuel Marre’s Notre Salut explores Vichy‑era France, and Lukas Dhont’s Coward follows a Belgian soldier’s harrowing experience in World‑I trenches.Among the more provocative entries, Nicolas Winding Refn’s Her Private Hell promises shock value in the out‑of‑competition slot, while the Un Certain Regard section showcases Jane Schoenbrun’s queer slasher Teenage Sex and Death at Camp Miasma, likely to become a festival highlight.