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The United Nations has taken a significant step towards acknowledging the atrocities of transatlantic slavery, adopting a resolution that labels it as the 'gravest crime against humanity'. The resolution, proposed by Ghana, was passed with 123 countries in favor, 3 opposed, and 52 abstaining.The resolution is not legally binding but carries substantial political weight. It calls for reparations and urges member states to engage in dialogue on the issue, including issuing formal apologies, returning stolen artifacts, providing financial compensation, and ensuring guarantees of non-repetition.Ghana's President John Dramani Mahama, a key architect of the resolution, hailed its adoption as 'a route to healing and reparative justice'. The resolution's passage is seen as a crucial step towards addressing the ongoing impacts of slavery, which saw at least 12.5 million Africans abducted and sold between the 15th and 19th centuries.Despite the progress, there is growing backlash from Western leaders who oppose discussing reparations, arguing that today's states and institutions should not be held responsible for historical wrongs. The EU and the US expressed concerns that the resolution could imply a hierarchy among crimes against humanity.The Netherlands remains the only European country to have issued a formal apology for its role in slavery. The resolution comes after the African Union set out to create a 'unified vision' among its 55 member states about what reparations for slavery may look like.

Oil prices have climbed higher amid fading hopes of deescalation in the Iran war following Tehran’s denial that talks with the United States are under way.Futures for Brent crude, the international benchmark, rose nearly 2 percent on Thursday to top $104 per barrel after Tehran dismissed reports of direct negotiations with US President Donald Trump’s administration.The rise comes after oil prices eased on Wednesday following reports that Trump had shared a 15-point plan for ending the war with Iran.Iranian Foreign Minister Abbas Araghchi said in an interview with state media aired on Wednesday that Tehran was not engaged in direct talks with Washington and has “no intention of negotiating for now”.White House Press Secretary Karoline Leavitt warned on Wednesday that Iran would be “hit harder” than ever before if Tehran did not accept military defeat.Iran’s effective closure of the Strait of Hormuz, a conduit for one-fifth of global oil supplies, and its attacks on energy facilities across the Middle East have prompted a surge in energy prices worldwide.Oil prices are up more than 40 percent compared with before the US and Israel launched strikes on Iran on February 28, prompting numerous countries to implement fuel rationing and other energy conservation measures.Market-watchers say prices are likely to rise further until shipping is free to traverse the strait, despite efforts by countries to bolster supply by tapping emergency stockpiles in coordination with the International Energy Agency.While Tehran has repeatedly claimed that the strait is open to ships that are not aligned with its enemies, daily transits have all but collapsed since the start of the conflict.Four vessels were tracked transiting the waterway via their automatic identification systems on Tuesday, down from an average of 120 daily transits before the conflict, according to maritime intelligence firm Windward.

The film The Blue Trail (O Último Azul in Portuguese) has struck a chord with older women in Brazil, who see themselves in the protagonist Tereza, a tenacious woman who refuses to be defined by her age.The movie's themes of ageism and ageing resonate strongly in Brazil, where older women are increasingly prop up the community. The film offers a dark solution to the issue, depicting a dystopian future where senior citizens are banished to a remote housing colony.The film's director and screenwriter, Gabriel Mascaro, was inspired by his grandmother, who took up painting in her 80s after losing her husband. The film has been praised for its portrayal of older women as vibrant and full of life.Gilda Olinto, an 80-year-old woman who was given a prize at work recently, felt as if she was being told “nothing more is expected of you”. She relates to Tereza's story and sees her as a woman who “resists and is hungry for life”.The film's star, Denise Weinberg, puts her casting down to the fact that she is one of the few Brazilian actors her age who hasn’t had any cosmetic procedures. She joked with the director: ‘did you choose me because I have wrinkles?’Brazil is undergoing a rapid demographic shift, with the number of over-60s more than doubling between 2000 and 2023. This demographic is expected to account for a third of the population by 2050, prompting questions as to whether the country is prepared for this new reality.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

Retailer Next has reported a £1.16bn pre-tax profit for the full year, with the Middle East conflict expected to add only £15m to fuel and air freight costs. This amount, which assumes a three-month disruption, is considered minimal and can be offset by savings elsewhere.Chief Executive Simon Wolfson added £8m to this year's profit forecast as a mechanical read-through from last year's outcome, indicating that trading had been “encouraging” in the UK and “strong” overseas until late February.The main concern for Next is the potential long-term impact of the conflict on supply chain resilience, freight rates, factory gate prices, and consumer demand. Wolfson emphasized that the company has no insight into the duration and implications of the conflict, stating, “As yet, we have no feel for the medium-term effects”.If higher costs persist, Next may put up prices, but this remains “a contingency, not a plan”. The company will provide a clearer view in its first-quarter update in May.Wolfson also offered nuanced insights, suggesting that consumer confidence may not have collapsed as much as some, like the British Retail Consortium, have claimed. He noted that UK consumers tend to react to actual higher prices, not the threat of them.Additionally, Next's spring-summer ranges are already in stores, online, and warehouses, minimizing the immediate need for adjustments. Any increases in fabric costs or production disruptions in Asian factories would mostly affect autumn-winter ranges.The stock market responded positively, with Next's shares rising 5% to £125.40. This resilience could indicate potential for a profit upgrade in May if the £15m in extra costs turns out to be the worst of it.However, no retailer will be immune if the energy price shock persists and the OECD's prediction of UK economic growth of just 0.7% this year materializes.

UK Prime Minister Keir Starmer has announced plans to address addictive features in social media platforms, signaling a potential regulatory shift following a significant US court ruling that held Meta and YouTube accountable for harms caused by their technology designs.The prime minister emphasized that the recent California court verdict reflects rising public expectations for more aggressive regulation of social media platforms. "I'm absolutely clear that we need to go further," Starmer stated, adding that "the status quo isn't good enough" in terms of protecting children online.Starmer specifically mentioned that the government is consulting about banning social media for under-16s and expressed strong commitment to addressing addictive features within social media platforms. These remarks come amid growing international pressure on tech companies to address the potential harms of their products on young users.In the landmark US case, a California jury found Meta and YouTube negligent for failing to provide adequate warnings about the potential dangers of their platforms. The plaintiff, a 20-year-old woman who claimed she became addicted to social media during her childhood, was awarded $6 million (£4.5 million) in damages, with Meta responsible for 70% of the payment and YouTube covering the remainder.The Duke and Duchess of Sussex welcomed the verdict as "a reckoning" for tech companies, stating in a joint statement: "For too long, families have paid the price for platforms built with total disregard for the children they reach." They emphasized that "today, the truth has been heard and precedent has been set" regarding children's safety versus corporate profits.Both Google, which owns YouTube, and Meta have indicated they will challenge the decision. Google claimed the case "misunderstands YouTube, which is a responsibly built streaming platform, not a social media site," while Meta stated it "respectfully disagrees with the verdict and is evaluating our legal options." The verdict came after nine days of deliberation in the first lawsuit concerning social media's alleged harm to young people to reach trial.The ruling has resonated beyond the courtroom, with European Commission digital chief Henna Virkkunen noting that such cases send "a very clear message" to online platforms about the risks they pose. Campaigners for safer social media have celebrated the decision as a potential watershed moment in regulating platforms like TikTok, Instagram, and X.The Molly Rose Foundation, established after the death of 14-year-old Molly Russell who was exposed to harmful content on Instagram, called for legislation that would make "safety and wellbeing the price for tech firms to pay for doing business in the UK." Thomas Lancaster, a computing expert at Imperial College London, emphasized that policies must be effectively enforced to protect those they're designed to safeguard.Sacha Haworth, executive director of the Tech Oversight Project, declared that "the era of big tech invincibility is over," suggesting that the verdict validates concerns about tech platforms' impact on young people that have been raised for years.

The UK government has announced a significant intervention in the country's industrial sector, investing £100m to reopen a carbon dioxide plant on Teesside. The Ensus plant, which was mothballed in September, will restart operations for an initial three-month period, with hopes that it could then remain open indefinitely.The decision to reopen the plant comes amid concerns that the war in Iran could trigger shortages of CO2, a gas that has various uses ranging from carbonating drinks and keeping food fresh to medical procedures and the sedating of animals for slaughter. The plant's reopening is expected to bolster production of CO2 and help ensure the resilience of supply chains.The Business Secretary, Peter Kyle, approved the reopening of the plant, stating that the government would 'always do what's needed to ensure resilience and protect British businesses from the worst impacts of global uncertainty.' The move is part of wider government efforts to ensure the UK maintains access to critical industrial resources during global supply shocks.The UK's food and drink industry faced a CO2 crisis in 2021, after the easing of pandemic restrictions sent the price of wholesale gas soaring, pushing up the manufacturing costs of fertiliser production, which also produces the gas as a byproduct. The crisis resulted in the government providing a temporary bailout to the American company CF Fertilisers to help restart CO2 production at its Teesside factory.The Ensus plant has had operations on Teesside since 2010, using distillation and fermentation to convert wheat into bioethanol. CO2 is a byproduct of this process, as well as high-protein animal feed. The company, which is headquartered in Middlesbrough, employs about 100 people.

A jury in the United States has ordered social media giant Meta to pay $375m for harming children's mental health and making them vulnerable to sexual exploitation.The verdict, handed down in New Mexico after a six-week trial, marks the first time a US state has successfully sued Meta over child safety issues. State authorities accused Meta, the parent company of Instagram, Facebook, and WhatsApp, of failing to protect minors.Jurors sided with state prosecutors who argued that Meta prioritized profits over safety and violated parts of New Mexico's Unfair Practices Act. The jury agreed with allegations that Meta made false or misleading statements and engaged in 'unconscionable' trade practices that unfairly took advantage of the vulnerabilities and inexperience of children.The case involved testimony from 40 witnesses, including employees-turned-whistle-blowers, and reviewed hundreds of documents, reports, and emails. New Mexico Attorney General Raúl Torrez called the verdict 'a historic victory for every child and family who has paid the price for Meta's choice to put profits over kids' safety.'Meta has stated that it will appeal the verdict, with a spokesperson saying, 'We respectfully disagree with the verdict and will appeal. We work hard to keep people safe on our platforms and are clear about the challenges of identifying and removing bad actors or harmful content.'A second phase in New Mexico's proceedings against Meta is scheduled to begin in May, when a judge will hear the state's claim that the company should be ordered to pay additional penalties and make specific changes to its platforms and company operations.