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Euphoria's third season has been a long-awaited return, but unfortunately, it's absolutely not worth the wait. The show's creator, Sam Levinson, has taken a darker and more desperate approach, focusing on the characters' bleak lives and struggles with sex work, drugs, and trauma.The season picks up five years after the end of season two, with recovering addict Rue (Zendaya) drawn into the world of drug dealer Laurie (Martha Kelly). Her life as a mule between Mexico and the US is depicted in gritty and intense cinematic sequences, drawing on westerns and blaxploitation.Meanwhile, Cassie (Sydney Sweeney) is on the cusp of trad wifedom with toxic jock Nate (Jacob Elordi), but their relationship is marred by Nate's crumbling business and Cassie's OnlyFans content. The show's handling of her cam girl ambitions feels bafflingly dated and voyeuristic.The performances are mostly good, with standout performances from Zendaya, Sweeney, and Adewale Akinnuoye-Agbaje. However, the show's grim and humorless tone makes it feel like a chore to watch.Levinson's approach to exploring the devastating impact of synthetic opioids on ordinary Americans feels heavy-handed and desperate. The show's focus on brainrot bimbo-ism and male perversion also detracts from its once unapologetically queer heart.Overall, Euphoria season three is a disappointing and grubby addition to the series, feeling like a contractual obligation rather than a passion project.

The story of Eva Dumani, a 20-year-old Albanian woman who was kidnapped at the age of nine and held in a Syrian camp for 12 years, has shed light on the plight of thousands of foreign nationals still detained in similar conditions. Dumani's emotional reunion with her uncle, Xhetan Ndregjoni, after escaping from the al-Hawl camp, has highlighted the urgent need for governments to repatriate their citizens held in these camps. The collapse of al-Hawl camp and the uncertainty over the future of the smaller al-Roj facility have raised concerns about the security and well-being of those left behind, including women and children from over 40 countries with alleged ties to Islamic State. According to Devorah Margolin, a senior fellow at the Washington Institute for Near East Policy, governments can no longer ignore the issue and must take proactive steps to repatriate their citizens and provide them with trauma-informed care and reintegration support. The humanitarian crisis in these camps has been well-documented, with Human Rights Watch describing the conditions as “inhuman, degrading, and life-threatening”. Many women and children have been held without charge or trial for years, and there are concerns about their vulnerability to exploitation and recruitment by extremist groups. In a recent development, Belgium has arrested a woman charged in absentia for IS membership upon her return from Syria, while Australian authorities are working to repatriate over 30 Australians who attempted to leave the al-Roj camp. The Albanian government has faced criticism for its handling of the situation, with Ndregjoni calling on the government to bring back home the remaining Albanians still trapped in northern Syria.

Rehab did not happen to Lena Dunham; she walked into it. The writer describes the moment she entered a stone‑manor facility in the Berkshires, Massachusetts, and was immediately asked to remove her designer shoes and answer mundane questions about her diet, a surreal welcome that felt like a college orientation—except many of the fellow residents struggled with IV heroin. She notes the unsettling blend of patients and staff, all dressed in ordinary clothes, making it impossible to tell who was who. A tattooed man in a Harley‑Davidson shirt turned out to be a sober companion, while a grandmother knitting in slippers battled a severe Benadryl addiction that had once ruined her daughter’s wedding. “Never judge a drug addict by their Patagonia half‑zip fleece,” she writes. Using the pseudonym “Rose O’Neill” – after the pioneering cartoonist – Dunham reflects on feeling trapped in a cycle reminiscent of the late‑career decline of the early 20th‑century artist. It was only after she allowed staff to use her real name that she began to reclaim her identity. Her therapist, Dr. Mark, a kindly man in khakis, asked her to articulate the root causes of her admission. Dunham linked her descent to chronic physical illness, relentless stress from supporting multiple families, hormonal turmoil after a hysterectomy, and a fraught romantic relationship. She also disclosed past sexual trauma, describing the rehab experience as “a fever dream” that echoed those memories. Medication played a paradoxical role. While Klonopin eased anxiety and Percocet dulled pain, the initial IV dose produced a euphoric “shiver through the whole body, better than any orgasm.” She acknowledges the temporary relief as a “pause button” that allowed her racing thoughts to quiet, yet also recognized the danger of dependence. Group sessions revealed complex dynamics. A fellow patient, Walter, breached confidentiality, prompting staff to enforce policy and send him home. The ensuing discussion divided the group, with some defending Walter’s lapse and others demanding accountability. Dunham’s own voice was subdued, emphasizing the tension between personal safety and collective responsibility. In a values‑mapping exercise, Dunham listed ART, FAMILY, MAKING PEOPLE FEEL SEEN as her core priorities, contrasting them with the values of the people she had surrounded herself with during active addiction. This exercise highlighted the stark misalignment between her aspirations and the environment she had inhabited. Despite the strict regimen, Dunham was granted a brief leave to attend the 2018 Met Gala. The decision sparked intense debate among staff about safety, yet she ultimately walked the red carpet, feeling “wan and haunted” amid flashing cameras and champagne she could not enjoy. The experience underscored the surreal juxtaposition of celebrity life and rehab recovery. During the final week, she formally identified as an addict and faced the pivotal question from Dr. Mark: “Do you want to be sober?” The answer marked a turning point, culminating in a moment of pure joy as she ran outdoors, feeling her legs move of their own accord. She closes with a vivid scene of spotting a robin’s egg on the grass, a simple yet profound reminder of life’s unexpected beauty. The memoir Famesick, published by Fourth Estate on 14 April, expands on these revelations and invites readers into the often‑hidden world of addiction behind the celebrity façade.

The latest offering from writer Theo Jamieson and director Adam Lenson is a boldly conceived musical that thrusts a turbulent romance into a sci‑fi framework. The story follows a young astronaut, Daniel, who vanishes from his shuttle with barely enough fuel, prompting a quest to uncover the motives behind his reckless flight.Stuart Thompson (as Daniel) and Poppy Gilbert (as Emily) anchor the piece with performances that are both visceral and nuanced. Their chemistry captures the push‑pull of a relationship scarred by childhood bullying, parental betrayal, and a shared history of trauma, delivering songs that soar and hit hard.Visually, the production leans heavily on interstellar projections that transform the stage into a shifting cosmos, while the score oscillates between Sondheim‑style wit and full‑blown symphonic passages. This combination creates an epic sense of strangeness that distinguishes Flyby from more conventional West End fare.However, the narrative’s fragmented structure hampers its emotional payoff. The non‑chronological storytelling leaves critical gaps, and the metaphor of being "stranded in space" feels over‑extended—especially with the protagonist’s surname, Defoe, a thin nod to Robinson Crusoe. The three narrators, played by Simbi Akande, Gina Beck, and Rupert Young, often drift into digressive asides that dilute the central arc.Despite these flaws, moments of brilliance emerge, particularly in the musical’s treatment of mental‑health themes. The show hints at the potential to join the ranks of modern theatre successes like Next to Normal and Dear Evan Hansen, should its structural rough edges be smoothed.The production is currently staged at Southwark Playhouse, Borough, London and will run through 16 May. Audiences seeking a daring blend of emotional intensity and cosmic spectacle will find Flyby a compelling, if imperfect, experience.

Residents of Sidon are recalling the traumatic experience of Israeli airstrikes that targeted their area, following a recent ceasefire agreement between Israel and Iran. The strikes had caused significant fear and destruction, leaving a lasting impact on the local community. The ceasefire has brought a sense of relief, but the memories of the intense violence and fear for their safety continue to linger among the residents. The incident has underscored the fragile nature of peace in the region and the ongoing tensions between Israel and Iran.

The conflict that erupted in April 2023 between Sudan’s army and the Rapid Support Forces has driven the country’s humanitarian situation to catastrophic levels, according to the international non‑governmental organisation Humanity & Inclusion.Three years on, the NGO warns that civilians are enduring a deepening crisis, while people with disabilities are confronting extreme challenges as violence continues, essential services crumble, and unexploded ordnance spreads across former battle zones.Humanity & Inclusion estimates that 11.6 million Sudanese have been displaced by the fighting, and that **more than 33 million people now require humanitarian assistance**—roughly half the nation’s population. By the end of January 2026, over **3 million displaced individuals had begun returning home**, including **700,000 who had fled abroad**. Most of these returns have been to states where hostilities have eased, such as Khartoum, the Blue Nile and Gezira regions.The organisation highlights that **4.6 million Sudanese—about 16 % of the total population—live with disabilities**. In conflict‑affected areas this proportion is likely higher due to war‑related injuries, trauma, and deteriorating health conditions. The NGO stresses that disabled persons “face extreme challenges in fleeing violence, accessing aid, and protecting themselves from harm,” and are often among “the first to be left behind,” exposing them to heightened risks of violence, abuse, discrimination and exclusion.Adding to the peril, Humanity & Inclusion points to the lingering presence of **explosive remnants of war**, describing them as a “new and deadly danger” for millions returning to their homes. Unexploded ordnance—including antipersonnel mines—has contaminated former front lines, residential areas, schools, hospitals, places of worship and roadways, severely restricting access to essential services and livelihoods.These findings underscore the urgent need for intensified humanitarian response, targeted protection measures for people with disabilities, and comprehensive clearance of explosive hazards to prevent further civilian casualties and enable the safe return of displaced populations.

In the heart of Kyiv, Ukraine, a unique theatre has emerged as a beacon of hope and healing for those affected by war. The Veterans' Theatre, founded in 2024, provides a platform for soldiers, their wives, and widows to share their experiences and find catharsis through performance.One of the theatre's most poignant productions is 'Twenty One', a play that explores the struggles of a soldier's wife, Maryna, as she waits anxiously for her husband's return from the front line. The play, written by Olha Murashko, is an autobiographical account of the emotional toll of war on those left behind.The theatre's approach is rooted in the idea that sharing one's experiences can be a powerful tool for healing. By dramatizing their stories, participants are able to process their emotions and find a sense of closure. The theatre's director, Kateryna Vyshneva, believes that this collective catharsis is essential in helping individuals cope with the trauma of war.The Veterans' Theatre serves as a therapeutic outlet for its participants, providing a safe space for them to express their emotions and connect with others who have gone through similar experiences. As the theatre continues to grow and evolve, it is clear that its impact will be felt for generations to come.

The conflict in Gaza has resulted in a significant number of amputations, with over 6,000 adults and children undergoing amputations since October 2023, according to the WHO and Palestinian Ministry of Health. Ola Jamal, 36, is one of the many Palestinians who have been forced to flee Gaza due to the conflict. She was breastfeeding her two-month-old son, Zain, when a missile struck al-Nasr hospital in Gaza, causing her to lose her arm. Jamal and her family were forced to separate, with her children being cared for by another family. This traumatic experience has had a lasting impact on Jamal and her children, with her son Zain still experiencing nightmares and trauma two years after the event. Shadi Sharif Ayesh al-Sous, a father of two, lost his leg in a missile strike while collecting firewood. He had his leg amputated above the knee and now waits to return home to Gaza. However, many Palestinians in Egypt face significant challenges, including restricted access to healthcare and prosthetic care due to their uncertain legal status. Yousef El Deeb, a certified prosthetist at Orthomedics in Cairo, says his clinic has treated about 300 Palestinian patients since October 2023, mostly through the support of NGOs. However, the lack of documentation and uncertain legal status of Palestinians in Egypt makes it difficult for them to access long-term prosthetic care without the support of NGOs. The situation for Palestinians in Egypt is further complicated by their lack of formal residency or refugee status. Without valid residency permits, survivors are often restricted to hostels or share a flat with other families, unable to work and living under the constant pressure of temporary status. This lack of documentation makes accessing hi-tech, long-term prosthetic care almost impossible without the support of NGOs.

The recent conflict between the US and Iran has resulted in a devastating war with no winners. Despite Donald Trump's claims of victory, the two-week ceasefire announced is not a triumph, and the war may not be over. The Iranian regime has not undergone regime change, and less experienced but more hardline figures are now in charge.The conflict has killed thousands in the region, including children, and left many more exhausted, terrified, and traumatized. The war has also spooked markets, raised prices at home, and shown signs of fracturing Trump's Maga base. The US has squandered tens of billions of dollars, burned through its interceptors, and torched relations with allies.Israel has achieved none of its stated aims and is left with a weaker but less predictable adversary. The Iranian regime can count survival as a kind of success, but senior leaders are dead, its economy is on its knees, and essential infrastructure has been smashed. The people are likely to face yet greater repression.The war has destabilized the region and normalized talk of war crimes, further trashing the idea of a rules-based order. Restrictions on transit will continue to damage humanitarian aid operations and raise prices worldwide, hitting the poorest hardest.The only real winners are arms manufacturers, Russia, and arguably China, at least for now. This is a strategic defeat for the US that will resound for decades, and a clear sign of its systemic failures.