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Colombia's Environment Minister, Irene Velez, announced on Monday that the country will cull up to 80 hippos that have been roaming freely in a region near the Magdalena River basin. The decision comes after previous attempts to control the population, including sterilization and capturing the animals, proved too expensive or ineffective.The hippos were introduced to Colombia by infamous drug lord Pablo Escobar in the 1980s, when he brought four to his private zoo. After Escobar's death, the hippo population swelled to an estimated 170, with the animals now spotted up to 60 miles from Escobar's former ranch, Hacienda Napoles.Authorities say the hippos pose a threat to villagers who encounter them and compete with native wildlife, such as manatees, for food. Despite local concerns, the hippos have become a tourist attraction, with visitors flocking to the Napoles ranch to spot the animals and buy hippo-themed souvenirs.Animal welfare activists have opposed the culling, citing concerns about the country's history of conflict and the potential for the cull to set a poor example. However, Velez emphasized that the action is necessary to preserve Colombia's ecosystems. The hippos cannot be returned to their natural habitat due to their limited gene pool, which could lead to the spread of diseases.

Celebrating two decades since its West End debut, Avenue Q is back at London’s Shaftesbury Theatre until 29 August, offering a refreshed version of the Broadway‑to‑London hit that originally won Tonys for Best Musical, Book and Score.The revival, billed as a “love letter to the original”, is helmed once again by Jason Moore – the director who first staged the show in 2006. At 55, Moore admits that returning to a work he originally conceived is unusual, but he sees the anniversary as an opportunity to upgrade the show’s scale, technical ambition and cultural sensitivity.Created by composers Robert Lopez and Jeff Marx with book by Jeff Whitty, the musical blends colourful Sesame‑Street‑style puppets with adult themes such as sex, racism, housing crises and existential angst. While the core story remains, the production team has added contextual notes to jokes that might puzzle Gen‑Z audiences – for example, the reference to 1980s sitcom star Gary Coleman is retained but clarified for modern viewers.Moore’s casting criteria emphasise a youthful “innocence” and a strong aptitude for puppeteering. As actor Emily Benjamin explains, performing through a puppet is an “ego death” that forces the performer to shift focus from self to the character, reducing vocal anxiety and deepening emotional honesty.Behind the scenes, puppet director Iestyn Evans coordinates a complex choreography where human actors operate hand‑and‑rod puppets in full view, interacting simultaneously with fellow performers. This layered performance style demands precise timing, especially when tackling songs like “Everyone’s a Little Bit Racist” and “If You Were Gay”, which have sparked whole‑company discussions about their relevance and sensitivity today.Moore acknowledges that the show’s transgressive edge – famously illustrated by “naked puppets having sex” – still feels bold, even as contemporary West End productions such as Oh, Mary! and The Book of Mormon have pushed similar boundaries. He argues that the musical’s core questions – “how do you give your life meaning?” – remain timeless, and that the updated production aims to engage a new generation of audiences.As Benjamin puts it, “they might just be little cloth things, but people can often empathise with something that isn’t real more directly than with a human being telling the same story.” The revival therefore hopes to prove that puppetry can still provoke, entertain and resonate in today’s cultural climate.

The NAACP has filed a lawsuit against Elon Musk's artificial intelligence company, xAI, alleging that it has been illegally spewing toxic pollutants into Black neighborhoods near Memphis. The lawsuit claims that xAI's makeshift power plant in Southaven, Mississippi, has been operating without permits, violating the Clean Air Act.The suit, filed on Tuesday in Mississippi federal court, alleges that xAI has been polluting the surrounding historically Black communities by using dozens of methane gas generators without permits. The organization is seeking to force the company to stop operating its unpermitted turbines in Southaven.“All too often, big corporations like xAI treat our communities and families like obstacles to be pushed aside,” said Derrick Johnson, the president and CEO of the NAACP. “We will not allow xAI to get away with this.”xAI's datacenters, nicknamed “Colossus” and “Colossus II” by Musk, are massive facilities, with the latter occupying 1m sq ft in Memphis. They are located in Memphis's industrial zone and a few miles from residential neighborhoods that have long dealt with harmful pollution, including Boxtown, a neighborhood that was established by formerly enslaved people after emancipation in the 19th century.The lawsuit alleges xAI illegally installed and operated up to 27 gas turbines, each one the size of a large bus, to power the datacenters. Combined, they have the capacity to emit tons of harmful nitrogen oxides per year, along with toxic chemicals like formaldehyde, according to the Southern Environmental Law Center.xAI issued a statement in response to the lawsuit: “We take our commitment to the community and environment seriously. The temporary power generation units are operating in compliance with all applicable laws.” The company did not respond to questions about whether it will address the alleged violations listed in the lawsuit.Black residents still make up a large portion of the Memphis neighborhoods, which have faced higher rates of asthma and respiratory diseases as well as a lower life expectancy than other parts of the city. Studies have likewise shown these neighborhoods have a cancer risk that is four times the national average.

According to a recent report, the cost of a round‑trip train ticket from New York City’s Penn Station to MetLife Stadium could surge sevenfold to more than $100 during the 2026 FIFA World Cup.The Athletic cited sources familiar with NJ Transit’s pricing strategy, noting that the agency told Fox 5 New York the exact fare has not yet been finalized, with a decision expected in the coming days.At present, NJ Transit lists a standard round‑trip fare at $12.90, with discounted rates for children, seniors and passengers with disabilities. The proposed increase would eliminate these reduced‑price options, pushing the ticket price above the six‑figure mark for a single journey.Transportation costs have become a focal point of the World Cup debate, joining concerns over the sky‑high match tickets. For context, the Massachusetts Bay Transportation Authority recently raised its Boston‑to‑Gillette Stadium fare from $20 to $80 for the tournament.New Jersey Governor Mikie Sherrill emphasized her commitment to protecting taxpayers, stating that the state will not subsidize travel for World Cup spectators."When I came into office about two months ago, I immediately got to work on the World Cup," Sherrill said. "One of the key things I wanted to make sure of was that we were not going to be paying for moving people who were viewing the World Cup on the backs of New Jersey taxpayers and New Jersey commuters."NJ Transit estimates that operating its services for the eight World Cup matches at MetLife—including the July 19 final—will cost roughly $48 million.The agency added, "The ticket prices for match‑day travel have not been finalized. However, as the Governor has clearly stated, the cost for the eight matches will not be borne by our regular commuters."In February, Governor Sherrill cancelled a planned $5 million fan festival at Liberty State Park, redirecting the funds toward smaller watch parties and events across the state.Officials anticipate tens of thousands of fans will rely on the rail network to reach MetLife, especially as parking availability will be sharply reduced compared with typical concert or NFL game days. NorthJersey.com reported that portions of Penn Station will be reserved exclusively for World Cup ticket‑holders for a four‑hour window before each of the eight matches.

The American Great Plains, typically greening up in spring, are instead scarred by record-breaking wildfires that have devastated the region, leaving over a million acres of land blackened and barren.In Nebraska, where most of the nation's beef producers graze their herds, multiple blazes raged across the state, shattering records for annual acreage burned. The Morrill fire, which spread across more than 642,000 acres, was the largest blaze ever recorded in the state.Fire is not uncommon in this region in early spring, when precipitation is low, grasses are dry and dormant, and strong winds blow through the open flats. However, the risks have sharply risen in recent years, driven by climate change and land management practices.Experts warn that a changing wildfire dynamic in the region is creating more catastrophes. 'There is a changing wildfire dynamic in this region,' Dr Dirac Twidwell, a rangeland ecologist at the University of Nebraska, said. 'Stronger summer storms seed the grasses that cure by winter. If there's no protective snow cover, that browned vegetation ramps up fire risks – especially when the winds begin to blow.'This year's conditions converged to create the perfect storm in Nebraska. A warm and dry winter, with the second warmest and fourth driest conditions on record, set the stage for the devastating fires.The Morrill fire claimed the life of 86-year-old Rose White, a great-grandmother, as she tried to flee her home. It reduced parts of the Nebraska Sandhills – one of the largest temperate grasslands still intact across earth – to ash and sand.Thousands of livestock were killed or severely burned, and miles of fencing and forage are gone. The fires have also had a significant impact on the cattle industry's feeding operation, which is concentrated on the Great Plains.While experts are assured that the lands will rebound, they also stress that fires will happen in a grassland system. 'The idea that we can completely remove fire from these systems isn't really feasible,' Dr Victoria Donovan, assistant professor of forest management at the University of Florida, said.

The Democratic National Committee's recent meeting in New Orleans ended with little to celebrate for supporters of Palestine and an end to the genocide in Gaza. Despite 77% of Democrats agreeing that 'Israel is committing genocide' in a Quinnipiac Poll last summer, and an NBC poll finding that registered Democrats are more sympathetic toward Palestinians than Israelis by a margin of 67-17%, the DNC refused to give any ground.The party's resolutions committee quickly discarded a pair of resolutions critical of Israel, one urging 'an immediate and permanent ceasefire in Gaza and the Occupied Palestinian Territory' and the other opposing 'military actions that endanger civilians or exacerbate repression' in Iran. These resolutions were shunted aside to a Middle East working group, which has scarcely met since its announcement last August.Halie Soifer, CEO of the Jewish Democratic Council of America, praised the DNC's 'rejection of two resolutions related to Israel', calling them 'out of step with the policies of the Democratic party'. This stance has been criticized as out of touch with the party's base, with Kirsten Gillibrand's claim that 'nine out of 10 Democrats are pro-Israel' being met with skepticism.The DNC's actions have been seen as a manifestation of an 'anachronistic time warp', with party leaders severely out of touch with what most Democrats currently believe about Israel. This disconnect erodes the Democratic base and indicates a level of 'moral incompetence' among decision-makers.Ben Rhodes, a former deputy national security adviser to Barack Obama, identified a 'fatal blind spot within American liberalism, a devaluation of human life itself' that aptly describes the foreign policy mentality atop the Democratic party. The DNC's actions have been criticized for ignoring the views of Democratic voters on Israel, potentially harming the party's base and alienating many.

On O’Connell Street, a lime‑green CLAAS tractor arrived with a 19‑year‑old driver named Dylan, who explained that his convoy was the second to join a city‑wide fuel blockade that halted traffic for nearly a week. The protest, organized by farmers, hauliers and fishermen, highlighted the impact of a 60% increase in fuel duties and taxes on everyday Irish life. Dylan warned that the surge in fuel costs would eventually ripple through food prices, threatening household budgets across the nation. He and his companions, two teenagers, had endured cold nights inside the tractor, underscoring the desperation felt by many workers. The unrest, described by the Irish president as an "illegal war on Iran," has laid bare Ireland’s dependence on fossil fuels and the lack of a coherent transition strategy toward renewable energy. During six days of action, protestors blocked motorways, ports, the country’s sole oil refinery in County Cork, and fuel depots in Limerick and Galway. By the end of the week, petrol stations began to run low, prompting the justice minister to consider deploying the army. Yet on the streets, public sentiment was largely supportive; a recent poll indicated that 56% of respondents backed the demonstrators. Historical symbolism filled the scene: tractors flew the Irish tricolour beside buildings still scarred by the 1916 Easter Rising, while a lorry bore a painted coffin with the words "RIP Ireland" and a banner reading "Easter 2026". Critics on national radio questioned the tactics, citing concerns for vulnerable patients unable to reach medical appointments. Nonetheless, the direct‑action approach succeeded in drawing international attention and pressuring the government. When mounted police units arrived on Sunday morning, the convoy withdrew peacefully. Shortly thereafter, the coalition of Fianna Fáil and Fine Gael announced a €500 million concession package, augmenting an earlier €250 million relief plan with cuts to excise duty and a postponement of the next carbon‑tax increase. Despite the financial concessions, a looming no‑confidence vote appears unlikely to topple the centre‑right coalition, even as public trust in traditional parties wanes. Dylan, too young to have voted in the last election, expressed little confidence in the political establishment. The protests have also been infiltrated by far‑right elements, with some speakers promoting anti‑immigrant conspiracies and misogynistic rhetoric. One spokesperson was found to have prior convictions for animal cruelty, and the Muslim Sisters of Éire reported being told to "go home" by flag‑waving agitators, highlighting a surge in xenophobic discourse. Beyond the immediate fuel price surge—up roughly 20% in a single month—the demonstrations raise broader questions about Ireland’s reliance on volatile global markets. The nation imports over 80% of its fruit and vegetables, while its data‑centre sector now consumes more electricity than all urban households combined, underscoring the tension between economic growth and sustainable energy policy. Analysts argue that lasting change cannot be achieved by pushing working people to the brink while catering to corporate interests. Ireland is expected to lobby the EU for a pause on carbon‑tax increases and to join calls for an EU‑wide tax on oil and gas profits, similar to measures advocated by Spain. In sum, the Dublin fuel blockade has forced the government to concede significant fiscal relief, exposed deep structural vulnerabilities in Ireland’s energy and food supply chains, and sparked a contentious debate over the role of grassroots protest, social cohesion, and climate justice.

Endless Cookie arrives as a daring, hand‑crafted animation that immerses viewers in the everyday chaos of a Canadian Cree household in the remote Shamattawa First Nation. The project, conceived and voiced by half‑brothers Seth and Peter Scriver, took nine years to complete, a fact the film humorously acknowledges through its meta‑narrative and frequent self‑parody. The visual style feels like a cross between Cheech and Chong antics and the digressive storytelling of Tristram Shandy, with scenes that oscillate between vivid surrealism and grounded family moments. From a post‑apocalyptic Toronto backdrop to a sprawling story map described as “bulging like a distended colon,” the animation pushes the boundaries of conventional indie filmmaking. Beyond its eccentric humor, the film tackles weighty themes with a wry yet respectful tone. It shines a light on police racism and historic land theft, while celebrating ancestral continuity and community resilience. The narrative deliberately sidesteps the Scrivers' own cultural positions, allowing the Indigenous perspective to remain front and centre. Key vignettes include a chaotic caribou stakeout, a punk‑era flashback to 1980s Toronto, and a bizarre encounter with a clingy snowy owl—each episode underscored by the presence of the family’s twelve dogs, two of which are humorously named Cheech and Chong. The film’s funding source even appears as a talking slide rule, adding another layer of self‑referential comedy. Critics have likened the animation’s energy to a “SpongeBob SquarePants episode after an afternoon of smoking DMT,” while also noting its lineage to the counter‑cultural spirit of Fritz the Cat. The result is a work that feels both hallucinatory and deeply affectionate toward its subjects. Endless Cookie becomes available for streaming on Mubi starting 17 April, offering audiences a rare glimpse into a vibrant, self‑determined Indigenous narrative that challenges mainstream cinematic conventions.

Michael Rosen, celebrated poet and author of titles such as We’re Going on a Bear Hunt and Chocolate Cake, has been awarded the 2026 Hans Christian Andersen Award in recognition of his lifelong impact on children’s literature.The accolade makes him the fourth Briton to receive the honor, joining the ranks of Eleanor Farjeon, Aidan Chambers and David Almond.The International Board on Books for Young People (IBBY) praised Rosen’s work for echoing the rhythms of children’s language, blending playfulness with emotional depth and social awareness. IBBY highlighted his ability to foster empathy and spark conversations about history, family, loss, identity and society across poetry, novels and non‑fiction.The companion illustration prize was bestowed upon Chinese artist Cai Gao, whose distinctive visual language and high artistic quality expand the possibilities of children’s illustration. Past illustration laureates include Quentin Blake, who won in 2002.Rosen missed the award announcement at the Bologna Children’s Book Fair after being denied boarding on a flight from Stansted to Bologna due to post‑Brexit passport regulations. The rule requires UK passports to have been issued within the previous ten years and to retain at least three months’ validity on the day of departure.He later posted on X (formerly Twitter), noting the irony of being turned away because his passport was issued in March 2016 despite an expiry in August 2026, calling it a “Brexit benefit”.Despite the setback, Rosen received a call from an Italian woman informing him of his win, which he described as a “happy ending”.From a pool of 78 candidates across 44 countries, the jury evaluated the “distinctive literary and artistic qualities” of each entrant and their capacity to view the world through a child’s eyes. The formal award ceremony is slated for August in Ottawa.