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United States Senator Marco Rubio has made a provocative statement regarding Iran's military capabilities, declaring that Iran's ability to launch missiles must be destroyed. The remark comes amid heightened tensions between Washington and Tehran over Iran's ballistic missile program.Rubio's statement reflects a hardline stance on Iran's military capabilities, suggesting a potential shift in US policy toward more confrontational approaches. The senator's comments indicate strong support for military action targeting Iran's missile infrastructure, which has been a point of contention in US-Iran relations for years.The missile program has been a key component of Iran's defense strategy, with officials in Tehran consistently maintaining that these capabilities are for defensive purposes and not negotiable. Rubio's statement may signal increasing pressure on Iran from US political circles regarding this aspect of their military development.

On 30 December 2023, Brooklyn‑based musician Wendy Eisenberg emerged from an all‑night rave in Bushwick feeling physically ill and mentally rattled. A spontaneous, anxiety‑driven walk that lasted the entire day became the catalyst for what Eisenberg later described as a personal “exorcism”.During the trek, an old friend suggested Eisenberg pick up a guitar, prompting the artist to return home and begin writing the material that would become their self‑titled album. Eisenberg recalled the intensity of Cat Power’s rapid‑fire creation of Moon Pix, noting that many of the new songs were drafted in a similar dream‑state over the following three to four months.Since the debut Time Machine, Eisenberg has built a reputation as a multi‑instrumentalist who oscillates between confessional folk and avant‑garde improvisation. Collaborator Bill Orcutt praised their guitar work as “musical MSG”, capable of elevating any ensemble. Yet the forthcoming record deliberately steps back from experimental excess, drawing instead on the playful melodies and graceful harmonies of 70s folk‑rock while retaining the ambition of earlier projects.The album’s orchestration, co‑produced with partner Mari Rubio (aka More Eaze), emphasizes beauty through complexity. Eisenberg explains that the “harmonic vocabulary reflects a newfound sense of comfort and happiness”, aiming for an “earned, adult sound of happiness” that mirrors the messy process of self‑acceptance.At the heart of the record lies a deeply personal narrative. A breakup that shattered Eisenberg’s sense of identity forced them to confront both heartbreak and the pressure to conform to “straight” norms. The experience sparked a decisive embrace of their queer, non‑binary, lesbian identity, a transformation Eisenberg describes as a “revelatory moment”.Music has long served as Eisenberg’s refuge; their father’s lullabies and an early fascination with Joni Mitchell, Gram Parsons, and the Everly Brothers laid the groundwork for a lifelong devotion to songcraft. After years of intensive study at the New England Conservatory and experimental collaborations, Eisenberg’s new work channels those influences into a more accessible, yet still richly textured, sound.Beyond the music, the album’s backstory includes an unexpected romance sparked by the British quiz show Only Connect. After meeting Rubio in August 2023, the pair bonded over the show on Valentine’s Day, leading to their first kiss and, months later, cohabitation. Eisenberg credits this partnership with providing the emotional stability needed to complete the album.Critics have already hailed the record as “one of the best things you will hear this year”, noting its blend of 70s singer‑songwriter sensibility with modern lyrical honesty. Tracks such as “Meaning Business” confront PTSD and past trauma, while others explore the joy of self‑realization.The album will be released on Joyful Noise on 3 April 2024, offering listeners a window into Eisenberg’s journey from “exorcism” to artistic renewal, and solidifying their place as a compelling voice in contemporary indie folk.

British hedge‑fund billionaire Chris Rokos has announced a £190 million endowment to the University of Cambridge to create a new, eponymous school of government. The pledge, comprising an initial £130 million and a further commitment of up to £60 million that the university will match, is believed to be the largest single donation ever made to a UK university. The Rokos School of Government is slated to open in temporary facilities this autumn, offering PhD and master’s programmes focused on public policy, leadership and governance. In the longer term it will relocate to a purpose‑built campus within Cambridge’s West Innovation District, positioning itself as a direct rival to Oxford’s Blavatnik School of Government, which was launched in 2010 with a £75 million gift. Rokos, 55, rose from a state primary school to a scholarship at Eton and a mathematics degree at Oxford before co‑founding the hedge fund Brevan Howard and later establishing Rokos Capital Management, which now employs over 350 staff. He is listed on the Sunday Times Rich List with an estimated net worth of £2.6 billion and is among the UK’s biggest taxpayers. Speaking about the donation, Rokos said, "I was fortunate to be given an education that transformed my life, and I would like to give something back to Britain. My hope is that, in time, the influence of the Rokos School of Government across the world becomes an important element of that soft power, which has been a great asset to the UK." University officials framed the new school as a response to “growing turbulence in domestic and international politics, increasing polarisation of political opinion, and long‑term structural changes in the economy.” The institution aims to provide a “unique forum for radical and remarkable thinking,” leveraging Cambridge’s tradition of scientific innovation and interdisciplinary collaboration. Vice‑chancellor Prof. Deborah Prentice added, "Tackling the enormous challenges facing our world requires radical new ways of thinking and approaches to leadership. Cambridge’s strengths across all disciplines and its convening power make it uniquely positioned to drive this innovation. Thanks to Chris’s generous support, the Rokos School will become a place where current and future leaders, together with experts from across our institution, generate the insights and solutions needed for a rapidly changing world." The school’s establishment also reflects a broader trend of private wealth shaping public‑policy education in the UK, echoing similar high‑profile gifts such as Leonard Blavatnik’s £75 million donation to Oxford. By creating a dedicated hub for governance studies, Rokos hopes to cement Cambridge’s role as a training ground for future world leaders and to reinforce Britain’s international influence. Rokos Capital Management recently made headlines when talks to appoint former UK ambassador Peter Mandelson as an adviser were terminated following renewed scrutiny of the Epstein scandal, underscoring the complex interplay between finance, politics and public perception. The £190 million endowment not only marks a milestone for UK higher‑education philanthropy but also signals a strategic investment in the development of policy expertise that could shape global governance for decades to come.

Brandy's highly anticipated memoir, Phases, co-written with Gerrick Kennedy, provides an intimate look at the singer's life, detailing her formative years, meteoric rise to fame, and struggles with addiction, bullying, and trauma.Brandy, known as the 'Vocal Bible,' has been in the music industry for over 30 years, with a discography that includes undeniable classics like 'Sittin’ Up in My Room', 'The Boy Is Mine', and 'What About Us?'. Despite her success, she has often been underrated, and her memoir aims to set the record straight.The book delves into Brandy's early life in Mississippi and California, where she developed her singing skills in church choirs and youth groups. It also explores her experiences as a teenage superstar, including her role on the hit sitcom Moesha and her struggles with addiction.Brandy shares stories of bullying, including being targeted by a bully named Shanice, and her complicated relationships with musical idols like Whitney Houston and Michael Jackson. She also opens up about a toxic relationship with Wanya Morris of Boyz II Men and her side of the story about her highly publicized feud with Monica.The memoir also touches on Brandy's involvement in a fatal car accident in 2006, which left her with survivor's guilt and a deep sense of responsibility. Through it all, Brandy's love for music remained a constant, and she reflects on her journey to becoming one of the most respected vocalists in the industry.Phases is now available on HarperCollins in the US and will be released in Australia on April 1 and in the UK on April 23.

President Donald Trump took to his Truth Social account on Tuesday to lambaste several European governments for declining to support the United States’ military campaign against Iran. He told nations struggling with fuel shortages to “go get your own oil” by force, a statement that immediately pushed global oil markets higher. European leaders pushed back. France barred Israeli aircraft carrying weapons from traversing French airspace, while Italy reportedly denied a last‑minute request for U.S. bombers to land in Sicily. Spain’s defence minister announced that Madrid would no longer tolerate “lectures” from any foreign power after refusing U.S. use of its bases and airspace. The United Kingdom, despite allowing U.S. forces to operate from its bases, faced a public rebuke from Trump, who singled out the UK for its inability to secure jet fuel through the Strait of Hormuz. U.S. Secretary of Defense Pete Hegseth echoed the president’s hard‑line stance, suggesting that allied navies should be ready to intervene in the strategic waterway. Analysts warn that any attempt to seize the Strait of Hormuz by force would be highly risky and likely unrealistic. Nonetheless, the rhetoric has already contributed to a surge in fuel costs: U.S. gasoline prices have crossed the $4‑per‑gallon threshold for the first time in four years, and Brent crude slipped below $104 a barrel after Iranian President Masoud Pezeshkian hinted at a possible de‑escalation. The conflict, now in its fourth week, has claimed more than 3,000 lives and triggered a worldwide economic shock. Irish Taoiseach Micheál Martin described the oil‑supply disruption as “probably the worst ever,” reflecting growing anxiety over inflation, stagnant growth, and a cost‑of‑living crisis that many nations are already grappling with. In a parallel diplomatic development, Pakistan and China unveiled a joint five‑part proposal aimed at ending hostilities and reopening the Strait of Hormuz, though it remains unclear how this aligns with recent U.S. diplomatic overtures through Islamabad. Meanwhile, the war’s regional dimensions have intensified. Israel announced plans to permanently occupy a swath of southern Lebanon up to the Litani River, a move that would cement its military presence well beyond the current confrontation with Hezbollah. Even the Vatican entered the fray. Pope Francis expressed hope that the fighting would cease by the upcoming Easter weekend, urging world leaders to find “ways to reduce the amount of violence.” His comments were widely interpreted as a subtle rebuke of the Trump administration’s aggressive posture. Overall, Trump’s incendiary remarks have highlighted a widening fissure between Washington and its traditional European partners, while the escalating oil price volatility underscores the broader economic ramifications of the Iran conflict.

Unilever’s latest strategic move pairs its food portfolio – home to brands such as Hellmann’s, Knorr and Marmite – with US condiment specialist McCormick in a deal valued at $44.8 bn. While the transaction will deliver $15.7 bn in cash to Unilever, the bulk of the consideration is equity‑based, giving Unilever shareholders a 55% stake in the enlarged McCormick and leaving Unilever itself with a modest 10% holding. The structure marks a departure from Unilever’s recent clean‑break divestitures, such as the outright sales of its Flora spreads and Lipton tea businesses and the spin‑off of its ice‑cream division (including Ben & Jerry’s) last year. Instead, investors now face a complex share‑exchange that ties their fortunes to a company that will assume significant debt to fund the acquisition. CEO Fernando Fernández framed the transaction as “another decisive step in sharpening our portfolio”, yet market reaction was swift: Unilever’s share price slid 7% on the announcement. The decline underscores investor scepticism that the merger will unlock genuine value. From a financial perspective, Unilever’s food arm contributes annual sales of $12 bn – outpacing McCormick’s $8 bn – and enjoys higher growth (2.7% vs 2%) and superior margins (24% vs 17%). These metrics suggest Unilever could have retained a more profitable segment rather than ceding control to a partner with weaker performance indicators. Critics argue that the combined entity will be a sprawling conglomerate of global powerhouses like Hellmann’s and Knorr alongside niche brands such as French’s mustard and Old Bay seasoning. The anticipated synergies, described by McCormick’s Brendan Foley as “maximal adjacency” and “end‑to‑end flavour experiences”, remain unproven, especially given the modest cash component and the dilution of Unilever’s ownership. Ultimately, the success of the merger hinges on whether the new food business can generate growth that justifies the equity swap and the added debt burden. For now, the market’s 7% share‑price dip reflects a cautious outlook on the promised “trapped value” that Unilever hopes to unlock.

Jannik Sinner reflected on his latest triumph at the Miami Open with a modest chuckle, insisting that tennis remains an individual sport. His decisive win over Jiri Lehecka not only secured the Sunshine Double—following his Indian Wells victory—but also extended a remarkable record: every tournament featuring both Sinner and Carlos Alcaraz since April 2024 has been won by one of the two. Sinner’s achievement marks his third consecutive Masters 1000 title and an astonishing 34 straight sets won at this level, underscoring his dominance over all challengers aside from his chief rival. After early‑season setbacks—losses to Novak Djokovic at the Australian Open and to Jakub Mensik in Qatar—Sinner and his team relocated to California for an intensive training block in scorching conditions, a strategy that paid dividends throughout March. “There is no secret behind it, just hard work,” Sinner said, noting his extended stay outside Europe and his eagerness to return home. Despite his focus on individual preparation, the broader narrative remains: the gap between Sinner, Alcaraz and the rest of the field continues to widen, with the two duopoly rarely challenged. On the women’s side, Aryna Sabalenka mirrored Sinner’s feat by completing her own Sunshine Double, albeit under markedly different circumstances. She entered the season having won 23 of her first 24 matches, and at Indian Wells she survived a match‑point against Elena Rybakina before edging Coco Gauff in a tense Miami final. Sabalenka’s recent evolution is evident both technically and mentally. After a series of high‑profile collapses in decisive moments—most notably at the Australian Open and the French Open—she adopted a self‑affirmation routine, repeatedly reminding herself of her strength. “Whenever I felt like doubting my ability, I was bringing myself back and reminding myself, ‘No, no, no, you’re strong enough,’” she explained. Her résumé now includes four Grand Slam titles, 11 WTA 1000 titles, and a cumulative 84 weeks at world No. 1. Financially, Sabalenka is on track to become the second female athlete ever to earn $50 million in prize money in a single year, trailing only Serena Williams. The Miami Open itself remains a paradox. While it draws a vibrant, international crowd—especially from Latin America—and offers a unique atmosphere, its temporary venue at Hard Rock Stadium is widely criticized as the tour’s least favorable setting, with sightlines compromised by the stadium’s layout. The tournament’s prestige has also been challenged by the rise of Indian Wells and the recent shift toward mixed‑gender two‑week events. As the tour transitions to the European clay season, the performances of Sinner and Sabalenka raise pivotal questions about the future hierarchy of tennis and the evolving relevance of historic events like Miami in a rapidly changing landscape.

Within its opening weekend on Netflix, Peaky Blinders: The Immortal Man attracted over 25 million streams, outpacing all other titles that week despite already enjoying a UK cinema run and a high‑profile red‑carpet premiere at Birmingham’s Symphony Hall.Banijay Entertainment, a co‑producer of the film, capitalised on the buzz by launching an official Peaky Blinders merchandise store, underscoring how streaming services are now flipping the classic content pipeline—moving from streaming to the big screen rather than the reverse.Beyond promotional stunts, these theatrical forays are becoming a strategic revenue stream and franchise‑building tool. Shows such as Stranger Things, KPop Demon Hunters and The Mandalorian are being repackaged for cinemas, offering fans a premium, event‑style experience that streaming alone cannot replicate."Cinema still creates anticipation, hype and a sense of scarcity that streaming platforms struggle to match," explains Ben Woods, analyst at MIDiA Research. Historically, Netflix limited theatrical releases to qualify films like The Irishman for awards, but the current focus is on monetising proven intellectual property across both mediums.The success of Peaky Blinders—a series with a built‑in audience—demonstrates the model’s viability. Lead actor Cillian Murphy, who also produced the film, described the release as "one for the fans," signalling the intent to reward loyal viewers.Netflix’s own experiment with KPop Demon Hunters proved lucrative: limited theatrical screenings across two weekends generated more than $24 million (£18 million) at the box office and helped the animated musical secure two Academy Awards for Best Animated Feature and Best Original Song.Co‑CEO Ted Sarandos highlighted that the film’s triumph stemmed from its initial Netflix debut, which fed the theatrical audience via the platform’s recommendation engine. While a sequel is slated to follow the same streaming‑first rollout, the Peaky Blinders movie’s cinema‑first launch shows that release strategies remain flexible.Industry observers note that gaps in the traditional release calendar give streaming services opportunities to fill weekends with original content, a tactic Netflix is actively exploiting.Major studios are also blurring the line between streaming and cinema. Disney, for example, transformed its hit Disney+ series The Mandalorian into a feature film, reflecting a broader push to bring Star Wars stories back to theatres.Adapting episodic narratives for the big screen presents creative challenges. As Ben Woods asks, should a film cater primarily to dedicated fans familiar with the series, or aim for a stand‑alone appeal that attracts a wider audience?Fan reaction to The Immortal Man has been mixed on the Peaky Blinders subreddit, with some critics questioning the decision to condense a season‑long arc into a single film. Nonetheless, the movie enjoys a strong critical consensus, holding roughly a 90 % fresh rating on Rotten Tomatoes.Looking ahead, Netflix announced on 20 March that two new post‑war seasons of Peaky Blinders are in development, raising the question of how soon the next installment might receive a cinematic spin‑off.

Ben Jennings offers a visual commentary on the recent overhaul of bin collection services in England. Published on 31 March 2026 in the Guardian's Opinion cartoon series, the illustration captures public concerns about how the new schedule may affect recycling rates and household waste handling.The cartoon, titled "Ben Jennings on changes to bin collections in England – cartoon," depicts a typical street scene where altered collection times create confusion among residents. By emphasizing the everyday impact of policy shifts, Jennings underscores the tension between local government decisions and the practical realities of recycling and waste management.While the piece contains no accompanying editorial text, its visual satire serves as a reminder that changes to public services can have ripple effects on environmental goals and community routines. The illustration, credited to Ben Jennings/The Guardian, invites readers to reflect on the balance between efficiency and sustainability in municipal waste policies.