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Following Donald Trump's recent claims that the US is engaged in 'strong talks' to end the war with Iran, Qatar took the unusual step of publicly distancing itself from any alleged diplomatic negotiations. The Gulf state's government spokesperson Majed al-Ansari explicitly stated, 'Qatar was not involved in any mediation efforts,' adding pointedly, 'If they exist.'This represents a significant departure from Qatar's traditional role as a chief mediator in Middle East conflicts, having previously facilitated negotiations between Israel and Hamas, the US and the Taliban, and peace deals in Lebanon and Sudan.Over the past three weeks, Gulf states have found themselves on the frontlines of the conflict after their mediation efforts to prevent war were ultimately rejected by the US. The pattern of broken negotiations is particularly telling: the US attacked Iran twice during talks aimed at halting the Iranian nuclear program, which were championed by Oman. Discussions last June were halted as the US and Israel conducted strikes on Iran's nuclear facilities, and revived talks in February were similarly undermined when Trump began bombing Tehran before the final round of meetings.Since the war began, Gulf states have been forced to spend billions defending against daily Iranian missile and drone attacks, with their economies and sovereignty suffering substantial damage. Analysts suggest their reluctance to engage with the alleged ceasefire efforts reflects both the heavy toll of continued warfare and lingering suspicion about whether Trump's peace initiatives are genuine or merely a pretext for further escalation.As Bilal Saab, senior managing director of advisory group Trends US and former Pentagon official in the first Trump administration, explained: 'They've been burned by their previous experience. They previously thought they played a useful mediating role – until they realised that it was all for naught. Not to mention that they have been directly implicated in the war and are still being attacked by the Iranians. So there's a lot of pent-up frustration and disappointment.'By Wednesday night, the Iranian regime had outright rejected Trump's 15-point plan to end the war, submitted to Tehran via Pakistani generals, as 'extremely unreasonable' and presented their own substantially different proposal.The concern among Gulf states is that any negotiations could become a front for military escalation or even the assassination of additional Iranian leaders. This anxiety is compounded by the simultaneous deployment of thousands of US troops to the region and the persistent fear of being used as pawns in the US and Israel's Middle East strategy.Professor Bader al-Saif of Kuwait University noted: 'Whenever the word negotiation was used by the Trump administration, we unfortunately ended up under the rubric of war.' He emphasized that while Gulf states are reluctant to engage with what they perceive as a potential Trumpian charade, they recognize the critical importance of shaping any realistic peace negotiations that could affect their future.The existential threat to Gulf economic ambitions is particularly concerning. The prospect of Trump ending the war with the current Iranian regime still in place—potentially more vengeful than before and acutely aware of the damage its missiles can inflict on multi-billion-dollar infrastructure—poses significant risks. Additionally, there remains no clear solution to Iran's effective control over the Strait of Hormuz, through which most of the region's oil and gas exports flow.Analysts suggest that beyond relying on US-led negotiations, Gulf states should pursue their own separate dialogue with Iran. As al-Saif stated: 'They shouldn't only count on the US to do the negotiation. They should go and strike a deal with Iran for themselves. This was not our war, and if we can shield ourselves from being impacted any further, we should do it to protect our own national interests.'

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.

Israel stands as the sole nation where overwhelming public support exists for the conflict with Iran, despite the profound impact on daily life. At least 15 people have been killed and hundreds injured by Iranian missiles since the war began in February, with school closures and missile warnings becoming routine. Polling indicates that more than 90% of Jewish Israelis back the war, a figure that sharply contrasts with international sentiment.The global perspective reveals a dramatically different picture. Nearly a month into the fighting, polling shows that 60% of the US public opposes the war with Iran, and just one in four Americans backed the initial strikes. In the Gulf, Europe and Asia, the conflict is widely unpopular as severe economic consequences begin to manifest.According to Emma Graham-Harrison, The Guardian's chief Middle East correspondent based in Jerusalem, many Jewish Israelis view themselves as under siege in a hostile world since the October 2023 massacre. This perception has led many to conclude that an aggressive security policy is the only way to ensure safety, regardless of international reaction.There's a prevailing sentiment in Israel that short-term suffering will lead to long-term security, despite security experts questioning whether Israel has a clear strategy to convert tactical achievements into lasting security. Life in Jerusalem remains restricted, with many working from home and limitations on businesses from cafes to gyms.The public support for the war has not translated into improved political fortunes for Prime Minister Benjamin Netanyahu, who currently lags in polls for the upcoming general elections. While there is majority support for Netanyahu's decision to launch the war and his handling of it, even among those who don't want to give him another term, his coalition faces challenges in securing enough seats to return him to power.Some Israeli supporters of the war worry that Netanyahu's push to attack Iran has jeopardized the country's crucial relationship with the United States. Historically, Israel's foreign policy has been based on bipartisan ties, but Netanyahu has effectively abandoned that approach to cultivate an extremely close relationship with Trump.Israel's isolation is becoming increasingly apparent as the conflict continues. Unlike historical precedents where Israel achieved security through negotiated agreements with Jordan and Egypt, the current approach emphasizes military power above diplomatic solutions. This isolation is reflected in the fact that Israel may be the only place in the world with broad support for this war, with populations in Lebanon and Iran experiencing the conflict as horrific.

Rebecca Hendin, a renowned cartoonist, has created a thought-provoking cartoon for The Guardian, satirically addressing Donald Trump's 15-point peace plan. The cartoon, published on March 26, 2026, offers a visual commentary on Trump's claims of pursuing peace in the Middle East, particularly in the context of US-Israel relations and Iran.The illustration, available on The Guardian's website, uses satire to critique the former US President's foreign policy initiatives. While specific details of the cartoon are not provided, it is part of The Guardian's series of opinion cartoons that offer critical perspectives on global issues.This work by Rebecca Hendin is part of a larger conversation about peace plans and international relations in the Middle East, a region that has seen significant conflict and political shifts over the years. The cartoon serves as a reflection of public opinion and media discourse on these critical issues.

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.

Renowned violinist Anne-Sophie Mutter continues her dedication to contemporary music with a bold new series on Alpha Classics titled 'East Meets West'. This album brings together four works specifically written for her, reflecting the diverse heritages of the composers.The album opens with Aftab Darvishi's 'Likoo', a six-minute solo piece that evokes a folk poetry genre from Iran. Originally composed before recent global conflicts, it now resonates with poignant significance. Next is Unsuk Chin's 'Gran Cadenza', a nine-minute duo with Mutter and Chinese-American violinist Nancy Zhou, characterized by a high-wire performance.The textures expand as Mutter is joined by Ye-Eun Choi, Muriel Razavi, and Pablo Ferrández for Jörg Widmann's 'String Quartet No 6'. Titled 'Studie über Beethoven', this piece reinterprets Beethoven's music with coruscating and often uproarious effects. The album concludes with Thomas Adès' 'Air', subtitled 'Homage to Sibelius', performed with the London Symphony Orchestra conducted by Adès himself.Stream the album on Apple Music or Spotify.

Dash Crofts, the renowned musician from the soft rock duo Seals and Crofts, has died at the age of 85. His passing was announced by the duo's producer, Louie Shelton, on social media. Crofts succumbed to complications following heart surgery, as confirmed by a family member. Crofts and his musical partner, Jim Seals, crafted some of the most iconic hits of the 1970s, including 'Summer Breeze' and 'Diamond Girl'. Their 1972 album 'Summer Breeze' reached the top 10 in the US and featured the hit single 'Hummingbird'. The duo's gentle musical style, characterized by breezy soft rock, became a staple of the decade. The duo faced controversy with their 1974 album 'Unborn Child', which reflected their Bahá’í faith. The title track sparked a backlash and was banned by some radio stations following the landmark Roe v Wade ruling. Despite this, their music continued to resonate with audiences, and they remain celebrated for their contributions to the soft rock genre. After the duo disbanded in 1980, Crofts pursued a quieter life in Nashville, focusing on country music. Yacht rock, the genre they helped define, has seen a recent resurgence in popularity, with a 2024 HBO documentary highlighting its importance. Crofts' legacy continues to inspire new generations of music lovers.

As spring arrives, the natural world comes alive with a vibrant mix of joy and discipline. A pair of ravens perform their shuttling flight in glorious sunshine, while a charm of chaffinches flash white wing-bars through the shadows of mossy willows around the pond.A queen red-tailed bumblebee orbits a hedgebank boundary stone, then buzzes off to feed on gorse flowers or prospect for possible colony chambers below. The sounds of nature are filled with the lesser-spotted woodpecker hammering out rapid bursts of drumbeats and chiffchaffs finding their rhythm in the oaks.The article reflects on the discipline of seasonal labors and joys, where creatures return to their routines after a period of dormancy. This cycle of life is contrasted with the passage of time and the impact of suffering in the world.The author, Paul Evans, weaves in cultural references, such as an eighth-century Chinese poem by Meng Chiao, to illustrate the timeless nature of these cycles. The article concludes with a sense of hope and renewal, as the natural world awakens from its winter slumber.

Egil Johansen, the landlord of the Kenton pub in Hackney, east London, describes recent incidents involving children as "like the wild west." He has now banned children entirely after a three-year-old fell down a cellar hatch while parents sat elsewhere, a five-year-old crashed into staff carrying drinks, and six parents brought 10 hyperactive children after a birthday party while ignoring their behavior."In every case, the parents blame us when something goes wrong or get really angry when we ask them to control their children," says Johansen, who has run the pub for 17 years. "I'm legally obliged to keep children safe on my premises and if the parents let their children run riot, the only answer is to not allow them in at all."Johansen initially tried banning children only after 5pm, but this interim measure failed to address the underlying issues. Despite online criticism framing him as the "baddie," he expresses sadness about the situation: "I'm a publican; I'm a people-person. It gives me no joy to ban anyone, but it's just not safe: parents don't control their children and our other customers were beginning to go elsewhere. I had no choice."The Kenton's decision reflects a growing trend among UK pubs seeking to differentiate themselves from establishments that "resemble soft play centres without the ball pit." While some welcome this shift, others view it as unwelcoming to families, creating a culture war in the pub industry.Lee Jones, landlord of the Brewers Arms in West Malvern, Worcestershire, reversed a previous child ban: "We're dog-friendly, child-friendly, adult-friendly. We're just friendly – we don't distinguish. Pubs are for the community and I don't see bans in the spirit of what we're here for." Jones reports that when children become rowdy, staff can address the issue with parents, though this is rarely needed.Stephen Boyd, who runs the Alma in south London, took a different approach after attempting to attract young families. He found families with children consumed disproportionate time and resources with special requests for diluted drinks, heated beverages, and customized meals, while adult customers waited longer for their orders."You just need a couple screaming, banging on a table or running up and down, and it dictates the whole atmosphere of the pub," Boyd says. "Parents would take massive umbrage if staff asked them to stop their children doing something." After implementing a child ban, he describes the change as "a fucking revelation" with staff retention improving and takings doubling.Despite the positive results, Boyd faced significant backlash: "I got a lot of online hate. Mainly from people who had never been to the pub but felt I was doing something morally hateful."Tom Stainer, chief executive of the Campaign for Real Ale, acknowledges the debate is "very live" but emphasizes: "But you do have to look at the responsibility of the parents in these situations, not just at the pubs. They're the ones responsible for making sure that their children behave."Financial considerations also drive some decisions. Mandy Keefe, landlady of the Wheel Inn in Ashford, banned children partly for behavioral reasons but also financial ones: "If a third of my Sunday customers were children eating from a reduced-rate child's menu and not drinking any alcohol, that wouldn't be financially viable."Across the UK, pubs are making individual decisions based on their specific circumstances, but as Johansen's experience demonstrates, it only takes one serious incident to settle the question for good.