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Equity’s Choreographers and Movement Directors Network (CMDN) says that theatre’s physical storytellers are still marginalised by awards bodies and should receive dedicated recognition.At the recent Olivier Awards, Fabian Aloise secured the best theatre choreographer prize for "Evita" at the London Palladium. While the network welcomed the visibility, it pointed out that the movement directors behind the nominated productions were omitted from any specific category, sparking a broader debate about the language used to credit theatrical creation.CMDN highlighted several movement directors whose work shaped this season’s most impactful shows, naming Leanne Pinder ("Punch"), Sarah Golding ("Kenrex"), Imogen Knight ("Dead Man Walking"), Jenny Ogilvie ("Into the Woods"), Sung Im Her ("The Glass Menagerie"), Lucy Hind ("Inter Alia") and Kloé Dean ("The Boy at the Back of the Class").Movement direction, the network explains, is not always dance but is essential to a production’s physical language, characterisation and dramatic flow. "If we celebrate the impact of physical storytelling, we must also evolve how we acknowledge the artists behind it," CMDN said.The network praised the Black British Theatre Awards for expanding their choreography category in 2022 to include movement direction, but noted that the UK Theatre Awards and Critics’ Circle Awards still lack dedicated categories for either choreography or movement direction.Founded in 2023 by movement director and choreographer Polly Bennett, CMDN now counts over 200 members. In a 2025 interview, steering‑group member Ellen Kane asked, "Why aren’t there Oscars or BAFTAs for choreography? Why aren’t we being credited?"Last month, more than a hundred theatre professionals signed a petition urging the Olivier Awards to create a separate video‑design category, arguing that the current system lumps video designers with other disciplines. This year’s Olivier winners illustrate the overlap: Tom Pye (set) and Ash J Woodward (video) shared the best set‑design award for "Paddington: The Musical", while Aideen Malone (lighting) and Roland Horvath (video) shared best lighting‑design for "Into the Woods".

The UK's benefits budget has become a contentious issue in the country's political landscape, with some politicians suggesting that cuts to welfare spending could be used to fund defence. The Conservative party has pledged to cut welfare spending by £23bn to get Britain working again. However, experts warn that this approach could have severe consequences for vulnerable populations.Labour peer George Robertson recently sparked controversy by suggesting that cuts to benefits could be used to finance defence. However, the government has pushed back against this idea, with Chancellor's deputy James Murray stating that there is no 'zero-sum game' between these two budgets. Experts point out that the benefits budget is not out of control, with Ruth Curtice, chief executive of the Resolution Foundation, noting that working-age benefits have remained fairly flat as a proportion of GDP. The real challenge lies in pension costs, which are rising due to demographics and the triple lock mechanism.Cuts to welfare benefits have had devastating effects in the past. For example, George Osborne's £15bn cuts in 2015 led to 450,000 children being plunged into poverty. The basic out-of-work rate remains low, at £98 a week universal credit, which is 9% lower in real terms than in 2010. Politicians must be transparent about what they plan to cut and who would be affected. The Institute for Fiscal Study's Eduin Latimer notes that other countries spend more on health benefits. Stephen Timms, the minister for social security and disability, is reviewing disability benefits with a focus on reform rather than cuts.The debate over defence spending is also heating up, with Robertson warning of a national security crisis. However, experts question the efficiency of defence spending, citing the National Audit Office's criticism of the Ministry of Defence's accounts and the failure to verify spending. The £6bn Ajax armoured vehicle project is a prime example of a costly and delayed project.

Richard Desmond, the media tycoon and former proprietor of the Daily Express and Channel 5, has lost his claim for up to £1.3bn in damages against the Gambling Commission. The claim was related to the regulator's decision not to award him the 10-year licence to run the national lottery.Desmond's companies, Northern & Shell investment company and the New Lottery Company, had launched a legal action against the Gambling Commission in 2022, arguing that the commission made 'manifest errors' in the process governing the UK's largest public sector contract, worth £6.5bn. The legal process was lengthy, with Desmond's costs estimated to have reached £55m by May last year.The media mogul claimed the commission's mistakes caused him to incur £17.5m of needless costs in pursuing his bid. However, he was also seeking up to £1.3bn in damages to reflect hypothetical lost earnings from running the lottery.The licence was ultimately awarded to Allwyn, a new vehicle owned by Czech billionaire Karel Komárek, which has been running the draw since 2024. On Friday, Mrs Justice Smith dismissed Desmond's claim, stating that the claimants had failed to make out any case of 'manifest error' on the part of the commission.The competition for the award of the fourth licence was found to have reached a lawful outcome. Desmond had previously failed with a separate claim that Allwyn had received an unlawful £70m marketing subsidy from the Gambling Commission.

The album Asili ya Mama (Origin of Mother) is a collection of 10 energetic Tanzanian field recordings that tell women's stories with a vibrant trill. Put together by documentarian Ruth Ndeto and musician Msafiri Zawose, it showcases the rhythmic, melodic, and harmonic invention of women from the Wagogo, Waluguru, and Wasambaa communities.These songs have 'carried culture and music in everyday life', but rarely been heard beyond their communities. The album opener, Baba Mwenda, is a storytelling song warning against greed, featuring a brisk female singer and traditional shakers and tin drums. Other tracks, such as Chamsola and Chamwiloa, demonstrate the call-and-response singing and trilling vocal solos that are infectious and sparky.The themes of the songs are powerfully expressed through their performance. In Kuku Mnywa Maji, voices and instruments are woven together in tight repetitions, while in Mlembwe, deeper-pitched layers of harmony are built up like foundational stones. The album also features women leading men, expressions now recorded, archived, and shared widely, extending their beautiful power.

The UK government has taken a significant step in boosting its tech sector by announcing its first investment in a £500m sovereign AI fund. Technology Secretary Liz Kendall has urged the public to 'make AI work for Britain', despite concerns about job disruption and cybersecurity risks.Kendall acknowledged that 'people are worried about the risks and what it means for their jobs', but emphasized that AI entrepreneurs believe they can create new employment opportunities. The government has taken an undisclosed shareholding in London-based Callosum, a company that helps different types of computer chips work together efficiently to train and operate AI models.The investment is part of a broader effort to support national AI champions and ensure that internationally competitive companies can start, scale, and stay in Britain. The sovereign AI unit, designed to act like a venture capital fund, has also provided access to a network of government-funded supercomputers to help six UK companies develop AI models.These companies include Prima Mente, which is building 'biological foundation models' to tackle diseases like Alzheimer's; Cursive, a company developing autonomous AI agents founded by Google DeepMind alumni; and Odyssey, which develops 'world models', an approach to AI where systems interact with a convincing simulation of the real world.Rachel Reeves, the chancellor, said that by supporting national AI champions, the UK could ensure that internationally competitive companies can 'start, scale and stay here in Britain'. The investment is seen as a key step in establishing the UK as a leader in the AI sector.

A new report has found that media coverage of violence against women and girls has reached a 'dismal' low, despite a proliferation of high-profile cases of men abusing women and children, and a rise in AI-assisted violence against women and girls. The analysis of 1.14bn online stories published worldwide between 2017 and 2025 found that the proportion of articles including terms related to misogynistic abuse dropped to 1.3% of all global online news in 2025, the lowest level in that period.Coverage peaked at 2.2% in 2018, the height of the #MeToo movement. In Africa, where multiple conflicts have involved extreme levels of sexual violence, coverage sank to a nine-year low of 1.18% in 2024. The report also found that when misogyny-related stories are covered, men's perspectives and opinions dominate, with 1.5 men quoted for every one woman in stories about misogyny.The research identified a failure to address the structural nature of misogyny that enables abuse through long-standing prejudices and power imbalances. One in nine women worldwide have experienced violence from men in the last 12 months and one in three women have been subject to physical or sexual violence in their lifetime. The report recommended solutions to improving coverage of violence against women and girls, including putting female journalists and editors in charge of shaping coverage, and victims and survivors of violence at the heart of the story.

Modern combat has been reshaped by the Russia‑Ukraine war, the Gaza clashes, India‑Pakistan skirmishes and the recent US‑Israel strikes on Iran, driving an unprecedented global appetite for drones, missiles and sophisticated air‑defence systems. Turkey, a leading military power in the Middle East, is positioning itself as a key supplier in this booming market. At the heart of Turkey’s push is Roketsan, a firm founded in 1988 to equip the Turkish Armed Forces. Today the company exports to roughly 50 nations and is counted among the fastest‑growing defence enterprises worldwide. Bypassing Western embargoes has been a catalyst for this growth. After the United States imposed CAATSA sanctions in 2020 and removed Turkey from the F‑35 programme, Ankara was forced to develop an indigenous defence ecosystem. The result is a network of nearly 4,000 small and medium‑sized enterprises that now supplies over 90 % of the components used in Turkish weapons. Financially, the strategy is paying off. In 2025 Turkish defence exports reached $10 billion. Roketsan’s General Manager Murat Ikinci told Al Jazeera the firm sits at 71st place among global defence firms and is targeting a climb into the top 50, then top 20, and ultimately the top 10 by the end of the decade. To fuel this ambition, President Recep Tayyip Erdoğan inaugurated a suite of new facilities last week, including: Europe’s largest warhead production plant. A new R&D centre employing 1,000 engineers. The “Kirikkale” complex dedicated to rocket‑fuel research. Infrastructure for mass‑producing ballistic and cruise missiles. The construction represents a $1 billion outlay, with an additional $2 billion earmarked for scaling up production capacity. Roketsan’s R&D engine—the third‑largest in Turkey with 3,200 engineers—draws heavily on lessons from ongoing wars. The Ukraine conflict highlighted the effectiveness of cheap FPV and AI‑guided kamikaze drones, prompting Roketsan to field systems such as the ALKA and BURC air‑defences and the laser‑guided CIRIT missile. Recent US‑Israel operations against Iran have underscored the threat posed by low‑cost Iranian‑designed Shahed drones, now upgraded with Russian “Kometa‑B” anti‑jamming modules. These swarms have overwhelmed regional defences and even struck a British base in Cyprus in March 2026, while NATO intercepted three Iranian ballistic missiles that entered Turkish airspace. In response, Roketsan is advancing the “Tayfun” (Typhoon) missile family. The flagship Tayfun Block 4 is a hypersonic ballistic missile designed to pierce advanced air‑defence layers at extreme speeds. When pressed for specifics, Ikinci declined to disclose the exact range, noting only that it is “sufficient.” Strategically, Turkey is shifting away from Western dependence toward an “Eastern” partnership model. Roketsan now offers joint production and technology‑development agreements, establishing co‑located facilities and R&D centres across the Middle East, Far East and Europe. Qatar has been cited as a flagship example of this collaborative approach. Roketsan has identified five priority product lines to meet rising global demand: Long‑range ballistic and cruise missiles. Advanced air‑defence systems, including “Steel Dome”, Hisar‑A, Hisar‑O and Siper. Submarine‑launched cruise missiles leveraging the AKYA system. Smart micro‑munitions for armed drones. Long‑range air‑to‑air missiles, a capability highlighted by the recent India‑Pakistan clash. The timing is critical. Ongoing conflicts have depleted the stockpiles of high‑end air‑defence assets worldwide. During the US‑Israel‑Iran confrontation, the United States relied heavily on Patriot and THAAD systems, raising concerns that interceptor inventories could run low. Gulf states, which have logged over 1,000 drone sightings in their airspace, are actively seeking alternative solutions—an opening that Turkey’s self‑sufficient supply chain is poised to fill. Analysts warn that even major powers like the United States will need years to rebuild their air‑defence inventories due to the complexity of production. Turkey’s claim of near‑complete domestic manufacturing positions it as a ready supplier for nations eager to diversify away from traditional Western sources. As demand for missiles and drones surges, Roketsan is reinvesting its revenues into expanding production infrastructure, aiming to cement its place among the world’s elite defence exporters.

Lionel Messi has officially taken ownership of UE Cornella, a Barcelona‑based club competing in Spain’s fifth division, after finalising the purchase earlier this week.The Argentine legend, who spent two decades at FC Barcelona amassing multiple La Liga titles, Champions League trophies and Ballon d’Or awards before departing in 2021, is now venturing into club ownership.In a statement the club described Messi’s arrival as “the beginning of a new chapter in the club’s history,” emphasizing a long‑term vision and a strategic plan that blends ambition, sustainability and a deep connection to its working‑class neighbourhood roots.Founded in 1951, UE Cornella has previously nurtured talent such as Arsenal goalkeeper David Raya and former Barcelona defender Jordi Alba, the latter of whom currently shares the pitch with Messi at Inter Miami.Now 38‑year‑old Messi is also focused on representing Argentina at the 2026 World Cup in North America, where the Albiceleste will defend their title.The club announced the deal on Thursday but did not disclose the financial terms of the transaction.

Beirut, Lebanon – In late March, authorities abandoned a proposed shelter for war‑displaced residents in the Karantina neighbourhood after a wave of public protest.Opponents, including local politicians and community activists, cited practical concerns such as traffic congestion near the port and health risks. However, the core of the backlash was sectarian: many Christian residents invoked demographic fears, chanting slogans reminiscent of the 1975‑1990 Lebanese Civil War to block housing for the predominantly Shia‑Muslim displaced population.The controversy resurfaced painful memories of the 1976 Karantina massacre, when right‑wing Phalangist forces expelled and killed thousands of Muslims. Historian Diala Lteif, researching the district’s history, estimates the death toll at 1,000‑3,000. She warned that the current rhetoric mirrors the “foundational logic” of that tragedy – a drive to segregate neighbourhoods.Israel’s intensified campaign against Lebanon has already forced the displacement of approximately 1.2 million people. The war, reignited on March 2 after Hezbollah’s retaliatory rocket fire, has seen Israeli troops and air strikes devastate southern towns and parts of Beirut, heightening fears that hosting displaced families could draw further attacks.Amid these tensions, a 10‑day ceasefire is slated to begin, yet many Lebanese worry the violence could spiral into renewed communal conflict or even a civil war.Experts note that the association of displaced Shia communities with Hezbollah fuels anxiety. Lara Deeb, an anthropologist at Scripps College, explained that Lebanon’s sectarian political system blurs the line between a religious group and a political party, amplifying mistrust across the board.While the cancelled site remains unused, another displacement centre operated by the Lebanese charity Offre Joie continues to function in Karantina. It currently shelters about 1,000 displaced families from the south, the Bekaa Valley, and Beirut’s southern suburbs.Volunteer Marie Daou described the centre’s conditions as comparatively decent, with reliable hot water and regular meals. Security forces monitor the residents’ identities, and no occupants have left despite more than 40 days of conflict.One resident, 30‑year‑old Nadine, fled her home in Burj al‑Barajneh on March 2. She now lives with five siblings at the centre, saying, “For now, we’re staying here. You can’t go back because there is danger, but nowhere is safe. We will endure.”The episode highlights how historic sectarian wounds intersect with today’s geopolitical crisis, shaping public policy and community responses in a Lebanon already strained by war and displacement.