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Germany's Autobahn, the world's only democracy without a blanket speed limit on motorways, has long been a symbol of freedom and technological mastery for driving enthusiasts. Lutz Leif Linden, president of the Automobile Club of Germany (AvD), has reached speeds of 400km/h (249mph) on the road, describing the experience as 'like an airplane.'The country's love affair with fast cars dates back to the late 1800s, with Carl Benz patenting the first 'vehicle powered by a gas engine'. The success of the German car industry, which created jobs, gave citizens freedom to travel, and brought in tax revenues, has cemented motorized vehicles in the national psyche.Despite the International Energy Agency (IEA) urging drivers to slow down to cushion the price shock from the biggest blow to oil supply in history, Germans remain opposed to a blanket speed limit. Public opinion has shifted, with a majority supporting the Tempolimit among voters of all big parties except the far-right Alternative für Deutschland and the market-liberal Free Democrats.Researchers have made the case for slowing down in terms of money, fuel, and lives. A study found a speed limit of 130km/h would lead to nearly €1bn a year in societal benefits, cut greenhouse gas emissions from road transport by 2.2%, and reduce toxic air pollutants. However, opponents argue a blanket ban is unnecessary and cite the time saved over long distances and the appreciation of freedom to set their own speed.The industry has found itself in a crisis as high energy prices and competition from China on electric vehicles have resulted in factory closures and job losses. Germany led efforts to water down an EU ban on the sale of combustion engine cars from 2035. A spokesperson for VDA, Germany's biggest car lobby, described the climate impact of a blanket speed limit as 'minimal' and 'increasingly insignificant' as the car fleet becomes more electrified.

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.

Ella Baron, a renowned cartoonist, has created a thought-provoking cartoon for The Guardian, focusing on Donald Trump's peace negotiations with Iran. The cartoon, published on March 24, 2026, offers a visual commentary on the complex dynamics between the United States, Israel, and Iran.The illustration is part of The Guardian's series of opinion cartoons, which provide a unique perspective on current events. This particular cartoon by Ella Baron delves into the delicate balance of power in the Middle East and the challenges of achieving peace in the region.The cartoonist's work often sparks important discussions and reflections on US foreign policy and its implications for global relations. By visually representing the intricacies of international diplomacy, Ella Baron's cartoons encourage readers to think critically about the Middle East and North Africa conflict.

Richard Kind, a versatile actor known for his roles in films like 'Inside Out' and TV shows such as 'Only Murders in the Building', is set to take the stage in London's West End in Mel Brooks' musical 'The Producers'. Kind will play the role of Max Bialystock, a charismatic and cunning Broadway producer, at the Garrick theatre from March 23 to May 9.Kind, who has a reputation for his dynamic performances, describes his interpretation of Max as a 'big bear' who 'lumber' across the stage, drawing inspiration from Zero Mostel, who originated the role in the 1967 film. He contrasts his approach with that of Nathan Lane, who played the role on Broadway, saying, 'Nathan glides. I'm a big bear. I lumber.'The actor, who has had a long and varied career in both comedy and drama, notes that theatre offers him a chance to take on more challenging roles. 'I'm at the point where I can say 'no' to a stage role unless it's challenging,' he explains. Kind's extensive experience includes work with Second City, the Chicago improvisational troupe, and roles in sitcoms like 'Spin City' alongside Michael J Fox.Kind also opens up about his friendship with George Clooney, a close pal who has been publicly criticized by Donald Trump. Kind expresses his protectiveness towards Clooney and his disdain for Trump, showcasing his strong opinions and 'ugly' language when discussing the former president.With his characteristic wit and candor, Kind reflects on his career, stating, 'I'm all over the place! Nobody works more than me.' His performance in 'The Producers' promises to be a highlight of London's theatre scene this season.

England rugby is at a critical juncture following its fifth-place finish in the Six Nations, marking the team's least successful championship in half a century. The Rugby Football Union has initiated a thorough review with remarkable speed, with insiders emphasizing that the process aims to support head coach Steve Borthwick rather than punish him. Despite the disappointing campaign, Borthwick is expected to remain in his position through the summer. As one well-placed source noted: "This review is about supporting Steve to make improvements. If change is needed, change is needed but it's not about punishing him." The comprehensive examination seeks feedback from both senior and younger players to understand the root causes of England's painful defeats against Scotland, Ireland, and Italy. Exeter's director of rugby, Rob Baxter, emphasized that the problems are multifaceted: "The reality is that it's never one thing that's the problem. Finishing fifth is down to a collection of things that have slowly added up and then multiplied." The review will particularly focus on what transpired in the three weeks following the first match, examining whether issues stem from culture, environment, selection, or tactics. A strategic disconnect emerged during the tournament between England's stated ambition to play vibrant rugby and their actual performance. Sale's director of rugby, Alex Sanderson, observed: "They've got quite a wide coaching team, a lot of cooks – not 'spoil the broth' but there's a lot of opinions to take in." Following the Ireland match, England appeared to revert to a pragmatic, defensive approach against Italy, only to show significant improvement when adopting a more expansive style against France. With the Rugby World Cup just 18 months away and England now ranked sixth in the world, selection decisions have become increasingly urgent. The team faces crucial choices at fly-half and center, with differing opinions on whether to prioritize experience or emerging talent. Former England center Simon Halliday advocates for continuity, particularly praising Tommy Freeman's performance against France: "He ripped them to pieces and looked really good against France. He's a frightening prospect to defend against." Concerns about England's talent pipeline have been raised following mixed results at junior levels. While the under-20 team won the championship in 2024, recent performances have been inconsistent, including a 63-33 defeat to France's under-18s and a sixth-place finish at the junior world championships. However, there are promising signs, with clubs like Bath developing significant young talent including Kepu Tuipulotu, Vilikesa Sela, and Tyler Offiah. The structure of English rugby's domestic pyramid faces scrutiny as the end of automatic promotion and relegation approaches, with an expansion league planned for 2029-2030. The gap between the Premiership and the Championship has widened, raising questions about how to provide young players with essential senior experience. Simon Gillham, chair of the Tier 2 board, acknowledges the challenges but remains optimistic: "For the Champ clubs it's a case of head over heart. I'm absolutely convinced the Champ will continue to grow."