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As the cost of living crisis continues to bite, finding ways to lower your grocery bill has become more important than ever. Retail workers are sharing their insider knowledge on how to save money at supermarkets, street markets, and charity shops.Be Savvy About Store DiscountsMany supermarkets offer yellow-stickered items that are reduced in price due to nearing their expiration dates. These discounts can be significant, with reductions of up to 75% off. Alasdair Baker, who runs The Penny Pincher, advises shopping for these items in the late afternoon or early evening when the biggest reductions are typically applied.View image in fullscreenTiming matters … you’ll find the biggest reductions on yellow-sticker items in the late afternoon and early evening. Be AppySome grocery stores use apps such as Too Good To Go and Olio to offer discounts or free food to avoid food waste – but it can be a gamble as to what you get.Use Common SenseIf you buy something reduced on the day it is expiring, that doesn’t mean you need to eat it that day. There is a difference between “best before” dates, which are about food quality and the more important “use by” dates, which are about food safety.Be Cautious About ‘Bogof’ Deals“There aren’t as many buy one, get one free [bogof] deals now, because of new rules that came into place last year,” says Baker. These restrict promotions of products high in fat, sugar or salt.Avoid Big BrandsThe ends of supermarket aisles often feature big brands, says Baker. “They are not placed there randomly: the companies pay an awful lot of money. The idea is to try to coax people into buying those products more often.”Sign Up for a Store Card“It’s sad that we now have to essentially sell our data to the supermarkets in exchange for affordability – but such is life in 2026,” says Jenny Rogers. “If you have a store card, it is also worth getting the supermarket app, as a lot of stores will give you one or two personalised offers a week, or periodic free delivery for members.

Doug Allan, a pioneering wildlife cinematographer, died at the age of 74 while on a trek in Nepal, his management firm said, noting he passed away "immersed in nature and surrounded by friends."Best known for his role as principal camera operator on landmark BBC series including Planet Earth, Frozen Planet and The Blue Planet, Allan amassed a remarkable collection of honors, among them eight Emmy Awards, five BAFTAs, and an OBE awarded in 2024 for services to broadcast media and environmental awareness.Born in Dunfermline, Fife, he earned an honours degree in marine biology from Stirling University in 1973 and soon after joined the British Antarctic Survey as a research diver at Signy Island. It was during this period that his passion for filming blossomed, leading to a pivotal encounter with Sir David Attenborough in 1981, which set him on the path to a distinguished career.Allan’s early forays into polar filming began with a 16 mm camera he purchased for an Antarctic expedition, capturing emperor penguins and selling the footage to the BBC—a move that launched his lifelong partnership with the broadcaster.His dedication to extreme‑environment storytelling earned him the Polar Medal twice, underscoring his expertise in filming some of the planet’s harshest locales.In a 2017 interview, Allan revealed he had spent roughly 620 days tracking and recording polar bears. He recounted a memorable moment when a bear’s wet nose brushed a window, likening it to “a squeegee mop cleaning the glass.” Another close encounter saw a hungry walrus seize his legs underwater, which he repelled by striking the animal with his camera.Allan’s visual legacy, described by his representatives as "breathtaking and intimate moments in the natural world," continues to inspire audiences to appreciate and protect Earth’s wonders.

BBC Two’s three‑part series ‘Michael Jackson: An American Tragedy’ attempts to map the arc of the King of Pop from a Midwestern child prodigy to a global phenomenon whose legacy is still contested. Released ahead of the family‑approved biopic Michael, the documentary does not promise fresh revelations; instead, it seeks to place the singer’s meteoric fame, legal controversies and post‑mortem financial empire within a single narrative. The first episode, titled Fame, foregrounds Jackson’s musical genius while also exposing the fraught dynamics of his family life. Interviews with siblings and childhood acquaintances depict a household where “six bunk beds in one room” were the norm, and where fear of their father, Joe Jackson, loomed large. La Toyia Jackson’s recollection that “Michael had a fear of my father – we all did” underscores the pressure that shaped his early years. In The Reckoning, the series shifts to the period of criminal investigations and media scrutiny. Former spiritual adviser Rabbi Shmuley Boteach describes the tragedy as a man who, despite unparalleled attention, remained “utterly lonely.” Prosecutor Ron Zonen argues that the sheer scale of the Jackson enterprise eclipsed the pursuit of justice, noting the obviousness of the abuse allegations in his view. The episode also revisits the 2003 Martin Bashir documentary, which Boteach recalls as a “shock” that contributed to the star’s eventual downfall. The final installment, The Resurrection, examines the attempts to revive Jackson’s career, his sudden death, and the ripple effects of the 2019 Leaving Neverland documentary. The review notes that the allegations have reshaped public perception to the point where many, including the reviewer, find it difficult to engage with his music. The series concludes that the ongoing legal battles—seven alleged victims are currently suing the estate—represent “the most extraordinary effort to uncancel someone in history.” While the documentary assembles an extensive roster of interviewees—family members, former managers, record executives, and even Donald Trump—it occasionally suffers from an overly broad brushstroke that blurs moral clarity. The reviewer acknowledges the valiant effort to strike a middle ground but questions whether such balance is sufficient for a story marked by “wild extremes.” Overall, the series provides a comprehensive, if not groundbreaking, overview of Jackson’s complex narrative, serving as a timely companion piece to the upcoming biopic and a reminder that the conversation around his legacy remains far from settled. Michael Jackson: An American Tragedy is currently streaming on iPlayer.

Evelyn Araluen has been named among the six finalists for the 2026 Stella Prize with her second poetry collection, The Rot. This marks her second appearance on the shortlist, four years after becoming the first poet to win the award as an Australian woman and non‑binary writer. The $60,000 prize will be contested alongside five diverse titles: Geraldine Brooks’ memoir Memorial Days, Miranda Darling’s novel Fireweather, Lee Lai’s graphic novel Cannon, Marika Sosnowski’s hybrid nonfiction 58 Facets: On Violence and the Law, and Tasma Walton’s novel I Am Nannertgarrook. Each shortlisted author receives a $5,000 advance. Earlier this year, Araluen’s The Rot captured the top prize and a $125,000 award at the Victorian Premier’s Literary Awards, praised for its exploration of grief and collective anxiety amid the global coverage of the Gaza conflict. The collection was sparked by an incident at Adelaide Writers’ Week in 2024, where Araluen was heckled for describing the Israeli bombardment of Gaza as genocide. She told Guardian Australia that the poems aim to document a "panicked, distressed window of time" that future readers might view with horror and regret. "I wanted the book to clearly record what we knew and did not stop," Araluen said. "If it reads as naive, let it still serve as a record of an uncomfortable truth we all must face." Araluen, a Goorie and Koori poet, first won the Stella Prize in 2022 for her debut collection Dropbear. This year’s shortlist was selected from 212 submissions, underscoring the depth of contemporary Australian women’s and non‑binary writing. Chair of judges Sophie Gee praised the list, noting that the books “move us to the core through language, the truth of their emotion, and the honesty of what it means to be human, across time and space.” The winner will be announced on 13 May 2026. Last year’s prize went to Michelle de Kretser for her novel Theory and Practice.

The recent UN General Assembly resolution, led by Ghana, has made a significant statement by declaring the transatlantic slave trade 'the gravest crime against humanity'. Adopted with 123 votes in favor, 3 against, and 52 abstentions, this resolution urges steps including formal apologies, reparatory justice, and the return of looted cultural property.The voting pattern revealed a stark divide, with much of Africa, the Caribbean, and the global south supporting the resolution as a moral imperative. In contrast, Western countries, including the US, Israel, and Argentina, which voted against it, and the UK and EU member states, which abstained, reacted as if acknowledgment itself were a threat to their comfort.Ghanaian President John Dramani Mahama emphasized that the resolution is 'a pathway to healing and reparative justice' and 'a safeguard against forgetting'. The resolution aims to establish, at the highest level, a crime whose scale, brutality, and enduring consequences continue to structure the present.The backlash against the resolution has been revealing, with objections from Britain and the EU framed in terms of legal caution. They argued that the resolution creates a 'hierarchy of historical atrocities' and that the slave trade was not prohibited by international law at the time. However, this stance is seen as a way to avoid confronting the world-making role of transatlantic slavery.The Caribbean Community (Caricom)'s 10-point plan for reparatory justice is crucial in this context. For over a decade, Caricom has insisted that reparatory justice is not merely about writing cheques but about linking formal apologies to development, public health, education, and other areas. The UN resolution is seen as a first step in creating political and moral architecture for reparations claims.The fear of Western countries is not of rhetoric but of precedent. Once the slave trade is officially recognized as foundational and still alive in its consequences, questions about debt, underdevelopment, museum collections, and trade structures inevitably follow. The resolution has exposed who wants the wealth from slavery to remain history's most profitable amnesia.

According to the United Nations' International Organization for Migration (IOM), more than 180 people are feared dead or missing after a series of shipwrecks in the Mediterranean over the past ten days, pushing the year‑to‑date death toll to almost 1,000 since January 2026. The agency disclosed that approximately 765 deaths have occurred in the Central Mediterranean alone, surpassing the same period last year by over 460 fatalities. Across the entire Mediterranean, IOM recorded at least 990 deaths, describing it as "one of the deadliest starts to a year since 2014," when systematic data collection began. Since March 28, five separate shipwrecks have claimed the lives of or left missing at least 181 individuals. The most recent tragedy on Sunday involved a vessel that departed from Tajoura, Libya, with roughly 120 migrants aboard; rough weather caused the boat to capsize, leaving more than 80 people missing. Rescue efforts saved 32 survivors, who were later transferred to Lampedusa by the Italian coast guard, and two bodies were recovered. Libya continues to serve as a primary transit hub for migrants fleeing conflict and poverty in Africa and the Middle East, a situation exacerbated by the country's ongoing instability since the 2011 uprising that ousted Muammar Gaddafi. Lampedusa, the tiny Italian island that functions as Europe’s main entry point from North Africa, has witnessed a grim pattern of loss. An earlier shipwreck on April 1 off Lampedusa resulted in at least 19 confirmed deaths and the rescue of 58 people, many of whom remain in critical condition. Survivors reported that the vessel had left the Libyan port of Zuara between March 28 and 29. IOM chief Amy Pope emphasized that these incidents highlight a persistent humanitarian emergency: "These tragedies show, once again, that far too many people are still risking their lives on dangerous routes," she said. Pope called for immediate action, stating that saving lives must be the priority and urging the international community to strengthen coordinated efforts against traffickers, expand safe and regular migration pathways, and prevent future deaths. The surge in fatalities underscores the urgent need for policy reforms and increased rescue capacity in the Mediterranean, as the region grapples with a mounting humanitarian crisis that threatens both lives and regional stability.

A controversy has erupted in Toronto's affluent Rosedale neighbourhood over a proposed AI-powered surveillance system aimed at curbing the area's high property crime rates. The plan, championed by resident Craig Campbell, involves installing cameras that scan licence plates to identify suspicious vehicles.The system, developed by US-based company Flock, uses AI to learn which cars belong to residents and which are potentially suspicious. The technology has sparked concerns about privacy, bias, and surveillance. While some residents see it as a necessary measure to enhance safety, others are worried about the implications of such a system.Rosedale has experienced a significant rise in home invasions, with robbers targeting the neighbourhood at a rate more than double the city average. Crime rates in Toronto as a whole have been declining, but residents are seeking solutions to address their concerns. Campbell, who runs a security company and holds the Canadian licensing rights for Flock, proposed the plan as a way to create a 'virtual gated community.'The system would involve an initial group of 100 residents paying a C$200 monthly subscription to access the technology. The cameras collect licence plate data, which is retained for 30 days, and police can only access the data with legal authorization. While the system does not use facial recognition, concerns about AI bias and profiling have been raised.Flock claims its network of over 90,000 cameras has helped reduce crime by up to 70% in some communities. However, the company has faced scrutiny in the US for its collaboration with law enforcement and allegations of mass surveillance. In Canada, privacy laws are stricter, and regulators are likely to view the network as a data collection system subject to the Personal Information Protection and Electronic Documents Act (Pipeda).The Toronto police have acknowledged residents' concerns about safety but have not commented on the legality of the proposed system. The city's privacy commissioner has emphasized the need for companies to inform individuals and obtain consent before collecting and using personal information.

On day five of the Artemis II mission, NASA announced that the Orion spacecraft successfully executed a lunar flyby, marking a pivotal milestone on its journey back to the Moon. The agency released a collection of high‑resolution photographs taken during the maneuver, showcasing the spacecraft against the stark backdrop of space and the Moon’s illuminated surface. These images not only provide a visual record of the mission’s progress but also underscore the technical precision required for the upcoming crewed lunar landing.

The quest to find Australia's oldest playable musical instrument has led to the discovery of several remarkable pieces. A 16th-century double bass crafted by Gasparo da Salò, a renowned luthier, has been found to be one of the oldest playable instruments in the country. Currently on loan to Max Bibeau, principal double bass for the Australian Chamber Orchestra (ACO), this instrument was made around 1580 in Brescia, Italy. Only a handful of such instruments exist globally, and Bibeau's relationship with the double bass was not immediate. He notes that it took considerable time and effort to 'wake it up' and make it playable again. The instrument had been stored in an abbey in northern Italy for centuries before being discovered by German bass player Prof Günter Klaus in the late 1960s. Culturally, the yidaki (didgeridoo), a sacred instrument to the Yolŋgu people, is likely Australia's oldest instrument, with a history spanning thousands of years. For an exhibition in 2017, curators at the South Australian Museum worked with Yolŋgu community members to restore a selection of the oldest and most unique yidaki to playing condition. The oldest restored yidaki was made around 1890. Another contender for the oldest instrument is a piano from the First Fleet, a 'square' piano made by Frederick Beck in 1780. This instrument, now housed at the Western Australian Academy of Performing Arts, has a softer and smaller sound compared to modern pianos. The oldest instrument found in Australia is an ocarina from Colombia, estimated to have been made around AD 1200. This ancient vessel flute is part of a collection of 830 musical instruments donated to the Queensland Museum. While it can produce a sound, its original sound and playability are uncertain due to its fragility and age. The wood used for the front of Bibeau's da Salò bass has been dated to a tree growing as early as 1266. According to Bibeau, age can enhance an instrument's sound, but it requires careful preservation and play to maintain its quality. He notes that 'instruments need to be played' and that 'the more it vibrates, the better it vibrates.'