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British Prime Minister Keir Starmer told reporters that the United Kingdom has a "job" to assist in reopening the Strait of Hormuz after reports that the vital oil corridor was blocked again just hours after a tentative cease‑fire was announced. The leader arrived at the King Fahd airbase in Taif, Saudi Arabia, where he met with British and local staff before embarking on a broader diplomatic tour of Gulf allies. The visit mirrors his recent push to shape a cease‑fire framework for Ukraine. While officials describe the trip as complementary to the Pakistan‑mediated talks between Washington and Tehran, many Gulf observers see Starmer as a more predictable partner than a United‑States administration that has been criticised for its unpredictable stance. The cease‑fire, brokered barely an hour before a deadline set by the U.S. president, included a clause to reopen Hormuz. Starmer’s itinerary follows a UK‑led gathering of military planners that explored practical steps for achieving that goal. Iran’s state news agency, Fars, claimed that Israeli actions in Lebanon breached the cease‑fire, prompting a fresh blockage of oil tankers in the strait. Later on Wednesday, Starmer is scheduled to meet Crown Prince Mohammed bin Salman. Their agenda is expected to cover the removal of Iranian mines and the insurance of tankers that rely on the Hormuz route for global oil shipments. "There are many practicalities and moving parts involved; this cannot be switched on instantly," a UK official explained, underscoring the complexity of the task. Addressing the media at the airbase, Starmer acknowledged the temporary relief provided by the cease‑fire but warned that the situation remains in its early stages. He emphasized that the UK’s priority is a permanent solution that restores full maritime traffic. "The impact on our energy prices is evident – we have seen daily fluctuations over the past 39 days. It is our responsibility to ensure the strait remains open so that the world’s energy needs are met and UK fuel prices stabilise," he said. Starmer has previously drawn criticism from former President Donald Trump for refusing to back the initial U.S.–Israeli strike on Iran and for limiting U.S. use of British bases to defensive missions, such as targeting Iranian missile sites. When asked about the risk of the UK becoming entangled in the conflict, Starmer reiterated that Britain acts only in collective self‑defence and that his mandate is to protect British lives and national interests, which includes keeping Hormuz open. The remainder of his Gulf itinerary has not been disclosed, and it remains unclear which other regional capitals he will visit after Saudi Arabia. One government source summed up the mission: "The cease‑fire is welcome, but the decisive factor for the British public will be a fully operational Hormuz Strait, which will have the greatest impact on domestic energy costs." The source likened Starmer’s role to his earlier effort in assembling the "coalition of the willing" that pledged to back any peace settlement in Ukraine, noting that this is his first opportunity to demonstrate solidarity with Middle‑East allies.

Harlequins have confirmed the acquisition of England full‑back George Furbank, securing the 29‑year‑old on a lucrative contract as they aim to revitalise a squad that finished second‑bottom of the ten‑team Premiership.Furbank, a long‑time stalwart of league‑leading Northampton Saints, arrives after two injury‑hit seasons but remains a 14‑cap England international and a strong contender for the World Cup roster. He described the move as a chance to step out of his comfort zone and “take my game to a new level” under a fresh coaching staff.Harlequins head coach Jason Gilmore praised the signing, calling Furbank “someone we’ve admired for a long time.” The club hopes his experience will deliver an immediate uplift to a side battling relegation threats.Saints’ director of rugby Phil Dowson acknowledged the financial reality that forced the departure: “We wanted to keep George, but the broader context – especially our limited budget – meant we couldn’t match the offer. There was no animosity, just hard decisions.” He likened the situation to Sir Alex Ferguson’s strategy of reshaping squads when necessary.The transfer adds to a growing exodus from Northampton, which has already seen the likes of David Ribbans, Lewis Ludlam, Courtney Lawes and Teimana Harrison depart in recent years. Saints are also contending with the challenge of retaining other England internationals as emerging talents such as Henry Pollock seek pay rises.Meanwhile, Saints are set to field fit‑again England half‑backs Fin Smith and Alex Mitchell for their Champions Cup semi‑final against Bath, while fly‑half Jamie Benson has opted to join Ulster next season.

The Masters gnome drama has taken another twist, with Augusta National chair Fred Ridley admitting he is in the dark about the future of the must-have items. Despite repeatedly asking about the gnomes' status, Ridley revealed that there is internal secrecy even towards him.At the annual Masters media address, Ridley responded to a question about the gnomes' future, saying, "I've been asking that question for several years and they won't tell me the answer. So I can't help you." This has sparked intrigue about who is behind the decision-making process and why Ridley is being excluded.The Masters gnomes, which typically sell out within one hour, have become a highly sought-after item, with a resale value significantly higher than their $49.50 price tag. This has raised concerns among officials about the spectator experience in merchandise outlets.On a more serious note, Ridley maintained Augusta's position on a potential rollback of the ball, which has met resistance from equipment manufacturers and several leading players. He emphasized that Augusta's stance is "grounded on much more than protecting the Augusta National golf course" and that the club will continue to make modifications to react to increasing driving distances.

Ian Cheshire, a seasoned City veteran and former CEO of Kingfisher, has been appointed as the new chair of Ofcom, the UK's media regulator. Cheshire, who previously served as the chair of Channel 4 until last year, will lead Ofcom through a critical period marked by rapid growth in online content and rising concerns over politically partisan broadcasting.Cheshire's appointment comes at a time when Ofcom is tasked with overseeing the implementation of the Online Safety Act, legislation aimed at regulating social media in the UK. He will serve a four-year term, pending approval from a parliamentary hearing. The new chair has expressed his commitment to effective regulation, stating that he has 'seen first-hand how much effective regulation matters – for consumers, for businesses and for the wider economy.'The technology secretary, Liz Kendall, praised Cheshire's 'proven track record of leading complex organisations through periods of significant change,' highlighting his suitability for the role. Cheshire's extensive experience includes leadership positions at Landsec, Barclays, and Debenhams. He is expected to succeed Michael Grade, who will step down at the end of the month.As chair of Ofcom, Cheshire will be responsible for guiding the regulator's efforts to ensure online safety and maintain fair and impartial broadcasting standards. His appointment was chosen over other candidates, including Margaret Hodge and Jeremy Wright. The role of Ofcom chair comes with an annual salary of £120,000 for a commitment of three days a week.

Ian Cheshire steps into the helm of Ofcom with a comprehensive 2026‑27 plan that spans telecoms, broadband, postal services, broadcast media and the digital sphere. While the breadth of responsibilities is vast, the regulator’s work on the Online Safety Act (OSA) is set to dominate his tenure.The OSA, the UK’s flagship legislation governing social‑media, search and video platforms, has become a flashpoint between internet‑safety advocates and free‑speech proponents. Campaigners such as Ian Russell – father of Molly Russell, whose tragic suicide highlighted online harms – and filmmaker Beeban Kidron are urging a tougher regulatory stance.Last year, Russell publicly called for a change in Ofcom’s leadership, citing the watchdog’s failure to block an online suicide forum accessible to UK users. At the same time, Technology Secretary Liz Kendall wrote to Ofcom expressing “deep concern” over delays in rolling out key OSA provisions.Although updating the act is a parliamentary responsibility, Cheshire’s close ties to government could accelerate ministerial action. The OSA, passed in 2023, only began substantive implementation under chief executive Dame Melanie Dawes, with the introduction of rigorous age‑gating measures last year marking the first tangible impact on users.Beyond online safety, Ofcom must continue its core duties established in 2003: supervising public‑service broadcasting, ensuring impartial news, maintaining universal postal delivery six days a week, and monitoring broadband and mobile‑phone coverage across the UK. The government’s expectation is clear – the regulator must move faster on digital safety without neglecting these legacy functions.A looming test of the OSA’s strength is the investigation into the partial nudification of women and girls by Elon Musk’s AI tool Grok. The outcome will signal how effectively Ofcom can enforce the act against emerging AI‑driven harms.The 2026‑27 plan lists projects such as preventing illegal content from going viral, measuring harmful material encountered by children, and assessing the effectiveness of age‑gating. Additional measures targeting major platforms like Google and Instagram remain stalled due to ongoing court proceedings.Recent incidents – from misinformation spikes following the Southport killings to AI‑generated misogyny on X – underscore the urgency. While the legislation provides Cheshire with a framework, the patience of campaigners and policymakers is wearing thin.

Bruce Miller returns as showrunner to bring Margaret Atwood’s 2019 novel The Testaments to the screen, positioning it as a direct sequel to the acclaimed series The Handmaid’s Tale. The new eight‑part drama, now streaming on Disney+, shifts the narrative focus to the next generation of women living under Gilead’s regime. While the series adopts a lighter, almost YA‑ish tone compared with its predecessor, the underlying brutality remains unmistakable. Viewers are confronted with “bloody punishments, rotting corpses on gibbets and relentless indoctrination,” now filtered through the eyes of teenage protagonists. The visual palette expands beyond the iconic red, white and green of the original. Young girls of privileged status appear in pink dresses and cloaks, older students—dubbed “Plums”—wear purple headpieces that are more stylish than the oppressive bonnets of the handmaids, and menstruating women are marked by a teal hue, signaling a grim rite of passage. Central to the story is Agnes (Chase Infiniti), the adopted daughter of Commander MacKenzie and the secret first child of June/Offred. Her journey intertwines with that of Daisy (Lucy Halliday), a “Pearl Girl” recruited from outside Gilead, whose mysterious background fuels the series’ central mystery. Ann Dowd reprises Aunt Lydia, now presiding over an elite preparatory school where she tasks Agnes with mentoring Daisy. Their evolving relationship, alongside flashbacks that flesh out Aunt Lydia’s own history, anchors the ten‑episode arc. Beyond the personal dramas, the series continues to examine groupthink, systemic corruption and the subjugation of women. Scenes such as Agnes kneeling before her father in newly‑colored robes starkly echo real‑world teenage experiences of power dynamics, albeit in a far more visceral setting. Occasional moments of dark humour provide brief relief, but the overarching message remains clear: the mechanisms of oppression are timeless, and the fight for autonomy persists across generations. The Testaments is now available on Disney+, offering both fans of the original series and newcomers a stark reminder of how dystopian fiction mirrors historical and contemporary tyrannies.

The US seafood industry is tackling a significant challenge: Americans' low fish consumption. With an average annual intake of about 19lb per person, the US lags far behind the global average of 45lb. In contrast, Iceland leads the world with an impressive 200lb of seafood per person per year.To crack the US market, the seafood industry has devised a strategy to make fish more appealing by making it look like meat. This approach involves creating products such as tuna that resembles chicken nuggets and salmon sticks that look like beef jerky. This tactic is similar to hiding vegetables in recipes for picky toddlers, but with a twist: it's about presentation rather than altering the product's nature.This isn't a new concept, as plant-based meat gained popularity when placed in the meat department rather than the vegetarian aisle. Similarly, fish-as-meat marketing has been around with products like tuna steaks and salmon burgers. However, the trend seems to be gaining momentum, with recent reports from the Seafood Expo circuit indicating a surge in interest.While this strategy may be effective, its environmental implications are questionable. With 348 million people in the US potentially increasing their seafood consumption, concerns about overfishing and the collapse of marine life arise. Guardian columnist George Monbiot has argued that there are almost no fish or shellfish that can be safely eaten if the goal is to save the oceans, suggesting that stopping fish consumption is a more impactful action.The success of this strategy may also be influenced by economic factors, such as food inflation and tariffs. If supply chains collapse due to global conflicts, the demand for Fishy Meat may become irrelevant as Americans struggle to afford basic food items.

Political leaders across Washington breathed a collective sigh of relief on Tuesday evening when President Donald Trump announced a provisional two‑week ceasefire with Iran, ending a 24‑hour standoff that had seen him threaten to annihilate Iran’s “whole civilization” if Tehran failed to reopen the Strait of Hormuz by his self‑imposed deadline.The ceasefire declaration arrived just 90 minutes before the 8 p.m. ET deadline at which Trump had pledged to bomb Iranian power plants and bridges – a move scholars warned would constitute a war crime. A last‑minute diplomatic push by Pakistan persuaded the president to suspend the ultimatum, buying a narrow window for de‑escalation.In a post on Tuesday night, Trump wrote: “Subject to the Islamic Republic of Iran agreeing to the COMPLETE, IMMEDIATE, and SAFE OPENING of the Strait of Hormuz, I agree to suspend the bombing and attack of Iran for a period of two weeks.”Iran’s foreign minister quickly responded, stating that the strait would remain open for the next fourteen days under Iranian military management, effectively meeting the condition set by the United States.The president’s earlier warning – that a “whole civilization will die tonight, never to be brought back again” – drew swift condemnation from Democrats, longtime allies who have broken with Trump over the crisis, and even Pope Francis, the first American pontiff.Senate Majority Leader Chuck Schumer labeled Trump’s retreat as “desperately searching for any sort of exit ramp from his ridiculous bluster,” adding that the president had previously been called “an extremely sick person” waging a “wanton war of choice.”House Democrats, including former Speaker Nancy Pelosi, called for Trump’s removal via impeachment or the 25th Amendment, arguing that his conduct amounted to a threat of genocide against the Iranian people. Progressive Representative Alexandria Ocasio‑Cortez echoed this sentiment, saying the two‑week deal “changes nothing” and urging Congress to act.House Minority Leader Hakeem Jeffries described Trump’s behavior as “unhinged, unpresidential and unconscionable,” and warned that the American public “strongly opposes this reckless war of choice.” He announced that Democrats would push Speaker Mike Johnson to reconvene the House and move a war‑powers resolution to secure a permanent end to hostilities.Republican reactions were more nuanced. Senator Rick Scott praised the ceasefire as “a strong first step toward holding Iran accountable,” while Senator Lindsey Graham expressed hope that diplomacy could “end the reign of terror of the Iranian regime,” cautioning that Iran should not be rewarded for its earlier attacks on the strait.Conversely, Rep. Dan Crenshaw, a Texas Republican known for breaking with Trump, dismissed critics as “pearl‑clutching,” arguing that the president’s “language of POWER” is what adversaries understand, and that diplomatic niceties alone achieve little.The episode underscores a volatile moment in US‑Iran relations, where a single diplomatic pivot averted an imminent escalation, yet left Congress divided over the president’s authority to wage war and the need for a lasting legislative solution.

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.