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Irish actor Barry Keoghan, known for his roles in various films and upcoming projects, has candidly shared the negative impact of online abuse on his life. In a recent interview with SiriusXM host Ben Harlum, Keoghan disclosed that the relentless online abuse about his appearance has reached a point where he “doesn’t want to go outside” anymore. Despite having left social media in 2024 to escape the harassment, Keoghan admitted that the abuse continues to affect him significantly. He expressed concern about how this online hate might influence his career and personal life, particularly his role as Ringo Starr in Sam Mendes’ upcoming Beatles tetralogy. Keoghan acknowledged that while many fans are supportive, there is a “nasty side” to online interactions. He mentioned that he often finds himself “shying away” from public events and feeling the urge to “hide away” due to the constant abuse and hate. This situation has become so severe that it’s affecting his willingness to continue acting, which could be disappointing to his fans. The actor also expressed worry about the potential impact on his three-year-old son, Brando, who may encounter these negative comments in the future. Keoghan emphasized the need to protect his child from the harsh realities of online abuse. Keoghan has been open about his difficult past, including his time in foster care and his mother’s struggles with drug addiction. Recently, he has been involved in projects such as Netflix’s Peaky Blinders: The Immortal Man and The Beatles: A Four-Film Cinematic Event, where he stars alongside Harris Dickinson, Paul Mescal, and Joseph Quinn.

In 1926, Cornwall's moors experienced a significant spell of dry weather, leading to gorse fires that blazed day and night. The fires, used to improve grazing and hunting conditions, had a profound impact on the local ecosystem.Driving through Cornish lanes at nightfall, the windscreen appeared segmented, with the lower part reflecting the road and headlights, while the upper segment was filled with night. The sides were crowded with gorse bushes, which glowed in silhouette as the headlights passed over them. The gorse, described as 'creeping hedgehogs' or 'huge mounds,' was particularly vibrant, with some bushes appearing as discs of solid yellow against the obscure blue background.The fires, although a lovely yet fearsome sight, came at a cost to the local wildlife. Many stonechats, whinchats, and yellow-hammers had to seek new nesting places, while anemones just beginning to open were scorched to death. The fires transformed the ancient growth into flames and black ashes in mere minutes.The spectacle of the gorse fires was breathtaking, presenting as a pillar of smoke across the sea, a rosy scarlet glare behind the skyline, or a windswept sea of flames. This event highlighted the delicate balance between land management practices and the preservation of natural beauty and wildlife in Cornwall.

Moby, the renowned musician, has shared his honest playlist, offering a glimpse into his personal music preferences. He recalls the first song he fell in love with, 'I Fought the Law' by the Clash, which he would record on an old Dictaphone and listen to repeatedly.Moby also shares the first single he bought, 'Convoy' by CW McCall, which he played 40 times in a row, raising concerns for his mother about his future as a musician and addict.He takes pride in never doing the same karaoke song twice, with notable attempts at 'My Way' by Frank Sinatra and 'In Da Club' by 50 Cent. Moby also reveals the song he inexplicably knows every lyric to, 'I Know You Got Soul' by Eric B & Rakim, which he played 8,000 times while DJing in the 80s.Moby discusses the best song to play at a party, 'Been Caught Stealing' by Jane's Addiction, which surprised a crowd of 15 people at a house party in 1989. He also shares the song he can no longer listen to, 'Lola' by the Kinks, due to its gross and transphobic lyrics.Moby confesses to secretly liking 'My Heart Will Go On' by Céline Dion, a song he thought he'd never admit to enjoying. He also shares the best song to have sex to, '4′33″' by John Cage, and the song that changed his life, 'I Feel Love' by Donna Summer.Other songs on Moby's playlist include the song that makes him cry, 'Vincent' by Don McLean, and the song that gets him up in the morning, 'Not to Touch the Earth' by the Doors. He concludes by sharing the song he'd like played in his funeral, 'Last Night' from his 2008 album of the same name.

Hummus has become an integral part of British cuisine, joining the inflation basket as a staple food item. The dip's popularity has grown exponentially since its introduction to British supermarkets in the late 1980s.Waitrose was the first British supermarket to stock hummus in 1987, marking the beginning of its journey from an exotic curiosity to a mainstream favorite. Today, hummus is a ubiquitous presence in British supermarkets, with Tesco offering 18 different versions of the dip.The success of hummus can be attributed to its versatility, with Ramona Hazan's eponymous brand producing 80-100 tonnes of hummus a week. Hazan started her company in her London flat in 2004 with a £25 Kenwood blender and now has a brand valued at £24m.The UK's changing dietary habits have played a significant role in hummus's popularity, with consumers increasingly opting for healthier alternatives. Middle Eastern cuisine has become increasingly mainstream, with chefs like Yotam Ottolenghi and Claudia Roden contributing to its popularity.The addition of hummus to the inflation basket reflects the significant impact of healthier lifestyle choices on consumer spending. Alcohol-free beer will also be included in the basket for the first time, highlighting the shift towards healthier alternatives.

Have you ever felt like you're racing against the clock, constantly chasing appointments and deadlines? This relentless pursuit of time is a universal experience, but what is time, really? Is it a physical phenomenon or just a tool we use to coordinate our lives? Time is often seen as an independent, physical entity that ticks by relentlessly, but emerging scientific evidence suggests that this isn't the case. Time is more like a mathematical tool, useful for coordinating our interactions, but it doesn't have an independent existence of its own. Just like money, we've become dependent on it, but it's not a physical reality. The pressure to be 'on time' is instilled in us from a young age, and we're constantly surrounded by clocks and digital alerts that divide our day into smaller pieces. This has led to a phenomenon known as 'time famine,' where the more efficient and productive we try to be, the less time we feel we have. Studies have shown that people experiencing time famine are less likely to engage in activities they enjoy, eat healthily, or seek medical attention when needed. Our brains don't have dedicated areas for tracking time, and our experience of it can vary greatly. Time can seem to drag or fly by, depending on our circumstances. For example, people with certain conditions, like akinetopsia, experience time in sudden jumps or frozen moments. The psychedelic drug mescaline can also distort time perception, making it seem like hours or even centuries have passed. Quantum physicists have found that time is not a fixed, physical flow. The famous double-slit experiment shows that a physicist's choice of measurement can influence the behavior of a particle. In a lesser-known variant of this experiment, the physicist's choice at the point of measurement can even influence the particle's past behavior. This suggests that time is not a fixed, linear concept, but rather a flexible and subjective experience. Some indigenous cultures, like the Aymara people of Chile, experience time differently. They see the future as hidden behind them, unseeable and unknowable. The Amondawa people of the Amazon have no clocks or concept of time. Instead, they live in the present, experiencing 'lived time,' which is a personal, malleable experience of change. Lived time is different from clock time, as it's not defined by numerical counters or seconds. Each moment is like a tapestry, woven from changes on multiple timescales. When we focus on lived time, it expands and becomes richer, rather than narrowing or contracting. It's a flow that carries us and connects us with others, rather than something we chase and never catch. To combat time famine, we need to remind ourselves that the clock is a tool, not a master. We should beware of digital alerts and alarms that divide our day into smaller pieces and instead focus on the rich pattern of changing connections that wire us into each moment. By doing so, we can tap into the creative process of lived time and experience a more fulfilling and connected life.

The play 'Slippery' by Louis Emmitt-Stern delivers a knotty dissection of the queer dating scene and bereavement in many forms. The story revolves around Jude and Kyle, exes who reunite in Jude's Canary Wharf penthouse after a decade apart.Ten years ago, they were a hedonistic couple, partying into the early hours. Now, their lives have diverged: Kyle has left behind the party lifestyle, while Jude is grieving the death of his partner, Sam. As they catch up, their lies begin to crack open, revealing a complex web of emotions.John McCrea and Perry Williams shine as the exes, capturing the nuances of their characters' past and present selves. McCrea, in particular, is a standout performer, effortlessly shifting from grief-stricken to a magnetic seducer.The production, directed by Matthew Iliffe, effectively conveys the intimacy of a past love that still lingers. However, the script's constant revelations can feel forced, detracting from the realism of the story.Despite this, 'Slippery' remains a compelling exploration of queer relationships, grief, and the complexities of human emotions. The play is set to run at Omnibus theatre in London until 11 April.

The Gondoliers, Gilbert and Sullivan's last big hit, has been brought to life by the English Touring Opera in a production that is both a feast for the eyes and ears. The opera, which came hot on the heels of the famous quarrel over a carpet at the Savoy theatre, showcases Sullivan's sunniest and most sophisticated score paired with some of Gilbert's most brilliantly barbed lyrics.A sharply pointed satire on the pitfalls of egalitarianism, the plot features babies swapped at birth and a pair of gondoliers, one of whom may or may not be the son of the recently deceased King of Barataria. The production locates the action in the late 17th century, but contemporary resonances abound, including the cash-for-endorsements antics of the money-grubbing Duke and Duchess of Plaza-Toro.Visually stunning, Liam Steel's staging channels the chocolate box style of the D'Oyly Carte company, with set designer Michael Pavelka's revolving Venetian bridges and Laura Jane Stanfield's rococo costumes creating a feast for the eye. The ensemble cast, including Robin Bailey as Marco and Samuel Pantcheff as Giuseppe, deliver exceptional performances with boundless enthusiasm.The production's success can be attributed to the mischievous wit of Steel, who places dance at the heart of everything while never missing a trick with copious running gags and deft comic timing. A standout moment is the putting of the true king's elderly nursemaid to the rack, which is pure laugh-out-loud entertainment.

The stage adaptation of Andrea Levy's novel 'Small Island' has been brought to life with gravitas, speaking to our current era with startling clarity. The story, which begins over a century ago and culminates with the arrival of the HMT Empire Windrush in 1948, explores themes of racism, immigration, and identity.Director Matthew Xia's production allows the story to exist in its period, without forcing a contemporary lens over the narrative. The result is a powerful exploration of the Windrush legacy, with themes that echo all too recognisably today. Fear of foreign men, distrust of dark-skinned strangers, and casual racism are all present in the play, making it a necessary history play that feels all too contemporary.The cast delivers stellar performances, with Anna Crichlow as Hortense and Bronté Barbé as Queenie standing out. The play's climax offers a note of optimism, reminding us that the promise of new life can overcome even the darkest of attitudes. As Gilbert (played by Daniel Ward) so eloquently puts it, "that is all" - a powerful reminder that our skin colour is just that, and nothing more.The production is set to tour to Leeds Playhouse, Birmingham Rep, and Nottingham Playhouse.

The recent pronouncement by a judge in Afghanistan, stating 'a few beatings won't kill you,' when rejecting a woman's divorce request from her abusive husband, highlights the dire situation for women under Taliban rule. This barbaric stance is not isolated but part of a broader global pushback against women's rights.The Heritage Foundation, architect of Project 2025, has published a report advocating for a deeply patriarchal model that encourages women to have more babies earlier in life and discourages further education and careers. This vision aligns with Donald Trump's second term agenda and has sparked concern among women's rights advocates.The proposed UN merger of UN Women and UNFPA has caused alarm among feminist groups. They warn that this consolidation will lead to reduced funding for gender equality programs and give countries like the US, which are hostile to women's rights, more influence over global structures supporting gender equality.UN Secretary General António Guterres noted that the world remains male-dominated, and there are well-funded efforts to maintain this status quo. The UN's next moves will be closely watched, as they have significant implications for women's rights globally.