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A Lebanese‑French visual artist, Ali Cherri, has lodged a formal complaint with the French war‑crimes unit in Paris, accusing Israel of committing a war crime after a 2024 airstrike on his family home in Beirut killed his parents and a domestic worker. The filing marks the first time a French court has taken up a case concerning Israel’s bombing of Lebanon and is an unusual move by an individual to pursue war‑crimes accountability. Israel has faced repeated accusations of violating international humanitarian law in Lebanon and Gaza, including attacks on civilians, medical facilities and forced displacement, yet no Israeli officials have been prosecuted to date. Cherri said, "Our demand is that an investigation is opened so that we know for a fact what happened, to name this attack as a war crime against civilians, and hopefully be able to name the people responsible." The apartment, built by his grandparents in central Beirut, was struck a few hours before a cease‑fire between Hezbollah and Israel took effect on 26 November 2024. The 13‑month conflict had already claimed roughly 4,000 Lebanese lives. The blast, which gave no prior evacuation warning, destroyed three floors, killing Cherri’s 86‑year‑old father Mahmoud Naib Cherri, 76‑year‑old mother Nadira Hayek, their employee Birki Negesa and four other civilians. In February, Amnesty International’s investigation concluded there was no military target at the time of the strike and urged that the incident be examined as a war crime. Forensic Architecture, a UK‑based investigative group that helped draft the complaint, produced a 3‑D reconstruction of the building and identified the munition as a GBU‑39 guided bomb – a 250 lb US‑made weapon frequently used by Israel in Lebanon and Gaza. The analysis underscored the targeted nature of the attack and, according to the group, demonstrated direct responsibility of the Israeli army. Amnesty International’s regional director for the Middle East and North Africa, Heba Morayef, called the French civil complaint “a rare opportunity” to hold Israel accountable in a European court, given the usual impunity. The case arrives amid renewed hostilities: on 2 March Hezbollah fired rockets at Israel, prompting an Israeli aerial campaign and ground invasion that has killed 1,318 people so far. Photographer Mohammed Shehab, who collaborated with Forensic Architecture on the Cherri investigation, was himself killed in an Israeli strike on 11 March, which also claimed his infant daughter’s life and wounded his wife – an incident the group described as “circumstances similar” to the Cherri bombing. While Cherri doubts any Israeli officials will face criminal charges, he insists that filing the suit is a moral duty to give a voice to victims who cannot pursue legal recourse themselves.

The Alpine F1 team has strongly condemned the online abuse directed at drivers Franco Colapinto and Esteban Ocon following recent incidents in the Japanese and Chinese Grands Prix. Colapinto was involved in a high-speed crash with Oliver Bearman at Suzuka, while Ocon accepted blame for a clash with Colapinto in Shanghai.The team dismissed suspicions of sabotage and claims that Colapinto was not provided with the same quality equipment as his teammate Pierre Gasly. Alpine emphasized that such hateful behavior is unacceptable and not in the spirit of the sport.“Esteban took full responsibility and apologised to Franco, seeking him out in the media pen and also apologising on social media. The resulting abuse that followed was not in the spirit of the sport and it was an oversight not to call it out sooner,” the team said.Alpine also addressed concerns about their treatment of drivers, stating that any questions about sabotage or unequal treatment are unfounded. The team aims to be transparent about upgrades and performance, emphasizing that it is not in their interests to withhold information or hinder performance.The team also highlighted that Gasly has scored 15 of Alpine’s 16 points this season, with Colapinto’s lone point scored in China. Alpine reiterated its commitment to fair treatment of all drivers and condemned the hateful messages aimed at Colapinto and Ocon.

Britain is confronting the most severe energy shock since the early 1970s, as exports of oil, gas and fertiliser from the Middle East have abruptly stopped. The government says a response plan exists, but details remain vague. It is unclear whether the UK is better prepared for the fallout from Donald Trump’s war with Iran than it was for the pandemic six years ago. Ministers are sending a "we have your back" message to the public while simultaneously signalling to financial markets that any assistance will be limited and targeted. Contingency planning is especially difficult when dealing with an unpredictable leader like Trump. Britain’s heavy reliance on imported energy and food means that reassurance can only hold for a short time. The economy entered the conflict already on shaky ground: unemployment rose steadily throughout 2025 and growth stalled to a virtual standstill in the final quarter of that year. The sudden loss of Middle‑East energy and fertiliser supplies now adds a colossal supply shock. Last year, Trump’s “liberation day” tariff hikes served as a dry run for a far more serious confrontation. This time, the war is taking place in a region that is both volatile and crucial to the global economy. In the past two weeks, the repercussions have been felt across Asia – the Philippines declared a state of emergency, Sri Lanka introduced a four‑day work week, and South Korea announced budget measures to help households cope with soaring energy bills. The continent is the most dependent on Gulf‑exported energy, making the impact there the sharpest. The International Monetary Fund warned that the shock will drive higher prices and slower growth worldwide. Shortages push fuel and food prices up, eroding disposable income, prompting businesses to cut staff, and increasing the risk of recession. The UK, already projected to be one of the poorest‑performing major economies in 2026, could see its fresh graduate cohort face a brutal job market. Trump’s claim that the war could end within two or three weeks appears desperate. Even a rapid cease‑fire would leave substantial collateral damage, creating a stagflation scenario that could hurt Republican prospects in the upcoming mid‑term elections. British officials hope a swift resolution will limit economic damage, allowing a short‑term inflation spike to subside and the Bank of England to resume interest‑rate cuts. Treasury plans include scrapping the planned autumn fuel‑duty rise and providing targeted help for the poorest households, though the path is unlikely to be that simple. Currently, the Treasury is hesitant to act boldly for fear of unsettling bond markets. History – the 2008 banking collapse and the 2020 pandemic – shows that governments can act decisively without triggering a market backlash, using tools such as aggressive rate cuts, increased borrowing, and quantitative easing. The Bank of England has warned of a "substantial negative supply shock" and is expected to soften markets for future rate cuts, which are inevitable. Finance Minister Rachel Reeves could mitigate labour‑market pain by reversing recent increases in employers’ National Insurance contributions, subsidising public transport, and even lowering speed limits to conserve energy. The war, like the pandemic and Russia’s invasion of Ukraine, underscores the fragility of global supply chains and the need for greater British self‑reliance. Investing heavily in renewable energy is essential, but the UK also imports roughly 40% of its food and has not run a manufacturing trade surplus since 1982. In a world of disrupted supply lines, a robust plan for economic self‑sufficiency is more urgent than ever. Larry Elliott is a Guardian columnist.

Colin the Caterpillar, a British party favorite for 35 years, has been outperformed by eight supermarket rivals in a recent cake taste test conducted by consumer champion Which?.The 'original' chocolate caterpillar cake, produced by Marks & Spencer (M&S;), scored a mere 64%, ranking it at the bottom of the list. The main criticism was that its sponge was 'too dry', with almost half of the 75-strong panel of cake-testers expressing this concern.In contrast, Waitrose's Cecil caterpillar cake emerged as the winner with a score of 78% and was awarded a coveted 'best buy' gong. Cecil was praised for its remarkably moist texture, flavorful shell, and 'perfect' sponge-to-buttercream ratio.The taste test also revealed that Colin the Caterpillar contained the highest levels of sugar (46.3g) and fat (21.3g) per 100g among the caterpillar lineup, making it one of the most expensive options at £9.50. M&S; responded by highlighting a recent poll of 2,100 adults that named Colin the nation's best caterpillar cake.Key rankings:1st - Cecil (Waitrose): 78%, £9.50, 744g, 38.6g, 17g.2nd = Charlie (Co-op): 73%, £9.85, 702g, 46g, 14g;2nd = Wiggles (Sainsbury’s): 73%, £8.50, 613g, 41.9g, 18.7g.4th - Cuthbert (Aldi): 72%, £6.99, 624g, 43.5g, 17.7g9th – Colin (M&S;): 64%, £9.50, 625g, 46.3g, 21.3g.

Social media users in the UK are posting, sharing, and commenting less on tech platforms, driven by the rise of video-oriented apps and fears that online posts could harm their reputation. According to Ofcom, 49% of adult social media users now post, share, or comment, down from 61% in 2024.The proportion of users exploring new websites has also decreased, from 70% to 56%. Joseph Oxlade, senior research manager at Ofcom, cited the popularity of video apps like TikTok and Instagram Reels as a reason for the decline in active use.Concerns about the long-term impact of online posts on personal and professional lives are also a factor. 49% of adults are now concerned about posts causing them problems in the future, up from 43% in 2024. This fear is not unfounded, as historic internet posts have been known to cause embarrassment for public figures.Despite this, social media use remains widespread, with 89% of adult internet users using at least one social media platform. The Ofcom data was based on a survey of 7,500 people across the UK last year over the age of 16.The data also showed that use of AI tools like ChatGPT has increased, with 54% of UK adults using them, up from 31% in 2024. Some users are interacting with AI as if it were a person, using it for tasks like seeking relationship advice or generating creative content.

The global oil market is being significantly influenced by online prediction platforms such as Polymarket, with energy traders using data from these platforms to inform their multimillion-dollar trades. Market experts have noted that Polymarket's datafeeds are being used to create algorithms that impact trading in the global Brent crude futures market. The growing reliance on Polymarket has raised concerns that anonymous account holders may be using insider knowledge to place bets, potentially influencing pricing in the global oil market. One energy trader noted that Polymarket had become the best predictor of the oil market's direction since the US-Israel war with Iran triggered a global oil crisis. Ajay Parmar, head of oil trading at ICIS, stated that betting markets have a long history of strong prediction accuracy, and traders are increasingly turning to Polymarket for market indicators. Tim Skirrow, head of derivatives at Energy Aspects, also confirmed the adoption of prediction markets as a trading tool, noting that any data with alpha is considered in modern markets. The US investment bank Goldman Sachs has included analysis of prediction-market data in its oil market research, and the Intercontinental Exchange (ICE) has launched a trading tool providing a data feed of Polymarket's prediction markets to help traders make informed decisions. However, not all commodity traders are convinced by Polymarket's track record in predicting market-moving events. One trading analyst noted that Polymarket has made bad calls during the crisis, and that hedge funds may be more interested in the platform than traditional traders.

Forecasts indicate that the worldwide secondhand apparel sector will expand by 12% in 2024, reaching $289 bn (£217 bn), buoyed by artificial intelligence tools and social‑media influencers that help consumers locate desired items.Platforms such as Vinted, Depop, Vestige and ThredUp are expected to sustain an average 9% annual growth over the next five years, pushing the market to an estimated $393 bn—roughly double the growth rate of the broader clothing industry.The outlook stems from ThredUp’s latest resale report, which incorporates analysis from GlobalData. In 2021 the market was valued at just $141 bn, meaning the projected 2024 figure is more than double that baseline.Major brands—including Dr Martens, Zara and Mulberry—are now entering the resale space, either by offering pre‑owned pieces or refurbishing items to satisfy rising consumer demand."Resale is no longer merely expanding; it’s capturing direct market share," said James Reinhart, co‑founder and CEO of ThredUp. The report notes that resale now accounts for one‑tenth of global clothing sales, and that the U.S. secondhand market grew nearly four times faster than the overall market by 2025.ThredUp’s own revenue climbed 20% to $310.8 m last year. Depop reported a 42% increase to £101 m, while Vinted posted a 36% rise to €813.4 m (£710 m) in 2024. However, profitability remains elusive: ThredUp posted a $20 m pre‑tax loss, Depop a £42 m loss, and only Vinted turned a profit, earning €76.7 m. Depop was recently acquired by eBay from Etsy.Reinhart warned that rising inflation—spurred by geopolitical tensions that lift energy and fuel costs for manufacturers—could push more shoppers toward affordable secondhand options."The industry stays robust, driven by young consumers' behaviour," he added.Artificial intelligence is streamlining the massive inventories of resale platforms, enabling rapid cataloguing and matching of items to buyer preferences. "Netflix and Spotify spent decades building data and algorithms to recommend content; AI can achieve similar personalization for fashion almost instantly," Reinhart explained, noting that this reduces friction between spotting an item on social media and completing a purchase.Looking ahead, the market’s next phase will be defined by firms that can unlock supply and leverage AI to connect inventory with the next generation of shoppers, according to Reinhart.Analyst Neil Saunders of GlobalData highlighted that consumers aged 14‑45 (Gen Z and millennials) are projected to generate 70% of market growth. He emphasized that discovery tools must migrate to the social feeds where these shoppers spend their time, and that technology will be essential to simplify selling and maintain sufficient stock for expanding demand.

The United States men's national team is gearing up for the World Cup, but their recent friendlies have left fans concerned. Over the past few months, the team has struggled, with more than six months without a win. However, this trend is not unprecedented. In 1994, the USMNT had a dismal run-in to the World Cup, winning just two games in 12 attempts, including a loss to Iceland. Despite these poor results, the 1994 team managed to survive the group stage and narrowly lost to eventual champions Brazil in the round of 16. This precedent may offer some consolation to current fans. The team's coach, Mauricio Pochettino, remains optimistic, stating that he is 'happy about the camp' and believes that 'we are not far away' from achieving their goals. Roberto Martínez, former Belgium manager, warned against reading too much into pre-World Cup results, stating that they are 'quite worthless'. This sentiment is echoed by the USMNT's history of performing well in the World Cup despite poor preparations. In 1950, the team lost their only tune-up game but stunned England 1-0 at the World Cup in Brazil. Similarly, in 2002, the USMNT made a deep run in the tournament despite losing several friendlies. The team's star player, Christian Pulisic, also remains positive, citing 'a lot of positives' from the recent friendlies. The USMNT's history suggests that their pre-tournament form may not be a reliable indicator of their performance. With the World Cup approaching, fans will be hoping that the team can defy their recent form and make a strong showing.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.