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The UK economy demonstrated resilience with a 0.5% growth in February, surpassing the 0.1% forecast by economists. This growth was primarily fueled by a strong performance from the services sector and manufacturing, both of which posted 0.5% growth, and a recovery in construction output, which was up 1%.The Office for National Statistics (ONS) reported that the economy had been gaining momentum before the Iran war dashed hopes of recovery. The growth in the three months to February was 0.5%, up from 0.3% in the three months to January, indicating strengthening growth.Grant Fitzner, the ONS chief economist, noted that growth was driven by broad-based increases across services, with wholesaling, market research, hospitality, and publishing performing well. The recovery of Jaguar Land Rover from a cyber-attack also contributed to the improving three-monthly picture.However, economists have downgraded forecasts for UK growth in 2026 due to soaring oil and gas prices resulting from the Iran war. Business and consumer confidence have declined sharply, and investors believe interest rates may have to rise to restrain the inflationary impact of the war.Martin Beck, chief economist at WPI Strategy, warned that February's growth might be the calm before the storm, with the conflict in the Middle East likely to drag overall Q1 growth down. Suren Thiru, chief economist at the ICAEW, also predicted that March would see a decline in economic activity due to skyrocketing fuel prices and supply chain chaos.

Jessie Ware's latest album, Superbloom, marks a return to her disco-pop roots, building on the success of her previous albums What's Your Pleasure? and That! Feels Good!. The album features a more straightforwardly retro sound, with lush orchestration and a focus on grownup pop.The album's sound is influenced by Table Manners, Ware's popular podcast co-hosted with her mother Lennie, which has attracted A-list guests like Margot Robbie and Paul McCartney. This crossover appeal is evident in tracks like Automatic, featuring a spoken-word appearance from Colman Domingo.Ware's songwriting and production are notable for their classiness and taste, with Superbloom showcasing her ability to craft great melodies and choruses. While the album may lack a standout hit like Free Yourself from her previous album, it is well-written and well-made, with a focus on disco-infused pop.The album's string arrangements are particularly noteworthy, avoiding glitterball cliches and instead evoking the ghost of Charles Stepney's psychedelic soul. Overall, Superbloom is a confident and well-crafted album that solidifies Ware's position as a leading figure in the disco-pop genre.

Young Vic artistic director Nadia Fall insists that theatres facing fiscal pressure must rely on daring, crowd‑pulling programming to restore solvency. Announcing a fresh slate of productions, she highlighted an anti‑Trump musical adaptation of Thelma & Louise as a flagship effort to attract diverse audiences. Since assuming leadership in 2025, Fall has overseen a £500,000 deficit that forced staff reductions. She stresses that while increased philanthropy is essential, the director’s most immediate lever is the choice of shows that can “program our way out of the crisis.” The upcoming musical, set to open on 3 September, features a score by Grammy‑winning Neko Case of the New Pornographers, and benefits from the involvement of original screenwriter Callie Khouri. Fall hopes the production’s feminist angle—positioned against the backdrop of “Trump’s America” and rolling back of women’s rights—will resonate with audiences. Other autumn highlights include Shedinburgh, an immersive showcase bringing Edinburgh Fringe talent such as Sara Pascoe and Inua Ellams to London for the first time, and Eurotrash, starring Ben Whishaw and Kathryn Hunter, adapted from Christian Kracht’s dark novel about a mother‑son road trip in the Swiss Alps. Fall also confirmed her direction of August Wilson’s Gem of the Ocean and the South London staging of Tiago Rodrigues’ father‑daughter drama La Distance. Additionally, a world premiere of Debbie Tucker Green’s near‑future dystopia Dissent will explore themes of surveillance and censorship that echo contemporary societal concerns. Her remarks came as a new Arts Council England report revealed a 64% decline in the number of plays touring England since 2019, underscoring the sector’s precarious state. While past successes—such as James Graham’s Punch, which earned two Olivier Awards—demonstrate the potential of strong programming, Fall warns that the split of box‑office receipts and Theatre Tax Relief often deters collaborative ventures across the country. Calling for “government‑level incentives” to make nationwide partnerships viable, Fall concluded that the future of UK theatre hinges on a combination of bold artistic choices, private investment, and supportive public policy.

The Broadway adaptation of The Fear of 13, a play by Lindsey Ferrentino, has been described as sturdy and dependable, but ultimately unremarkable. The play tells the true story of Nick Yarris, who spent 22 years on death row for a crime he did not commit.Based on Yarris's memoir and documentary, the play follows his journey from a troubled youth to his wrongful conviction and eventual exoneration through DNA evidence. Despite its powerful subject matter, the play's execution feels safe and conventional, lacking the depth and inventiveness needed to make a lasting impact.The cast, featuring Adrien Brody and Tessa Thompson, delivers solid performances, with Thompson bringing warmth and understatement to her role as Jacki, Yarris's love interest. However, the play's structure has been criticized for being lopsided, with too much focus on setting up the story and not enough on the emotional depth of the characters.Ferrentino's writing is crisp and propulsive at times, but falters when attempting more lyrical moments, such as the play's final monologue, which falls into vagueness and cliché. The play's themes of hope, perseverance, and the beauty of everyday life are worthy, but not particularly new or insightful.Overall, while The Fear of 13 is a well-crafted and engaging play, it ultimately feels like a fleeting experience that fails to leave a lasting impact on the audience.

Crystal Palace, once the 'hallowed turf' of British athletics, is on the verge of a major transformation. The stadium, which has hosted iconic athletes like Sir Mo Farah, Dave Bedford, and Steve Backley, had fallen into disrepair but is now set to be revitalized with a £130m redevelopment plan. The London Mayor, Sadiq Khan, announced the plans in May 2023, declaring Crystal Palace a 'national asset.' The proposed redevelopment includes a vastly upgraded 25,000-seat stadium that could open as early as 2030, along with a new 200m running track for community use. The journey to this point has been long and arduous. Jim Powell, a former sprint coach and founder of the Met-Track charity, recalls the despair that had settled over the venue years ago. 'There were trees growing out of the main stand and on the indoor track and no one was doing anything about it,' he says. The formation of the Crystal Palace Sports Partnership in 2014 marked a turning point, with Powell and others fighting to save the venue. 35,000 people signed a petition to reopen the site's swimming pools, which had been closed due to a leak. The partnership's efforts eventually led to the current redevelopment plans, with Morgan Sindell appointed as developers in 2024. The new sports centre will feature a padel centre, basketball courts, football pitches, and a full-size artificial multi-sports pitch. While the project is already fully funded, the search is on for commercial investment to complete the stadium bowl and boost its capacity from 16,000. Powell, who was given an MBE in 2013 for his services to athletics, is ecstatic about the plans. 'This is a historic and much-loved national sporting and community facility, where many UK sporting stars have started their careers and trained, but it needs major investment and refurbishment,' Khan said when the application was submitted. The potential return of big events like the Diamond League to Crystal Palace has Powell hopeful. 'It used to be the hallowed turf or the hallowed tartan,' he reminisces. 'If this new stadium doesn’t give athletics a shot in the arm, nothing will.'

When Capcom first unveiled Pragmata alongside the PlayStation 5 in 2020, the teaser promised high‑octane space action. Six years later, the game finally launched on April 17, 2026 at a retail price of £49.99, revealing a narrative that leans more toward emotional storytelling than pure spectacle.Set on a moon‑based research outpost operated by the fictional Delphi corporation, the story revolves around a cutting‑edge 3D‑printing material called Lunafilament. When the station loses power, Earth‑based engineer Hugh is dispatched to investigate, only to discover a silent, half‑printed landscape littered with abandoned tools and unfinished constructs.Gameplay hinges on a novel hacking mechanic. Hugh is accompanied by Diana, a 3D‑printed android designed to resemble a six‑year‑old girl, who can infiltrate enemy code in real time. Players trigger a side‑screen mini‑game that reveals robotic foes’ weak points, turning combat into a blend of reflex shooting and strategic code‑breaking reminiscent of classic handheld RPGs.Beyond the mechanics, the title’s emotional core emerges through the evolving bond between Hugh and Diana. Their interactions feel organic, with Diana sketching pictures, playing hide‑and‑seek, and gradually learning about humanity through Hugh’s stories. This father‑daughter dynamic avoids saccharine tropes, instead offering moments that genuinely resonate.Exploration rewards curiosity: the lunar base gives way to tropical jungles, sun‑kissed beaches, and a half‑printed recreation of New York City. An underground shelter functions as a hub for upgrades, training simulations, and further character development, echoing the atmospheric pacing of titles like Death Stranding.Visually, the game benefits from the direction of Cho Yonghee, known for the acclaimed Nier: Automata. Despite its ambitious art direction, Pragmata runs smoothly on both the high‑end PS5 Pro and the portable Switch 2, demonstrating impressive optimization across hardware tiers.In sum, Pragmata stands out as a beautifully crafted single‑player adventure that marries inventive combat with a surprisingly moving narrative. Its blend of sci‑fi aesthetics, heartfelt storytelling, and polished performance makes it a noteworthy addition to the current generation of console releases.

The Australian federal court has taken a strong stance on the use of generative artificial intelligence (AI) in legal proceedings, warning lawyers about the potential dangers and issuing new rules for its use. The court's chief justice, Debra Mortimer, emphasized that the presentation of false or inaccurate information to the court is “unacceptable” and can lead to serious consequences.The warning comes amid a surge in court filings in Australia and globally that have included false citations generated by AI. The court has noted that AI can generate fictitious cases, citations, quotes, and factual errors, which can frustrate the just resolution of proceedings and lead to financial or legal consequences.Under the new rules, lawyers and solicitors are required to confirm if AI has been used in the preparation of documents and ensure that any legal authorities cited exist and support the proposition made. They must also disclose the use of AI in documents, including where and how it has been used.Mortimer cautioned that caution should be taken when putting confidential, suppressed, or private information into AI tools, as there may be serious consequences for entering information into generative AI tools, even if sharing that information was not intended.The court “embraces” the use of technology in proceedings and recognizes that generative AI has the potential to increase efficiency in the conduct of litigation. However, Mortimer stressed that AI “must be used appropriately and with due care” to avoid risks to the proper administration of justice and public confidence in the legal system.Those who use generative AI in ways that go against the new rules can expect consequences such as adverse costs orders and issues with compliance with legal and professional obligations. There have been at least 73 identified cases in Australia where courts have discovered the use of generative AI had resulted in false citations, made-up quotes, or other errors.

The UK is bracing for possible gaps on supermarket shelves this summer as the ongoing conflict in Iran threatens to disrupt carbon dioxide (CO2) supplies, a critical component in the food industry. CO2 is essential for the humane slaughter of livestock, packaging of fresh meats and produce, and production of fizzy drinks and beer.Government ministers are reportedly drawing up contingency plans for a 'reasonable worst-case scenario' if the Strait of Hormuz, a key shipping lane, remains closed. This could lead to shortages of CO2, impacting supplies of chicken, pork, and fizzy drinks.The business secretary, Peter Kyle, has reassured the public that ministers are making contingency plans to deal with possible consequences of the Iran war. The government has invested £100m to reopen the mothballed Ensus bioethanol plant on Teesside to mitigate potential CO2 shortages.The CEO of Tesco, Ken Murphy, has expressed confidence in the company's ability to manage supply chains, stating that they have 'seen nothing at this point' in terms of problems within their supply chain caused by CO2 availability issues. However, the UK is one of Europe's largest users of CO2, and any disruption could have significant impacts on the food industry and beyond.

Tesco, the UK's largest supermarket chain, has issued a warning that its profits could decline in the upcoming year due to increased uncertainty caused by the conflict in the Middle East. This announcement comes on the heels of the company achieving its highest market share in a decade.In the year ending February 28, Tesco reported a profit increase of 8.5% to £2.4bn, with sales rising by 4.3% to £66.6bn, driven largely by strong growth in the UK. The retailer attributed its success to increased investments in keeping prices low and improving quality and service.Despite these positive results, Tesco has widened its profit guidance for the year ahead to £3bn to £3.3bn, citing the potential implications of the Middle East conflict on UK households and the broader economy. Ken Murphy, Tesco's chief executive, emphasized the company's commitment to keeping prices low and helping consumers navigate cost pressures.In a move to further enhance its pricing strategy, Tesco aims to make £500m in new savings in the year ahead, leveraging artificial intelligence (AI) to optimize price markdowns and finance tools.