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Israeli military chief Eyal Zamir authorized five soldiers from the Force 100 unit to resume reserve service after the top military prosecutor dismissed all charges linked to an alleged sexual assault on a Palestinian detainee at the Sde Teiman detention camp. The decision comes while an internal military inquiry into the soldiers’ conduct remains open; Israeli Army Radio reports that some of the reservists have already been redeployed to active combat roles. In a statement cited by Haaretz, the army emphasized that “the investigation does not prevent them from continuing to serve … the command‑level investigation will be completed as soon as possible.” Charges were withdrawn last month by Israel’s senior military lawyer, ending a case that had become one of the most contentious in recent Israeli history. The original indictment alleged that the soldiers stabbed the detainee with a sharp object near his rectum, causing cracked ribs, a punctured lung and an internal tear. Prison doctor Yoel Donchin told reporters he was initially shocked by the severity of the injuries, assuming they were inflicted by a rival armed group. Military Advocate General Itay Offir explained that the indictments were scrapped due to “complexities in the evidentiary structure” and “difficulties” arising after the detainee’s release to the Gaza Strip. Human‑rights organisations, led by Amnesty International, condemned the reinstatement as “yet another unconscionable chapter” in a legal system they say routinely grants impunity for grave crimes against Palestinians. The group noted that only one Israeli soldier has ever been sentenced for torturing a Palestinian detainee. Broader reports, including a February study by the Committee to Protect Journalists, document widespread abuse—ranging from beatings and starvation to sexual assault—experienced by Palestinians held in Israeli custody.

Hull FC's fans and players came together in a heartfelt display of unity and support for coach John Cartwright following the team's loss to St Helens. The emotional show of solidarity came as Cartwright's future with the club hangs in the balance after a tumultuous 10 days.The match saw St Helens secure a 24-14 victory at the MKM Stadium, but the focus was on Cartwright as the game ebbed into its closing moments. The big screen inside the stadium panned to the coach, prompting a stadium-wide round of applause from the fans, despite Hull FC heading for a fifth league defeat in eight games.At full time, hundreds, if not thousands, of fans stayed to applaud Cartwright once again as he conducted his media duties. This display of unity from Hull FC's fans towards their coach mirrored the spirited performance from Cartwright's players on the field.The reason for such emotion was clear: this had all the hallmarks of Cartwright's last stand in charge of Hull after a tumultuous 10 days. The Black and Whites confirmed last week that Cartwright would leave at the end of the season, with the club already understood to have agreed a deal to bring in Steve McNamara next year.Cartwright responded on Monday by expressing his feelings of being 'betrayed and disrespected' by the club's lack of communication over that decision. With time to consider whether an early parting of the ways is the best course of action, Cartwright may have actually coached Hull for the final time.“I honestly don’t know,” Cartwright said when asked what happens next. “I’ll let the dust settle on that. I’ve got a couple of meetings early next week and then we’ll find out. They’re very passionate fans and they’ll have their opinion on something and they’ll make it known. It means a lot to me to see it.”Despite the loss, Hull were superb in the first half, leading 12-6 by the break thanks to tries for Logan Moy and Amir Bourouh. However, St Helens, led by coach Paul Rowley, showed their resilience and navigated an emotionally charged evening to go top of the table.The final act of this night belonged to Cartwright, who, after his media duties, walked down the tunnel with his players in one last show of unity. His players have displayed how they feel; now it is down to Hull’s hierarchy to show their hand.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.

US President Donald Trump has launched a scathing attack on Italian Prime Minister Giorgia Meloni, one of his key European allies, over her stance on the conflict with Iran. In an interview with the Italian daily Corriere della Sera, Trump expressed his disappointment, stating, “I’m shocked at her. I thought she had courage, but I was wrong.”Trump's criticism centers on Meloni's refusal to join the US-Israel coalition against Iran, a stance that has put her at odds with Trump. “She’s unacceptable because she doesn’t mind that Iran has a nuclear weapon and would blow up Italy in two minutes if they had the chance,” Trump said. This statement underscores the deepening divide between the US and Italy on the issue.Meloni, who has been Italy's leader since October 2022, was once considered one of Trump's closest allies in Europe. However, their relationship has soured recently. Trump noted that they had not spoken in a long time, adding, “She doesn’t help us with NATO. She doesn’t want to help get rid of a nuclear-weaponed Iran. Very sad … She’s much different than I thought,” highlighting his disappointment in Meloni's shift away from his policies.The rift between Trump and Meloni comes as Italy has suspended a defense agreement with Israel, which involves the exchange of military equipment and technology research. This move follows accusations by the Italian government that Israeli forces fired warning shots at a convoy of Italian peacekeepers in Lebanon. Tensions between Italy and Israel have been escalating, adding another layer of complexity to the situation.In response to Trump's comments, Meloni's allies and political opponents rallied to her defense. Foreign Minister Antonio Tajani emphasized Italy's commitment to Western unity and mutual respect, stating, “We are and remain staunch supporters of Western unity and steadfast allies of the United States, but this unity is built on mutual loyalty, respect, and honesty.” Elly Schlein, leader of the centre-left Democratic Party, condemned Trump's “serious lack of respect” and reiterated Italy's constitutional repudiation of war.

England Test captain Ben Stokes has revealed that he feels fortunate to be alive after undergoing surgery for a broken cheekbone sustained during a cricket training session. The incident occurred when Stokes, 34, was hit in the face by a cricket ball while coaching young players at his domestic county side Durham in February.Stokes required major facial surgery to repair the damage and has since expressed his gratitude for a positive outcome, acknowledging that the situation could have been much worse. He mentioned that if he hadn't turned his head at the right moment, the consequences could have been fatal.“I copped one straight in the face,” Stokes told the England and Wales Cricket Board. “Pretty nasty but, funnily, probably the best result of a bad situation, to be honest. Just a couple of inches one way or the other, I might not be here doing this interview, if I didn’t turn my head round.”Stokes is set to return to action in two first-class County Championship games next month and is expected to lead England in their home Test series against New Zealand starting on June 4. The team is looking to bounce back from a 4-1 Ashes defeat in Australia.In addition to his injury update, Stokes also downplayed reports of a rift with England coach Brendon McCullum, emphasizing their shared goal of achieving success with the team. Stokes and McCullum have implemented an aggressive style of play known as “Bazball,” which has been under scrutiny following England’s recent performance.

Pet owners in Britain may soon be barred from purchasing flea‑control products for cats and dogs at local shops. The government has opened an eight‑week public consultation to consider restricting sales to veterinarians or pharmacists, arguing that professional oversight will ensure correct usage and reduce environmental harm. Current regulations allow these topical treatments—containing potent insecticides such as fipronil and imidacloprid—to be bought in any pet store. Once applied, the chemicals disperse into the animal’s fur, enter waterways through washing or swimming, and have been linked to songbird nest failures and massive bee mortality. Water minister Emma Hardy emphasized the government’s commitment to “restore nature and clean up our rivers,” noting that while the products are vital for pet health, their distribution should be limited to professionals who can advise on safe application. Research funded by the Veterinary Medicines Directorate (VMD) found that pet owners’ use of these treatments contributes to detectable levels of fipronil and imidacloprid in rivers and lakes. Environment Agency data reveal fipronil residues in 98% of water samples and imidacloprid in 66%, often exceeding toxicity thresholds for aquatic insects. One monthly flea treatment for a large dog contains enough imidacloprid to kill 25 million bees, underscoring the broader impact on pollinator populations. In the UK, fipronil is an ingredient in 66 veterinary products, while imidacloprid appears in 21. Abigail Seager, chief executive of the Veterinary Medicines Directive, acknowledged the dual role of these chemicals in protecting pets and people from parasites, but warned that “they are entering our waterways and may be having wider environmental impacts.” She called for diverse stakeholder input to balance medicine availability with ecological protection. The consultation follows a recent governmental pledge to ban imidacloprid and two other neonicotinoids—clothianidin and thiamethoxam—from agricultural use, reflecting a broader strategy to safeguard biodiversity.

A Chinese national has been sentenced to one year in prison and fined by a Nairobi court for attempting to smuggle thousands of ants out of Kenya, a lucrative trade in east Africa that was exposed last year.The insects are mostly destined for China, the US, and Europe, where they become pets and can be worth about $100 each.Ant smuggling made headlines last year when two Belgian teenagers were arrested in possession of nearly 5,000 ants, mostly stored in small test tubes. They were fined about $7,700.Zhang Kequn, who evaded capture until his arrest on 10 March, had been linked to another case involving two people, one Vietnamese and one Kenyan.More than 2,200 ants – including 1,948 prized Messor cephalotes – were found in test tubes in Zhang’s luggage at Nairobi’s international airport that was destined for China.He was initially charged with wildlife trafficking without a permit and conspiracy, which carries a seven-year sentence, his lawyer said. He pleaded guilty after latter charge was dismissed.At the court in Nairobi, the judge, Irene Gichobi, described Zhang as lacking in remorse and “not an entirely honest person”.She said he would be fined 1m Kenya shillings ($7,700) and handed down a one-year jail sentence, after a 14-day appeal. She said he would then be “referred to his home country”.“There is need for a stiff deterrent sentence,” she said, noting the “rising cases of dealing in large quantities of garden ants and the negative ecological side-effects”.

Spain's government has approved an ambitious amnesty program aimed at granting legal status to an estimated 500,000 undocumented immigrants. This move, passed by Prime Minister Pedro Sanchez's administration, is set to open the application process on April 16. By taking this step, Spain diverges from the trend in Europe and other parts of the world where anti-immigration sentiments are on the rise.The decree, which amends immigration laws, was fast-tracked to bypass parliament, where Sanchez's left-wing government lacks a majority. This measure had previously failed to gain approval from lawmakers. Under the plan, eligible migrants can seek a one-year residency and work permit if they meet certain conditions, such as arriving in Spain before January 1, living in the country for at least five months, and having no criminal record.Migration Minister Elma Saiz announced that applications can be submitted online starting Thursday and in person from April 20, with the window closing on June 30. After a year, those granted the temporary measure will be eligible to apply for other work or residency permits. Sanchez described the move as “an act of justice and a necessity”, emphasizing the demographic challenges Spain faces with an ageing society.The opposition, led by Alberto Nez Feijo of the People's Party, criticized the move as “inhumane, unfair, unsafe, and unsustainable”. However, it's worth noting that the centre-right party itself carried out mass legalizations of migrants in the early 2000s when it was in power. The government estimates that around half a million people could be eligible, though analysts suggest the figure might be higher.A union representing immigration officers has demanded more resources, warning that the government is unprepared for the challenge. Sanchez argued that “without new people working and contributing … prosperity slows”, highlighting that migrants have been crucial to Spain's economic growth, which is currently the fastest in Europe.

Celebrating two decades since its West End debut, Avenue Q is back at London’s Shaftesbury Theatre until 29 August, offering a refreshed version of the Broadway‑to‑London hit that originally won Tonys for Best Musical, Book and Score.The revival, billed as a “love letter to the original”, is helmed once again by Jason Moore – the director who first staged the show in 2006. At 55, Moore admits that returning to a work he originally conceived is unusual, but he sees the anniversary as an opportunity to upgrade the show’s scale, technical ambition and cultural sensitivity.Created by composers Robert Lopez and Jeff Marx with book by Jeff Whitty, the musical blends colourful Sesame‑Street‑style puppets with adult themes such as sex, racism, housing crises and existential angst. While the core story remains, the production team has added contextual notes to jokes that might puzzle Gen‑Z audiences – for example, the reference to 1980s sitcom star Gary Coleman is retained but clarified for modern viewers.Moore’s casting criteria emphasise a youthful “innocence” and a strong aptitude for puppeteering. As actor Emily Benjamin explains, performing through a puppet is an “ego death” that forces the performer to shift focus from self to the character, reducing vocal anxiety and deepening emotional honesty.Behind the scenes, puppet director Iestyn Evans coordinates a complex choreography where human actors operate hand‑and‑rod puppets in full view, interacting simultaneously with fellow performers. This layered performance style demands precise timing, especially when tackling songs like “Everyone’s a Little Bit Racist” and “If You Were Gay”, which have sparked whole‑company discussions about their relevance and sensitivity today.Moore acknowledges that the show’s transgressive edge – famously illustrated by “naked puppets having sex” – still feels bold, even as contemporary West End productions such as Oh, Mary! and The Book of Mormon have pushed similar boundaries. He argues that the musical’s core questions – “how do you give your life meaning?” – remain timeless, and that the updated production aims to engage a new generation of audiences.As Benjamin puts it, “they might just be little cloth things, but people can often empathise with something that isn’t real more directly than with a human being telling the same story.” The revival therefore hopes to prove that puppetry can still provoke, entertain and resonate in today’s cultural climate.