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Closing the Strait of Hormuz has choked a vital artery that carries roughly one‑fifth of the world’s crude oil and LNG, sending energy prices soaring and unsettling global trade. Even if the waterway reopens tomorrow, analysts say the ripple effects will endure for months. Nils Haupt, senior director of corporate communications at German carrier Hapag‑Lloyd, told Al Jazeera that the end of hostilities does not equate to the end of logistics challenges. “Once the bombardments stop, the real work begins,” he said, noting that hundreds of vessels will scramble for berths in Persian Gulf ports, creating a prolonged bottleneck for containers and bulk cargo. According to the International Maritime Organization, about 2,000 ships are currently stranded because of Iran’s partial blockade, with only a handful of vessels from “friendly” nations granted passage. Maritime‑intelligence firm Windward estimates that roughly 400 of those ships are anchored in the Gulf of Oman, waiting for a green light. Diverted traffic has already forced many carriers to reroute via the Suez Canal or take the far longer Cape of Good Hope passage, inflating transit times and costs for shipments bound for Asia and Europe. Oil exports from Saudi Arabia are now being sent around the Red Sea, bypassing the strait entirely. Svein Ringbakken, managing director of the Norwegian Shipowners’ Mutual War Risks Association, cautioned that even with ports operating at full capacity, clearing the backlog of oil, gas and other goods will take months. He added that repeated attacks on regional energy and transport infrastructure have compounded the problem. The International Energy Agency reports that more than 40 energy assets across the Middle East have suffered “severe or very severe” damage, prompting companies such as QatarEnergy, Kuwait Petroleum Company and Bahrain’s Bapco Energies to declare force majeure. Beyond the immediate loss of flow, the shutdown has disrupted exports of petrochemicals, fertilisers and raw materials essential for plastics production, further straining global supply chains. Industry leaders warn that the risk landscape has fundamentally shifted. SV Anchan, chairman of US‑based logistics group Safesea, highlighted the rise of asymmetric threats, including unmanned vessel attacks, which have already accounted for at least 18 confirmed assaults since the conflict began. “A full reopening will only bring normalcy after a sustained period of stability and credible security guarantees,” Anchan said. Insurance costs have exploded as a result. Marco Forgione of the Chartered Institute of Export & International Trade noted that hull and cargo premiums have surged up to 300 %, a pressure point that could force shipping firms to curtail operations if rates remain high. Oscar Seikaly, CEO of NSI Insurance Group, stressed that war‑risk coverage will only normalize when a “truly permanent” security solution is in place, not a partial one. Recent data from Lloyd’s List show that a few vessels have managed to obtain Tehran’s permission to transit, with one ship reportedly paying $2 million for the right to pass. Iranian lawmakers have also moved to formalise transit fees for the strait. Nick Marro, lead global‑trade analyst at the Economist Intelligence Unit, warned that the security guarantees demanded by shippers may be hard to meet, citing the volatile Red Sea experience where commercial traffic remains below pre‑2023 levels. Marro predicts that the Hormuz shutdown will accelerate a broader trend of route diversification, similar to the supply‑chain shifts triggered by the COVID‑19 pandemic. “Geopolitical uncertainty will become a permanent feature of risk management, not a temporary reaction,” he said. Seikaly echoed this outlook, suggesting that exporters will increasingly explore alternative corridors for strategic and political reasons, ultimately reducing traffic through the Strait of Hormuz over the long term.

Donald Trump announced over the weekend that he wants to "take the oil in Iran" by seizing control of Kharg Island, the strategic outpost through which roughly 90% of Iran’s oil exports flow. Experts say the remark underscores a blatant disregard for international law and exemplifies what they term “fossil‑fuel imperialism.” Patrick Bigger, co‑director of the Transition Security Project, described the approach as a "might‑makes‑right" logic that is both "abhorrent and spectacularly miscalculated." Trump is slated to give an update on the Iran‑U.S. conflict on Wednesday. He previously claimed the war could end within weeks, a statement that sent the stock market soaring on expectations of de‑escalation. Iran, however, has insisted it needs guarantees against future attacks before halting its counter‑offensive. The fighting continues, highlighted by an Iranian strike on a fully loaded crude tanker in Dubai and threats to "blow up and completely obliterate" Iran’s energy infrastructure if the Strait of Hormuz is not reopened promptly. Kharg Island, a five‑mile strip that handles the bulk of Iran’s oil shipments, along with its power plants and oil wells, has been singled out by Trump. He told the Financial Times that U.S. forces should take over the island and the oil stored there. "My favorite thing is to take the oil in Iran," Trump said, adding that critics in the United States are "stupid people." Amir Handjani, an energy lawyer at the Quincy Institute, warned that the statement "completely discredited" the war’s stated objectives and revealed a classic play for natural resources. Handjani noted that Trump’s desire to seize Iranian oil is not new; he voiced similar ambitions in a 1988 interview while promoting The Art of the Deal, saying he would "do a number on Kharg Island" if elected. The former president has also floated comparable ideas for Iraq, Syria and Venezuela, suggesting the United States could appropriate their oil to offset war costs or bolster strategic reserves. Handjani emphasized that international law provides no framework for waging war to capture sovereign nations' natural resources. From a military perspective, taking Kharg Island would be extremely challenging. Iranian missile defenses have rendered regional U.S. bases inoperable, meaning any assault would likely require a parachute insertion of Marines into heavy fire, with the risk of massive Iranian retaliation. Handjani warned that such retaliation could target oil export terminals across the Persian Gulf, potentially driving crude prices to $200‑$300 per barrel and destabilising the global economy. The conflict has already caused the largest-ever disruption to global energy supplies, killing thousands and sparking sharp fuel‑price shocks. While consumers bear the brunt, major fossil‑fuel companies are enjoying windfall profits. Bigger noted that higher oil prices benefit oil majors and are being used as a pretext to expand U.S. drilling, further entrenching reliance on carbon‑intensive fuels. According to Bigger, Trump’s rhetoric reveals a belief that "fossil fuels are a linchpin of his domestic industrial strategy," and that controlling oil equates to controlling global power. He argues that this mindset threatens the international order and hampers the transition to cleaner energy.

Glamorgan's cricket team is gearing up for their biggest season in years, back in Division One of the County Championship for the first time since 2005. A key player to watch is Asa Tribe, who had a standout performance last season, scoring a thousand runs and earning a spot on the Lions tour in the winter.Tribe's impressive form has not gone unnoticed, with England managing director Rob Key taking note of his unbeaten 129 against Australia A in the unofficial Test. His captain, Kiran Carlson, praises Tribe's work ethic and talent, comparing him to another Glamorgan star, Marnus Labuschagne.Tribe's journey to the top has been swift, moving from the Glamorgan second team to the first team, the Lions, and then a franchise gig with Paarl Royals in the South Africa T20 within a year. He remains focused on his goals, saying, 'There's a bit of talk around it and it's quite easy to get sucked up into that thinking, but if I don't put in performances like I did last season, it becomes irrelevant whether there's hype or not.'With his sights set on Test cricket for England, Tribe is determined to continue improving and making a name for himself in the cricket world. His teammate, Carlson, has no doubt that he'll achieve his goal, saying, 'I have no doubt that he'll play a lot of Test cricket for England. His ceiling's incredibly high.'

As Easter approaches, concert halls from London to Leipzig are flooded with performances of Johann Sebastian Bach’s masterpieces, most notably the St Matthew Passion and the St John Passion. Chart data from the Official Classical Chart, Apple Music’s classical rankings and specialist listings show Bach out‑performing every other composer, with releases such as Yunchan Lim’s take on the Goldberg Variations and Raphaël Pichon’s recording of the St John Passion leading the pack.Two vivid descriptors have captured the public’s imagination this week: “Bach the zombie” and “Bach the meat‑grinder.”strong> Violinist James Ehnes coined the former to highlight the music’s ability to survive any arrangement or re‑imagining, while Guardian critic Clive Paget used the latter to describe the relentless, visceral intensity of the opening chorus in Pichon’s St John Passion recording.The “meat‑grinder” metaphor points to Bach’s obsessive repetitions and searing harmonies that convey the raw agony of the Passion narrative. In contrast, the “zombie” image underscores the composer’s uncanny durability: his works thrive whether rendered for saxophone quartet, Wendy Carlos’s synthesizers, Leopold Stokowski’s lush orchestration, or even a mandolin played in a New York park.Bach’s presence on the silver screen further illustrates his cultural elasticity. His slow, stately rendition of the final chorus of the St Matthew Passion underscored Pier Paolo Pasolini’s 1964 film The Gospel According to St Matthew, while the haunting aria from the Goldberg Variations was famously chosen by Hannibal Lecter in The Silence of the Lambs as he prepares a gruesome act. These examples show how Bach can serve as both spiritual solace and chilling inspiration.Modern performers continue to reinvent the canon. Pianist Víkingur Ólafsson, who logged more than ninety performances of the Goldberg Variations in a single year, describes each rendition as a “religious pilgrimage” that reshapes the listener’s experience. Meanwhile, mandolin virtuoso Chris Thile released a second volume of Bach’s Sonatas and Partitas performed on his instrument in Tompkins Square Park. The recording captures ambient city sounds—birds, footsteps, fellow buskers—blending them with Bach’s intricate C‑major fugue to create what Thile calls “the effortless fugue of city life.”These diverse reinterpretations confirm a simple truth: Bach’s music is indestructible. Whether heard in a grand cathedral, a streaming playlist, or a bustling park, his compositions adapt without losing their core emotional impact. This Easter, listeners are invited to embrace Bach not as a relic confined to history, but as a living, breathing force that continues to energise and inspire across genres and generations.

The Artemis moon mission is a landmark international project that embodies the spirit of unity and cooperation. Over 50 years ago, the Apollo astronauts' photographs of Earth from the moon had a profound impact on society, highlighting our planet's fragility and finiteness.This new mission, involving 11 nations and 61 countries that have signed the Artemis accords, aims to revive that sense of unity and shared purpose. The crew of Artemis II, comprising calm, curious, kind, and thoughtful individuals, will fly around the moon and take photographs of Earth from a distance, potentially streaming the experience live.The mission's commander, Reid Wiseman, emphasizes that "we are going as humanity," while astronaut Christina Koch notes that "any country that's interested in exploring, come, come along, be a part of this." Victor Glover, set to be the first African American to fly to the moon, adds that space exploration teaches us that "we're all brothers and sisters."As the Artemis astronauts prepare to experience the profound view of Earth from the moon, they are accompanied by a tiny silicon disc of goodwill messages from world leaders, placed on the lunar surface by the Apollo 11 crew. This message, from Eric Williams, then prime minister of Trinidad and Tobago, reads: "It is our earnest hope of mankind that while we gain the moon, we shall not lose the world."The Artemis mission has the potential to inspire a new generation and promote global cooperation, serving as a reminder that we are "riders on the Earth together."

The moon is becoming a focal point for a new era of space exploration and exploitation, with multiple companies and countries racing to harness its resources. Interlune, a Seattle-based company, has raised $18m to fund its efforts to mine the moon for Helium-3, a rare gas that could become vital in quantum computers and nuclear fusion.Helium-3, deposited on the moon's surface over billions of years by the solar wind, is used in medical imaging but is in extremely short supply on Earth. Rob Meyerson, founder of Interlune, believes that extracting this resource could be economically viable due to its high value.Private access to space has become more feasible through companies like Blue Origin and SpaceX, making lunar mining a possibility. Interlune plans to send a multispectral camera to the lunar south pole to assess Helium-3 concentrations and is working towards a future mission called 'Prospect Moon' to gather samples.The lunar mining initiative raises questions about environmental impact and the ethics of extracting resources from the moon. Critics argue that history has shown pioneers rushing into unknown frontiers and causing irreparable damage. There are concerns about preserving the moon's pristine environment and protecting sites of extraordinary scientific importance.Legal aspects of moon mining are also unclear, with the 1967 Outer Space Treaty prohibiting national claims of ownership but making no reference to commercial activities. Despite these challenges, Interlune and other companies are pushing forward, with China also actively exploring the moon's resources, including Helium-3.

The UK has been identified as the most vulnerable country in Europe to potential jet fuel shortages as the Iran war disrupts supplies from the Gulf, according to Ryanair CEO Michael O'Leary. O'Leary stated that Britain's reliance on Kuwait for approximately 25% of its jet fuel supply makes it particularly exposed to shortages. He emphasized that even if there is a surplus of jet fuel in the Middle East, the logistics of shipping it to Europe remain uncertain.Jet fuel prices have surged, averaging $195 a barrel last week, more than double the average from the previous year. This increase is largely attributed to the effective closure of the Strait of Hormuz, a critical passage through which over a fifth of the world's oil normally passes.While oil prices eased slightly after US President Donald Trump expressed hope for an end to the Iran war within two to three weeks, the situation remains precarious for airlines. Ryanair has hedged 80% of its fuel costs until next March at $67 a barrel, but O'Leary highlighted that supply disruptions, rather than prices, pose the greater risk.The airline industry faces potential flight cancellations and capacity reductions if fuel supply issues persist. O'Leary also mentioned that higher fares could be a possibility, although there are currently no plans to increase prices. Additionally, he called for the UK government to abolish air passenger duty (APD), a tax that recently increased, further impacting the competitiveness of UK air travel.

The Victoria & Albert Museum in London has once again opened its doors to the world of video games, hosting an event that showcased independent games and immersive experiences. This was part of its long-running Friday Late series, a collaboration with the London Games Festival that explored the link between play and performance.Visitors to the museum were treated to a variety of experiences, including the opportunity to play the Bafta-winning comedy game Thank Goodness You’re Here! on a giant screen beneath a 13th-century spiral staircase. Others could engage with Sex With Friends, a physics-based puzzle game that had spectators in stitches.The event also featured live-coding electronic music and a range of interactive installations. One highlight was Robot Karaoke, a performance project by comedian and writer Jamie Brew that used an algorithm to generate new lyrics to classic pop songs.Curators emphasized the importance of showcasing video games in a museum context, highlighting their cultural significance and encouraging visitors to engage with them in new and innovative ways. The event was part of a broader effort to bring games and play back into the museum, following a successful exhibition in 2018.The London Games Festival will bring similar experiences to venues throughout the city in April, and there are similar events taking place around the world, including the Overkill festival in the Netherlands and A MAZE in Berlin.

The latest production of Romeo and Juliet brings a modern twist to Shakespeare's timeless tale, with Sadie Sink and Noah Jupe stepping into the iconic roles of Juliet and Romeo, respectively. This adaptation, directed by Robert Icke, presents a hipsterishly modern-dress interpretation that sometimes feels overburdened by its directorial flourishes. Sink, known for her role as Max Mayfield in Stranger Things, makes her West End debut as Juliet, bringing an intense and quirky neurotic energy to the character. Her performance is complemented by Jupe's portrayal of Romeo, showcasing a sweet and pure chemistry that captures the essence of first love. Their on-stage presence is undeniable, making their characters' tragic fate all the more poignant. The production features a range of inventive elements, including a digital clock that ticks down the hours leading to the tragic conclusion and alternative scenes that explore a universe where the couple's fate is averted. While these choices are ambitious, they sometimes feel like overthinking. Nonetheless, the central performances by Sink and Jupe anchor the production, elevating it above its directorial excesses. Supporting performances, including Clare Perkins as the cocky and endearing Nurse and Kasper Hilton-Hille as the mischievous Mercutio, add depth and humor to the production. The stage design, featuring a central bed and minimalist set, effectively underscores the themes of passion and tragedy. Despite some missteps, the production ultimately succeeds due to the compelling performances of its leads. With its blend of traditional and modern elements, this Romeo and Juliet offers a fresh perspective on a classic tale, making it a must-see for both Shakespeare enthusiasts and newcomers alike.