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UK drivers are being urged to hunt for the cheapest petrol as they prepare for an estimated 21.7 million journeys over the Easter bank‑holiday weekend – the busiest on the roads since 2022. Data from the RAC shows that the average price of a litre of unleaded petrol jumped 20p in March, rising from 132.83p on 1 April to 152.83p on 31 April. This is the fastest monthly increase on record, eclipsing the previous high of 16.6p recorded in June 2022 after Russia’s invasion of Ukraine. RAC policy chief Simon Williams called the rise “unprecedented” but stressed that travellers should fill up as usual and seek the cheapest forecourts nearby ahead of the holiday rush. To ease congestion, National Highways will temporarily suspend 1,500 miles (2,400 km) of roadworks on motorways and major A‑roads in England from Thursday through Easter Monday. The AA predicts this will accommodate roughly 1 million additional trips compared with last year, with traffic expected to peak on Thursday when schools break up. Analysts warn that the sharp fuel‑price surge may curb spending on trips. Susannah Streeter, chief investment strategist at the Wealth Club, noted that shorter journeys and fewer on‑the‑road purchases, such as chocolate treats, are likely. AA survey data shows that just over half of travellers plan to drive less than 50 miles, 5 % expect journeys of 50‑100 miles, about 1 % aim for 100‑200 miles, and fewer than 1 % anticipate trips beyond 200 miles. Rail disruptions are set to push more motorists onto the motorways. Engineering works will suspend west‑coast mainline services between London Euston and Milton Keynes from Good Friday to 8 April, and there will be no trains on several routes—including Preston to Lancaster (4‑5 April), Winchester to Southampton, and Herne Bay to Ramsgate—while services between London Waterloo and Clapham Junction will be reduced. Despite domestic challenges, the travel trade body ABTA estimates that 2 million UK residents will travel abroad this weekend. EasyJet is gearing up for its busiest Easter period yet, planning to operate 16,000 flights from UK airports over the two‑week school break. Passengers heading to the European Union should also prepare for potential two‑hour delays due to the rollout of the EU’s Entry‑Exit System, which requires third‑country nationals, including UK travellers, to submit photographs and fingerprints before entering the Schengen area.

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.

Cambridge University is launching a four-week summer course in botany, inspired by a course taught by Prof John Stevens Henslow to Charles Darwin in the 1820s. The course will use original teaching materials, including plant specimens and illustrations, to teach students about botany.The course aims to address the gap in botany education in the UK, where the subject has largely disappeared as a standalone degree. Dr Raphaella Hull, acting head of learning for Cambridge University Botanic Garden, said that the course will teach students about botany using hands-on techniques and field excursions.The course is based on Henslow's pioneering approach to teaching botany, which emphasized the importance of observing and understanding plant diversity. Henslow's use of illustrations on his course was groundbreaking, and he is credited with influencing Darwin's later theory of evolution.Prof Sam Brockington, curator of Cambridge University Botanic Garden, said that the course is designed to be an immersive program in botany, and that Henslow's approach to teaching botany is still relevant today.

The film 'They Will Kill You' is a satirical take on the beat-em-up genre, offering a mix of gore, bad jokes, and deja vu. The story revolves around Asia, a new maid at the Virgil, a satanic co-op residence in New York, where she must navigate a world of satanic rituals and eternal life.The film's tone is pitched between a bloodbath and bath time, with a boyish strain of immaturity dominating the creative force. This is evident in the giddy, inventive approach to violence, where the narrative device of immortality unshackles the filmmaker from the laws of physics. The film's antic gore peaks with an extended interlude following a disembodied eyeball as it rolls down corridors and slingshots itself up an elevator shaft.The adolescent quality runs deeper than that, manifesting more overtly in the potty-mouthedness of the script and the ostentatious stylistic flourishes that are hand-me-downs from other filmmakers. The film's supporting cast is haphazardly assembled and half-assedly differentiated from one another, with Heather Graham and Tom Felton getting the most to do.Despite its sprightly fight choreography and retro synth arpeggios, the film's invoked inspirations and story components err on the side of the popular and well-trod. The received shtick grows worn before long, and the film's attempts at humor often fall flat. A good rule of (severed) thumb: if you're going to make a character quote Monty Python's immortal 'just a flesh wound' bit, you must yourself be capable of originally generating something at least as funny.

Bach's St John Passion is a masterpiece that comes close to being an opera, and this new recording by Pygmalion, conducted by Raphaël Pichon, brings out its theatrical qualities in spades. The ensemble's performance is razor-sharp throughout, with a vigorous engagement with the reflective chorale texts.The St John Passion relies on the Evangelist to narrate the bulk of the story, and Pichon is fortunate in having Julien Prégardien on tenor vocals. Prégardien's voice rises to an outraged shriek as he declares Barrabas a murderer, and his achingly florid recall of Peter's bitter tears is noteworthy.The soloists are also impressive, with Huw Montague Rendall bringing tonal richness and unswerving gravitas to the role of Jesus, and Christian Immler's agitated Pilate swinging back and forth like a tormented weathervane. Ying Fang's purity and Lucile Richardot's otherworldliness round off one of the most theatrical St Johns in the catalogue.