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South African opposition politician Julius Malema has been sentenced to 5 years in prison for firing a rifle in the air at a party rally. Malema, the leader of the far-left opposition Economic Freedom Fighters (EFF), was handed the sentence by Magistrate Twanet Olivier on Thursday.Malema was convicted last year of charges, including unlawful possession of a firearm and discharging a weapon in a public place over the 2018 incident at a stadium in the Eastern Cape province.The 45-year-old leader of the fourth-biggest party in parliament had pleaded not guilty, arguing the gun was a toy. His defence said the shots were only intended to be celebratory.“It wasn’t … an impulsive act,” the magistrate said. “It was the event of the evening.”The court sentenced Malema to 5 years for unlawful possession of a firearm and 2 years for unlawful possession of ammunition. It gave him fines for three other offences, including discharging a firearm in a built-up area, with prison time if he doesn’t pay. The sentences will run at the same time.Within minutes of the magistrate’s decision being read out in the court in KuGompo City, Malema’s lawyers applied for leave to appeal – a request that was later granted.Meanwhile, outside the court, hundreds of Malema’s red-clad EFF supporters gathered for the sentencing in the politically charged case.The EFF – a small but vocal party – says the case is an attempt to silence its outspoken leader, who is known for fiery speeches. Party supporters have threatened protests should their leader be jailed.The magistrate stressed it “is not a political party who has been convicted here … it is a person, an individual.”The maximum possible sentence was 15 years in prison. If confirmed after all appeals, Thursday’s 5-year sentence would bar Malema from serving as a lawmaker.That would be a major setback to the EFF, which has strong support among young South Africans frustrated by the racial inequality that has persisted since the end of white minority rule in 1994.

For the first time in Hollywood history, an authorized generative‑AI version of a major star headlines a feature film. The western As Deep As the Grave showcases a digitally recreated Val Kilmer, whose voice was synthesized by UK‑based firm Sonantic using archival recordings. The project, delayed by Kilmer’s death in April 2025, received full cooperation from his estate and his daughter Mercedes, who helped craft the visual deep‑fake of the actor. Mercedes Kilmer confirmed that her father embraced emerging technologies as a storytelling tool, a sentiment the filmmakers say they honored throughout production. At Wednesday’s CinemaCon trade show in Las Vegas, the trailer revealed that Kilmer’s character, Father Fintan—a Catholic priest and Native American spiritualist—appears for roughly one hour of screen time. The footage shows the priest at different ages, including a spectral elder who advises a child, “Don’t fear the dead and don’t fear me.” Writer‑director Coerte Voorhees explained that the narrative was built around Kilmer’s heritage and his love of the Southwest. He added that the production adhered to SAG‑AFTRA guidelines and that the estate was financially compensated for the use of archival material. The film also stars Tom Felton, Abigail Breslin and Abigail Lawrie. In a March interview with Variety, Voorhees noted that Kilmer’s family repeatedly emphasized the project’s importance to the late actor. The Kilmer case follows a growing trend of AI‑generated performances. In 2022, Bruce Willis consented to a digital twin after a dementia diagnosis, while actors such as Matthew McConaughey and Michael Caine have licensed their voices to AI firms for approved uses. Estates of legends like Laurence Olivier, Judy Garland and James Dean have similarly partnered with the marketplace ElevenLabs. Beyond film, celebrities are exploring AI for digital meet‑and‑greets; Paris Hilton and Kendall Jenner have reportedly signed deals with Meta for AI‑powered appearances on Instagram, and users can even query an AI version of Deepak Chopra for advice on a range of topics. Nevertheless, some stars remain cautious. Morgan Freeman, Tom Hanks and Scarlett Johansson have publicly expressed skepticism about deep‑fake replicas of their likenesses.

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 EU's new entry-exit system (EES) has caused significant delays at several European airports, with travellers waiting up to three hours at border checks. The system, which came into effect on Friday in the Schengen countries, requires passengers from non-EU countries to register their personal information and biometrics at the border.Passengers in airports in countries such as France, Germany, Belgium, Italy, Spain, and Greece are experiencing several hours of waiting at border checks, according to the Airports Council International (ACI) body. Olivier Jankovec, the director of the ACI European division, warned that the situation will be "simply unmanageable" in the coming weeks and peak summer months.The EES has been gradually introduced since October and has already caused long delays at some airports. On Sunday, the BBC reported that more than 100 passengers were unable to board an easyJet flight from Milan to Manchester before it took off due to delays at passport desks.Airport representatives and the European Commission held a meeting to discuss problems with the system on Tuesday. The ACI has asked to extend existing exemptions and the power to fully suspend the new checks. Jankovec told the FT that the ACI needed the ability to "fully suspend EES registration whenever there are excessive waiting times at border control that are just unmanageable".A spokesperson for the European Commission said that the system is working well, with an average registration time of 70 seconds per passenger. However, the ACI has claimed that it can take up to five minutes. The commission said that there were a "few member states where technical issues have been detected" but that they "are being addressed".The EES has registered more than 52m entries and exits, as well as more than 27,000 refusals of entry, since its introduction in October. Almost 700 people were identified as posing a security threat.

The International Monetary Fund (IMF) has revised its global economic growth forecast downward to 3.1 percent this year, citing the impact of rising tensions between the United States and Iran on energy and food costs worldwide.The downgrade comes as Iran has retaliated against US and Israeli actions by closing the Strait of Hormuz, a critical chokepoint for oil and gas supplies, and attacking energy infrastructure in the region. This has driven up oil prices and squeezed oil and gas supplies, affecting countries reliant on these imports.The IMF's new forecast represents a slowdown from its earlier projection of 3.3 percent growth, made before the escalation of tensions. It also marks a decline from 3.4 percent growth in the previous year. The fund warns that some regions and countries will be hit harder than others.Iran's economic outlook saw one of the largest country-level revisions, with a forecast contraction of 6.1 percent in 2026, down from an initial small growth forecast. The IMF also cut GDP growth forecasts for Saudi Arabia from 4.5 percent to 3.1 percent.The IMF's Chief Economist, Pierre-Olivier Gourinchas, noted that the current hostilities in the Middle East pose significant policy trade-offs, including fighting inflation and preserving growth. The fund anticipates higher global inflation at 4.4 percent, up 0.6 percentage points from its January forecast.Experts warn that continued strains in the Strait of Hormuz could worsen inflationary pressures. For instance, a sustained $60 increase in gas prices above the average price could put the US firmly in recession territory.Oil prices have dropped on hopes of resumed talks between Iran and the US, with Brent crude futures falling to $95.02 per barrel and West Texas intermediate crude dropping to $91.84. However, prices remain much higher than before the Iran war.

The International Monetary Fund has announced that the United Kingdom will grow 0.5 percentage points slower this year than it forecast in January, marking the steepest downgrade among the G7 economies. Against the backdrop of the escalating Iran war, the IMF warned that inflation is climbing toward 4% and that unemployment could hit its highest level in more than ten years, underscoring the widening economic strain on Britain. Labour Chancellor Rachel Reeves is set to attend the IMF and World Bank spring meetings in Washington, where she must navigate both the geopolitical fallout of a conflict not of the UK's making and a domestic fiscal squeeze. Even before the war, the UK entered the year with tepid growth, hampered by lingering tax uncertainties and a cost‑of‑living crisis that left households facing the highest inflation rates in the G7. IMF economic counsellor Pierre‑Olivier Gourinchas highlighted that the country's weak outlook is partly a “shadow effect” of its already sluggish growth, compounded by the war’s impact on global energy supplies—the biggest shock since the 1970s. The United Kingdom’s energy mix remains heavily dependent on gas, much of which is now imported at sharply higher market prices. As Gourinchas explained, higher gas costs are being passed through to wholesale energy prices, even though temporary household protections are in place. Reeves has signalled that her immediate priority at the IMF will be to advocate for de‑escalation of the Iran conflict. At the same time, she must contend with a public‑finance situation characterized by elevated debt and rising borrowing costs, limiting the government’s capacity to respond. Given the pressure on consumers and Labour’s lagging poll numbers ahead of the May local elections, the IMF expects the UK to roll out targeted emergency financial support in the short term. Looking further ahead, the fund urges Britain to insulate itself from future energy shocks by accelerating investment in renewable sources and fostering sustainable economic growth.

The International Monetary Fund (IMF) has issued a stark warning that a further escalation in the Iran war could lead to a global recession, spiralling inflation, and a sharp backlash in financial markets. The Washington-based fund cited the economic damage from the Middle East conflict as steadily rising, prompting it to cut its growth forecasts for 2026.In its half-yearly update, the IMF predicted that the UK would suffer the sharpest growth downgrade and joint highest inflation rate in the G7 this year. Even if the fallout from soaring energy costs can be contained by the middle of 2026, the fund warned of a close call for a global recession under a worst-case 'severe scenario'.This severe scenario, involving a drawn-out war and persistently higher energy prices, would see the world face a global recession for only the fifth time since 1980. Oil prices jumped back above $100 (£74) a barrel on Monday amid choppy trading in global markets. The IMF's chief economist, Pierre-Olivier Gourinchas, noted that despite a temporary ceasefire, some damage is already done, and downside risks remain elevated.The IMF set out three possible scenarios for the war in its World Economic Outlook (WEO), including a central 'reference forecast' based on the assumption that disruption to the world economy from the war fades by mid-2026. This forecast predicts global growth would fall from 3.4% last year to 3.1% in 2026, a downgrade of 0.1 percentage points.Under the adverse scenario, with the global oil price remaining at $100 this year before falling back to $75 in 2027, growth would fall to 2.5% this year, and inflation would rise to 5.4%. In the severe scenario, with a lengthier, intensive war keeping the oil price above $110 into 2027, global growth would collapse to about 2%, a threshold widely seen as equivalent to a worldwide recession.The IMF urged countries to stage a coordinated response to the economic fallout from the war and called on central banks to remain vigilant. It also advised governments to focus on temporary and targeted measures to support businesses and households.

The Olivier Awards, a prestigious event in the theatre world, recently took place, and among the many memorable moments were the quotes shared by the winners. Host Nick Mohammed kicked off the ceremony with a lighthearted remark about the opening gondola scene from Phantom of the Opera, joking that it wasn't Cunard's boat, but rather Andrew Lloyd Webber's mode of transportation.Cole Escola, playwright of Oh, Mary!, expressed gratitude to a rather unconventional recipient: "my amazing husband, who doesn’t exist". This humorous comment set the tone for a night filled with both laughter and heartfelt acknowledgments.Elaine Paige, a special award winner, shared the secret to her long-lasting career, attributing her success to her father's motto: "perseverance furthers". This insight into her personal life added a touching element to the evening.Rachel Zegler, winner of the best actress in a musical for her role in Evita, recalled her experience performing in the Palladium balcony, calling it "the honour of a lifetime". Her sentiment encapsulated the pride and gratitude felt by many of the winners.Rosamund Pike, best actress winner, reflected on the challenges of balancing life and art, acknowledging the support of her family and partner. Her words resonated with the audience, highlighting the importance of a strong support system.The ceremony also saw Jack Holden win the surprise best actor award, who, upon hearing his name, jokingly asked, "It was definitely me, was it?". This lighthearted moment brought humor to the event.Throughout the evening, winners shared their appreciation for their loved ones and mentors. James Hameed thanked his dad, who had come to London to chase his dreams, showcasing the impact of family on one's journey to success.

Rachel Zegler has hailed the accessibility of Evita's free balcony scene, which became a landmark moment for London sightseers during the show's run last summer. The scene, which featured Zegler performing 'Don't Cry for Me Argentina' from the balcony of the London Palladium to crowds gathered on the street below, was a groundbreaking moment in theatre. At the Olivier awards on Sunday night, Zegler delivered the song again – this time on the stage of the Royal Albert Hall – and took home the award for best actress in a musical. Host Nick Mohammed noted that Zegler had become 'a new landmark for London sightseers' during Evita's run, allowing people who hadn't bought a ticket to watch the performance live for free on a giant screen. Zegler described Evita's director, Jamie Lloyd, as a 'genius' for staging the scene in such a way, giving 'a piece of theatre, just in the street' to young people who may not be able to afford West End ticket prices. 'It's so beautiful that Jamie Lloyd made such an accessible moment of theatre for people to walk by and witness something really, really cool,' she said. The actor, whose musical films include West Side Story and Snow White, praised Londoners for making her feel welcome and described those who had waited outside to watch the balcony scene as being 'so giving with their energy and love'. Zegler also acknowledged the difficulty of replicating the balcony scene, but she and Andrew Lloyd Webber have spoken of their hope that Evita will transfer to Broadway. Evita picked up two awards from five nominations at the Olivier awards, with choreographer Fabian Aloise also recognised for his work. The show was beaten to the prize for best musical revival by Into the Woods at the Bridge theatre.