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England's hopes of winning the Women's Six Nations title have been hit by a series of setbacks, including injuries and pregnancies. Prop Hannah Botterman has been ruled out of their opener against Ireland with an ankle injury, and her participation in the tournament is uncertain.The team is already dealing with several injuries, two retirements, and four pregnancies, including that of Rosie Galligan, whose partner is England teammate Marlie Packer. Coach John Mitchell said that Botterman's ankle is not yet mechanically sound, and they will have more information on her return timeline next week.England remain favorites for the grand slam, but Mitchell acknowledged that the team has been affected by the post-World Cup euphoria. Ellie Kildunne will start at full-back, with Claudia Moloney-MacDonald and Jess Breach on the wings. New captain Meg Jones, who took over from pregnant Zoe Stratford, will start at outside centre.Mitchell believes that the team has built a legacy and has the opportunity to create a dynasty. However, he also acknowledged that there will be challenges along the way, including a Lions tour in 2027 and the fact that several players are becoming mothers.

What would Henrik Ibsen’s iconic heroine Nora look like in today’s Britain? In this bold re‑imagining, playwright Anya Reiss transports the 19th‑century drama into a world of high‑salary banking, social‑media façades and post‑pandemic consumer excess. Set against a sleek, white‑goods‑strewn stage designed by Hyemi Shin, the story follows Nora (played by Romola Garai) as the wife of a lucrative London banker, Torvald (Tom Mothersdale), who is also battling drug addiction. Though presented as a “trophy wife”, Nora is far sharper than her husband realises – she has secretly rescued the family from financial collapse and funded Torvald’s recovery, all while maintaining a veneer of festive, pre‑Christmas splurging. The familiar Ibsen plot points survive the update: a blackmail threat from Torvald’s colleague Nils Krogstad (James Corrigan) and a visit from the destitute, marriage‑for‑money‑failed friend Kristine (Thalissa Teixeira). Their interactions expose the tension between outward affluence and hidden desperation. Reiss’s version is unmistakably contemporary, peppering dialogue with references to Instagram, a stock market rattled by conflict in the Middle East, and the relentless pursuit of material status. This backdrop reframes the marital power struggle as a clash of class and modern capitalism, asking whether love can ever be insulated from market forces. Despite the heavy thematic load, the cast delivers a series of compelling performances. Garai’s Nora oscillates between calculated seduction – even donning a provocative nurse’s outfit for a flirtatious dance – and a keen intellect that refuses to be reduced to a mere commodity. Her portrayal suggests that, for Nora, the body has become a form of currency, yet she remains acutely aware of the performative nature of both marriage and motherhood. Notably, the children appear only through baby‑monitor audio, a deliberate choice that underscores the couple’s emotional distance and mirrors the original’s focus on Nora’s internal emancipation. The climax arrives in a charged confrontation where Nora questions, “Is love meant to be subject to the market?” The line encapsulates Reiss’s preoccupation with the commodification of intimacy, even as it feels like a summarising refrain rather than a fresh revelation. Ultimately, the production offers a nuanced, if occasionally over‑engineered, vision of Ibsen’s feminist aspirations. It hints at a future where Nora and Torvald might seek couples therapy to untangle their financial and emotional entanglements – a decidedly modern resolution. A Doll’s House runs at the Almeida Theatre, London, until 23 May.

The son of a British couple detained in Tehran on espionage charges has called on Keir Starmer to prioritize their case in the “very opportune moment” of a ceasefire in the Iran conflict.Lindsay and Craig Foreman, from East Sussex, were arrested while on a five-day trip across Iran in January last year and have been held in Evin prison for 15 months.As Starmer visits the Gulf to discuss efforts to uphold the ceasefire, the couple’s family have called on the prime minister and the foreign secretary, Yvette Cooper, to raise the case in all diplomatic discussions.Lindsay’s son, Joe Bennett, said: “If peace is genuinely part of the agenda, then that has to include the release of innocent people. I don’t see how it can be peaceful and that’s the case.”The 31-year-old said it was a “very opportune moment” for the prime minister, and the government should “take courage” from the release this week of two French citizens. Cécile Kohler and Jacques Paris had been detained in Iran for almost four years on espionage charges and were also held in Evin prison before they were released but barred from leaving Tehran.“Macron was incredibly vocal, he was championing above all else, and I think that’s where we can take some courage and have a look at how do we apply that kind of pressure in the right way,” said Bennett. “There’s a genuine opportunity for resolution here.”The UK government has faced claims that it is in denial about the extent of hostage-taking by foreign states and has failed to fulfil its promise to appoint a special envoy to combat the issue.Bennett has been campaigning for the couple’s release with significant cross-party parliamentary support. Despite several meetings with the foreign secretary, and a hearing into their case held by the all-party parliamentary group on arbitrary detention and hostage affairs, he said there had been no visible progress in 15 months.On Thursday morning, Bennett spoke with his mother in Evin prison. The past 48 hours had been tumultuous, he said, after a supposed ceasefire was agreed on Tuesday, little more than an hour before a self-imposed deadline by Donald Trump, who had threatened Iran’s “whole civilisation” would die if it did not meet his demands.The comments made Bennett feel “pure fear” until news of the two-week ceasefire was announced. The potential for peace talks had given the couple some hope that “they’ll be fought for” by the UK government, he said.“Yvette Cooper called it unjustifiable and that she would be fighting relentlessly to get them home. I need to see signs of that,” said Bennett.Despite a UN legal submission, significant cross-party parliamentary support, and several meetings with the foreign secretary and a hearing into their case by UK parliamentarians from the APPG on arbitrary detention and hostage affairs, he said there has been no visible progress to date towards securing their release.A Foreign Office spokesperson said: “The UK government continues work to safely return Craig and Lindsay to the UK.”

The romantic comedy 'You, Me & Tuscany' offers a wholesome and harmless meet-cute that will appeal to fans of the genre. The film stars Halle Bailey as Anna, a young woman navigating life after her mother's death, and Regé-Jean Page as Matteo, a charming Italian man who sweeps her off her feet.The movie's plot is full of familiar romantic comedy tropes, from the fake engagement to the picturesque Italian setting. However, the film's charm lies in its strong performances from the cast, particularly Bailey and Page. The chemistry between the leads is undeniable, and their romance is sweet and engaging.Despite its charm, the film has received criticism for its lack of originality and predictable plot twists. Some critics have argued that the movie relies too heavily on overused romantic comedy clichés, which detracts from its overall impact.The film's success is significant for the romantic comedy genre, as it marks a shift towards more diverse and culturally specific storytelling. The movie's diverse cast and Italian setting offer a fresh take on the traditional romantic comedy, and its positive representation of Black culture is a welcome change.Overall, 'You, Me & Tuscany' is a charming and engaging romantic comedy that is worth watching for fans of the genre. While it may not break new ground in terms of storytelling, the film's strong performances and picturesque setting make it a delightful watch.

Dan Levy, creator of the hit sitcom 'Schitt's Creek', ventures into cringe comedy with 'Big Mistakes', a Netflix series that, while entertaining, struggles to find its footing. Levy stars as Nicky, a pastor hiding his relationship from his family and congregation, alongside Taylor Ortega as his rebellious sister Morgan. The show's strength lies in its cast, particularly Levy and Ortega, who deliver charming and hilarious performances. Laurie Metcalf also shines as their emotionally unstable mother. However, the plot often falters, relying on implausible developments and generic portrayals of organized crime. The dynamic between Levy's character and Ortega's is a highlight, showcasing Levy's expertise in crafting bickering, boundary-pushing on-screen families, reminiscent of 'Schitt's Creek'. The familial drama and cringe comedy elements are more engaging than the show's attempt at an organized crime storyline. Despite its shortcomings, 'Big Mistakes' is not a major failure but rather a passable effort. Levy's talent for creating relatable, flawed characters and humorous situations makes the show enjoyable, even if it doesn't quite reach the heights of his previous work.

In the war-torn city of Taiz, Yemen, a 14-year-old boy named Ibrahim was killed by a sniper while walking to school with his younger siblings. The incident has sent shockwaves through the community, with locals blaming the Houthi rebels for the tragedy.Ibrahim's mother, Umm Ibrahim, expressed her grief, asking, 'Why did they kill my child, my source of strength?' She had already lost her husband nearly a decade ago and relied heavily on Ibrahim as they struggled to survive in the economically deprived city.The Houthi rebels have been besieging Taiz for 11 years, and the city lies on the front line of the war between the Houthis and the Yemeni government. A 2025 UN report found that 66% of sniper killings in Yemen took place in Taiz, with 21 deaths, including nine children.The killing has sparked an outpouring of anger in Taiz, with a mass turnout for Ibrahim's funeral and protest vigils organized by local schools. The government-run Education Office condemned the killing, calling it a 'cowardly terrorist' act.Najib al-Kamali, head of the Alef Observatory for the Protection of Education and Children's Rights, stated, 'Targeting a child going through their educational journey is an act that goes beyond a violation to the level of a symbolic assassination of hope within a society.'

Since its inauguration in 1875, Mumbai’s Sassoon Dock has transitioned from a Gulf‑bound trading hub to the beating heart of the city’s fishing sector. Today, the once‑bustling harbour is marked by an unsettling silence.Rows of fishing boats sit idle under the morning sun, their colourful flags fluttering against the skyline. The familiar chorus of net‑unloading, diesel‑engine rumble, ice‑hauling and fish‑monger shouts has faded.Boat owner Shekhar Chogle, weather‑worn from years at sea, has been compelled to keep his vessel moored since the conflict began. Plummeting earnings, relentless labour costs and diesel prices soaring above $1.20 per litre ($4.54 per US gallon) have rendered fishing operations virtually impossible.The dock’s diesel pump now sits abandoned, draped with a wilted marigold garland. A worker returns from the petrol station empty‑handed, his wooden barrow holding six unfilled containers, underscoring the fuel shortage that has crippled cooperatives that normally supply affordable fuel, ice and equipment to fishers.This fuel crisis reverberates beyond Mumbai, affecting fishing communities throughout India and wider Asia. Fishers confront a stark choice: stay ashore and forfeit income, or brave the sea at the risk of further financial loss, jeopardising both individual families and entire coastal economies.A recently announced two‑week ceasefire between Iran, the United States and Israel offers a glimmer of hope, yet analysts warn that normalising fuel supplies will take time.For Chogle, the clock is ticking. “Our income has dropped significantly since we have not been able to take our boat out to sea,” he lamented.Despite the soaring fuel costs, a few boats still venture out. Morning markets persist, though catches are modest. Women in vibrant saris haggle over the limited fish, and a mother balancing a baby on her hip scrutinises each purchase, weighing cost against necessity.“If diesel prices don’t come down soon, I don’t know how we’ll survive,” Chogle warned, encapsulating the precarious future of Mumbai’s once‑thriving fishing trade.

The UK hospitality sector is reeling from a triple whammy of rising costs, including increased minimum wage, business rates, and energy prices. This has put immense pressure on businesses, particularly pubs and hotels, to maintain profitability.Nick Evans, co-owner of the Old Crown Coaching Inn in Oxfordshire, exemplifies the struggles faced by many in the industry. Despite a rich history dating back to 1645, Evans is finding it challenging to make ends meet. The pub's annual revenue stands at £1.4m, but rising costs, including a £350,000 wage bill and £80,000 energy bill, are eating into profits.The latest blow to the industry came on April 1, with increases in the minimum wage and business rates. Evans notes that the wage bill will rise to nearly £370,000, and the business rates increase will add another £24,000 to the bill. This comes on top of surging energy prices due to the Iran crisis, which will further exacerbate the cost burden.Evans argues that the national insurance change is misogynistic, as it disincentivizes employers from hiring part-time workers, often mothers seeking extra income. He also believes that the minimum wage increase will price young people out of the market, as employers may opt to hire adults for a pound more.Kate Nicholls, chair of UK Hospitality, warns that one in five businesses fear they may not survive the next 12 months. She emphasizes that the sector cannot absorb any more cost increases, and hikes will simply be passed through to consumers, driving inflation and hitting jobs.For now, Evans and his co-owner, Mike Webb, are seeking a more lenient payment plan for their VAT bill from HMRC. As Evans says, 'It’s tough, tough, tough.' The future of many hospitality businesses hangs in the balance as they struggle to navigate these unprecedented challenges.

Arthur Rosenfeld, 73, and Meryl Tankard, 70, open the performance by introducing themselves as “sprightly old geezers,” setting a tone of candid humor that runs through the evening. The production, ‘Kontakthof – Echoes of 78,’ is a fresh staging of Pina Bausch’s iconic 1978 work, now re‑imagined by Australian choreographer Meryl Tankard. Unlike the 2010 London run that split the piece between teenagers and senior amateurs, this rendition features the eight surviving members of the original cast—all now in their late sixties to early eighties—performing the very roles they created half a century ago. A ninth dancer was absent due to illness. Their live movements are mirrored on a large screen by the black‑and‑white film of the 1978 performance, creating a visual palimpsest where past and present dance together. The choreography, set to 1930s dance‑hall songs, remains a wry commentary on courtship, power dynamics and consent. Tankard’s direction emphasizes the passage of time, allowing audiences to witness the same steps executed by bodies that have aged, yet retain a striking vitality. Dancers such as Josephine Ann Endicott, now in her seventies, glide across the stage in silk dresses, their frames more fragile but their confidence undiminished. Moments of poignancy arise when the film shows cast members who have since passed away. Onstage, John Giffin reaches for his late partner’s face, only to grasp empty air—a visual metaphor for loss that resonated deeply with the audience. Personal revelations punctuate the performance: Beatrice Libonati, 71, describes herself as “paranoid and a misanthrope,” while Tankard admits, “I wish I’d had children; I miss my mother every day,” underscoring the undercurrent of longing that runs through the piece. Beyond its narrative, the production offers a meditation on continuity. Bausch’s signature walking patterns—slow circles and linear traverses—are repeated, suggesting that despite changing bodies, the human species continues to tread familiar social routes. The music, unchanged from the original, carries on until the final dancer pauses, symbolising the inevitable end of the dance of life. The show runs at Sadler’s Wells, London through 11 April, offering a rare glimpse into how art can bridge generations and celebrate the endurance of the human spirit.