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President Donald Trump has launched a scathing attack on NATO, expressing disappointment with the alliance's reluctance to support the US in its conflict with Iran. In a post on his TruthSocial platform, Trump wrote in capital letters: "NATO wasn't there when we needed them, and they won't be there if we need them again".The remarks came after a two-hour meeting with NATO's Secretary-General, Mark Rutte, at the White House. The meeting took place a day after the US and Iran agreed to a ceasefire. Trump's comments have raised concerns about the future of the transatlantic alliance, which he has repeatedly called a "paper tiger".Rutte, known as the "Trump whisperer" for his ability to maintain a productive relationship with the US president, said that Trump was "clearly disappointed with many NATO allies". However, Rutte also pushed back against some of Trump's broader criticism, highlighting the contributions of many European nations to NATO.In addition to his criticism of NATO, Trump also appeared to revive his threat to seize Greenland from Denmark, a move that had previously roiled the alliance. "Remember Greenland, that big, poorly run, piece of ice!!!" he wrote.The Wall Street Journal reported that Trump was considering punishing some NATO members he believed were unhelpful during the conflict by moving US troops out of their countries. However, Rutte declined to comment directly on the report.NATO, formed in 1949 to counter the Soviet Union, has been the cornerstone of Western security. The alliance has only activated its mutual defence clause on one occasion, following the September 2001 attacks on the World Trade Center in the US.

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.

Outcome arrives on Apple TV+ on April 10 as Jonah Hill’s most ambitious foray into Hollywood satire. The film casts Keanu Reeves as Reef Hawk, a globally recognized star whose public persona of kindness masks a deep‑seated narcissism and a hidden past of heroin addiction.Reef becomes the target of a mysterious extortionist who claims to possess compromising footage. His crisis lawyer, Ira—portrayed by Hill himself with a shaved head and unnerving veneers—guides him through a frantic quest to locate the blackmailer. The narrative unfolds as a “whodunnit without a body,” prompting Reef to apologize to every person he’s ever wronged while hunting the unseen threat.Supporting roles feature Cameron Diaz and Matt Bomer as Reef’s high‑school friends who reluctantly join the mission. The film also boasts cameo appearances from Laverne Cox as a women’s‑rights attorney, Drew Barrymore playing herself, and a moving turn by Martin Scorsese as a washed‑up talent manager. In a tongue‑in‑cheek detail, Ira’s office wall displays a picture of Kanye West, symbolising the industry’s obsession with redemption narratives.The satire’s core message is that wealth and fame do not guarantee happiness. Reef spends idle moments Googling his own reputation—searching “Reef Hawk bad person”—underscoring a profound loneliness beneath the glittering surface. While the script delivers frequent laughs, its climax lands on a comparatively flat note, offering personal growth rather than the expected murder or public humiliation.Overall, the performances remain consistently entertaining, and Hill’s dialogue, co‑written with Ezra Woods, captures the insider tone of Hollywood’s inner circle. Outcome serves as both a comedic critique and a reflective portrait of celebrity culture, inviting audiences to consider the cost of perpetual public scrutiny.

Copenhagen returns to the London stage under Michael Longhurst’s direction at Hampstead Theatre, a timing the reviewer calls “terrifyingly timely.” The three‑hander dramatizes the 1941 encounter between Danish physicist Niels Bohr (played by Richard Schiff) and German scientist Werner Heisenberg (Damien Molony), set against the looming threat of Hitler’s nuclear ambitions. The production draws unsettling parallels to contemporary politics, invoking Donald Trump’s recent threats toward Iran as a modern echo of the era’s extremist rhetoric. This resonance, the reviewer notes, amplifies the play’s relevance alongside the theatre’s downstairs offering, ROI (Return on Investment), which also interrogates the morality of scientific discovery. Visually, Joanna Scotcher’s set is a striking, non‑realist circle surrounded by water—a subtle nod to the “heavy water” used in Nazi nuclear research and a poignant reminder of the personal tragedy that befell one of Bohr’s sons. The second half’s dense scientific dialogue is rendered accessible, though the reviewer argues it sometimes falls short of fully unpacking the deeper metaphors embedded in the science. Performance-wise, the age gap between Bohr and Heisenberg (Bohr being sixteen years senior) hampers the on‑stage chemistry. Schiff’s portrayal of the seasoned Bohr occasionally stumbles over lines, while Molony’s Heisenberg comes across as a brooding, almost adolescent figure. In contrast, Alex Kingston’s turn as Bohr’s wife and editor, Margrethe, provides the emotional core, shouldering much of the play’s affective weight. Thematically, the drama wrestles with the question of whether scientists bear a moral duty beyond their research. Heisenberg’s famed uncertainty principle is employed as a metaphor for the psychological ambiguity surrounding their historic meeting. Yet the script conspicuously omits any direct reference to the bombings of Hiroshima and Nagasaki, focusing instead on the fear of a Nazi atomic weapon and sidestepping the United States’ own nuclear legacy. While the production boasts compelling aesthetics and a thought‑provoking premise, the reviewer finds moments of sluggish pacing and a missed opportunity to confront the irony of overlooking the U.S. bombings, especially as contemporary concerns about American military assertiveness rise. The show runs at Hampstead Theatre, London until 2 May.

Riccardo Calafiori, the Italy defender for Arsenal, has found solace in the team's recent Champions League victory against Sporting, which has reignited their trophy hopes. The win came after a tough couple of weeks for Calafiori, who was part of the Italy squad that failed to qualify for the World Cup for the third consecutive time.Calafiori reflected on the painful period for both his country and club, where Arsenal suffered successive defeats either side of the World Cup qualification failure. However, he emphasized that the beauty of football lies in its unpredictability and the opportunity to bounce back. “It’s been tough, but that is the beauty of football: it is 100% better now,” Calafiori stated.The defender acknowledged that the defeat to Southampton in the FA Cup and the broader disappointment of the period had been challenging. Yet, he expressed gratitude for the chance to play against Sporting just three days later, which helped him shift focus away from the negativity. Calafiori mentioned that while the World Cup failure might have given him more desire to succeed at the club level, he remains disappointed and sad.Arsenal's recent performance was marked by goalkeeper David Raya's heroics, who made crucial saves to secure a 1-0 win against Sporting. This victory was a significant confidence booster for the team, especially with Kai Havertz scoring the winning goal in injury time. Calafiori praised Raya, stating that his return to the lineup after being rested had engendered confidence in the defence.Looking ahead, Calafiori and Arsenal are set to face Bournemouth in the Premier League, an opportunity to extend their lead at the top of the table to 12 points before Manchester City travels to Chelsea. Calafiori emphasized the importance of every upcoming game, stating, “Every game is really important now.”

At 75, Suzi Quatro is still rocking with the same energy and passion that defined her glam era. Her signature scream, which has been thrilling audiences since she was a kid playing dance halls around Detroit, was on full display during her recent concert at Glasgow. The Suzi Q scream is a defining sound of the glam era, a holler of swallow-the-world desire that leaves the audience galvanized.While the opening hour of the concert was entertaining and well-paced, the second set was a bit of a mess, with tedious solos and drawn-out introductions of her eight-piece band. The highlight of the evening came when Quatro played Can the Can and Devil Gate Drive back to back, delivering a pure pop rush. However, the concert could have benefited from a few cuts, as Quatro seemed to struggle with pacing.Despite some minor issues, Quatro's performance was still thrilling, and her infectious energy was palpable throughout the evening. As she told the Glasgow crowd, 'I can still scream just as loud,' and she proved it with her powerful vocals.

Jon Rahm, the 2023 Masters champion, has declared his commitment to representing Europe in next year’s Ryder Cup. This announcement is expected to boost Luke Donald’s confidence as he prepares to defend Europe’s title. Rahm has been embroiled in a dispute with the DP World Tour due to his participation in the LIV Tour without consent, resulting in substantial fines. Despite dropping his appeal against the sanctions, Rahm remains optimistic about finding a resolution. He revealed that he is in negotiations with the DP World Tour and is hopeful of securing a deal by September. “Yes,” Rahm stated when asked about his confidence in playing for Europe at Adare Manor. He emphasized that he did not think pursuing a legal route was beneficial for any party involved and expressed faith in reaching a mutually agreeable solution with the DP World Tour. Rahm mentioned that he has been making concessions in the negotiations and plans to support the DP World Tour, naming several events he would be interested in participating in, including the Irish Open, Wentworth, and the Spanish Open. “I’m not planning to play until September,” Rahm noted. “So that’s a bit of a positive. If I were unable right now, it doesn’t matter since I’m not planning to tee it up until after August like I have done in my career.”

The nursery I visited, with its free croissants and Scandinavian-style furniture, seemed like a luxury, but it was just one example of how private equity has quietly infiltrated our daily lives. These firms now own a vast array of essential services, including water companies, apartment blocks, student accommodation, care homes, and children's homes.The problems arise when profit-driven fund managers prioritize returns over social welfare. Nurseries backed by private equity have reported profits up to seven times greater than non-profit nurseries, while spending up to 14% less on staff and experiencing higher staff turnover rates. This model is unsustainable and can leave parents without childcare and workers without jobs.Private equity's business model, which often involves leveraged buyouts and loading debt onto companies, can have disastrous effects on public services. The industry's lack of transparency and accountability makes it difficult to track the flow of money and hold fund managers accountable.The rise of private equity reflects a broader shift in capitalism, where debt-driven speculation has become a dominant route to building wealth. This has led to a zero-sum game where some individuals' gains come at the expense of others. As capitalism evolves, it's clear that those on top have discovered a new formula for building wealth: buying up essential services, loading them with debt, and passing the consequences on to the public.

Arsenal broke a spell of anxiety at the Estádio José Alvalade, edging Sporting CP 1‑0 in the Champions League quarter‑final first leg. Kai Havertz delivered the decisive goal after Gabriel Martinelli’s cross found him unmarked, allowing the German forward to finish past Rui Silva.The match was a grinding affair; Arsenal completed 488 passes but struggled to create clear-cut chances. Early opportunities were limited to set‑piece scrambles and long‑range attempts, with Noni Madueke’s corner rattling the bar and Leandro Trossard’s speculative 40‑yard effort failing to find the net.Arsenal’s breakthrough came in added time of the second half. Substituting Martin Ødegaard in the 70th minute, Arteta introduced Havertz, who slipped into a support‑striker role and, moments later, slotted home the winner. The goal not only secured the lead but also provided a psychological lift as the season’s final weeks loom.Equally pivotal was goalkeeper David Raya’s performance. The Spaniard produced three major saves, including a fingertip parry that kept a Geny Catamo header off the line and a double‑save sequence against Catamo and Luis Suárez. His interventions were described as “nothing will ever get past him,” underscoring the importance of elite goalkeeping in high‑stakes fixtures.Sporting CP pressed in the closing stages, with Ousmane Diomande threading a pass behind Ben White and Maxi Araújo forcing a near‑miss that only Raya’s fingertips prevented. Yet Arsenal’s defensive shape and Raya’s reflexes held firm, allowing the Gunners to head into the second leg with a valuable advantage.Arteta’s side has faced criticism for recent goalkeeping choices, notably starting Kepa Arrizabalaga in the Carabao Cup final against Manchester City, a decision that backfired after an error led to City’s opener. The contrast with Raya’s composure highlights the impact of recruitment decisions on match outcomes.While the win injects optimism, Arsenal remain nine points clear at the top of the Premier League and must translate this European momentum into domestic consistency. As Arteta cautioned, “don’t panic,” the onus now lies on Havertz to maintain composure and on the squad to capitalize on the platform Raya helped secure.