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President Donald Trump used his Truth Social platform on Wednesday to declare that the leaders of Israel and Lebanon will hold a conversation on Thursday, a breakthrough that would end a 34‑year hiatus in direct leader‑level dialogue. The announcement arrived a day after Israeli and Lebanese ambassadors conducted their first direct diplomatic talks in Washington, D.C. — a move aimed at easing the ongoing hostilities that have devastated Lebanon. Trump did not specify which officials would be involved, and both governments have yet to comment on the forthcoming discussion. Lebanon was drawn into the U.S.–Israel war on Iran on March 2 after Hezbollah, aligned with Tehran, fired rockets at Israel. Hezbollah claims the attacks were retaliation for Israel’s killing of Iran’s Supreme Leader Ayatollah Ali Khamenei on February 28 and for repeated violations of a November 2024 cease‑fire. Since the escalation, Israeli forces have killed more than 2,000 Lebanese civilians and displaced roughly 1.2 million people. The Israeli military has also launched a ground invasion in southern Lebanon, seeking to create a so‑called “buffer zone.” Earlier on Wednesday, Prime Minister Benjamin Netanyahu announced an expansion of the invasion eastward, stating that Israel is pursuing negotiations with the Lebanese government while simultaneously conducting a military campaign to disarm Hezbollah and achieve a “sustainable peace.” The Lebanese government, which is not a party to the conflict, has called for an immediate ceasefire and the withdrawal of Israeli troops. Al Jazeera reporter Zeina Khodr, reporting from Beirut, noted that the Lebanese authorities have not yet responded to Trump’s claim and described the president’s remarks as “controversial.” She suggested the United States is attempting to separate the Lebanon front from the broader Iran‑Israel confrontation, using the Washington talks as a “photo‑opportunity” to weaken Hezbollah’s influence. Despite diplomatic overtures, Israeli attacks on Lebanese civilians continue. On Wednesday, three consecutive strikes in the village of Mayfadoun killed four Lebanese paramedics and wounded six others. According to Lebanon’s Ministry of Public Health, Israeli forces have killed at least 91 Lebanese medical workers since March 2 and have targeted several medical facilities. Additional strikes have hit the vicinity of one of the last operational hospitals in southern Lebanon, in the town of Tebnine, prompting concerns that Israel aims to render the area uninhabitable. Fighting also persists around the strategic hilltop town of Bint Jbeil, where Israeli troops claim to have encircled the town while Hezbollah fighters continue to resist. Analysts warn that a full Israeli occupation of Lebanon would be required to completely disarm Hezbollah—a scenario that would be both costly and politically fraught. As Khodr concluded, “Israel can continue to kill and destroy, but that will not change the fact that Hezbollah is not going to give up its arms without a Lebanese government partnership.” The upcoming leader‑level talks will be closely watched for any indication of a ceasefire or a shift in the regional power balance.

U.S. Defense Secretary Pete Hegseth told reporters on Thursday that Iran’s energy infrastructure is "not destroyed yet," but the United States is "locked and loaded" to finish the job. Speaking from the Pentagon podium, Hegseth framed the press corps as the modern equivalent of the Pharisees who plotted against Jesus, suggesting that media criticism was driven by hostility rather than facts.The remarks coincided with the launch of a naval blockade of Iranian ports that began earlier this week. Hegseth urged Tehran to accept a nuclear agreement, warning that refusal would bring further attacks on the country’s remaining power‑generation and energy facilities."We are reloading with more power than ever before, and with better intelligence," Hegseth said, emphasizing the United States’ enhanced surveillance capabilities.He added that Iran’s missile launchers are dwindling and cannot be replenished: "You are digging out your remaining launchers and missiles with no ability to replace them. You can dig out for now. Can’t reconstitute, but we can."Offering a stark choice, Hegseth said, "We prefer to do it the nice way, through a deal led by our great vice‑president and negotiating team, or we can do it the hard way." He also pledged that the War Department would ensure Iran never acquires a nuclear weapon.Gen. Dan Caine, chair of the Joint Chiefs of Staff, confirmed that the blockade applies to all ships, regardless of nationality, and has been in effect for more than 24 hours. Over 10,000 sailors, marines and aircrew are enforcing the restriction. Since its inception, the U.S. Navy has transmitted a "do not attempt to breach the blockade" warning to vessels 13 times, with none of the ships boarded.During his address, Hegseth invoked a biblical sermon, likening the press to the Pharisees who, according to the Gospel of Mark, plotted to destroy Jesus after witnessing his miracles. He claimed the media’s “hardened hearts” were calibrated only to “impugn.”Hegseth also criticized the press for what he called a distorted portrayal of the 2021 Afghanistan withdrawal, citing the phrase "the greatest airlift in American history"—a line originally used by President Joe Biden and later echoed by right‑wing commentators and politicians.Concluding his remarks, Hegseth admitted, "Sometimes it’s hard to figure out what side some of you are actually on," underscoring the tension between the Pentagon and the media.

Big Mood returns for a second season on Channel 4, aiming to blend a serious look at bipolar disorder with broad‑scale comedy. Lead actress Nicola Coughlan reprises Maggie, now emerging from a harrowing episode of lithium poisoning that left her hallucinating and confused. The debut series introduced Maggie in the throes of a manic episode, followed by a depressive crash after she stopped her medication to protect her creative output. While the first season earned praise for its insightful depiction of mental illness, the new installment quickly pivots toward slapstick scenarios – from a militant maid of honour to a secret‑husband extortion plot – that dilute the original emotional weight. Central to the drama is Maggie’s strained bond with best friend Eddie, played by Lydia West. Their friendship, already intense in season one, becomes increasingly implausible as Eddie abandons London for California without explanation. In season two, Eddie resurfaces under the control of a dubious wellness guru named Whitney, who has siphoned her finances and seeks to erase any lingering connection with Maggie. Rather than deepening the exploration of mental health, the series now focuses on a far‑cical showdown between the two women. Maggie, now in a “stable girl” routine of retinol and Hello Fresh meals, obsessively attempts to expose Whitney as a fraud, enlisting Eddie’s friend Will – a character described as “incorrigibly nice” yet treated with contempt by both protagonists. The tonal shift raises questions about the show’s core ambition. While Coughlan delivers an empathetic performance that captures Maggie’s inner turmoil, the surrounding plotlines feel disjointed and at times toxic, especially in the portrayal of the once‑intoxicating platonic romance that now appears more destructive than supportive. Humor, inherently subjective, may still resonate with viewers who appreciate the series’ millennial‑centric chaos. However, the blend of “knockabout farce” with moments of genuine drama feels uneven, suggesting that the show’s initial promise of a heartfelt, realistic bipolar narrative has been eclipsed by over‑reaching comedic contrivances. In conclusion, Big Mood season two struggles to reconcile its dual aims. The ambitious premise that once offered a nuanced look at mental illness now feels buried beneath a barrage of gimmicks, leaving audiences to wonder whether it’s time for the characters – and perhaps the series itself – to move on.

Rebuilding opens on a bleak, charred horizon, introducing Dusty (Josh O’Connor), a Colorado rancher whose ancestral land has been reduced to ash by a recent wildfire. A bank official’s blunt refusal to extend a loan underscores the decade‑long bleak outlook for the barren property.Stripped of his home, Dusty relocates to a spartan, government‑funded trailer camp and takes a humbling highway‑maintenance job. The film deepens his personal stakes through interactions with his ex‑wife Ruby (Meghann Fahy), their ten‑year‑old daughter Callie‑Rose (Lily LaTorre), and his ailing mother‑in‑law Bess, portrayed by Oscar‑winner Amy Madigan. A poignant scene shows Dusty ferrying Callie‑Rose to the local library, where they share a shaky Wi‑Fi connection for her schoolwork.Amid the trailer community, Dusty forms a tentative bond with the resilient Mali (Kali Reis), hinting at a potential romance beyond mere friendship. Their collective moments around a campfire evoke the tone of Chloé Zhao’s Nomadland, positioning the film within a growing genre of American stories about displacement and survival.Notably, the narrative avoids direct references to climate change or governmental responsibility, presenting the wildfire as an isolated tragedy rather than a symptom of a broader environmental crisis. This omission mirrors a recurring pattern in U.S. cinema, where the focus remains on personal resilience rather than systemic solutions.O’Connor delivers a nuanced performance, channeling the restrained British sensibility of his earlier work into Dusty’s quiet strength and vulnerability. His portrayal anchors the film’s emotional core, while the supporting cast—particularly Madigan’s compassionate Bess and Reis’s tough‑yet‑tender Mali—adds depth to the community portrait.Rebuilding arrives in UK cinemas on 17 April, offering audiences a contemplative look at loss, renewal, and the fragile ties that bind families and strangers alike.

Recent talks in Islamabad between Washington and Tehran collapsed, reflecting the stark mismatch between the United States' 15‑point proposal and Iran's 10‑point counter‑offer. The brief negotiations, led by U.S. Vice‑President JD Vance, failed to bridge core disagreements on nuclear policy and regional security. Vance attributed the breakdown to Iran's outright rejection of U.S. terms, while President Donald Trump responded by imposing a naval blockade of the Strait of Hormuz. Such a blockade is legally an act of war, raising the specter of Iranian retaliation against Gulf monarchies and a sharp spike in global oil, diesel, and LNG prices. Both sides, however, have not ruled out renewed negotiations. Pakistan and Egypt are quietly mediating, recognizing that a renewed conflict would deepen President Trump's domestic challenges—rising inflation, declining poll numbers, and the approaching midterm elections—while also exacerbating Iran's economic hardship and social unrest. The proposed diplomatic framework focuses on three pillars: Limited uranium enrichment: The U.S. would acknowledge Iran's right, under the Non‑Proliferation Treaty, to enrich uranium for peaceful purposes, capping enrichment at 3.67% (the 2015 JCPOA limit). Monitoring would be conducted by the IAEA through electronic and on‑site inspections, with a potential 20‑year renewable agreement. Sanctions relief and asset release: In exchange for Iran dropping its demand for war reparations, the United States would lift primary and secondary sanctions and unfreeze all Iranian assets. Additionally, Iran would be authorized to levy a $2 million fee per oil tanker transiting Hormuz, shared with Oman, provided it guarantees innocent passage under a multinational oversight coalition that includes Russia and China. Security guarantees: Iran would issue a written pledge not to develop nuclear weapons, echoing the late Ayatollah Ali Khamenei’s injunction. Simultaneously, the U.S. and UN Security Council would endorse a non‑aggression pact between the two nations, with parallel agreements possible for Gulf states. For the plan to succeed, three conditions must be met: Washington must make genuine concessions; President Trump must extend the 22 April cease‑fire deadline and allow sufficient time for complex negotiations; and any Israeli offensive against Iran must be avoided, as it would jeopardize the entire process. Rajan Menon, professor emeritus of international relations at CUNY’s Powell School and senior research fellow at Columbia University’s Saltzman Institute, outlines this pragmatic approach as a means to avert a full‑scale war and secure a durable peace in the Middle East.

Cédric Klapisch’s new film, Colours of Time, is an entertaining sentimental fantasy that invents a romantic backstory to the career of Claude Monet and his contemporary, the pioneering photographer Félix Nadar. The film follows Adèle, a fictional young woman who makes a fateful journey to find her errant mother in Paris during the belle époque, leaving behind her sweetheart and the village where she was brought up, in the countryside near Monet’s home town of Le Havre.The story intercuts enjoyably between past and present, as Adèle's life and times are rediscovered by her descendants. In the present day, dozens of descendants of Adèle are contacted by lawyers and PRs working for a property company that wants to build a vast new shopping mall, which would mean bulldozing Adèle’s derelict cottage. This garrulous ragtag bunch must give their collective consent, leading to a journey of discovery that uncovers historical secrets: photos, letters, and even what might be a painting.The film takes a pretty un-subversive view of art and artists but is executed with brio and comic gusto, particularly in the “past” sections. Suzanne Lindon’s performance has charm, and the detective work is interspersed ingeniously with what Adèle in her own day discovers about her errant mother. The film culminates in a wacky climax when the present-day claimants have an Ayahuasca psychoactive experience, sending them back in time to encounter historical culture icons in person at an exhibition.Colours of Time is a film that requires a sweet tooth, but it’s tasty. It’s set to hit UK cinemas from 17 April.

Japan has taken a significant step in its foreign policy by easing its arms export rules, marking a departure from its eight-decade-long pacifist stance. This move comes as trust in US President Donald Trump declines, with him wavering on security commitments to allies and involvement in conflicts in Iran and Ukraine.The Japanese government has approved a record defense budget of $58 billion for 2026, reflecting a push to strengthen military and coastal defenses amid rising global tensions. The new budget forms part of a broader $784 billion national budget for the fiscal year beginning in April 2026.Under the new budget, over $6.2 billion is earmarked to enhance Japan's 'standoff' missile capabilities, including the purchase of domestically produced and upgraded Type-12 surface-to-ship missiles. This move is seen as a response to China's growing military presence in the Asia-Pacific region.Japan's key defense contractors, Toshiba and Mitsubishi Electric, are hiring staff and adding capacity to capitalize on demand for arms. Countries such as the Philippines and Poland are expected to become customers of Japanese arms.The easing of arms export rules is part of Japan's efforts to shape its own security policy and reduce its military dependence on the US. This shift is driven by the need to build defense supply chains in Asia that do not rely on the US, particularly in light of Washington's preoccupation with wars in the Middle East and Ukraine.Japanese companies are eager to boost sales by selling their products abroad, with Toshiba planning to hire 500 people over the next three years and constructing new testing and manufacturing facilities. The company's vice president, Kenji Kobayashi, noted that 'reputational risk is not what it used to be.'The US has welcomed Japan's initiatives to boost defense spending and take regional security into its own hands, with US Secretary of Defense Pete Hegseth praising Japan's investment in its defense capabilities.

Arsenal survived a tense second‑leg against Sporting Lisbon, preserving their 1‑0 first‑leg cushion to advance to a Champions League semi‑final against Atlético Madrid. The victory comes amid a turbulent spell that has seen the Gunners lose the Carabao Cup final to Manchester City, exit the FA Cup to Southampton, and drop points to Bournemouth in the Premier League.The match was a defensive slog. Arsenal managed just one shot on target – a strike credited to Martín Zubimendi – and struggled to create clear chances. Substitute Leandro Trossard rattled the post with a header in the 84th minute, while Sporting’s Geny Catamo and João Simões each struck the woodwork, underscoring the fine margins.Despite the lack of flair, Arsenal’s backline held firm. Goalkeeper David Raya made a crucial save, and the team’s overall resolve mirrored the solidity that has defined their season. The win ensures a semi‑final showdown with Atlético Madrid, the side that humbled Arsenal 4‑0 in the league phase last October.While the result eases immediate pressure, the performance raised questions about Arsenal’s attacking potency. Only one shot on target and a reliance on defensive grit highlight concerns that could haunt them in the upcoming league clash with Manchester City, who sit six points ahead in the title race.Looking ahead, Arsenal will need to translate their defensive confidence into sharper offensive output if they hope to challenge for silverware on multiple fronts.

Becoming a parent reshapes every facet of daily life—the late‑night outings fade, responsibility expands, and the role shifts from being cared for to becoming a caretaker. This profound transition forms the emotional core of Jess Brodie’s new play, Gush. The playwright deliberately zeroes in on the moments before birth, a period she describes as a “still point” where reflection and anticipation collide. Rather than dramatizing labor itself, Brodie explores the inner landscape of a woman on the brink of motherhood. At the centre of the piece is Ally, a pregnant woman whose bulging belly becomes a visual reminder of her mounting anxieties. She grapples with sleepless nights, dietary restrictions, and the looming deadline of maternity leave, while also confronting an unfinished personal identity that must now accommodate the role of “mum”. Beyond the familiar pressures of pregnancy, the monologue delves into Ally’s quest for self‑realisation. The impending birth is portrayed as a ticking time‑bomb, intensifying her doubts about a middle‑class existence shared with a neurotic, controlling partner. The narrative questions whether she should finally honour the sexual desires she has long suppressed. Critics may note the play’s narrow focus—its politics are largely self‑absorbed, and its feminist themes risk sounding solipsistic. Nevertheless, Brodie’s script is laced with wit and unexpected turns, keeping the audience firmly engaged. In Becky Hope‑Palmer’s meticulously crafted production, the set—half stark white surface, half inviting cushion pool—mirrors the tension between alienation and comfort. It is Jessica Hardwick’s performance that elevates the piece. Her voice, both resonant and precise, navigates Brodie’s rapid tonal shifts—from irony to panic, embarrassment to eroticism, fury to humor—with remarkable sensitivity. Hardwick’s portrayal makes Gush a must‑see, even for those who might otherwise overlook the play’s limited thematic scope. The production runs at the Traverse Theatre in Edinburgh until 25 April.