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Angelina Jolie leads the new fashion‑driven drama Couture, bringing a rare level of personal honesty by confronting a storyline that mirrors her own double mastectomy performed to prevent breast cancer. While her performance is undeniably courageous, the film’s overall execution falls short of its ambitions.The plot follows Maxine, an American indie filmmaker (Jolie) who arrives in Paris to direct the opening short for a prestigious runway show. She discovers, through a compassionate doctor played by Vincent Lindon, that a recent biopsy confirms she has breast cancer, forcing her to consider postponing or abandoning her next project. Jolie conveys the shock and denial with subtlety, yet the script, penned by director Alice Winocour, often lapses into glib dialogue that undermines the emotional weight of the situation.Supporting characters include Ada, a fledgling South Sudanese model (Anyier Anei), makeup‑artist‑turned‑writer Angèle (Ella Rumpf), and the brooding first‑assistant director Anton (Louis Garrel). Their subplots—most notably Ada’s ankle injury that threatens the runway performance—remain underdeveloped, serving more as decorative set‑pieces than integral narrative threads.Visually, the film captures the glamour of Parisian haute couture with polished cinematography, yet this sheen accentuates the story’s lack of depth. The fashion world is presented with a “precious” aesthetic that feels specious, offering little insight beyond surface‑level allure.Despite these shortcomings, Jolie’s star power shines through. Her willingness to align a fictional role with a deeply personal health battle adds a layer of authenticity that the surrounding screenplay fails to sustain. ‘Couture’ will be available on digital platforms from 20 April, offering audiences a chance to appreciate Jolie’s performance even if the film’s broader ambitions remain unfulfilled.

The musical Avenue Q has returned to the West End, bringing with it its unique blend of provocative puppetry, satire, and catchy songs. The show, which first debuted 20 years ago, has been updated to include modern references to AI, OnlyFans, and Spotify.Directed by Jason Moore, the production features a cast of actor-puppeteers, including Noah Harrison and Emily Benjamin, who bring to life a cast of lovable but flawed characters. The show's puppet designer, Rick Lyon, has created a cast of furry, Sesame Street-inspired characters that are both cute and subversive.The show's songs, written by Robert Lopez and Jeff Marx, are a highlight of the production, with numbers like If You Were Gay and Everyone's a Little Bit Racist tackling taboo subjects with humor and wit. The show's book, written by Jeff Whitty, has been updated to include modern references, adding to the show's timeless satire.While the story itself may not be especially strong, the production's sweet/subversive/manic charms make up for it. The show ends on a hopeful note, with a message that this too will pass, even for Trump.The production is running at the Shaftesbury theatre in London until 29 August.

In a remarkable display of solidarity, people in Indian-administered Kashmir are donating gold, jewelry, and household items to support civilians in Iran affected by the ongoing US-Israel conflict. The donations, which include cash, livestock, bicycles, and even piggy banks broken open by children, reflect the deep cultural ties between Kashmir and Iran.The bond between the two regions dates back over six centuries, with Sufi scholar Mir Sayyid Ali Hamadani introducing religious practices, art forms, and Persian literary traditions to Kashmir in the 14th century. This historical connection has led to Kashmir being referred to as 'Little Iran' or 'Iran-e-Sagheer'.Masrat Mukhtar, a 55-year-old woman from Budgam, handed over gold earrings gifted to her by her father on her birthday, saying, 'We give what we love. This brings us closer to them.' Her cousins and other families in the region have also contributed items of personal value, including copper utensils, livestock, and portions of savings.The scope of donations is significant, with estimates from local authorities placing the value of contributions at up to six billion rupees ($64m). The Iranian embassy in New Delhi acknowledged the contributions, thanking the people of Kashmir for their 'humanitarian support and heartfelt solidarity'.However, Indian authorities have raised concerns about potential misuse of funds, citing examples of collections being allegedly funnelled towards rebel groups in the past. Authorities have asked volunteers to maintain records to ensure compliance with fundraising regulations.

Manchester City captain Bernardo Silva has confirmed that he will be leaving the club at the end of the season. Silva, who joined Manchester City from Monaco in July 2017 for £43.5m, has been a key member of Pep Guardiola's team, contributing significantly to their success.During his nine-year tenure, Silva has won an impressive array of honors, including six Premier League titles, two FA Cups, five League Cups, the Champions League, and two Fifa Club World Cups. He has made 451 appearances for the club, scoring 76 goals and providing 77 assists. This season, Guardiola made him captain, highlighting his importance to the team.Silva expressed his gratitude to the club, stating, “When I arrived 9 years ago, I was following a dream of a little boy, wanting to succeed in life, wanting to achieve great things. This city and this club gave me much more than that. What we won and achieved together is a legacy that will forever be cherished in my heart.”He also thanked the fans for their support, saying, “To the fans, your unconditional support throughout the years is something that I will never forget. My main goal as a player was to always play with passion so you guys could feel proud and well represented on the pitch. I arrived as a Man City player, I leave as one more of you, a Man City supporter for life.”The club has announced that Silva will be given an official farewell. As he departs, Silva urged the fans to continue supporting the young team, expressing confidence that they will bring new memories in the future.

Arsenal's Premier League title hopes hang in the balance as they prepare to face Manchester City on Sunday. Midfielder Declan Rice has urged his team to elevate their performance, acknowledging that their recent form has been a concern.Rice, 27, highlighted the team's inconsistent style of play, which has drawn criticism from fans. Despite being six points clear of City at the top of the table, Rice emphasized that Arsenal must improve if they are to press their title claims.The midfielder reflected on a rollercoaster few weeks for Arsenal, including a Carabao Cup final defeat against City and a sobering home loss to Bournemouth in the league. However, they have also shown resilience, progressing to the Champions League semi-finals with a 0-0 draw against Sporting.Rice stressed the importance of performing better, particularly in terms of possession and confidence on the ball. He acknowledged that the team's recent errors have been costly, but they managed to rectify this against Sporting.“It's about doing the basics a little bit better, to a better level … just the five-, 10-yard passes that we're giving away a bit sloppily,” Rice said. “And just that confidence with the ball, just taking more touches, relaxing on the ball, not feeling under pressure.”Rice also expressed his desire for revenge against City, citing the pain of watching them lift the Carabao Cup trophy. He emphasized that the upcoming match is a significant test, but one that Arsenal is ready for.“To go there and win would be a massive statement,” Rice said. “And look, these boys are ready. We spoke as a group. We know what's required.”Arsenal have struggled to score in recent games, managing only three goals in their last five matches. Rice attributed this to the defensive strategies employed by opposing teams, particularly the low blocks they have faced.Despite these challenges, Rice remains committed to contributing to the team, having overcome illness to play against Sporting. He emphasized the importance of availability and depth, particularly with key players like Martin Ødegaard and Bukayo Saka sidelined through injury.

The Fallen by Louise Brangan offers a meticulously researched portrait of the Magdalene laundries, the most notorious component of Ireland’s 20th‑century network of correctional institutions. The review notes that, at their peak in 1951, the country held 70 women per 100,000 in these laundries compared with 27 men per 100,000 in prisons, underscoring the laundries as the primary carceral system for females. Although established under state authority, the facilities were operated by Catholic nuns. Girls as young as nine and women into their eighties were compelled to work six days a week, without wages, on arduous, often hand‑operated machinery. Discipline was severe, and any minor infraction could trigger harsh punishment. The book illustrates how women were funneled into the system with little justification. Brangan recounts the case of a 15‑year‑old named Eileen, who vanished in February 1954 after being approached by members of the Legion of Mary—a lay group tasked with policing Ireland’s moral standards. She was taken to a gated house marked “Saint Mary Magdalen’s Asylum,” stripped of her identity, and assigned the number “60.” The narrative emphasizes that many detainees were simply “wayward or unwanted”—homeless, abused, or otherwise marginalized—rather than having committed any serious crime. Brangan draws a stark parallel between the Catholic Church’s grip on Irish society and the Communist Party’s control in Eastern Europe before 1989, suggesting both operated as pervasive, authoritarian forces. The laundries, though conspicuously situated among ordinary businesses, were largely ignored by a public that chose not to confront the “tall, locked iron gates” and the suffering behind them. The review situates the laundries within a broader context of institutional abuse, referencing the mother‑and‑baby homes that saw an estimated 56,000 women and girls pass through, with roughly 57,000 babies born, most notably at the Bon Secours home in Tuam. Investigations by Catherine Corless uncovered a mass grave of nearly 800 infants, highlighting the systemic nature of the tragedy. Financial redress has been slow. To date, the Irish government has disbursed more than €33 million to survivors of the laundries, while most religious orders have refused to contribute. A survivor’s testimony, quoted by Brangan, captures the lingering impact: “There’s always something in my life that will remind me of my past… I’ll never heal.” The review concludes by noting that the book, published by Bodley Head at £22, serves both as a harrowing testament and a call to remember a dark chapter of Irish history that continues to shape the lives of those who endured it.

New research from the Institute for Fiscal Studies (IFS) shows that the Help to Buy mortgage initiatives launched by the Conservative‑Lib Dem coalition in 2013 mainly benefited higher‑income households, rather than the intended first‑time, lower‑income buyers.The policy comprised two components: a taxpayer‑backed loan that reduced required deposits, and a mortgage guarantee scheme that covered part of lenders’ losses on high loan‑to‑value mortgages. Both applied to properties priced up to £600,000 and, by the 2014‑15 fiscal year, accounted for roughly one‑fifth of first‑time buyer transactions.Using a novel methodology that combined survey responses with local property price data, the IFS concluded that the bulk of the advantage accrued to wealthier purchasers—particularly those outside London and the south‑east, where homes are comparatively cheaper. These buyers were likely to secure a property eventually, even without the scheme.Bee Boileau, a research economist at the IFS and co‑author of the briefing, warned that while Help to Buy can theoretically assist newcomers onto the housing ladder, it also risks inflating prices and shifting loan risk onto the public sector. “Our research indicates that the Help to Buy schemes introduced in 2013 had the largest impact – in terms of making more homes affordable – on higher‑income households,” she said.The study notes that the mortgage guarantee scheme had “limited effects on affordability” because borrowers remained constrained by income‑based borrowing caps. Conversely, the loan scheme proved more influential for most households, yet its impact was muted by its restriction to new‑build properties.Both components appear to have had little effect on social mobility. Boileau suggested that future governments aiming to reduce inequality should target assistance at lower‑income families, acknowledging that such a shift would increase taxpayer exposure to loan risk.Critics have long argued that Help to Buy inflated house prices without expanding supply. A 2022 House of Lords built‑environment committee report echoed this view, recommending that funds be redirected toward increasing housing construction.The mortgage guarantee element was revived in 2021 and made permanent by the Labour government last year to preserve access to 95% mortgages. In response, Conservative housing secretary James Cleverly defended the legacy schemes, claiming they enabled “many thousands of people” to achieve homeownership, even as he warned that Labour policies were making the market harder for first‑time buyers.

The Food and Agriculture Organization (FAO) has issued a stark warning: if the Strait of Hormuz remains blocked by the ongoing US‑Israel conflict with Iran, the world could face a food ‘catastrophe’. The disruption is already halting shipments of vital agricultural inputs, a situation that could quickly cascade into higher food prices. FAO chief economist Maximo Torero told Al Jazeera that, for now, food prices have stayed stable because existing stockpiles are absorbing the shock. However, he cautioned that this buffer is temporary and that “the clock is ticking.” FAO agrifood economics director David Laborde added that if traffic does not resume, the resulting strain on energy and fertilizer markets will translate into “higher commodity and retail prices later this year and into 2027.” According to the FAO, 20‑45% of key agrifood inputs—including fertilizers, pesticides and feed—depend on maritime passage through the Hormuz chokepoint. Nearly half of the world’s traded urea, the most widely used fertilizer, also moves through the strait, making global agriculture highly vulnerable. Recent gas supply disruptions have already forced fertilizer plants in the Gulf and beyond to cut or halt production, raising concerns that farmers may have to reduce fertilizer use or face higher production costs. Torero emphasized that poorer countries are especially at risk because planting calendars leave little room for delays; a slowdown in input delivery could quickly lead to “lower output, higher inflation and slower global growth.” The blockade stems from Iran’s decision to bring traffic to a near‑total halt in retaliation for attacks by the United States and Israel, which launched a war on Tehran on 28 February, resulting in the death of Supreme Leader Ayatollah Ali Khamenei. The conflict has already doubled oil and gas prices compared with pre‑war levels. Negotiations between Iranian and US representatives over a 21‑hour marathon failed to secure a permanent ceasefire. Subsequently, US President Donald Trump announced a naval blockade, stating that the navy would interdict ships in international waters that had paid Iran a toll to traverse the strait. The US military later declared it would block all maritime traffic entering and exiting Iranian ports, including those in the Gulf and the Gulf of Oman. FAO officials stress that decisive action—both a sustained ceasefire and the reopening of the waterway—is essential to prevent the looming food crisis from becoming a full‑blown catastrophe.

Celebrating two decades since its West End debut, Avenue Q is back at London’s Shaftesbury Theatre until 29 August, offering a refreshed version of the Broadway‑to‑London hit that originally won Tonys for Best Musical, Book and Score.The revival, billed as a “love letter to the original”, is helmed once again by Jason Moore – the director who first staged the show in 2006. At 55, Moore admits that returning to a work he originally conceived is unusual, but he sees the anniversary as an opportunity to upgrade the show’s scale, technical ambition and cultural sensitivity.Created by composers Robert Lopez and Jeff Marx with book by Jeff Whitty, the musical blends colourful Sesame‑Street‑style puppets with adult themes such as sex, racism, housing crises and existential angst. While the core story remains, the production team has added contextual notes to jokes that might puzzle Gen‑Z audiences – for example, the reference to 1980s sitcom star Gary Coleman is retained but clarified for modern viewers.Moore’s casting criteria emphasise a youthful “innocence” and a strong aptitude for puppeteering. As actor Emily Benjamin explains, performing through a puppet is an “ego death” that forces the performer to shift focus from self to the character, reducing vocal anxiety and deepening emotional honesty.Behind the scenes, puppet director Iestyn Evans coordinates a complex choreography where human actors operate hand‑and‑rod puppets in full view, interacting simultaneously with fellow performers. This layered performance style demands precise timing, especially when tackling songs like “Everyone’s a Little Bit Racist” and “If You Were Gay”, which have sparked whole‑company discussions about their relevance and sensitivity today.Moore acknowledges that the show’s transgressive edge – famously illustrated by “naked puppets having sex” – still feels bold, even as contemporary West End productions such as Oh, Mary! and The Book of Mormon have pushed similar boundaries. He argues that the musical’s core questions – “how do you give your life meaning?” – remain timeless, and that the updated production aims to engage a new generation of audiences.As Benjamin puts it, “they might just be little cloth things, but people can often empathise with something that isn’t real more directly than with a human being telling the same story.” The revival therefore hopes to prove that puppetry can still provoke, entertain and resonate in today’s cultural climate.