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Sudan's civil war, now in its fourth year, has plunged the country into one of the world's most severe humanitarian crises. The conflict, which began on April 15, 2023, between the Sudanese Armed Forces (SAF) and the Rapid Support Forces (RSF), has resulted in 14 million people being forced to flee their homes, roughly a quarter of the country's population.The war has caused widespread destruction, with 40,000 people estimated to have been killed and 21 million people facing acute food insecurity, including 6.3 million in emergency conditions. The country's healthcare system is in shambles, with over 200 attacks on healthcare facilities since the war began, resulting in at least 2,052 deaths.Human rights abuses are rampant, with serious violations including massacres, forced recruitment, and arbitrary arrests. Women and girls are particularly vulnerable to conflict-related sexual violence, with 3,396 survivors of sexual violence seeking treatment in MSF-supported health facilities across North and South Darfur between January 2024 and November 2025.The international community has attempted to mediate a ceasefire, but efforts have repeatedly failed. The conflict has also disrupted humanitarian operations, with regional instability affecting supply chains and limiting the movement of goods.The situation on the ground remains dire, with millions surviving on one meal a day and famine already confirmed in multiple areas. The international community must continue to pressure the warring parties to reach a ceasefire and provide urgent humanitarian assistance to those affected.

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.

The ongoing conflict in Sudan has been marked by a catastrophic humanitarian crisis, with 14 million people forced to flee their homes and tens of thousands reported missing. As the conflict enters its fourth year, the UN's top official in Sudan, Denise Brown, has expressed her concern over the apparent lack of political urgency to end the war.Brown described the situation as 'bloody unacceptable,' stating that it seems the world focuses on other crises and fails to find solutions for Sudan. The conflict between the paramilitary Rapid Support Forces (RSF) and the Sudanese army has killed at least 150,000 people and left 33 million in need of assistance.New research by Islamic Relief reveals that almost half of Sudan's vital community kitchens have closed in the past six months, exacerbating hunger and the threat of famine. Other studies corroborate the food crisis, with millions surviving on a single meal a day. The conflict has also led to the deliberate targeting of Sudan's health infrastructure, with 37% of hospitals deemed 'non-functional' and over 200 documented attacks on health facilities.The war has set Sudan's economy back more than 30 years, according to a detailed assessment by the UN Development Programme and the Institute for Security Studies. If the conflict continues until 2030, an additional 34 million people could be pushed into deprivation. Investigators are attempting to track down tens of thousands of civilians reported missing or forcibly disappeared since the start of the war.Cases of missing persons recorded by the International Committee of the Red Cross (ICRC) in Sudan stand above 11,000 – an increase of more than 40% during the last year – with the true figure believed to be many times higher. The ICRC helped 62,000 families track down relatives who had gone missing last year.The issue of funding has become increasingly critical, with overall funding for Sudan's humanitarian plans now only 16% met this year. The UN agency for children, Unicef, noted that even the modest amounts forthcoming are becoming less impactful due to increasing transport costs.

The world of artificial intelligence is rapidly evolving, with companies like Anthropic and OpenAI pushing the boundaries of what is possible. However, amidst the excitement and innovation, a crucial question arises: where does the truth about AI lie? Anthropic's recent release of Claude Mythos, an AI model focused on cybersecurity, has sparked both thrill and panic. The company claims that Mythos has exposed thousands of vulnerabilities in commonly used applications, prompting concerns about the potential for catastrophic cyber-attacks. However, experts are pushing back on Anthropic's claims, suggesting that the company's marketing prowess may be outpacing its actual capabilities. The implications of such technology are far-reaching and potentially devastating. If widely available, Mythos could enable hackers to disrupt critical software and infrastructure, putting entire industries and economies at risk. Cybersecurity experts warn that the model's capabilities, while impressive, may not be as significant as Anthropic claims. The article highlights the delicate balance between the power of AI and the need for responsible marketing and transparency. As AI continues to advance, it is essential to separate hype from reality and ensure that the public understands the true potential and limitations of these technologies. The intersection of AI and marketing is a complex one, with companies walking a fine line between promoting their products and avoiding overhyping their capabilities. Ultimately, the goal is to harness the power of AI while prioritizing transparency, accountability, and responsible innovation.

"Bloody unacceptable" – those were the words of UN humanitarian chief Denise Brown as she condemned the failure to halt a war that has now entered its fourth year. The conflict, which began with rival generals overthrowing Sudan’s civilian leadership, has eclipsed global crises in Ukraine, Gaza and Iran, yet remains largely ignored. The Berlin‑hosted international conference aims to inject urgency into a situation where tens of thousands have been killed, four million have fled abroad, and millions more are internally displaced. Roughly 30 million Sudanese – more than half the population – now face acute food insecurity, and large swathes of Khartoum lie in ruins. Violence has not abated. The paramilitary Rapid Support Forces (RSF), led by Gen. Mohamed Hamdan Dagalo, have established a rival administration in western Sudan. In the siege of El Fasher, an estimated 10,000 civilians were massacred – a UN mission described the atrocity as bearing the hallmarks of genocide. Both the RSF and the Sudanese Armed Forces (SAF) under Gen. Abdel Fattah al‑Burhan have deliberately targeted civilians, carried out summary executions, tortured detainees and increasingly employed drones to devastate urban areas. Gen. Burhan, whose government enjoys international recognition, refuses any compromise, insisting the RSF must first disarm and retreat to camps before any national dialogue. The RSF, meanwhile, demands a new federal system and the removal of Islamist elements – a stance that directly challenges Burhan’s coalition. In September, a US‑led mediation team that included Saudi Arabia, the United Arab Emirates and Egypt outlined a tentative roadmap: a humanitarian truce leading to a cease‑fire and subsequent political talks. Yet the United States has shown little appetite to prioritize Sudan, and the plan sidestepped the most contentious issues. The deeper scandal, according to diplomats and analysts, is the role of external actors in sustaining the war. Despite denials, the UAE is widely reported as the principal backer of the RSF, while Saudi Arabia and Egypt back Burhan’s forces. Recent Yale research points to Ethiopian collusion with the RSF, raising fears of a broader regional conflagration. European states, which previously funded Sudanese security to curb migration, have inadvertently strengthened the RSF and supplied weapons now used on the battlefield. The ongoing Iran‑Israel conflict further hampers relief efforts, inflating costs and limiting aid deliveries. Community kitchens that once fed countless families are disappearing – more than 40 % have closed in the past six months. The Berlin delegates must therefore boost support for Sudan’s grassroots mutual‑aid networks, but humanitarian assistance cannot replace a durable peace. Pressure on the UAE and other geopolitically motivated actors is essential if the international community hopes to halt the suffering of millions of Sudanese.

The UK government has unveiled a significant investment in England's cultural sector, with over 100 venues set to share a £130m funding package under the Arts Everywhere scheme. This initiative is part of a broader £1.5bn package aimed at supporting cultural infrastructure projects throughout the current parliament. The funding will be administered by Arts Council England on behalf of the Department for Culture, Media and Sport. It comprises three main funds: the Creative Foundations Fund (£96m for 74 arts and cultural venues), the Museum Estate and Development Fund (£28m for 28 museums), and the Libraries Improvement Fund (£6.3m for 28 library services). Beneficiaries of the funding include the Lowry Centre in Salford, which will receive £8.5m to upgrade critical infrastructure such as replacing escalators with new lifts and providing step-free access to galleries. The Royal Shakespeare Company in Warwickshire and the Hexagon in Reading are also among the recipients. Culture Secretary Lisa Nandy emphasized the importance of local arts, museums, and libraries in bringing communities together and reflecting the country's identity. She stated, 'Arts and culture aren’t a luxury for a privileged few. They are for everyone, everywhere.' The funding package represents a significant injection into a sector that has faced challenges in recent years. Arts Council England chair Nicholas Serota noted that the investment will help organizations secure their futures and continue to provide access to excellent art and culture. This investment follows a previously announced £270m and is part of a broader effort to repair the UK's cultural infrastructure. It marks one of the biggest resets in the arts for a generation, particularly after ACE funding was cut by 30% in 2010.

HSBC’s chief executive, Georges Elhedery, told Bloomberg Television at a conference in Hong Kong that the ongoing Iran war is undermining global economic confidence. He warned that the conflict’s duration could amplify price pressures on commodities such as oil, refined products, fertilisers and metals, extending the impact far beyond the Middle East. Brent crude, which had briefly risen above $100 per barrel, slipped 0.9% to $98.5 per barrel after a U.S. blockade of Iranian ports took effect. Negotiations between the United States and Iran are set to resume in Islamabad, but no agreement was reached in the previous talks. In London, the FTSE 100 edged up 22 points (0.21%) to 10,605, even as Imperial Brands led the losers, citing a “more uncertain geopolitical and macro environment.” The UK recruitment firm PageGroup warned that the Middle East conflict is creating an “increasingly uncertain outlook” for the rest of the year, with salaries lagging behind 2022‑2023 levels across the UK, Europe, the Middle East and Asia. HSBC holds a 31% stake in Saudi Awwal Bank, making it one of the European banks most exposed to the region, which contributes roughly 4% of its pre‑tax profit according to JP Morgan analysts. Nevertheless, Elhedery noted that capital outflows from the Middle East have been “very benign” so far. Since the U.S. and Israel began striking Iran on 28 February, some affluent Middle‑Eastern investors have started exploring relocation to financial hubs such as Singapore and Hong Kong. HSBC chair Brendan Nelson stressed that a peace settlement is essential to restore global energy flows, warning that prolonged disruption would lift inflation and suppress growth. “The longer the disruption continues, the more the indirect effects from higher energy costs will lift inflation and depress growth,” he said at the HSBC Global Investment Summit. Manufacturers reliant on petroleum‑derived synthetic fabrics, such as sportswear maker Castore, reported cost increases of 10‑15% and warned that continued conflict could push those costs onto consumers. Co‑founder Tom Beahon described price volatility as “very difficult to plan,” with daily swings of up to 40%. Logistics are also strained: airlines have reduced flights and vessels remain stranded in the Strait of Hormuz, complicating product shipments. Castore hopes that a resolution in the coming weeks will limit the impact on customers. Virgin Atlantic chief executive Corneel Koster told the Financial Times that jet‑fuel prices have more than doubled since the war began, adding that “some of this disruption to global energy prices will be here to stay.” UK Chancellor Rachel Reeves, speaking at the IMF and World Bank spring meetings, called for coordinated economic action, stating that the Iran conflict must become “a line in the sand” for how the world handles crises and instability.

The humanitarian situation in Sudan has reached a critical point, with millions of people struggling to access adequate food. A report by a group of nongovernmental organisations (NGOs), including Action Against Hunger, CARE International, and the Norwegian Refugee Council, highlights the dire situation.The conflict, which began in April 2023, has caused widespread hunger and displaced millions of people, creating one of the world's largest humanitarian crises. The report notes that nearly three years of conflict have systematically eroded Sudan's food system, leading to mass hunger.In the two states worst hit by the conflict – North Darfur and South Kordofan – millions of families can only access one meal a day. Often, they miss meals for entire days, and many have resorted to eating leaves and animal feed to survive.The NGOs also report that communal kitchens set up to collectively prepare and share meals are struggling to stretch the scarce food available as resources dwindle. The crisis is being compounded by a worsening economic crisis and climate change.The Sudanese government has denied the existence of famine, while the Rapid Support Forces (RSF) denies responsibility for such conditions in areas under its control. However, the UN has reported widespread atrocities and waves of ethnically charged violence.According to the 2026 Humanitarian Needs and Response Plan, 61.7 percent of Sudan's population – 28.9 million people – is facing acute food shortages. The UN-backed Integrated Food Security Phase Classification has confirmed famine conditions in several areas, including el-Fasher and Kadugli.

The National Gallery of Art's latest exhibition, 'Dear America: Artists Explore the American Experience', is a thought-provoking collection of over 100 works by 95 artists. This 'open letter to the nation' offers a multifaceted exploration of the American experience, delving into themes of land, community, and freedom.Upon entering the exhibition, visitors are immediately struck by the unconventional representations of iconic American symbols. The Statue of Liberty, for instance, is reimagined through the lens of South African photographer Zanele Muholi and a geometric screenprint by Roy Lichtenstein.The exhibition's curatorial approach is to create 'provocative conversations across centuries, disciplines and demographics.' E Carmen Ramos, the gallery's chief curatorial and conservation officer, notes that the show was 'years in the making' and showcases an 'embarrassment of riches' from the gallery's permanent collection of over 160,000 works.Structured around three core themes – land, community, and freedom – the exhibition presents a diverse array of works. These include Thomas Moran's idyllic watercolours of the American West juxtaposed with Thomas Hart Johnson's photographs of a landscape ravaged by coal mining and railroads. The exhibition also features poignant pieces such as Carrie Mae Weems's haunting silhouette and Gordon Parks's indelible 'American Gothic.'The show's second section, 'Community,' features Richard Avedon's massive 1976 commission 'The Family,' which comprises 69 stark, uniform portraits of the bicentennial era's political, media, and corporate elite. This is contrasted with John Wilson's tender sketches of his teenage children and their friends.The final act of the exhibition turns its lens to 'Freedom,' showcasing historical portraits of figures such as Frederick Douglass, Sojourner Truth, and George Washington, alongside powerful works by Kara Walker, Martha Rosler, and Faith Ringgold. As visitors exit, they are met with Robert Indiana's boldly coloured screenprint 'Liberty '76,' created for the 1976 bicentennial.Ramos reflects on the exhibition's significance, stating that it 'explores how artists in the United States have explored the American experience across different moments in time.' The exhibition will be on view in the National Gallery's West Building until 20 September.