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US President Donald Trump has issued a stern warning to Iran, stating that the Tuesday deadline for Tehran to agree to free passage through the Strait of Hormuz is final. Failure to comply will result in US strikes on Iranian infrastructure, he emphasized.On Monday, Trump described an Iranian proposal aimed at ending the conflict as 'a significant step' but insufficient to avert US action. The proposal, which includes 10 clauses such as an end to conflicts in the region, a protocol for safe passage through the Strait of Hormuz, the lifting of sanctions, and reconstruction, was conveyed to the US via intermediaries.The Iranian proposal was put forward after Pakistan suggested a 45-day ceasefire, which Iran reportedly rejected, seeking a permanent end to hostilities instead. Iran's diplomatic mission head in Cairo, Mojtaba Ferdousi Pour, stressed that Tehran would only accept an end to the war with guarantees that it wouldn't be attacked again.The Strait of Hormuz, a critical waterway through which about 20% of the world's oil supplies pass, has been a focal point of the conflict. Trump's threat to destroy Iranian infrastructure unless the strait is reopened has caused oil prices to surge and shaken the global economy.Earlier on Monday, Israel struck a key petrochemical plant in Iran's South Pars gas field, killing two commanders of the Islamic Revolutionary Guard Corps. Israel claimed responsibility for the strike, which appeared separate from Trump's threats.The White House confirmed that a ceasefire proposal was under consideration but stated that Trump had 'not signed off' on it. The conflict, sparked by Israeli and US attacks on Iran on February 28, has seen Iran fire missiles at targets across the Middle East.Trump has been vocal about his stance, suggesting that Iran's leaders are 'animals' who have killed tens of thousands of protesters and expressing that he is 'highly unlikely' to postpone the deadline. When asked about concerns that attacks on infrastructure could be classified as war crimes, Trump responded that he is 'not worried about it,' emphasizing that allowing Iran to have a nuclear weapon would be a greater war crime.

Iranian drones have launched a series of attacks on Kuwait's oil infrastructure, resulting in severe material damage and posing a significant threat to oil supplies that are already strained due to the ongoing US-Israel war on Iran.The drone strikes, which took place on Sunday, happened just hours before members of the Opec+ group of major global oil suppliers convened to discuss strategies for increasing output, despite Iran's effective blockade of the Strait of Hormuz shipping route.The Islamic Revolutionary Guard Corps of Iran claimed responsibility for the attacks, stating that they had targeted petrochemical plants in Kuwait, as well as in the United Arab Emirates and Bahrain. The Kuwait Petroleum Corporation reported damage and fires at its subsidiaries, including at the Shuwaikh oil sector complex, which houses the oil ministry and KPC headquarters.The attacks on Kuwait's oil infrastructure are part of a broader escalation of tensions in the Middle East, with Iranian drones also reportedly striking an office complex for Kuwaiti government ministries and two power and water desalination plants.The conflict has led to the largest disruption to oil supplies in history, with the price of Brent crude surging more than 50% since the start of the year to a peak of $119.50 a barrel in March. It is currently trading at about $109 a barrel.The disruptions have had a significant impact on energy costs for consumers, with the average price of a litre of unleaded petrol in the UK reaching 154.45p on Sunday, and the average US fuel price passing $4 a gallon for the first time in four years.Opec+ members have agreed in principle to raise output by 206,000 barrels a day in May, but the agreement remains largely symbolic while Iran continues to block the Strait of Hormuz, a vital trade artery through which about 20% of the world's total crude oil passes.

When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

Iran's Deputy Foreign Minister, Seyed Abbas Araghchi, has stated that messages from the US conveyed through intermediaries, including Witkoff, do not constitute negotiations. This development comes amid ongoing diplomatic efforts to revive the Iran nuclear deal. The comments highlight the complexities of indirect communication between the US and Iran, with Araghchi emphasizing that such messages are not a substitute for direct negotiations. The situation underscores the challenges in achieving a diplomatic breakthrough, with both sides maintaining their positions on the nuclear issue.

Israeli and U.S. forces launched a series of air strikes on Tuesday that struck Tofigh Daru Research and Engineering Company, one of Tehran’s largest producers of anaesthetics and anti‑cancer medicines. The state‑run firm, owned by the Social Security Investment Company, saw its drug‑production line damaged, according to an official post on X. In the north‑western city of Zanjan, a separate strike hit the Husseiniya Azam, a Shia congregation hall adjacent to a mosque. Iranian Red Crescent teams rescued two people from the rubble; one of the victims died and several others were injured. Further attacks were reported in the western province of Kermanshah, where a civilian contracting company in Qasr‑e Shirin – a border town with Iraq – was hit. One person was killed and eight injured, the Mehr news agency said. Heavy bombing was also confirmed in Isfahan, a strategic hub for Iran’s defence industry and home to key nuclear facilities such as Natanz. Local officials indicated that the strikes may have targeted “military sites,” though the exact locations and damage assessments remain unclear. Iranian officials condemned the operations. Former foreign minister Javad Zarif denounced the targeting of the pharmaceutical plant as a deliberate attack on a medical facility, calling the aggressors “desperate” and accusing them of “diabolical delusions.” Governor‑level security official Akbar Salehi echoed these concerns, noting that the strikes appeared aimed at military installations without specifying which ones. The broader conflict has already claimed 1,937 Iranian lives since the joint U.S.–Israeli campaign began on 28 February, while 20 Israelis have been killed. Recent Israeli interceptions using the Iron Dome and David’s Sling systems have limited damage on Israeli soil, but impact sites were reported in Tel Aviv, Bnei Brak and Petah Tikva. Amid the escalating violence, diplomatic channels remain active. U.S. Secretary of State Marco Rubio told Al Jazeera that communications between Washington and Tehran continue, primarily through intermediaries, and that the U.S. aims to achieve its war objectives “in weeks, not months.” Pentagon chief Pete Hegseth added that negotiations to end the conflict are “very real, ongoing and gaining strength.” Iran’s Islamic Revolutionary Guard Corps (IRGC) claimed a retaliatory strike, saying it hit an Israeli container ship in the Gulf with a ballistic missile and that Iranian drones targeted a group of U.S. Marines near a UAE military base. Public sentiment in Iran has turned sharply hostile, with pro‑state demonstrations erupting in Tehran as citizens protest the continued air raids. The atmosphere, described by Al Jazeera’s Tohid Asadi as a “cloud of mistrust,” reflects growing frustration over diplomatic dead‑ends and the relentless cycle of attacks.

US Secretary of State Marco Rubio has assured that the Strait of Hormuz will reopen after the ongoing conflict with Iran. In an exclusive interview with Al Jazeera, Rubio emphasized that the strait will be reopened either with Iran's consent or through an international coalition including the US.The conflict began on February 28 with US-Israeli strikes on Iran. Despite US President Donald Trump stating that the US is pursuing diplomacy, Rubio mentioned ongoing direct talks between the US and Iran, primarily through intermediaries. Iran has denied these talks are happening.Rubio called on Iran to take concrete steps to end its nuclear programme and cease manufacturing drones and missiles. He accused Iran of seeking nuclear weapons to threaten and blackmail the world, which Tehran denies.The situation remains volatile, with speculation about a possible US troop deployment in Iran. Rubio warned of severe consequences if Iran keeps the strait closed after the conflict ends. The White House has considered various military options, including a special forces operation to seize enriched uranium stored in Iran.

In an exclusive interview with Al Jazeera, US Secretary of State Marco Rubio revealed that President Donald Trump favors diplomacy as a means to end the conflict with Iran. Rubio emphasized that direct talks between the US and Tehran are currently underway through intermediaries.Earlier, Trump threatened to target Iran's civilian energy infrastructure, including power plants, oil wells, and Kharg Island, if Tehran did not reopen the Strait of Hormuz. Despite these military threats, Rubio's comments suggest a preference for diplomatic engagement.

Raoul Peck's documentary about George Orwell and his enduring relevance takes as its keynote the heretical masterpiece Nineteen Eighty-Four and its famous scene about the state compelling people to believe whatever it says is the truth: that two and two make five. This Orwellian anti-arithmetic of tyranny has become a political meme often repeated in social media debates.The simple experience of hearing Orwell's prose, both from his published work and letters and diaries, read aloud by Damian Lewis, is invigorating and refreshing. There's an interesting emphasis on Orwell's physical frailty, with him effectively composing his masterwork in the shadow of death. Peck amusingly juxtaposes Orwell's sickness with Winston Smith being made to do exercises and the infatuation of tyrannical regimes with public displays of physical fitness.Peck cites various movie and TV adaptations of Nineteen Eighty-Four and includes footage of Jura, where Orwell went to live, and archive photo records of Orwell's childhood and early working life as a policeman in Burma. The film also shows how Orwell predicted the rise of AI in propaganda and in soulless bread-and-circuses for the masses.The film falls down in not focusing on actual theocracies of the present day and the Orwellian qualities of Isis and Hamas. The question of how far Orwell renounced his own earlier antisemitic tendencies is not entirely addressed in this film.Orwell was disliked by some on the left for daring to write Nineteen Eighty-Four and disliked still more with the revelation 30 years ago that in 1949 he had handed over to British authorities the names of 38 public figures he considered 'crypto-communists' – a fact from which this film averts its eyes. But Orwell's complications don't compromise his genius for truth-telling.