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Arthur Rosenfeld, 73, and Meryl Tankard, 70, open the performance by introducing themselves as “sprightly old geezers,” setting a tone of candid humor that runs through the evening. The production, ‘Kontakthof – Echoes of 78,’ is a fresh staging of Pina Bausch’s iconic 1978 work, now re‑imagined by Australian choreographer Meryl Tankard. Unlike the 2010 London run that split the piece between teenagers and senior amateurs, this rendition features the eight surviving members of the original cast—all now in their late sixties to early eighties—performing the very roles they created half a century ago. A ninth dancer was absent due to illness. Their live movements are mirrored on a large screen by the black‑and‑white film of the 1978 performance, creating a visual palimpsest where past and present dance together. The choreography, set to 1930s dance‑hall songs, remains a wry commentary on courtship, power dynamics and consent. Tankard’s direction emphasizes the passage of time, allowing audiences to witness the same steps executed by bodies that have aged, yet retain a striking vitality. Dancers such as Josephine Ann Endicott, now in her seventies, glide across the stage in silk dresses, their frames more fragile but their confidence undiminished. Moments of poignancy arise when the film shows cast members who have since passed away. Onstage, John Giffin reaches for his late partner’s face, only to grasp empty air—a visual metaphor for loss that resonated deeply with the audience. Personal revelations punctuate the performance: Beatrice Libonati, 71, describes herself as “paranoid and a misanthrope,” while Tankard admits, “I wish I’d had children; I miss my mother every day,” underscoring the undercurrent of longing that runs through the piece. Beyond its narrative, the production offers a meditation on continuity. Bausch’s signature walking patterns—slow circles and linear traverses—are repeated, suggesting that despite changing bodies, the human species continues to tread familiar social routes. The music, unchanged from the original, carries on until the final dancer pauses, symbolising the inevitable end of the dance of life. The show runs at Sadler’s Wells, London through 11 April, offering a rare glimpse into how art can bridge generations and celebrate the endurance of the human spirit.

The Black Death, which occurred between 1346 and 1353, was a pandemic that killed an estimated 100 million people, making it the most lethal natural disaster in human history. Historian Thomas Asbridge argues that the plague was more global than previously thought, affecting not just Europe but also the medieval world, including Sicily, Egypt, Syria, Spain, Sweden, and Russia.In his book, 'The Black Death: A Global History', Asbridge explores the social and economic impact of the pandemic, including the rise of antisemitism and the blaming of Jews for the plague, which led to massacres and persecution. He also examines the long-term consequences of the pandemic, including the end of serfdom and the weakening of the Byzantine Empire.Asbridge's work is based on a thorough analysis of contemporary chronicles and bureaucratic records, which provide a vivid picture of life during the pandemic. He also highlights the resilience of society during this time, with most people continuing to work and care for their loved ones, even in the face of overwhelming death and destruction.The book is a magisterial survey of the Black Death, offering a comprehensive and engaging history of one of the most significant events in human history. Asbridge's work is a timely reminder of the ongoing threat of pandemics and the importance of understanding their impact on human society.

Thirty years after the passionate road protests against the Newbury bypass, the elevated road now looms large, a constant reminder of the environmental costs of progress. For the author, who was part of the campaign, the Newbury bypass remains a sore point, even today.On a walk in The Chase, a nature reserve adjacent to the bypass, the author is accompanied by their friend Sarah, a 'cow watcher' for the National Trust. Their mission is to check on the wellbeing of conservation grazers – Shetland cows with upswept horns – which play a crucial role in maintaining biodiversity and plant life.The reserve, once common land with a rich history dating back to 1819, has been a playground for the author and Sarah. They recall devastating sewage spills that killed local wildlife and the great storms of 1987 and 1990 that left trees like 'spilled pencils.'As they wade across a stream to find the cows grazing among wild daffodils and golden saxifrages, memories of their children come flooding back – 'welly walks' with grandparents, watching great spotted woodpecker chicks fledge, and following silver-washed fritillary butterflies.Their walk complete, they meet at a garden centre cafe, where the author, aided by 'brain fog,' mistakenly heads to the pub first. The zigzag patterns of peaty-black mud from Sarah's boots across the polished floor serve as a humorous reminder of their conservation work and shared experiences.

As the deadline set by US President Donald Trump for Iran to reopen the Strait of Hormuz approaches, Iranians are bracing for a potential catastrophe. With over 90 million people facing uncertainty, daily life in Iran could drastically change by Wednesday.Trump has issued ominous warnings, stating that if Iran does not comply, its electricity, bridges, and other critical infrastructure will be targeted, despite this violating international law. Such actions could lead to the destruction of a whole civilisation, as Trump previously mentioned.In the hours leading up to the 8pm US Eastern Time (23:00 GMT) deadline, residents of Tehran express their fears. A Tehran resident noted, “We all know he’s crazy enough to do it. He doesn’t care as long as he believes it serves his interest.” This sentiment reflects the anxiety gripping the nation as the threat of an attack looms.Preparations for potential blackouts and shortages are underway. Iranians are charging phones and power banks, using household appliances, and stocking up on essentials like bread, flour, and bottled water. The price of bottled water has surged due to chronic inflation and the ongoing conflict.The impact on vulnerable populations, including the sick and disabled, could be severe. Long-lasting power cuts would hinder access to essential medicines and medical equipment, exacerbating the crisis.Market prices for electrical devices and generators have skyrocketed, with many struggling to afford these necessities. A resident from the northern province of Gilan shared that he purchased a generator to power essential items, spending nearly all his earnings.Despite the threats, there is some optimism about Iran’s decentralised power distribution system potentially mitigating damage. The Ministry of Energy assured the public that they are prepared for worst-case scenarios and urged calm.The Islamic Revolutionary Guard Corps (IRGC) announced readiness to expand its target list and attack critical infrastructure in neighbouring countries if the threatened attacks proceed. Iranian politicians, including former President Hassan Rouhani, have condemned Trump’s statements, highlighting Iran’s resilience and cultural heritage.As the situation unfolds, protests and demonstrations are taking place across the country. State-backed motorcades are roaming the streets of Tehran, playing revolutionary songs, while armed checkpoints maintain control over highways and public spaces.

In a powerful display of dissent, hundreds of women took to the streets of Havana, Cuba's capital, to protest the de facto oil blockade imposed by the United States. The demonstration, which took place on what would have been the 96th birthday of Vilma Espin, a leader in the Cuban Revolution, saw protesters carrying banners and signs with the slogan 'Tumba el bloqueo' or 'Tear down the blockade'. The protesters are demanding an end to the US campaign that they say has caused widespread suffering and economic hardship.The protest was led by top officials in Cuba's communist government, including Deputy Prime Minister Ines Maria Chapman and Deputy Foreign Minister Josefina Vidal. Vidal denounced the US campaign as a form of collective punishment, stating that 'This policy of abuse has to stop. The Cuban people don't deserve this. It's the most comprehensive, all-encompassing, and longest-running system of coercive measures ever imposed against an entire country.'The US blockade has had a significant impact on Cuba's energy supply, with the country suffering at least two island-wide blackouts in the last month. The blockade has also led to food spoilage, water pumps ceasing to function, and medical patients going untreated. Russia has announced plans to send a second oil tanker to Cuba in defiance of the US blockade.The protest comes as the US and Cuba are in negotiations to lift the recent oil blockade. Deputy Foreign Minister Vidal stated that the talks are in a 'very preliminary' phase. The US blockade has been in place since the 1960s, but the current 'maximum pressure' campaign began under US President Donald Trump in his first term as president.

The metal music scene has witnessed a surge in popularity of masked bands, with many notable acts donning elaborate masks as part of their stage presence. This trend is not only visually striking but also allows the bands to create a sense of mystery and anonymity. For bands like Imperial Triumphant, Gaerea, Sleep Token, Ghost, and Gwar, their masks have become an integral part of their image and artistry.Imperial Triumphant, an avant-garde metal band from the US, chose to wear striking gold masks modeled after 1920s art deco architecture. These masks brought their own set of problems, including getting lost in transit. The band's singer/guitarist, Zachary Ezrin, notes that the masks add a layer of complexity to their music, allowing them to tap into different parts of their personalities.Gaerea, a Portuguese black metal band, has also adopted the trend of wearing masks. Lead singer Alpha notes that the mask allows him to get into a different mode in his psyche, similar to how athletes get into a trance-like state during intense physical activity. The band's masks are not just for show; they also help to create a sense of anonymity, allowing the band to focus on their music rather than their individual identities.The use of masks in metal music is not a new phenomenon. Bands like Gwar and Slipknot have been using masks for decades, and their influence can be seen in many modern metal bands. However, the current trend of masked bands goes beyond just shock value; it's about creating a sense of mystery and artistry.The masks also allow bands to create elaborate mythologies and universes that fans can engage with. For example, Ghost poses as a subversive, devil-worshipping church, while Sleep Token's songs are ostensibly about their devotion to a god called Sleep. These mythologies help to create a sense of depth and complexity, drawing fans into the band's world.Despite the challenges of performing in masks, many bands find that it allows them to access new parts of their personalities and create a more immersive experience for their fans. As Ezrin notes, "I love the presentation of Imperial Triumphant... Even in 2026, when there are a million masked bands out there, I'd say we're still unique."

The UK has witnessed a significant surge in online sextortion attempts reported by children, with a record 394 cases in 2025, representing a 34% increase from the previous year. The majority of victims, 98%, were boys aged 14 to 17.Sextortion involves a person being manipulated into sending explicit selfies or videos to a predator, who then threatens to publish them online unless the victim sends money or further intimate images. This crime has been linked to the suicides of several British teenagers who have taken their own lives after receiving extortion threats.Campaigners, including the Molly Rose Foundation and the Internet Watch Foundation, are calling on tech companies to take more decisive action to disrupt blackmail attempts. They argue that social media platforms, where initial grooming of victims often occurs, should introduce nudity-detection technology to prevent the spread of explicit content.The parents of 16-year-old Murray Dowey, who took his own life after being duped by criminals online, are suing Meta, the owner of Instagram and Facebook, for allegedly failing to implement adequate safeguards. The company continues to challenge the suit.The Report Remove service, which allows children to flag intimate images or videos that have appeared or could appear online, reported a 66% increase in under-18s seeking help in 2025, with 1,175 out of 1,894 reports classified as child sexual abuse material.Tech companies, including Google and Apple, have invested in protections against sextortion, but campaigners argue that more needs to be done. Google has implemented sensitive content warnings in its messaging app, while Apple has a communication safety system that warns under-18s about potentially explicit content.

NASA's Artemis II astronauts have described the powerful emotions they felt while soaring over the moon, capturing breathtaking images of impact craters, cracks, and ridges. The crew, who worked in pairs at the Orion capsule windows, took photographs of the Earth rising from behind the moon, a solar eclipse, and parts of the 590-mile-wide Orientale impact basin. The astronauts, including Christina Koch, the first woman to fly around the moon, reported feeling overwhelmed by the lunar landscape. Koch said she had an intense emotional moment when observing the moon's surface, which she couldn't replicate. Fellow astronaut Victor Glover, the first black man to travel beyond low Earth orbit, also shared his moving experience, describing the terrain as 'amazing'. The Artemis II mission broke the record for the farthest humans have traveled from Earth, reaching a distance of 252,756 miles. The crew came within 4,070 miles of the lunar surface at their closest approach. The mission's return leg is expected to end in a splashdown near the coast of San Diego on Friday evening. The Orion spacecraft will re-enter the Earth's atmosphere at over 20,000mph, causing its heat shield to reach temperatures above 1,600C. To minimize risks, the capsule will come in at a steeper angle, reducing the time the heat shield spends at critical temperatures.

A sharp political row has ignited between the central government in Madrid and the Basque regional authorities over a request to display Picasso’s Guernica at the Guggenheim Museum in Bilbao from 1 October to 30 June, coinciding with the 90th anniversary of the town’s devastating aerial attack.The masterpiece has been housed in Madrid’s Reina Sofía museum since 1992, and previous appeals to relocate it to the Basque Country have been consistently rejected.The latest demand has seen Isabel Díaz Ayuso, the outspoken conservative president of the Community of Madrid, and Aitor Esteban, leader of the Basque nationalist party, exchange barbed remarks, each accusing the other of a “provincial” outlook.Ayuso argued that moving the painting “doesn’t make sense” and quipped that, if origin mattered, “all of Picasso’s works should be sent to Málaga,” the artist’s birthplace. She also warned that the Reina Sofía fears the relocation could damage the delicate canvas.Esteban shot back, suggesting that Ayuso’s notion of national identity was reduced to “drinking beer on a terrace bar,” a jab at her stance on keeping Madrid’s bars open during the pandemic.Basque president Imanol Pradales challenged the Spanish government’s resolve, asking whether it could muster the courage to move Guernica after having “dragged Franco out of his tomb.” He framed the decision as a test of political will.The Basque administration proposes to exhibit the work at the Guggenheim for eight months, framing the display as a tribute to the victims of the 1937 bombing of the town of Guernica.The black‑and‑white canvas captures the horror of the attack carried out by the German Condor Legion and the Italian air force on 26 April 1937, an early example of strategic aerial bombardment of civilians during the Spanish Civil War.Casualty estimates for the raid vary widely—from as few as 126 to as many as 1,654 dead—yet the painting has become an enduring global symbol of the atrocities of war.After its debut at the 1937 Paris International Exposition, Guernica toured Europe and the United States. Picasso, who opposed its return to Spain under Franco’s dictatorship, later allowed it to reside at New York’s Museum of Modern Art (MoMA) for several decades.Art historian Francisco Chaparro cautioned that, while the Spanish government cannot entirely rule out a move, the risk of damage must outweigh any political motivations. He likened the situation to the Mona Lisa’s permanent stay at the Louvre and Velázquez’s *Las Meninas* at the Prado, noting that Guernica has been “rolled and unrolled on numerous occasions.”Artist José Manuel Ballester reminded observers that Picasso himself had envisioned the painting hanging in the Prado, a position he never assumed during the civil war.In 2000, the Reina Sofía rejected a request from MoMA to loan Guernica, declaring that the “great icon of our museum must remain, without exception, separate from the policy on lending works to other museums.”Note: The article was amended on 7 April 2026 to include the German Condor Legion alongside the Italian air force in describing the 1937 bombing.