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Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

A recent performance at the Royal Festival Hall by the renowned Argentinian pianist Martha Argerich and her Korean mentee Dong-Hyek Lim left the audience in awe. The duo's setlist included Mozart's Sonata for Two Pianos in D Major K448 and Ravel's two-piano arrangement of La Valse, as well as a surprise encore of Schubert's Fantasia in F minor D940.The performance was marked by a sense of gentle anarchy, with Argerich and Lim chatting and occasionally bowing between works. Their onstage negotiations about swapping pianos and furious looks at page-turners added to the charm. The audience was treated to moments of astonishing pianistic ventriloquism, particularly in the second movement of the Mozart sonata, where Lim imitated Argerich's gossamer touch in a breathtaking sotto voce passage.Argerich, widely regarded as the greatest pianist alive today, brought her unique touch to the performance, conjuring 50 shades of grey in the Schubert and veiled, suspended-animation pianissimo in portions of the Rachmaninov. Lim, on the other hand, favoured bright attack and primary colours. The Ravel arrangement was deliciously muddy, with the work's intoxicating pulse gradually rising from the depths as the two pianists exchanged bass detonations.The encore, a monumental 20-minute rendition of Schubert's Fantasia, was a testament to the duo's exceptional chemistry and skill. Argerich pushed forwards, ever-faster, her hands barely skimming the keyboard, as Lim scrambled to keep up, the waltz teetering on the brink of catastrophe in a high-wire act that couldn't have been more thrilling.

‘Your Friends & Neighbours’ returns for a second season that doubles down on its deliciously dark satire of the ultra‑rich enclave of Westport, New York – a thinly veiled stand‑in for Westchester’s high‑finance playground. The series remains a “rich dessert” of a show: indulgent, a little unhealthy, but undeniably moreish.Jon Hamm reprises Andrew “Coop” Cooper, a former Manhattan hedge‑fund star who now survives by burgling the opulent homes of his equally extravagant neighbours. Coop’s charisma is built on a blend of oak‑like steadiness and a perpetual tumbler of $500 whisky, allowing him to charm both victims and collaborators. Unlike Don Draper’s secret shame, Coop’s anxiety is a quieter, more comedic driver that fuels the season’s caper.Season two opens with Coop, now approaching fifty, injuring his back while rifling a mansion’s study. The mishap forces him to rely on his longtime lookout Elena (Aimee Carrero) and brings a new, reluctant ally into the fold. Meanwhile, the arrival of the flamboyant billionaire Owen (James Marsden) rattles the delicate Westport ecosystem, adding fresh tension to the criminal enterprise.The narrative also shifts focus to the personal toll of wealth. Coop’s ex‑wife Mel (Amanda Peet) navigates perimenopause and the looming emptiness of her children leaving for college, while their daughter Tori (Isabel Gravitt) deliberately flunks a Princeton interview, railing against the university as a “engine of rigged, corrosive capitalism.” This scene underscores the show’s satirical edge, reminding viewers that the glittering excess is built on fragile foundations.Despite its glossy façade, the series offers unexpected emotional depth. Hamm and Peet convey a wistful sadness that resonates beyond the bank‑balance zeros, suggesting that middle‑aged ex‑lovers remain bound by past mistakes. The season balances heist thrills with moments of genuine heart, positioning the show as a guilty‑pleasure dramedy that “gets away with it.”Your Friends & Neighbours is currently streaming on Apple TV+.

A stunning visual recap of the week's top stories, curated by photographer Jim Powell, has been published by The Guardian. The selection of images provides a glimpse into global events and everyday life across various countries.The photographs, presented in a gallery format, highlight significant moments that have shaped the week. While specific details about each image are not provided, the collection offers a unique perspective on international news and culture.Published by The Guardian on April 3, 2026, this visual series is a testament to the power of photography in storytelling and global connectivity.

The unexpected return of two William Hartnell episodes to the BBC archive has sent shockwaves of excitement through the Whovian community. For the first time since 1965, fans can now enjoy the first quarter of the 12-part adventure 'The Daleks' Master Plan.'The surviving five episodes are now on iPlayer, and the first three make for a stirring introduction to the adventure, with large impressive sets for the Earth control centre and the Dalek ship, contrasting with the dense forbidding foliage of the planet Kembel. Frequent tight closeup shots from director Douglas Camfield on the faces of the cast add to a claustrophobic feel in the jungle sequences.At the time, Hartnell was not to know that within a year he would be 'renewed' as the lead of the show by Patrick Troughton. Hartnell's health problems, reputation for being difficult on set and frequent flubbing of lines during a production schedule that allowed little leeway for second takes has tainted his tenure in the role.Here, especially in the opener, we get to see him in some of his strongest moments as the Doctor. With Stephen (Peter Purves) incapacitated by the poison he picked up in Troy, and Katarina (Adrienne Hill) little more than a hollow vessel of a character, Hartnell has much more to do than usual. The actor gets to show the gleeful side of his nature as he delights at his own invention of the magnetic chair and his ingenuity at repelling – at least initially – boarders to the spaceship.Rediscovering episode one also means we can enjoy beloved children's television presenter Brian Cant flexing his acting chops in something other than Playschool, and all three episodes prominently feature Nicholas Courtney, who would go on to play Brigadier Lethbridge-Stewart for 40 years, as Bret Vyon. A highlight is the Addams family-esque kookiness of the aliens making up the Dalek council, which is certainly preferable to the somewhat cliched prison planet savages set-up of part three.The biggest mystery, of course, is how these episodes have ended up surviving. Film is Fabulous, the people who secured them, have said they are respecting the wishes of the estate of the person who was holding and keeping them anonymous. Perhaps the most intriguing thing is that, given it was never sold overseas, the missing episodes of the Daleks' Master Plan were among the least likely to ever be found, but two episodes were sitting in those film cans all along. Who knows what else might still be out there?

Iranians gathered in parks to celebrate the New Year, defying the backdrop of ongoing attacks and demonstrating their resilience. The tradition of spending the New Year in outdoor settings, particularly in parks, holds significant cultural value. This year's celebrations were marked by a sense of community and solidarity as people came together to usher in the new year.The decision to celebrate in public spaces like parks underscores the importance of communal activities in Iranian culture. Despite the challenges posed by ongoing attacks, the Iranian people chose to focus on joy and renewal, highlighting their ability to find moments of peace and celebration amidst adversity.

Bosnia and Herzegovina pulled off a major upset in their World Cup 2026 qualifier match against Italy, winning the game in a penalty shootout. The match ended in a stalemate after regular time, forcing the teams to compete in a nerve-wracking penalty shootout to determine the winner. For a detailed account of the game, including key moments and player performances, click here for our full match report.

Recent weeks have been a test of resolve for Chelsea. A humiliating 3‑0 loss to Paris Saint‑Germain in the Champions League last‑16, coupled with a slide in the Premier League, has left the Blues scrambling for answers. Adding to the chaos, two of the squad’s most influential players have gone public. Argentine midfielder Enzo Fernández hinted at a summer move, saying, "I really like Madrid, it’s similar to Buenos Aires," while left‑back Marc Cucurella told The Athletic that the club is paying the price for its inexperience and that the PSG defeat has left the dressing‑room "discouraged". These remarks strike at the heart of Chelsea’s BlueCo‑era project, which has relied on signing young talent to build a sustainable future. Critics point out that, unlike Manchester United’s Class of ’92, Chelsea lacks seasoned veterans to mentor the newcomers. The debate resurfaced when Liam Rosenior was appointed head coach in January, with the club’s hierarchy insisting that a long‑term contract (six‑and‑a‑half years) will give him time to nurture the squad. Leadership dynamics are also under scrutiny. Fernández, who wears the captain’s armband in Reece James’s absence, publicly criticised goalkeeper Filip Jörgensen after a costly error against PSG – a move many view as inconsistent with the culture of a united dressing‑room. Financially, Chelsea has tried to balance ambition with prudence. Fernández’s contract runs until 2032 and is heavily incentive‑based, a strategy designed to keep the wage bill in check. Nonetheless, the club posted a **pre‑tax loss of £262.4 million** for the 2024‑25 season, the largest in English football history, raising questions about the sustainability of its recruitment model. There have been moments of optimism. Chelsea lifted the Club World Cup after beating PSG last summer, but the departure of former coach Enzo Maresca in early January – allegedly after talks with Manchester City figures – destabilised the squad. Players like Fernández and Cucurella recall the impact of that exit on team morale. Despite recent setbacks, the club remains confident in Rosenior’s vision, extending Cucurella’s deal last summer and securing long‑term contracts for key figures such as Reece James, Cole Palmer, and Moisés Caicedo. The Blues still have a realistic chance of qualifying for next season’s Champions League and host Port Vale in the FA Cup quarter‑finals. Looking ahead, sources suggest a possible shift in recruitment strategy, moving away from an exclusive focus on raw talent toward a blend of proven Premier League players and selective signings. While Fernández’s desire for a better contract could spark a transfer saga – with Madrid reportedly unwilling to meet a £100 million fee – the club must decide whether retaining a player whose ambitions no longer align with its project is worth the risk. In sum, Chelsea faces a pivotal moment: restore on‑field performance, manage a record financial loss, and convince both fans and players that the youth‑centred blueprint can deliver the trophies promised under the “trust the process” mantra.

Marine archaeologists from Denmark’s Viking Ship Museum announced the discovery of the Dannebroge, the Danish flagship that was destroyed by Admiral Horatio Nelson during the Battle of Copenhagen in 1801. The wreck lies 15 metres (49 feet) below the surface of Copenhagen harbour, buried in thick silt that offers almost zero visibility.Divers working in the murky conditions described the operation as a “race against time” because the site will soon be covered by Lynetteholm, a massive housing development slated for completion by 2070. The excavation, which began late last year, targets the exact spot where historical records place the Dannebroge’s final moments.Among the artefacts recovered are two cannons, period uniforms, insignia, shoes, bottles, and a fragment of a sailor’s lower jaw – possibly belonging to one of the 19 crew members still unaccounted for. “When a cannonball hits a ship, the splinters are the real danger, like grenade debris,” explained marine archaeologist Morten Johansen, underscoring the brutal conditions aboard wooden warships.The 48‑metre (157‑foot) vessel was Nelson’s primary target. Intense cannon fire ripped through its upper deck, and incendiary shells ignited a devastating fire that eventually caused the ship to explode, producing a roar heard across Copenhagen.Experts confirmed the wreck’s identity through dendrochronological dating, which matched the wood’s tree‑ring pattern to the year the Dannebroge was built. The size and shape of the recovered timbers also correspond with contemporary ship plans.Historical context: the 1801 battle was part of Britain’s effort to force Denmark out of a northern alliance with Russia, Prussia and Sweden. After a fierce exchange, Nelson offered a truce, and a cease‑fire was negotiated with Denmark’s Crown Prince Frederik.Marine archaeologist Marie Jonsson described the challenging dive conditions: “Sometimes you can’t see anything; you have to feel your way and rely on your fingers rather than your eyes.” The site remains littered with cannonballs, posing additional hazards for divers navigating the silt‑filled waters.The find not only enriches Denmark’s national narrative—often depicted in paintings and literature—but also provides a rare, tangible link to a pivotal moment in European naval history, just as modern development threatens to erase the physical remnants of that past.