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NASA has unveiled the first photographs taken from inside the Artemis II Orion spacecraft, where a crew of four astronauts is currently circling the Moon. The images, released on Friday, were captured by mission commander Reid Wiseman through the capsule’s window, revealing a cloud‑shrouded Earth rising beyond the spacecraft. A second shot displays the full globe, complete with shimmering oceans and a faint green aurora, emphasizing the planet’s fragility from deep space. At mid‑morning on Friday, the crew was approximately 100,000 miles (160,000 km) from Earth and had another 160,000 miles (258,000 km) to travel before reaching the Moon, a milestone expected on Monday. The team—three Americans and one Canadian—will orbit the Moon in the Orion capsule before looping back to Earth without landing. The spacecraft entered its lunar trajectory after firing its main engine on Thursday night. Mission specialist Christina Koch, the first woman to travel around the Moon, told ABC News, "I knew that is what we would see, but nothing prepares you for the breathtaking view of our home planet lit up by day and the Moon’s glow at night." She added that the crew is eager to experience similar vistas of the Moon and the eventual return home. The mission is now on its third day of a planned ten‑day flight. On day six, the Orion will make its closest approach to the lunar surface, passing 4,000‑6,000 miles (6,450‑9,650 km) above the Moon. After circling the far side—the first human deep‑space journey of this magnitude in over five decades—the crew will use lunar gravity to set a course back to Earth, with a splashdown slated for April 11 at 00:06 GMT (8:06 p.m. ET on April 10) in the Pacific Ocean off San Diego. Astronaut Victor Glover reflected on the emotional impact of seeing Earth from space, saying, "From up here, you look amazing. Homo sapiens is all of us—no matter where you’re from or what you look like. We’re all one people." He called the mission a true "moonshot" that demonstrates what humanity can achieve when differences are set aside. The released images not only showcase the technical success of Artemis II but also serve as a powerful reminder of our shared planetary identity as the crew prepares for the historic lunar flyby.

Doctors Without Borders (MSF) has condemned a drone strike that hit Al Jabalain Hospital in Sudan’s White Nile State, killing 10 people, among them seven medical staff members. The attack, which struck an operating theatre and a maternity ward, occurred during a children’s immunisation campaign, heightening the humanitarian outcry.MSF’s Sudan emergencies chief, Esperanza Santos, said the assault was “unacceptable” and noted that several of the deceased had previously worked with the organisation. She added that the strike represents a grave violation of medical neutrality.While the perpetrators have not been officially confirmed, MSF’s statement attributes the strike to the paramilitary Rapid Support Forces (RSF), a claim echoed by Sudanese officials. On Friday, Khalid Aleisir, Sudan’s minister of culture, information, antiquities and tourism, called for the RSF to be designated a terrorist organisation and for its members to face prosecution.The incident follows a series of attacks on Sudan’s health infrastructure since the war erupted in April 2023. In a separate incident the same day, a medical supply depot in Rabak, the capital of White Nile State, was also hit. According to the World Health Organization, more than 200 attacks have targeted health facilities since the conflict began, underscoring a systematic pattern of violence against civilians.Local rights group Emergency Lawyers highlighted that recurring drone strikes across South Kordofan, Blue Nile, and the Darfur regions have displaced thousands, further straining an already fragile health system. The Sudan Doctors Network described the Al Jabalain strike as a “deliberate assault on health facilities and unarmed civilians,” warning that such actions exacerbate the nation’s deteriorating medical capacity.International observers note that the targeting of hospitals not only violates international humanitarian law but also hampers efforts to control disease outbreaks and provide essential care to vulnerable populations. The growing body of evidence may prompt renewed calls for accountability and stronger protective measures for health workers in conflict zones.

The United States has long honored past presidents by naming airports, dams and monuments after them, but President Donald Trump is pushing the practice to an extreme, seeking to become the most commemorated leader in American history. Less than a year and a half into his second term, Trump’s brand has proliferated across government buildings, federal agencies and even consumer platforms. In February, the administration unveiled TrumpRx, a prescription‑drug website that listed only 43 medications—most of which are available as cheaper generics elsewhere—yet proudly displayed the former president’s signature and logo. Just weeks later, the White House and the U.S. Navy announced a new "Trump class" of battleships, billed as the "largest ever built." A Pentagon release noted that the Navy has not used battleships in combat for 35 years, suggesting the project is more a vanity exercise than a strategic necessity. Federal institutions have not been spared. In December 2025 the U.S. Institute of Peace was renamed the "Donald J. Trump United States Institute of Peace," a move the White House framed as a reminder of "strong leadership" for global stability—just weeks before the administration launched a military strike on Iran. Trump’s influence extended to the arts when, in February 2025, he appointed a new board to the John F. Kennedy Center for the Performing Arts and installed himself as chair. The board voted in December to rename the venue the "Donald J. Trump and John F. Kennedy Center," a change that immediately faced a legal challenge. Republican lawmakers have largely embraced the naming spree. One congressman introduced legislation to carve Trump’s likeness onto Mount Rushmore, while another proposed naming a major airport after him, underscoring the party’s willingness to reward the president’s personal brand. Political scientist Steven Levitsky of Harvard warned that Trump operates "unconstrained" by advisers or party elders, noting that today’s Republican ambition often hinges on pleasing the president, including attaching his name to public projects. Visual propaganda has also surged. Giant banners bearing Trump’s image now hang from the Department of Justice and the Department of Labor buildings, a rarity for a sitting president and a practice more typical of authoritarian regimes, according to Princeton sociologist Kim L. Scheppele. Beyond buildings, the administration has pursued numismatic honors. A 24‑karat gold coin featuring Trump standing over a desk was approved by a hand‑picked arts commission, and drafts of a new $1 coin displayed an air‑brushed profile of the former president. The Treasury Department announced that Trump’s signature will appear on U.S. paper currency later this year, a move Treasury Secretary Scott Bessent described as a "powerful way to recognize historic achievements" of the nation. Critics argue that the public does not share the president’s enthusiasm. The 2026 National Parks Pass, which traditionally showcases natural scenery, sparked outrage when a draft featured Trump’s stern face with a spectral George Washington behind him. A cottage industry of stickers emerged to cover the image, forcing the National Park Service to warn that such alterations could void the pass. White House spokesperson Davis Ingle defended the branding, claiming it reflects Trump’s “vast accomplishments,” including the largest tax cut in history and border security measures. Yet scholars and opponents contend that the relentless self‑promotion blurs the line between public service and personal aggrandizement. As the branding campaign continues, legal challenges, public pushback, and questions about fiscal priorities suggest that Trump’s quest to name everything after himself may soon encounter more than just decorative resistance.

Pope Leo has issued a powerful Easter message, condemning the brutality that plagues the world. In his first Easter services, the Pope emphasized the need for compassion, forgiveness, and peace in a world torn apart by conflict and violence. The Pope's message resonated with millions of people around the world, who are seeking hope and solace in these uncertain times. His words served as a reminder of the importance of embracing humanity and working towards a more peaceful and harmonious world.

Meanwhile, powerful blasts rocked northern Tehran, as Israel said it had launched a new wave of strikes on the Iranian capital and Beirut. The Associated Press also reported, citing an Israeli official, that Israel had suspended airstrikes in areas 'relevant' to the rescue operation in Iran.

Millwall secured a vital win over Middlesbrough in the Championship, with Josh Coburn scoring twice to propel his team into second place in the promotion race. The victory, marked by a 2-1 scoreline, sees Millwall just one point ahead of Middlesbrough, with Coventry currently leading the table. The match was characterized by Middlesbrough's possession dominance, but their inability to convert chances into goals. Dael Fry's 26th-minute header gave Boro an early lead, but Millwall equalized in the 58th minute when Coburn's powerful volley found the net after a corner was poorly defended. Coburn, a 23-year-old striker and former Middlesbrough academy graduate, doubled Millwall's lead in the 86th minute with a beautifully angled shot, securing the win. This performance underscores Coburn's impressive form, having scored five goals in his last five games. Alex Neil's Millwall demonstrated resilience and composure, particularly in the second half, to outmaneuver Kim Hellberg's Middlesbrough. Neil praised his team's performance, highlighting their defensive solidity and clinical finishing. In contrast, Hellberg expressed disappointment, noting that his team's possession-heavy approach failed to yield results in critical areas. This win boosts Millwall's prospects for Premier League promotion, although fourth-placed Ipswich still has two games in hand and remains a strong contender. The result marks a significant setback for Middlesbrough, who are now under pressure to regain their position in the promotion race.

Eric Overmyer, a highly influential figure in the world of television, has died at the age of 74. He succumbed to complications from Parkinson's disease, leaving behind a legacy of groundbreaking work in the industry. Overmyer was best known for his collaborations with David Simon, creator of 'Homicide: Life on the Street', 'The Wire', and 'Treme'. His work on these series, along with 'Bosch', an Amazon Prime series based on Michael Connelly's novels, cemented his reputation as a masterful showrunner. Overmyer's versatility in television was evident in his extensive portfolio, which included roles as a writer and producer on shows like 'St Elsewhere', 'The Slap Maxwell Story', 'The Cosby Mysteries', and 'Law & Order'. His ability to drive complex narratives with sharp dialogue was a hallmark of his work, influenced by his background as a playwright and poet. His best-known play, 'On the Verge', continues to be frequently produced and showcases his unique storytelling style. Overmyer's impact on television was not limited to his own creations; he also worked with other notable writers, including George Pelecanos and Dennis Lehane. Throughout his career, Overmyer remained busy, working on various projects, including the miniseries 'Jacqueline Bouvier Kennedy Onassis' and the series 'The Affair' and 'The Man in the High Castle'. His legacy in the television industry is undeniable, and his contributions will continue to be celebrated by audiences and creators alike.

Colin the Caterpillar, a British party favorite for 35 years, has been outperformed by eight supermarket rivals in a recent cake taste test conducted by consumer champion Which?.The 'original' chocolate caterpillar cake, produced by Marks & Spencer (M&S;), scored a mere 64%, ranking it at the bottom of the list. The main criticism was that its sponge was 'too dry', with almost half of the 75-strong panel of cake-testers expressing this concern.In contrast, Waitrose's Cecil caterpillar cake emerged as the winner with a score of 78% and was awarded a coveted 'best buy' gong. Cecil was praised for its remarkably moist texture, flavorful shell, and 'perfect' sponge-to-buttercream ratio.The taste test also revealed that Colin the Caterpillar contained the highest levels of sugar (46.3g) and fat (21.3g) per 100g among the caterpillar lineup, making it one of the most expensive options at £9.50. M&S; responded by highlighting a recent poll of 2,100 adults that named Colin the nation's best caterpillar cake.Key rankings:1st - Cecil (Waitrose): 78%, £9.50, 744g, 38.6g, 17g.2nd = Charlie (Co-op): 73%, £9.85, 702g, 46g, 14g;2nd = Wiggles (Sainsbury’s): 73%, £8.50, 613g, 41.9g, 18.7g.4th - Cuthbert (Aldi): 72%, £6.99, 624g, 43.5g, 17.7g9th – Colin (M&S;): 64%, £9.50, 625g, 46.3g, 21.3g.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.