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French authorities detained European Parliament member Rima Hassan on Thursday, accusing her of "apology for terrorism" after a social‑media post referenced Kozo Okamoto, a participant in the 1972 Ben Gurion Airport attack. The detention, reported by Le Parisien, marks a rare instance where a sitting MEP’s parliamentary immunity appears to have been set aside. According to the newspaper, Hassan had already removed the contentious post from X, but the investigation continued. Police also reported finding a small quantity of synthetic drugs in her possession during the arrest. Jean‑Luc Mélenchon, founder of the left‑wing La France Insoumise (LFI) party, condemned the move on X, stating, "There is no longer parliamentary immunity in France. Intolerable." He and other LFI colleagues argue the action is designed to silence supporters of Palestine. LFI parliamentarians Sophia Chikirou and Mathilde Panot echoed the criticism, accusing the French police and justice system of being weaponised against activists. Panot warned that President Emmanuel Macron’s France is witnessing a "new level" of criminalisation of political opponents. The controversy follows Hassan’s recent denial of entry to Canada, which she described as censorship, and a prior alert by far‑right National Rally politician Matthias Renault to Paris prosecutors about the same X post. Renault welcomed the detention, calling it "the beginning of the end of impunity for the LFI MP." Hassan, a 33‑year‑old French‑Palestinian lawyer elected to the European Parliament in 2024, is a vocal critic of Israel’s war in Gaza and participated in a Gaza‑bound flotilla intercepted by Israeli forces in October 2025. Her advocacy has repeatedly drawn ire from pro‑Israel groups across Europe. While Hassan and her legal team have not responded to Reuters’ requests for comment, the incident raises broader questions about the balance between anti‑terrorism legislation and political freedoms within the EU, especially as debates over Palestine intensify across the continent.

The Paris Appeals Court on Wednesday rejected Tunisia's request to extradite Halima Ben Ali, the daughter of the late former president Zine El Abidine Ben Ali, who faces accusations of laundering assets acquired during her father's 1987‑2011 rule.The ruling was anchored in Tunisia's failure to provide guarantees of an independent and impartial trial, a prerequisite under French and international extradition standards.Halima Ben Ali was detained in September 2025 at Tunisia's behest as she prepared to board a flight from Paris to Dubai. Authorities allege she participated in the laundering of wealth amassed under her father's regime.Her lawyer, Samia Maktouf, warned that sending her back would be tantamount to “a death sentence.” After the verdict, Maktouf described the decision as “an immense relief” and affirmed that justice had been served in accordance with the law.Tunisian prosecutors say the alleged financial crimes could carry a sentence of up to 20 years in prison, underscoring the broader push to recover misappropriated assets and hold the Ben Ali family accountable more than a decade after the Arab Spring uprisings.The case revives debate over the legacy of Zine El Abidine Ben Ali, who was ousted in 2011, fled to Saudi Arabia, died in exile in 2019, and was sentenced in absentia to life imprisonment by a Tunisian court.While the French decision may strain diplomatic ties, it also signals Paris' commitment to uphold procedural safeguards when handling extradition requests linked to politically sensitive cases.

A US senator has made a striking comparison between the current state of US-Iran relations and NASA's moon mission, highlighting the divergent paths of conflict and exploration. The senator's comments come at a time when tensions between the US and Iran are escalating, with military actions and diplomatic efforts intensifying. The NASA moon mission, on the other hand, represents a peaceful pursuit of scientific discovery and international cooperation. This contrast has sparked a renewed debate about the role of the US in global affairs and the priorities of its foreign policy.

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.

A Lebanese‑French visual artist, Ali Cherri, has lodged a formal complaint with the French war‑crimes unit in Paris, accusing Israel of committing a war crime after a 2024 airstrike on his family home in Beirut killed his parents and a domestic worker. The filing marks the first time a French court has taken up a case concerning Israel’s bombing of Lebanon and is an unusual move by an individual to pursue war‑crimes accountability. Israel has faced repeated accusations of violating international humanitarian law in Lebanon and Gaza, including attacks on civilians, medical facilities and forced displacement, yet no Israeli officials have been prosecuted to date. Cherri said, "Our demand is that an investigation is opened so that we know for a fact what happened, to name this attack as a war crime against civilians, and hopefully be able to name the people responsible." The apartment, built by his grandparents in central Beirut, was struck a few hours before a cease‑fire between Hezbollah and Israel took effect on 26 November 2024. The 13‑month conflict had already claimed roughly 4,000 Lebanese lives. The blast, which gave no prior evacuation warning, destroyed three floors, killing Cherri’s 86‑year‑old father Mahmoud Naib Cherri, 76‑year‑old mother Nadira Hayek, their employee Birki Negesa and four other civilians. In February, Amnesty International’s investigation concluded there was no military target at the time of the strike and urged that the incident be examined as a war crime. Forensic Architecture, a UK‑based investigative group that helped draft the complaint, produced a 3‑D reconstruction of the building and identified the munition as a GBU‑39 guided bomb – a 250 lb US‑made weapon frequently used by Israel in Lebanon and Gaza. The analysis underscored the targeted nature of the attack and, according to the group, demonstrated direct responsibility of the Israeli army. Amnesty International’s regional director for the Middle East and North Africa, Heba Morayef, called the French civil complaint “a rare opportunity” to hold Israel accountable in a European court, given the usual impunity. The case arrives amid renewed hostilities: on 2 March Hezbollah fired rockets at Israel, prompting an Israeli aerial campaign and ground invasion that has killed 1,318 people so far. Photographer Mohammed Shehab, who collaborated with Forensic Architecture on the Cherri investigation, was himself killed in an Israeli strike on 11 March, which also claimed his infant daughter’s life and wounded his wife – an incident the group described as “circumstances similar” to the Cherri bombing. While Cherri doubts any Israeli officials will face criminal charges, he insists that filing the suit is a moral duty to give a voice to victims who cannot pursue legal recourse themselves.

Blanche McIntyre reimagines Noël Coward’s classic Private Lives at Manchester’s Royal Exchange Theatre with a daring in‑the‑round set that spins the audience into the couple’s turbulent romance.The production opens in a sleek, monochrome French resort designed by Dick Bird. As ex‑spouses Amanda (played with acid poise by Jill Halfpenny) and Elyot (delivered with dry detachment by Steve John Shepherd) collide on their respective honeymoons, the stage begins to rotate, creating a queasy, carnival‑like atmosphere that mirrors their escalating desire and spite.Both characters quickly abandon their new partners—Victor, a self‑satisfied ordinary portrayed by Daniel Millar, and the hysterically grating Sibyl, embodied by Shazia Nicholls—and flee to Paris. In Amanda’s cluttered flat, surrounded by half‑eaten meals and booze, the rekindled romance begins to sour, exposing the uglier layers of their destructive bond.The chemistry between Halfpenny and Shepherd shines as they deliver Coward’s razor‑sharp bon mots with effortless flair. Yet, in the second act, the performance feels slightly restrained; moments of lust and violence are hinted at rather than fully unleashed, leaving the climactic confrontation somewhat blunted despite the frantic spinning set.Supporting roles add texture: Millar’s Victor exudes contented self‑importance, while Nicholls hints at a hidden cunning beneath Sibyl’s hysterics. Sara Lessore’s turn as the Parisian maid Louise underscores the privileged caprices of the main characters.Overall, the production presents Amanda and Elyot’s relationship as a capricious game between sophisticated players rather than a dangerously irresistible passion, a nuance amplified by the theatrical whirl that never quite loses control.The show runs at the Royal Exchange until 2 May, offering theatre‑goers a uniquely dizzy experience of Coward’s wit and venom.

Italy awoke on Wednesday in a state of anger and disbelief after the Azzurri were eliminated from the FIFA World Cup 2026 qualification by a 4-1 penalty shoot‑out defeat to Bosnia and Herzegovina, following a 1‑1 draw in regular time.The loss represents the third straight playoff elimination for Italy – previous setbacks came against Sweden and North Macedonia – and has revived what the front page of Corriere della Sera dubbed the "World Cup curse."Italian media, including La Gazzetta dello Sport and Corriere dello Sport, echoed the sentiment with headlines proclaiming “We’re all staying at home,” underscoring the depth of national disappointment.Key moments in the match included a red card for Alessandro Bastoni in the 42nd minute for a last‑man tackle, a turning point that shifted momentum despite Italy leading at the time.Fans expressed their shock and frustration: "Everything went badly from the start of the match. The team wasn’t good, players out of form… it makes no sense," said Davide Caldaretta, a spectator in a Rome pub, to Reuters.Melanie Cardillo, also speaking to Reuters, described herself as “really upset and disappointed,” adding that the repeated failures have eroded hope.Beyond football, Italy recently celebrated a record 30 medals at the Milan‑Cortina Winter Olympics and 40 medals at the 2024 Paris Summer Games, highlighting the country's broader sporting prowess, from speed skater Francesca Lollobrigida to tennis champion Jannik Sinner.Nevertheless, the football debacle prompted a political backlash. Sport Minister Andrea Abodi called on FIGC President Gabriele Gravina to resign, stating, "Italian football needs to be rebuilt from the ground up, starting with changes at the top of the FIGC."Gravina refused to step down, noting that a board meeting next week will determine his future. Tensions have risen between the government and the federation, with Gravina accusing the state of treating football as a "state sport" while favoring other disciplines.Former Prime Minister Matteo Renzi weighed in, calling the elimination “unfortunately not an April Fool’s joke” and emphasizing that football is integral to Italy’s cultural identity.In response to Gravina’s remarks, speed skater Francesca Lollobrigida posted sarcastically on Instagram, "I’m an amateur," underscoring the broader debate over responsibility for the missed qualification.As Italy prepares for the next board meeting, the nation faces a pivotal moment: whether to overhaul its football governance or continue grappling with a perceived "curse" that has kept the Azzurri out of the world stage for three consecutive cycles.

Liverpool head coach Arne Slot has hailed Mohamed Salah as a club legend ahead of his departure at the end of the season. Salah announced his exit last week, and Slot believes he will leave the club a legend.Salah's professionalism and commitment to the club have impressed Slot, who highlighted his hunger to prove himself every three days. Slot expressed his hope that Salah can make his legacy even more special in the upcoming weeks and months.The pair appear to have patched up their differences, which had led to tensions earlier in the season. Slot is looking forward to Salah signing off with a flourish, and he encouraged supporters to give him a great farewell.In other news, Liverpool's bid for Champions League qualification has been boosted by the news that Alexander Isak is set to return to training on Thursday after more than three months out with a broken leg. The £125m British-record signing could make the squad for next week's European away leg in Paris.Slot expressed his excitement about having Isak back, citing his incredible abilities as a striker and the team's ability to generate chances. While Isak may not start immediately, Slot believes his return will be very helpful for the team in the last two months of the season.

In the spring of 1926, Paris was bustling with tourists, earning its reputation as the cheapest capital in Europe. The city's ideal weather, with incessant sunshine, added to its appeal. Cafes had opened their windows, trees were green, and chestnuts were budding, creating a picturesque scene.The tourist influx was significant, with 20,000 English holidaymakers arriving in a single day, and many more expected to follow. Visitors from other countries, particularly Germany, were also well-represented. This Easter season was shaping up to be a record one for Paris.While finding accommodations could be challenging for those who hadn't booked in advance, Paris offered affordable options for tourists. Restaurants, theatres, music-halls, and other amusements were priced at about half of what one would find in London. Even taxi fares, which doubled at night, were reasonable at threepence a mile.The city's entertainment scene catered to various tastes. Some tourists flocked to popular venues like the Folies-Bergère, Moulin Rouge, and Casino de Paris, while others preferred more cultural experiences at the Comédie Française or Odeon. The diversity of options made Paris an attractive destination for a wide range of visitors.