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In the heart of Kyiv, Ukraine, a unique theatre has emerged as a beacon of hope and healing for those affected by war. The Veterans' Theatre, founded in 2024, provides a platform for soldiers, their wives, and widows to share their experiences and find catharsis through performance.One of the theatre's most poignant productions is 'Twenty One', a play that explores the struggles of a soldier's wife, Maryna, as she waits anxiously for her husband's return from the front line. The play, written by Olha Murashko, is an autobiographical account of the emotional toll of war on those left behind.The theatre's approach is rooted in the idea that sharing one's experiences can be a powerful tool for healing. By dramatizing their stories, participants are able to process their emotions and find a sense of closure. The theatre's director, Kateryna Vyshneva, believes that this collective catharsis is essential in helping individuals cope with the trauma of war.The Veterans' Theatre serves as a therapeutic outlet for its participants, providing a safe space for them to express their emotions and connect with others who have gone through similar experiences. As the theatre continues to grow and evolve, it is clear that its impact will be felt for generations to come.

The UK government’s latest proposal to ease planning restrictions for large‑scale chicken operations has drawn sharp criticism for being short‑sighted and potentially jeopardising the nation’s food resilience.Advocates of the change argue that lower stocking densities constitute a modest welfare improvement, yet critics contend this is a minor concession that does little to address the systemic cruelty of intensive poultry systems. Moreover, the fast‑growing, low‑welfare breeds used in these units depend almost entirely on imported soy for feed, creating a strategic vulnerability to trade disruptions – a risk highlighted by the ongoing conflict in Iran.Beyond ethical concerns, the model is increasingly economically unsustainable. Frequent disease outbreaks, soaring energy prices and extreme weather events such as heatwaves and flooding are already eroding profitability and further degrading animal welfare. These pressures underscore the fragility of a sector that remains heavily reliant on a single, high‑intensity production model.Local communities have also voiced strong opposition, with recent planning objections succeeding and legal actions launched against producers and retailers for alleged environmental damage. This grassroots resistance signals a growing public demand for a more nature‑friendly agricultural framework.Stakeholders, including World Animal Protection’s UK country director Ruth Tanner, call for an immediate halt to the proposed deregulation. They propose capping the number of industrial units and investing in alternatives such as agroforestry and regenerative farming, which promise a more resilient, high‑welfare, and equitable future for British agriculture.

Iran and the United States announced a two‑week ceasefire that will also guarantee safe navigation through the strategically vital Strait of Hormuz, a chokepoint through which roughly 20% of the world’s oil supply moves.The pause comes as the conflict entered its 40th day, with hopes now fixed on a diplomatic breakthrough during talks scheduled to begin in Pakistan on Friday.President Donald Trump declared that the truce would be activated once Tehran fully reopened the waterway, linking the cessation of hostilities to the restoration of a critical global supply route.Celebrations erupted across Iran, and numerous world leaders publicly welcomed the development, describing it as a step toward broader regional stability.The fighting, which has drawn in virtually the entire Middle East, saw Iran claim to target U.S. assets in several Gulf Cooperation Council (GCC) states, while Gulf nations accused Tehran of striking civilian infrastructure.Hezbollah’s March 2 attacks on Israel pulled Lebanon into the war, and although Israel has signaled support for the ceasefire, it warned that the agreement does not extend to Lebanon.Against this backdrop, Gulf and neighboring states have issued statements outlining their positions on the ceasefire:Saudi Arabia welcomed the truce, urging an immediate end to regional attacks and calling for the Strait of Hormuz to be reopened, emphasizing that the ceasefire should lead to a “comprehensive sustainable pacification.”Qatar described the ceasefire as an “initial step toward de‑escalation,” stressing the need for rapid implementation, full adherence by Iran, and the protection of maritime security and international trade under international law.United Arab Emirates diplomatic adviser Anwar Gargash hailed the outcome as a victory for a war the UAE sought to avoid, claiming the nation now possesses greater leverage and capacity to shape regional affairs.Oman expressed appreciation for Pakistan’s mediation and called for intensified efforts to address the root causes of the conflict, aiming for a permanent end to hostilities.Iraq welcomed the ceasefire but urged the United States and Iran to launch “serious and sustainable dialogue” that tackles underlying disputes and rebuilds mutual trust.Egypt framed the truce as a crucial opportunity for negotiations, diplomacy, and dialogue, insisting that any lasting peace must respect freedom of navigation and consider the legitimate security concerns of Gulf states.Turkey supported the ceasefire and pledged backing for the upcoming Islamabad talks, emphasizing the importance of full ground‑level implementation and strict adherence by all parties.Sudan called the two‑week pause a “positive step toward de‑escalation,” highlighting its potential to foster diplomacy and regional stability.

In the spring of 2002, the modest Free Butt pub on Brighton’s seafront buzzed with a restless energy. Future stars such as Natasha Khan, then a university art student, danced atop the bar while the Yeah Yeah Yeahs thundered through their first UK dates. Behind the scenes, band frontmen like Guy McKnight of Eighties Matchbox B‑Line Disaster served pints, and budding engineers like Steve Ansell of Cat on Form fine‑tuned the sound. The atmosphere felt like a rite of passage, where any performer could slip from a cramped stage to national attention.Unlike the neatly branded scenes of New York’s garage‑rock revival or London’s Libertines‑driven hype, Brighton’s early‑2000s scene resisted a single aesthetic. Rock groups emerged from rehearsal rooms and tiny clubs with wildly different looks and sounds, creating a cultural mosaic rather than a monolithic movement.Electrelane’s guitarist recalls recording their debut Rock It to the Moon in a studio once owned by the Levellers, and crafting their sophomore effort inside a former public toilet. These unconventional spaces proved surprisingly fertile, underscoring the city’s DIY spirit.By the turn of the millennium, the big‑beat dominance of Fatboy Slim and Skint Records had faded, making way for a grassroots rock surge. Sea Power relocated from Reading to Brighton, drawn by the city’s “dilapidated charm and fresh sea air”. Their self‑organized Club Sea Power nights at the Lift offered a chaotic yet liberating platform that eventually caught Rough Trade’s attention.Women played a pivotal role in shaping the scene’s infrastructure. Promoters Lisa Lout and Anna Moulson, both still active, booked seminal shows—including the Strokes’ first UK gig at the Lift in 2001—and helped launch the Great Escape festival. Their efforts ensured that bands such as the Pipettes, Electrelane and Bat for Lashes could share stages and media coverage.Artists recall the city’s palpable sense of belonging. Rose Dougall of the Pipettes describes a landscape where “alternative culture was on every street, from vintage shops to the colour of the houses,” and where “small venues made it feel attainable to launch a project.” Similarly, Brakes frontman Eamon Hamilton contrasts Brighton’s walk‑able, collaborative vibe with London’s darker, more competitive energy.Music journalism mirrored the scene’s intensity. Everett True and photographer Steve Gullick launched Careless Talk Costs Lives in 2002, a deliberately short‑run magazine that championed female writers and bands at a time when the industry was still heavily male‑dominated.As rents surged through the 2010s, many of the cheap flats, rehearsal rooms and iconic venues that underpinned the scene vanished. The Free Butt closed, independent record stores shuttered, and the once‑abundant low‑cost infrastructure dwindled, prompting a migration of creative energy down the coast to places like Margate, Ramsgate, Folkestone and Shoreham.Nevertheless, the remnants of Brighton’s network continue to nurture new talent, from the Kooks to Dream Wife and Gazelle Twin. The city’s strength lies not in a singular sound but in its capacity to host a “constant collision of wildly dissimilar bands,” allowing artists to develop authentically and fearlessly.

The ongoing conflict between the US and Iran has taken a critical turn with the involvement of US Vice President JD Vance in Pakistan-led mediation efforts. Vance has been working closely with Pakistani officials to facilitate a ceasefire and prevent further escalation. The mediation efforts, which began in late March, have gained significant momentum in recent days.According to sources close to the talks, Vance has been in direct communication with Iranian officials, including Iranian Foreign Minister Abbas Araghchi. The Pakistani government has been playing a crucial role in facilitating the talks, with Field Marshal Asim Munir, the country's army chief, having spoken with Vance and Araghchi.The mediation efforts have produced tangible movement, with Iran confirming receipt of a ceasefire proposal. However, Tehran eventually rejected the plan, calling it 'illogical'. Despite this setback, the talks are ongoing, with Pakistani officials describing the negotiations as being at an advanced stage.Iran's preference for Vance is rooted in his record on foreign intervention. As a senator, Vance argued that Trump's success in office rested partly on avoiding new wars. He also warned that a conflict with Iran would not serve US interests and would be a 'huge distraction of resources'. This stance has been seen as more sympathetic to ending the conflict than other US officials.The mediation efforts have significant implications for the region, with a potential ceasefire having the potential to prevent further escalation and destabilization. The involvement of Vance and other officials has also raised questions about the political calculus of the US administration and its approach to the conflict.

Waitrose faces mounting pressure after a reader highlighted the dismissal of former employee Walker Smith, who intervened to stop a shoplifter taking Easter eggs. The writer argues that senior management should step off their "ivory tower" and experience the shop floor to grasp the daily shoplifting epidemic confronting staff.The same contributor suggests a grassroots campaign: a “Don’t‑shop Wednesday” at Waitrose locations to demonstrate public solidarity with Smith and to force senior executives to address the issue directly.Other letters shared in the edition range from a heart‑warming story about a Labrador named Beau rescuing its owner after a cardiac arrest, to light‑hearted observations about shared birthdays of political figures and the challenges of spelling uncommon surnames. These personal reflections underscore the diverse voices that populate the Guardian’s letters section.Collectively, the submissions illustrate a broader concern: retail workers’ safety and morale are being tested by rising theft, and public support may be pivotal in shaping corporate responses.

Opening night of the Pet Shop Boys’ Obscure tour turned the Electric Ballroom in Camden into a shrine for deep‑cut enthusiasts. Frontman Neil Tennant opened with a cheeky promise – “no hits tonight” – and the crowd responded with delighted roars, eager for the rare material the duo had promised.The Obscure moniker is no accident. Tennant and synth‑master Chris Lowe rehearsed 35 songs from their 42‑year catalogue, deliberately sidestepping the familiar chart‑toppers in favour of B‑sides, album tracks and fan‑favourite deep cuts. A fan‑compiled Spotify playlist of 226 non‑single tracks illustrates just how vast the selection pool is, yet even that list fell short of the band’s final set.Two songs made their live debut: a never‑performed track from the unreleased stage show Naked titled “I Dream of a Better Tomorrow,” and the 1986 B‑side “Jack the Lad” from the Suburbia era, which had never before been heard on stage. Phones rose in the audience as Tennant sang the cheeky tale of a ne’er‑do‑well, capturing a moment that will likely become a new fan legend.Highlights included a soulful rendition of the 1990 ballad “To Face the Truth,” where Tennant’s hand‑over‑stomach gesture added a rare glimpse of vulnerability, and the 1987 piano‑driven “Do I Have To?” showcasing Lowe’s most tender synth‑piano work. The set also featured “King of Rome” (2009), its horn‑laden refrain enveloping the room in a warm, nostalgic glow.Interspersed with the music, Tennant acted as an urbane quizmaster, prompting the audience to shout B‑side titles and rewarding them with trivia – for example, a medley that combined 1993’s “One in a Million” with Culture Beat’s “Mr Vain,” performed for the first time since its original 1994 Latin America appearance.Closing the main set, the 2005 anthem “The Performance of My Life” evoked the duo’s early club‑scene roots, while the encore opened with the poignant B‑side “Your Funny Uncle” (1989), a lament that still resonates with listeners who first found solace in its lyrics during the AIDS crisis.In a final, forward‑looking moment, Tennant introduced “I Dream of a Better Tomorrow,” a brand‑new song taken from the unreleased stage production based on *The Emperor’s New Clothes*. He declared, “change is coming… the start of something new,” hinting at fresh creative directions beyond the archival focus of the tour.The Obscure run, part of the broader Dreamworld tour that began in 2022, demonstrates the Pet Shop Boys’ mastery of both pop craftsmanship and archival curation, offering fans a rare chance to hear the hidden gems that have long lived in the shadows of their massive catalogue.

Australian cricket legend David Warner has been charged with drink-driving after a roadside breath test on Easter Sunday. He was allegedly stopped at a roadside breath testing unit at Maroubra in Sydney’s east.Police allege Warner was driving a van that stopped and parked short of the testing site. Officers approached the vehicle and breath-tested Warner, who returned a positive result for alcohol, police said.He was arrested and taken to Maroubra police station for further testing, where he produced a blood alcohol reading of 0.104 – more than twice the legal limit.Warner, 39, has had a distinguished cricket career, recently captaining the Karachi Kings in the Pakistan Super League and previously playing for the Sydney Thunder in the Big Bash. He has also worked as a commentator for Fox Cricket.However, Warner has not been without controversy, having been suspended for a ball-tampering scandal and admitting to punching future England captain Joe Root at a nightclub in 2013.He will face Downing Centre local court in Sydney on the drink-driving charge on May 7.

The risograph printer, a Japanese innovation from the 1980s, has captured the hearts of artists and creatives globally. This compact machine, produced by Riso Kagaku, allows for small print runs with a distinctive, handmade feel.Gabriella Marcella, a Scottish-Italian designer, fell in love with the risograph while studying at New York's Pratt Institute. She now curates Riso Club, a non-profit program promoting artists who use risographs. The club sends postcards featuring work from international cities, showcasing the riso community's global reach.The exhibition at Glasgow's Glue Factory Galleries celebrates the Riso Club's 100th issue with works from design heroes like Nathalie Du Pasquier and Peter Shire. Marcella hopes to demonstrate that design can be accessible, social, and connect people through print.Artists like Mari Kinovych and Kinda Ghannoum have used the risograph to showcase their cities, Kyiv and Damascus, in a unique and personal way. The risograph's political roots and ability to produce affordable prints have made it a staple in the art world.