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A stunning visual compilation of 20 photographs has been curated to encapsulate the essence of the past week on a global scale. Published by The Guardian, this collection offers a unique perspective on international events, highlighting the diversity and complexity of global affairs.The photographs, selected by Jim Powell, provide a glimpse into various aspects of life and current events worldwide. While specific details about each image are not provided, the collection serves as a testament to the power of visual storytelling in journalism.This initiative by The Guardian underscores the importance of photography in capturing pivotal moments and conveying the nuances of global issues. By presenting these images, The Guardian aims to engage its audience and foster a deeper understanding of international developments.

The most iconic sequence in wildlife filmmaking history has been revisited in a new documentary, 'A Gorilla Story: Told By David Attenborough'. The film, directed by Oscar-winning James Reed and produced by Leonardo DiCaprio, follows up on Attenborough's 1970s encounter with a family of gorillas in Rwanda. During the filming of 'Life on Earth,' Attenborough had a playful and profound encounter with the gorillas, which he described as having 'more meaning and mutual understanding in exchanging a glance with a gorilla than with any other animal I know.' The documentary reveals that while conservation efforts have led to a significant recovery of Rwanda's gorilla population, the specific family Attenborough met has undergone significant changes. The dominant silverback, Gicurasi, is aging, and a new challenger, Ubwuzu, is asserting his dominance, leading to power struggles and violence within the family. The film beautifully captures the personalities and social dynamics of the gorillas, but its short runtime of just over an hour leaves some storylines underdeveloped. Despite this, the documentary shines when Attenborough reflects on his past experiences and the gorillas he has come to know. As Attenborough approaches his 100th birthday, his appearance in the documentary adds an emotional and elegiac tone. His reflections on Pablo, a gorilla who protected his family to the end, are particularly poignant, showcasing Attenborough's ability to articulate moments with 'exactly the right weight.' 'A Gorilla Story: Told By David Attenborough' is now available on Netflix, offering a unique blend of natural history and personal reflection.

Video released by regional media captures scenes of spontaneous jubilation across Lebanon as a ceasefire with Israel comes into force. Residents gathered in public squares, streets and coastal promenades, waving flags and expressing palpable relief after a period of heightened military alert.While detailed reports on the negotiations remain limited, the immediate public reaction underscores the deep desire for stability in a region long marked by intermittent hostilities. The footage, filmed in several Lebanese cities, shows crowds chanting, children playing, and local businesses reopening, signaling an early return to normalcy.Analysts note that the ceasefire, though fragile, offers a critical window for diplomatic engagement and humanitarian aid delivery to affected areas. The visible optimism among Lebanese citizens highlights the broader regional hope that de‑escalation can translate into lasting peace.

Angelina Jolie leads the new fashion‑driven drama Couture, bringing a rare level of personal honesty by confronting a storyline that mirrors her own double mastectomy performed to prevent breast cancer. While her performance is undeniably courageous, the film’s overall execution falls short of its ambitions.The plot follows Maxine, an American indie filmmaker (Jolie) who arrives in Paris to direct the opening short for a prestigious runway show. She discovers, through a compassionate doctor played by Vincent Lindon, that a recent biopsy confirms she has breast cancer, forcing her to consider postponing or abandoning her next project. Jolie conveys the shock and denial with subtlety, yet the script, penned by director Alice Winocour, often lapses into glib dialogue that undermines the emotional weight of the situation.Supporting characters include Ada, a fledgling South Sudanese model (Anyier Anei), makeup‑artist‑turned‑writer Angèle (Ella Rumpf), and the brooding first‑assistant director Anton (Louis Garrel). Their subplots—most notably Ada’s ankle injury that threatens the runway performance—remain underdeveloped, serving more as decorative set‑pieces than integral narrative threads.Visually, the film captures the glamour of Parisian haute couture with polished cinematography, yet this sheen accentuates the story’s lack of depth. The fashion world is presented with a “precious” aesthetic that feels specious, offering little insight beyond surface‑level allure.Despite these shortcomings, Jolie’s star power shines through. Her willingness to align a fictional role with a deeply personal health battle adds a layer of authenticity that the surrounding screenplay fails to sustain. ‘Couture’ will be available on digital platforms from 20 April, offering audiences a chance to appreciate Jolie’s performance even if the film’s broader ambitions remain unfulfilled.

The Plague, directed by Charlie Polinger, is a gripping debut feature that plunges into the psychological depths of a boy's water polo training camp in the summer of 2003. The film impressively captures the brutal hierarchy driven by braggadocio, bullying, hazing, and gaslighting among the young campers.The story follows Ben, a latecomer to the camp, played by Everett Blunck, who desperately tries to ingratiate himself with the cool crowd led by the impish Jake, played by Kayo Martin. Ben aims to avoid the pariah status of Eli, played by Kenny Rasmussen, who is supposedly afflicted with a made-up disease dubbed 'the plague' by the group.The film's stylistic bite is reminiscent of David Fincher's work, with a stunning initial submerged shot of a pool glittering like a starfield. Polinger also showcases a keen ear for the nonsense conversations among the 12-year-old campers, discussing topics such as 90s rock outfit Smash Mouth and the ethics of bestiality.While the film flirts with body horror, it never quite resolves its suggestion that the plague could be psychosomatic. Despite this, the young performers stand out in their unfiltered rawness, particularly Blunck, Martin, and Rasmussen. The film is a memorable education in the laws of the tween jungle, with Joel Edgerton providing a reassuring presence as Coach Daddy Wags.The Plague is set to be released on digital platforms from April 20, 2026.

The latest weekly wildlife roundup from The Guardian showcases three standout stories that capture the season’s most intriguing animal moments. First, birdwatchers were delighted by a puffin bromance – a same‑sex pair forming a close bond on a coastal cliff, a behavior that challenges traditional notions of seabird mating rituals and highlights the fluidity of avian social structures. Meanwhile, in freshwater habitats, a group of terracotta‑hued terrapins turned heads as their shells displayed an unusually vivid, almost blushing, coloration. Scientists suggest the hue may be linked to diet or environmental stressors, offering a visual cue for further ecological study. Finally, wetlands across several regions reported a boom in gosling numbers, with nests hatching earlier and in greater quantities than usual. This surge could signal favorable breeding conditions, but also raises questions about future food availability and predator‑prey dynamics. Collectively, these observations remind readers that wildlife continues to surprise and adapt, providing fresh material for both enthusiasts and researchers alike.

The Agentic Leap: Codex Goes BackgroundOpenAI is intensifying its rivalry with Anthropic by significantly upgrading its Codex tool. The latest update transforms Codex from a passive assistant into an active, autonomous agent capable of operating in the background of a user's desktop. This allows the AI to open applications, click, and type without interrupting the user's primary workflow.Parallel Operation: Codex can now run multiple agents simultaneously on a Mac, handling auxiliary tasks like iterating on frontend changes or testing apps while the user focuses on top-level projects.Browser Control: A new in-app browser feature enables Codex to issue commands and execute tasks on specific web applications, with plans to eventually command the browser fully beyond localhost.Memory and Context: The 'memory' feature allows Codex to recall previous work sessions, generating important context about how a specific user works to improve future assistance.Image Generation: Codex has gained the ability to generate product concepts, slide visuals, and mockups, expanding its utility beyond pure code.Expanded Plugin Ecosystem: The tool now supports 111 plug-in integrations, including tools like CodeRabbit and GitLab Issues, allowing it to handle clerical work across Slack and Google Calendar.Enterprise Integration and Pricing StrategyThe update is not just about features; it is a calculated business move designed to capture enterprise workflows. By offering a new pay-as-you-go pricing option for ChatGPT Business and Enterprise customers, OpenAI is lowering the barrier to entry for corporate adoption of these advanced agentic tools.The sheer volume of integrations—111 plugins—serves as a critical data point. It demonstrates OpenAI's strategy to make Codex a central hub for corporate productivity, capable of bridging the gap between coding and general administrative tasks.Strategic Pivot: From Consumer Tools to Corporate AutomationThis development marks a clear shift in OpenAI's strategy. After a period of focus on consumer-facing tools like Sora 2, the company is retreating from the consumer market to double down on enterprise capabilities. This aligns with the broader industry trend of moving from simple chatbots to autonomous agents that can execute complex workflows.The Future of Autonomous Coding AssistantsAs OpenAI and Anthropic battle for supremacy, the definition of a 'coding assistant' is changing. We are moving toward a future where AI agents are not just suggestions but active participants in the development lifecycle, capable of managing entire workflows autonomously. The winner of this war will likely be the provider that best integrates these agents into existing corporate infrastructure.

Russia's campaign to recruit Central Asian migrants to fight in Ukraine has been marked by coercion and deception. Tens of thousands of labour migrants from countries such as Tajikistan, Uzbekistan, and Kyrgyzstan have been forced to sign up for military service, often under threat of deportation or with promises of financial incentives.Hushruzjon Salohidinov, a 26-year-old Tajik man, is one such migrant who was arrested and threatened with rape in a Russian prison unless he 'volunteered' to fight in Ukraine. He was promised a sign-up bonus of 2 million rubles ($26,200) and a monthly salary of 200,000 rubles ($2,620), but was poorly trained and equipped for combat.Salohidinov was captured by Ukrainian forces in January and is now being held in a prisoner of war facility. He says he is glad to have been captured as it saved him from certain death on the front line. His case is just one of many reported instances of Central Asian migrants being coerced into fighting for Russia in Ukraine.Human rights groups and experts say that Russia's recruitment of migrant soldiers is a deliberate tactic to target vulnerable individuals who are often subject to xenophobia and Islamophobia in Russia. The Kremlin's campaign has been marked by derogatory language and abuse towards migrants, with some officials using threats of deportation to force them into military service.The life expectancy of migrant soldiers on the front line is reportedly just four months, with losses being catastrophic. Despite this, Russia is expected to continue recruiting migrant soldiers to make up for a shortage of willing Russian recruits.

Big Mood returns for a second season on Channel 4, aiming to blend a serious look at bipolar disorder with broad‑scale comedy. Lead actress Nicola Coughlan reprises Maggie, now emerging from a harrowing episode of lithium poisoning that left her hallucinating and confused. The debut series introduced Maggie in the throes of a manic episode, followed by a depressive crash after she stopped her medication to protect her creative output. While the first season earned praise for its insightful depiction of mental illness, the new installment quickly pivots toward slapstick scenarios – from a militant maid of honour to a secret‑husband extortion plot – that dilute the original emotional weight. Central to the drama is Maggie’s strained bond with best friend Eddie, played by Lydia West. Their friendship, already intense in season one, becomes increasingly implausible as Eddie abandons London for California without explanation. In season two, Eddie resurfaces under the control of a dubious wellness guru named Whitney, who has siphoned her finances and seeks to erase any lingering connection with Maggie. Rather than deepening the exploration of mental health, the series now focuses on a far‑cical showdown between the two women. Maggie, now in a “stable girl” routine of retinol and Hello Fresh meals, obsessively attempts to expose Whitney as a fraud, enlisting Eddie’s friend Will – a character described as “incorrigibly nice” yet treated with contempt by both protagonists. The tonal shift raises questions about the show’s core ambition. While Coughlan delivers an empathetic performance that captures Maggie’s inner turmoil, the surrounding plotlines feel disjointed and at times toxic, especially in the portrayal of the once‑intoxicating platonic romance that now appears more destructive than supportive. Humor, inherently subjective, may still resonate with viewers who appreciate the series’ millennial‑centric chaos. However, the blend of “knockabout farce” with moments of genuine drama feels uneven, suggesting that the show’s initial promise of a heartfelt, realistic bipolar narrative has been eclipsed by over‑reaching comedic contrivances. In conclusion, Big Mood season two struggles to reconcile its dual aims. The ambitious premise that once offered a nuanced look at mental illness now feels buried beneath a barrage of gimmicks, leaving audiences to wonder whether it’s time for the characters – and perhaps the series itself – to move on.