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In the midst of the ongoing humanitarian crisis in Gaza, a heartwarming story of compassion and resilience has emerged. A woman, often referred to as a 'grandmother' by the local community, has taken it upon herself to care for an orphaned baby. The woman's selfless act has garnered attention and admiration, as she provides love, care, and support to the infant. The child affectionately refers to her as 'Mama', highlighting the strong bond they have formed. This story serves as a testament to the human spirit's capacity for kindness and generosity, even in the most challenging of circumstances. The woman's actions have inspired others in the community to come together and support those in need.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

The ongoing conflict between Iran and the US-Israel alliance has severely disrupted shipping through the Strait of Hormuz, a vital passage for about a fifth of the world's oil and gas supplies and a third of global fertilisers necessary for food production.Before the conflict, an average of 138 ships a day transited the strait. However, following the escalation, 100 vessels have exited the Gulf and only 40 have entered in the past month, according to Lloyd’s List Intelligence.Despite over 20 reported attacks on ships in the region, including near-misses and damage to vessels, some ships are still attempting to cross, with Iran permitting 'non-hostile vessels' to use a 'safe corridor' in its territorial waters. This route allows Iranian authorities to visually verify vessels and potentially demand payment for safe passage.The International Maritime Organization (IMO) has raised concerns about the 20,000 seafarers stranded in stressful conditions with dwindling supplies. Over 30 countries have agreed to work together to safeguard the strait, with the UK offering to host an international security summit to devise a plan to reopen it.

Renowned violinist Anne-Sophie Mutter continues her dedication to contemporary music with a bold new series on Alpha Classics titled 'East Meets West'. This album brings together four works specifically written for her, reflecting the diverse heritages of the composers.The album opens with Aftab Darvishi's 'Likoo', a six-minute solo piece that evokes a folk poetry genre from Iran. Originally composed before recent global conflicts, it now resonates with poignant significance. Next is Unsuk Chin's 'Gran Cadenza', a nine-minute duo with Mutter and Chinese-American violinist Nancy Zhou, characterized by a high-wire performance.The textures expand as Mutter is joined by Ye-Eun Choi, Muriel Razavi, and Pablo Ferrández for Jörg Widmann's 'String Quartet No 6'. Titled 'Studie über Beethoven', this piece reinterprets Beethoven's music with coruscating and often uproarious effects. The album concludes with Thomas Adès' 'Air', subtitled 'Homage to Sibelius', performed with the London Symphony Orchestra conducted by Adès himself.Stream the album on Apple Music or Spotify.

The relationship between dogs and humans has long been a subject of fascination, and recent groundbreaking research has shed new light on the origins of this enduring bond. Published in the journal Nature, the study reveals that the genetic evidence for domestic dogs dates back an astonishing 15,000 years, a full 5,000 years earlier than previously thought.Ancient DNA analysis of dog remains has provided unprecedented insight into the early days of dog domestication. The oldest specimen, a 15,800-year-old dog buried alongside human remains in Anatolia, Turkey, and a 14,300-year-old jawbone from Gough's Cave in Somerset, England, are key findings that have helped researchers reevaluate the timeline of dog domestication.According to Dr. Lachie Scarsbrook of Ludwig Maximilian University of Munich, the study suggests that dogs with diverse ancestries already existed across Eurasia 15,000 years ago, from Somerset to Siberia. This raises the possibility that domestication occurred during the last ice age, more than 10,000 years before the emergence of other domestic plants and animals.The research, conducted by international teams, analyzed DNA from bones at various sites, including Gough's Cave, Pınarbaşı in Turkey, and two sites in Serbia. Advanced sequencing techniques allowed researchers to piece together tiny fragments of ancient DNA, enabling clear species identification for the first time.Key findings include:Dogs were widespread across Europe and western Asia by at least 14,000 years ago.Isotopic analysis revealed dogs consumed a diet rich in fish, matching the local human diet in Turkey.Evidence of deep emotional bonds between humans and dogs, including the burial of puppies over human remains.The study's authors suggest that dogs may have increased hunting efficiency or served as an early warning system against predators. The genetic relationship between dogs across sites implies that they may have spread rapidly across Europe, possibly through trade between unrelated groups.As Prof. Laurent Frantz notes, the fact that people exchanged dogs so early suggests these animals must have been important, serving purposes beyond being pets. The research provides a fascinating glimpse into the ancient partnership between humans and dogs, highlighting the significance of this bond in human history.

Tansy Davies's intriguing score for 'The Passion of Mary Magdalene' premiered with the Dunedin Consort, conducted by John Butt. This brand new Passion, co-commissioned with the Edinburgh international festival, explores the enigmatic figure of Mary Magdalene through a tautly written 90-minute work divided into seven episodes.The composition features eight singers, including four women and four men, with Mary Magdalene herself portrayed by Anna Dennis. The narrative weaves together texts from various sources, including the non-canonical Gospel of Mary and poetry by Ruth Fainlight. The music is characterized by intricate instrumental layers and a blend of traditional and modern elements, such as the use of an electric guitar.Davies's work is described as a meditation rather than a traditional Passion-setting, with a focus on the mystical and sensual aspects of the story. The performance is set to be featured at the Edinburgh international festival on August 8.

More than 250 players from the southern hemisphere are now integral to European rugby, fundamentally shaping the landscape of top-flight competitions across France, Scotland, England, Italy, Ireland and Wales. These athletes, drawn from 12 nations including Chile, Zimbabwe and the Cook Islands, have been drawn north by the gravitational pull of financial security and career opportunities, with over 60 hailing from South Africa and 56 from Argentina.Their presence has transformed European rugby, both in terms of quality and the development of local players who compete alongside and against them. This southern exodus continues despite the cultural and rugby significance of these nations, creating a complex dynamic where talent flows north while the sport's soul remains rooted in the south.Fiji exemplifies this tension. While 31 Fijian players currently compete in Europe, the Fijian Drua, with 40 players on their books, recently demonstrated the passion and potential of homegrown talent by defeating the ACT Brumbies 42-27 in front of 10,000 fans in Ba. The match, played despite challenging conditions including a previously flooded pitch, showcased rugby's authentic connection with its supporters.However, this authentic expression of rugby faces an uphill battle against commercial realities. When the Nations Championship brings hemispheres together later this year, Fiji's "home" fixtures will be staged offshore – against Scotland in Edinburgh, England in Liverpool and Wales in Cardiff. Despite Fiji Rugby Union chief executive Koli Sewabu's determination to "make it feel every bit like a home game," the relocation speaks to larger priorities.The financial imperative extends beyond Fiji. At a recent World Rugby meeting, representatives from New Zealand and Australia pushed for greater tempo and less emphasis on set-piece power, only to be blocked by France and South Africa, who possess the most intimidating packs. This diminished influence reflects a broader shift in power dynamics.South Africa, despite exporting more talent to Europe than any other nation and winning four World Cups, faces significant constraints. SA Rugby's chief executive, Rian Oberholzer, acknowledged that neither South Africa nor New Zealand are presently viable World Cup hosts because they "do not generate the revenue World Rugby requires." The Rugby World Cup, he explained, "is the only revenue stream for World Rugby that must fund the whole ecosystem."Argentina faces similar challenges. The Pumas, despite being a formidable international side, struggle to host major tournaments due to the absence of a professional domestic league and the fact that all but three of their most recent squad members play in Europe.This creates a fundamental tension in modern rugby: the sport's most compelling talent and authentic experiences emerge from the southern hemisphere, yet financial decisions increasingly favor northern markets. While rugby needs these financial resources to fund competitions and maintain grassroots development, the balance between authentic connection and commercial imperatives will ultimately determine the game's future trajectory.

The international football break has arrived, and with it, a chance for national teams to play friendly matches against a variety of opponents. The FIFA Series 2026 is a new initiative that brings together teams from different continents in a series of four-team tournaments.Gianni Infantino, the president of FIFA, has stated that the series is 'about unlocking development potential for players, coaches and fans, while promoting football's universality and diversity through meaningful matches'. The series features a range of matches, including Puerto Rico hosting the curtain-raiser against the US Virgin Islands and American Samoa.The tournaments will be held in various locations around the world, including Rwanda, China, Indonesia, and Uzbekistan. Some of the participating teams include England, Brazil, Argentina, and Spain, who will be playing against a range of opponents from different continents.The FIFA Series 2026 aims to strengthen the game at every level and bring local communities to the global stage. As Infantino says, 'By connecting nations through competition, the Fifa Series aims to strengthen the game at every level – bringing local communities to the global stage.'