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At a high‑profile meeting in Downing Street, Prime Minister Keir Starmer told senior executives from Meta, Google, TikTok, X and Snap that the status quo "can’t go on like this" and that immediate, tangible steps are needed to protect children online. Government ministers are now weighing a legal under‑16 age restriction for all social‑media platforms, alongside proposals to curb addictive design elements such as infinite scrolling, autoplay videos and push notifications. During the discussion, Starmer urged the tech leaders to act with "more urgency on internet safety for children" and warned that continued inaction places young users at risk. He emphasized that a world where access is limited but safety is ensured is preferable to one where "harm is the price of participation." While the companies present offered no comment, they have already rolled out a suite of child‑safety tools: Meta’s teen‑account option for users under 18, TikTok’s family‑pairing feature that lets parents set screen‑time limits, and compliance with the UK’s Online Safety Act. The legislation obliges platforms to suppress violent, hateful or abusive content and to keep explicit material, self‑harm, suicide and eating‑disorder content off children’s feeds. The government’s child online‑safety consultation has already attracted 47,000 responses. It explores a formal minimum age of at least 16, as well as restrictions on features that encourage endless usage. The consultation closes on 26 May, after which ministers have pledged “swift action” on the findings. In the House of Lords, a peer‑led amendment to the education bill seeks to introduce a default ban, giving ministers a 12‑month window to decide which apps fall under the age limit. Although MPs have rejected the amendment twice, Conservative peer John Nash is pressing to reinstate the clause. Starmer remains cautious about a blanket ban, fearing it could push teenagers onto the dark web or leave them ill‑prepared for responsible digital use at 16. Nonetheless, Australia’s recent nationwide ban has shifted the political calculus: more than 60 Labour MPs signed a letter in January urging the UK to follow suit. Child‑safety advocates are divided. The Molly Rose Foundation, founded after the tragic death of Molly Russell, warns that an under‑16 ban would punish children for industry failures and calls for stronger enforcement of the Online Safety Act instead. Conversely, Esther Ghey, mother of murdered teenager Brianna Ghey, and Children’s Commissioner for England Rachel de Souza support the introduction of smartphones for under‑16s with built‑in social‑media restrictions.

Former Arsenal goalkeeper Alex Manninger has died at the age of 48 in a car accident in Austria. Manninger, who helped Arsenal win the Double in 1998, was capped 33 times by Austria and played for several clubs including Red Bull Salzburg, Espanyol, and Liverpool.The accident occurred at around 8:20am local time when Manninger's car was hit by a railcar while crossing a railway crossing. Despite efforts to resuscitate him, Manninger was pronounced dead at the scene.Manninger's former clubs and teammates paid tribute to him, with Arsenal posting: “All our thoughts are with his family and loved ones at this incredibly sad time. Rest in peace, Alex.” Liverpool FC also expressed their sadness, stating: “Liverpool FC is deeply saddened by the passing of former goalkeeper Alex Manninger at the age of 48. The thoughts of everyone at LFC are with Alex’s family and friends at this difficult time.”The Austrian Football Association mourned his death, describing him as an “outstanding” servant to Austrian football. Its sporting director, Peter Schöttel, said: “Alexander Manninger was an outstanding ambassador of Austrian football on and off the pitch. With his international career, he has set standards and inspired and shaped many young goalkeepers.”Former Italy keeper Gigi Buffon, who played alongside Manninger, paid his own tribute on Instagram, writing: “Dear Alex. Every word is superfluous. Every tear would be just another for the loss of a friend and someone I’ve always admired. You chose to remain independent from the addiction of the world of football, seeking your happiness in the simple things: a healthy life in the woods, fishing, nature, family. This was your credo.”

Chris Walton, a renowned biologist and lecturer at Cranfield University, has passed away at the age of 69 due to brain cancer. He was widely respected for his pragmatic approach to getting things done and was often referred to as an honorary engineer by his colleagues.Walton's research focused on volatile organic compounds (VOCs) in various matrices, including breath, sweat, blood, urine, and faeces. He discovered links between specific VOCs and different human diseases, developing new methods to measure them. His work on environmental sensors, particularly low-cost air-quality monitors, was also notable.Born in Batley, West Yorkshire, Walton was the first in his family to attend university, graduating from Leicester University with a degree in biology in 1978. He later earned an MSc in biological computation at York University and a PhD from Coventry University.Walton's career spanned various institutions, including Imperial College London and EDS, an IT service provider. He joined Cranfield University in 1998 and became a lecturer in analytical technology. He was known for his sympathetic ear for students and his wise advice to younger colleagues.Walton is survived by his partner, Lorraine Morgan, and his daughter, Elizabeth.

For the first time, two preliminary pencil sketches by E.H. Shepard for the beloved children's book Winnie-the-Pooh have been made public. These unseen drawings were created before the book's publication in 1926 and showcase Shepard's early thoughts on bringing A.A. Milne's iconic character to life.The sketches, shared by Shepard's family to mark the centenary of the book, provide insight into the artist's creative process. One drawing, captioned 'Climbing very cautiously up the stream,' depicts Pooh and his friends Christopher Robin, Piglet, and Owl. It was intended for Chapter VIII, where Christopher Robin leads an expedition to the North Pole.The sketch shows Pooh, Christopher Robin, Piglet, and Owl on an adventure. Photograph: Courtesy of Peter HarringtonThe other sketch is a delicate study for Chapter III, where Pooh and Piglet go hunting and nearly catch a Woozle. According to Philip W Errington, a senior specialist at Peter Harrington Rare Books, these drawings showcase Shepard's 'absolute, vibrant creativity' and exceptional skill in rendering movement.The drawings will be exhibited at Peter Harrington Rare Books in London as part of a special exhibition starting on April 17. Errington noted that it is 'extraordinarily rare to encounter preliminary drawings of Winnie-the-Pooh that capture what might be called the first moment of inspiration.'

For the first time in Hollywood history, an authorized generative‑AI version of a major star headlines a feature film. The western As Deep As the Grave showcases a digitally recreated Val Kilmer, whose voice was synthesized by UK‑based firm Sonantic using archival recordings. The project, delayed by Kilmer’s death in April 2025, received full cooperation from his estate and his daughter Mercedes, who helped craft the visual deep‑fake of the actor. Mercedes Kilmer confirmed that her father embraced emerging technologies as a storytelling tool, a sentiment the filmmakers say they honored throughout production. At Wednesday’s CinemaCon trade show in Las Vegas, the trailer revealed that Kilmer’s character, Father Fintan—a Catholic priest and Native American spiritualist—appears for roughly one hour of screen time. The footage shows the priest at different ages, including a spectral elder who advises a child, “Don’t fear the dead and don’t fear me.” Writer‑director Coerte Voorhees explained that the narrative was built around Kilmer’s heritage and his love of the Southwest. He added that the production adhered to SAG‑AFTRA guidelines and that the estate was financially compensated for the use of archival material. The film also stars Tom Felton, Abigail Breslin and Abigail Lawrie. In a March interview with Variety, Voorhees noted that Kilmer’s family repeatedly emphasized the project’s importance to the late actor. The Kilmer case follows a growing trend of AI‑generated performances. In 2022, Bruce Willis consented to a digital twin after a dementia diagnosis, while actors such as Matthew McConaughey and Michael Caine have licensed their voices to AI firms for approved uses. Estates of legends like Laurence Olivier, Judy Garland and James Dean have similarly partnered with the marketplace ElevenLabs. Beyond film, celebrities are exploring AI for digital meet‑and‑greets; Paris Hilton and Kendall Jenner have reportedly signed deals with Meta for AI‑powered appearances on Instagram, and users can even query an AI version of Deepak Chopra for advice on a range of topics. Nevertheless, some stars remain cautious. Morgan Freeman, Tom Hanks and Scarlett Johansson have publicly expressed skepticism about deep‑fake replicas of their likenesses.

German director Christian Petzold, known for his elegant and disquieting films, presents 'Miroirs No 3', a psychological mystery that delves into the complexities of grief and family dysfunction. The film, starring Paula Beer as Laura, a talented pianist struggling with depression, navigates the aftermath of a sudden violent trauma.The story takes a fascinating turn when Laura, who survives a catastrophic car crash, meets Betty, an intense and enigmatic woman, played by Barbara Auer. Betty's character is shrouded in mystery, and her relationship with Laura becomes increasingly complex. As Laura becomes entangled in Betty's family dynamics, the film masterfully crafts an atmosphere of tension and unease.Petzold's direction weaves a narrative that eschews macabre twists and instead, steers towards a redemptive conclusion. The film's use of Maurice Ravel's Miroirs, particularly the third movement 'A Boat on the Ocean', adds a dreamlike quality to the proceedings. This subtle touch showcases Petzold's skill in creating an elegantly contrived study of an unhappy family group.The performances, particularly from Beer and Auer, bring depth to the film's exploration of emotional trauma and the complexities of human relationships. As the story unfolds, the audience is left questioning the characters' motivations and the true nature of their interactions. 'Miroirs No 3' is a thought-provoking and hauntingly beautiful film that solidifies Petzold's reputation as a master of modern European cinema.

Cédric Klapisch’s new film, Colours of Time, is an entertaining sentimental fantasy that invents a romantic backstory to the career of Claude Monet and his contemporary, the pioneering photographer Félix Nadar. The film follows Adèle, a fictional young woman who makes a fateful journey to find her errant mother in Paris during the belle époque, leaving behind her sweetheart and the village where she was brought up, in the countryside near Monet’s home town of Le Havre.The story intercuts enjoyably between past and present, as Adèle's life and times are rediscovered by her descendants. In the present day, dozens of descendants of Adèle are contacted by lawyers and PRs working for a property company that wants to build a vast new shopping mall, which would mean bulldozing Adèle’s derelict cottage. This garrulous ragtag bunch must give their collective consent, leading to a journey of discovery that uncovers historical secrets: photos, letters, and even what might be a painting.The film takes a pretty un-subversive view of art and artists but is executed with brio and comic gusto, particularly in the “past” sections. Suzanne Lindon’s performance has charm, and the detective work is interspersed ingeniously with what Adèle in her own day discovers about her errant mother. The film culminates in a wacky climax when the present-day claimants have an Ayahuasca psychoactive experience, sending them back in time to encounter historical culture icons in person at an exhibition.Colours of Time is a film that requires a sweet tooth, but it’s tasty. It’s set to hit UK cinemas from 17 April.

When fighting erupted in Sudan’s streets in April 2023, families fled their homes, cities and even the country itself. Three years on, the exodus continues, with millions still on the move.The Norwegian Refugee Council (NRC) surveyed 1,293 displaced households in Sudan, Chad and South Sudan, exposing a grim cycle of loss. Each forced relocation strips survivors of the last remnants of their former lives.According to the findings, about 90 % of respondents have lost their homes and nearly three‑quarters report having no income. Food scarcity has become critical: more than 80 % of households in Sudan and virtually all in South Sudan regularly skip meals.Within Sudan alone, over nine million people remain displaced, while an estimated 28.9 million face acute hunger. The cumulative trauma is evident—by the fourth displacement, almost two‑thirds of individuals feel completely exhausted and depleted of resources, and roughly 65 % have been separated from family members.Despite these hardships, a remarkable degree of solidarity persists. In Sudan and Chad, one in three aid recipients continue to share their limited supplies with neighbors, strangers and newly arrived families.“In Sudan now, you are always running,” says Amina, who escaped Khartoum with four children and only the clothes on her back after her husband vanished in the early days of the fighting. “Running from war. Running for food.”Education has collapsed: only 45 % of displaced children across the three nations attend school regularly, while 18 % of households have been forced to send children to work.The NRC’s conclusion is stark. While resilience and generosity have kept the humanitarian response afloat, communities are signaling that they can no longer bear the burden alone. The mutual support that has acted as an “invisible backbone” is now stretched to its breaking point.This photo essay is provided by the Norwegian Refugee Council.

Argentina’s justice system has reopened the case surrounding the death of football icon Diego Maradona, with prosecutors branding his medical team as “a bunch of amateurs” who missed a critical window to save him.The trial of seven healthcare professionals—doctors, psychologists and nurses—resumed on Tuesday in San Isidro, a suburb of Buenos Aires, after the original proceedings were annulled when a presiding judge was found to have participated in a documentary about the case.Maradona, who died in November 2020 at age 60 while recuperating from surgery for a brain clot, is alleged to have suffered from heart failure and acute pulmonary edema two weeks post‑operation. Prosecutor Patricio Ferrari asserted that the patient began to deteriorate 12 hours before his official death and that a timely transfer to a clinic could have prevented the fatal outcome.According to the indictment, the defendants’ decision to keep Maradona at home rather than in a hospital, coupled with a series of “omissions” described as “cruel,” constitutes homicide with possible intent. If convicted, each could face prison terms ranging from eight to 25 years.The new proceedings, expected to conclude by July at the earliest, will hear testimony from roughly 120 witnesses. Among the accused, former team doctor Leopoldo Luque and other staff members will be scrutinized for their role in the athlete’s care.Maradona’s family—daughters Dalma, Gianinna and Jana, and former partner Veronica Ojeda—attended the hearing, urging the courts to deliver “justice for Diego” and allow the legend to “rest in peace.” Outside, about 50 supporters waved Argentine flags and signs demanding accountability for the beloved “D10s.”Defense counsel Vadim Mischanchuk argued that the former star’s death resulted from a “progressive decline in his health” rather than medical malpractice, emphasizing that the condition was natural and unavoidable.Legal analyst Fernando Burlando, representing the Maradona family, highlighted the absence of a stethoscope on the legend’s chest during the critical two‑week period, using the instrument as a stark symbol of alleged negligence.The case revives national grief that first erupted when Maradona’s body lay in state at the presidential palace, drawing tens of thousands of mourners amid the COVID‑19 pandemic.