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Donald Trump announced over the weekend that he wants to "take the oil in Iran" by seizing control of Kharg Island, the strategic outpost through which roughly 90% of Iran’s oil exports flow. Experts say the remark underscores a blatant disregard for international law and exemplifies what they term “fossil‑fuel imperialism.” Patrick Bigger, co‑director of the Transition Security Project, described the approach as a "might‑makes‑right" logic that is both "abhorrent and spectacularly miscalculated." Trump is slated to give an update on the Iran‑U.S. conflict on Wednesday. He previously claimed the war could end within weeks, a statement that sent the stock market soaring on expectations of de‑escalation. Iran, however, has insisted it needs guarantees against future attacks before halting its counter‑offensive. The fighting continues, highlighted by an Iranian strike on a fully loaded crude tanker in Dubai and threats to "blow up and completely obliterate" Iran’s energy infrastructure if the Strait of Hormuz is not reopened promptly. Kharg Island, a five‑mile strip that handles the bulk of Iran’s oil shipments, along with its power plants and oil wells, has been singled out by Trump. He told the Financial Times that U.S. forces should take over the island and the oil stored there. "My favorite thing is to take the oil in Iran," Trump said, adding that critics in the United States are "stupid people." Amir Handjani, an energy lawyer at the Quincy Institute, warned that the statement "completely discredited" the war’s stated objectives and revealed a classic play for natural resources. Handjani noted that Trump’s desire to seize Iranian oil is not new; he voiced similar ambitions in a 1988 interview while promoting The Art of the Deal, saying he would "do a number on Kharg Island" if elected. The former president has also floated comparable ideas for Iraq, Syria and Venezuela, suggesting the United States could appropriate their oil to offset war costs or bolster strategic reserves. Handjani emphasized that international law provides no framework for waging war to capture sovereign nations' natural resources. From a military perspective, taking Kharg Island would be extremely challenging. Iranian missile defenses have rendered regional U.S. bases inoperable, meaning any assault would likely require a parachute insertion of Marines into heavy fire, with the risk of massive Iranian retaliation. Handjani warned that such retaliation could target oil export terminals across the Persian Gulf, potentially driving crude prices to $200‑$300 per barrel and destabilising the global economy. The conflict has already caused the largest-ever disruption to global energy supplies, killing thousands and sparking sharp fuel‑price shocks. While consumers bear the brunt, major fossil‑fuel companies are enjoying windfall profits. Bigger noted that higher oil prices benefit oil majors and are being used as a pretext to expand U.S. drilling, further entrenching reliance on carbon‑intensive fuels. According to Bigger, Trump’s rhetoric reveals a belief that "fossil fuels are a linchpin of his domestic industrial strategy," and that controlling oil equates to controlling global power. He argues that this mindset threatens the international order and hampers the transition to cleaner energy.

As Easter approaches, concert halls from London to Leipzig are flooded with performances of Johann Sebastian Bach’s masterpieces, most notably the St Matthew Passion and the St John Passion. Chart data from the Official Classical Chart, Apple Music’s classical rankings and specialist listings show Bach out‑performing every other composer, with releases such as Yunchan Lim’s take on the Goldberg Variations and Raphaël Pichon’s recording of the St John Passion leading the pack.Two vivid descriptors have captured the public’s imagination this week: “Bach the zombie” and “Bach the meat‑grinder.”strong> Violinist James Ehnes coined the former to highlight the music’s ability to survive any arrangement or re‑imagining, while Guardian critic Clive Paget used the latter to describe the relentless, visceral intensity of the opening chorus in Pichon’s St John Passion recording.The “meat‑grinder” metaphor points to Bach’s obsessive repetitions and searing harmonies that convey the raw agony of the Passion narrative. In contrast, the “zombie” image underscores the composer’s uncanny durability: his works thrive whether rendered for saxophone quartet, Wendy Carlos’s synthesizers, Leopold Stokowski’s lush orchestration, or even a mandolin played in a New York park.Bach’s presence on the silver screen further illustrates his cultural elasticity. His slow, stately rendition of the final chorus of the St Matthew Passion underscored Pier Paolo Pasolini’s 1964 film The Gospel According to St Matthew, while the haunting aria from the Goldberg Variations was famously chosen by Hannibal Lecter in The Silence of the Lambs as he prepares a gruesome act. These examples show how Bach can serve as both spiritual solace and chilling inspiration.Modern performers continue to reinvent the canon. Pianist Víkingur Ólafsson, who logged more than ninety performances of the Goldberg Variations in a single year, describes each rendition as a “religious pilgrimage” that reshapes the listener’s experience. Meanwhile, mandolin virtuoso Chris Thile released a second volume of Bach’s Sonatas and Partitas performed on his instrument in Tompkins Square Park. The recording captures ambient city sounds—birds, footsteps, fellow buskers—blending them with Bach’s intricate C‑major fugue to create what Thile calls “the effortless fugue of city life.”These diverse reinterpretations confirm a simple truth: Bach’s music is indestructible. Whether heard in a grand cathedral, a streaming playlist, or a bustling park, his compositions adapt without losing their core emotional impact. This Easter, listeners are invited to embrace Bach not as a relic confined to history, but as a living, breathing force that continues to energise and inspire across genres and generations.

The resurgence of existentialist cinema is marked by François Ozon's adaptation of Albert Camus's 'The Stranger'. This 2026 film breathes new life into the classic novel, exploring themes of absurdity and individual morality. Camus's 'The Stranger' has been adapted before, notably by Luchino Visconti in 1967. However, Ozon's version stands out with its political focus on colonial power relations and a fresh perspective on the protagonist, Meursault. Existentialism, a philosophy that questions life's purpose without divine guidance, influenced 20th-century thought through figures like Jean-Paul Sartre, Simone de Beauvoir, and Camus. The movement briefly influenced cinema, particularly through the French New Wave. The connection between existentialism and film noir is also explored, with the genre reflecting nihilistic undercurrents of the interwar period. Existentialist themes continue to permeate modern cinema, influencing films like 'Taxi Driver', 'Blade Runner', and 'The Truman Show'. Ozon's adaptation shifts the focus to colonialism, making it a more politically charged interpretation. This shift raises questions about whether the film remains strictly existentialist or if it incorporates moralizing overtones. The article concludes by suggesting that existentialism's core ideas remain relevant, especially in today's chaotic world. Films like Olivier Laxe's 'Sirāt' capture the existentialist spirit by portraying characters navigating absurd and precarious situations.

Vice President JD Vance revealed that he will publish a new memoir titled "Communion: Finding My Way Back to Faith", scheduled for release on June 16 by HarperCollins. The work is billed as a spiritual chronicle of his journey back to Christianity after converting to Catholicism in 2019 at age 35.In a post on X, Vance described the project as a long‑standing effort that “captures my personal journey and how I found my way back to faith.” The publisher adds that the book will explore how his renewed belief guides his public‑service decisions and shapes his vision for the future.The announcement comes at a time when Vance is increasingly seen as an early frontrunner for the 2028 Republican presidential nomination. Political analysts note that releasing a memoir before a presidential run follows a well‑trodden path in U.S. politics, mirroring recent book launches by potential Democratic contenders such as Kamala Harris and Gavin Newsom.Vance’s emphasis on faith reflects a growing religious dimension to his political identity. His Catholic conversion has informed his positions on abortion, family policy, and immigration, where he has invoked the concept of ordo amoris (“order of love”) to justify prioritising citizens’ interests over non‑citizens. This stance has drawn criticism from senior Vatican figures, including a pre‑May‑2025 X account linked to Pope Leo XIV that challenged the White House’s deportation plans.Even the late Pope Francis, without naming Vance, warned in a 2025 letter that true ordo amoris should emulate the “Good Samaritan” parable, urging a love that embraces all people without exception."Communion" follows the massive success of Vance’s first bestseller, Hillbilly Elegy. The 2016 memoir spent over 200 weeks on the New York Times bestseller list and sold more than five million copies worldwide, later inspiring a Ron Howard‑directed film starring Glenn Close and Amy Adams.

The Guardian’s March reading roundup gathers a diverse set of recommendations from both its writers and its readership, offering a snapshot of the titles that captured their attention over the past month.John Lanchester highlights two recent British novels that resonated with him after completing his own manuscript: Drayton and Mackenzie by Alexander Starritt, a story of friendship intertwined with business, and The New Life by Tom Crewe, which explores gay life in the 1890s. His European picks include Eurotrash by Christian Kracht, a darkly comic road‑trip tale, Perfection by Vincenzo Latronico, a critique of the digital‑nomad lifestyle, and Olga Tokarczuk’s genre‑defying Drive Your Plow Over the Bones of the Dead. Lanchester also notes his own recent release, Look What You Made Me Do, available from Faber for £20 via the Guardian bookshop.James, a regular Guardian reader, is immersed in Tom’s Crossing by Mark Danielewski. He describes the 1,200‑page modern western as a masterclass in character depth and meticulous detail, urging readers not to be deterred by its length.Patmeena Sabit turns to shorter forms when time is scarce, recommending Hue and Cry by James Alan McPherson for its understated humanity, Fifty‑Two Stories (a new Chekhov collection translated by Richard Pevear and Larissa Volokhonsky) for its blend of classics and previously untranslated pieces, and Ada Limón’s poetry collection Bright Dead Things for its poignant beauty. Sabit also promotes her own work, Good People, published by Virago at £16.99.David praises Zbig: The Life of Zbigniew Brzezinski, America’s Cold War Prophet by Edward Luce, calling it a dense yet illuminating autobiography that traces U.S. and global power dynamics from the 1960s to the early Trump era, and recommending a piecemeal reading approach.Arash finds profound resonance in Mother Mary Comes to Me by Arundhati Roy. He describes the memoir as an emotionally powerful tribute to Roy’s mother, noting its refusal to fall into gendered clichés while championing compassion and resistance against chauvinism.

The latest production of Romeo and Juliet brings a modern twist to Shakespeare's timeless tale, with Sadie Sink and Noah Jupe stepping into the iconic roles of Juliet and Romeo, respectively. This adaptation, directed by Robert Icke, presents a hipsterishly modern-dress interpretation that sometimes feels overburdened by its directorial flourishes. Sink, known for her role as Max Mayfield in Stranger Things, makes her West End debut as Juliet, bringing an intense and quirky neurotic energy to the character. Her performance is complemented by Jupe's portrayal of Romeo, showcasing a sweet and pure chemistry that captures the essence of first love. Their on-stage presence is undeniable, making their characters' tragic fate all the more poignant. The production features a range of inventive elements, including a digital clock that ticks down the hours leading to the tragic conclusion and alternative scenes that explore a universe where the couple's fate is averted. While these choices are ambitious, they sometimes feel like overthinking. Nonetheless, the central performances by Sink and Jupe anchor the production, elevating it above its directorial excesses. Supporting performances, including Clare Perkins as the cocky and endearing Nurse and Kasper Hilton-Hille as the mischievous Mercutio, add depth and humor to the production. The stage design, featuring a central bed and minimalist set, effectively underscores the themes of passion and tragedy. Despite some missteps, the production ultimately succeeds due to the compelling performances of its leads. With its blend of traditional and modern elements, this Romeo and Juliet offers a fresh perspective on a classic tale, making it a must-see for both Shakespeare enthusiasts and newcomers alike.

The Guardian’s newest photo feature puts the spotlight on Finnish photographer Claire Aho, whose recent work erupts in vivid hues, heralding what many describe as a colour revolution in the nation’s visual culture.Through a series of carefully composed shots, Aho captures everyday Finnish scenes transformed by bold palettes, inviting viewers to reconsider familiar landscapes through a more expressive lens.Critics note that the images not only celebrate aesthetic innovation but also reflect a broader cultural momentum toward brighter, more optimistic artistic expressions across Finland.

Just before sunset on Florida’s Space Coast, an estimated 400,000 people are expected to line the beaches and causeways to watch NASA’s Artemis II lift off at 6:24 p.m. ET, weather permitting. The launch will be the first crewed departure from low‑Earth orbit since the Apollo 17 mission in December 1972. Commander Reid Wiseman told reporters at the Kennedy Space Center that the nation and the world have been waiting “a long time” for this moment. The four‑person crew—Americans Christina Koch and Victor Glover, Canadian astronaut Jeremy Hansen, and Wiseman himself—have entered quarantine ahead of the flight. During the 10‑day test flight, which will not attempt a lunar landing, Koch and Glover will become the first woman and first person of color to travel into cislunar space, the region between Earth and the Moon. Hansen will be the first non‑American to do so. The Orion capsule is expected to travel more than 4,600 miles (7,400 km) beyond the Moon’s far side on day six, reaching a total distance of just under 253,000 miles from Earth—surpassing the Apollo 13 record of 248,655 miles set in 1970. Beyond the historic milestones, Artemis II serves as a critical stepping stone for NASA’s broader lunar ambitions. Administrator Jared Isaacman has outlined a $20 billion Moon base program slated for completion by the end of the decade, and the mission will capture high‑resolution images of the Moon’s south‑pole region—potential sites for future landings and the base. Technical preparations have addressed previous setbacks, including a resolved heat‑shield issue from Artemis I and a helium‑leak that delayed Artemis II’s rollout in February. NASA’s final weather briefing gave the launch an 80 % chance of favorable conditions, with a five‑night launch window available should a scrub be required. Inside the capsule, the crew will spend ten days in a confined space roughly the size of a small camper van, testing life‑support systems, radiation exposure, and microgravity effects. Wiseman noted the psychological challenges of close‑quarters living, saying, “By day six or seven we’ll all be thinking, ‘I need a little space,’ but we’re a good crew.” The launch has sparked a surge of tourism in Cape Canaveral and Cocoa Beach, with hotels filling quickly as spring‑breakers add the event to their itineraries. Despite schedule delays and cost overruns—NASA acknowledges the program is “billions of dollars over budget”—the agency remains confident that Artemis II will demonstrate the capabilities needed for the next crewed landing, scheduled for Artemis IV in 2028. As Wiseman summed up, “NASA was founded to tackle the near‑impossible. This mission is the next step in America’s return to the lunar environment, and when we get there, we intend to stay.”

The ongoing conflict in Sudan has taken a devastating turn, with sexual violence being used as a weapon against women and girls. A report by Doctors Without Borders (MSF) has documented 3,396 survivors of sexual violence seeking treatment in MSF-supported health facilities across North and South Darfur between January 2024 and November 2025.The MSF report, titled 'There is Something I Want to Tell You…', highlights the pervasive nature of sexual violence in the conflict, with women and girls accounting for 97% of survivors treated in MSF programmes. The Rapid Support Forces (RSF) and allied militias were found to be primarily responsible for the systematic abuse.Children are also among the survivors, with one in five survivors in South Darfur being under 18, including 41 children younger than five. The report describes attacks not only during fighting but also in everyday settings, such as fields, markets, and displacement camps.MSF has called on the international community to urgently scale up health and protection services in Darfur and all of Sudan, and on all parties to the conflict to cease and prevent sexual violence and hold perpetrators accountable. The organisation's emergency health manager, Ruth Kauffman, stated that 'sexual violence is a defining feature of this conflict – not confined to front lines, but pervasive across communities.'The conflict in Sudan has resulted in widespread displacement and human rights abuses, with the RSF's capture of el-Fasher, the capital of North Darfur, on October 26, 2025, leading to a significant increase in survivors seeking treatment.