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A harrowing video captured by a 13-year-old girl has surfaced, showcasing the terrifying moment Israel bombed Beirut. The footage, obtained from aljazeera, provides a glimpse into the devastating impact of the airstrike on civilians in the Lebanese capital.The video, which has garnered significant attention, depicts the chaotic scene immediately following the bombing. The girl's documentation of the event serves as a poignant reminder of the human cost of conflict.The incident has sparked widespread concern and condemnation, with many calling for an investigation into the circumstances surrounding the airstrike. The Israeli military has not publicly commented on the incident.

The relationship between space and fashion has long been a subject of fascination, with designers drawing inspiration from the cosmos to create innovative and otherworldly clothing. Space-inspired fashion has become a growing trend, with many designers incorporating elements of space exploration into their designs.The Guardian's photo series, 'Space: the ultimate wardrobe challenge', showcases a range of outfits that blend fashion and space, highlighting the creative possibilities at the intersection of these two seemingly disparate fields.From galaxy-print dresses to space-age accessories, the series presents a visually stunning exploration of the ways in which space can influence and inspire fashion. By pushing the boundaries of conventional design, these outfits demonstrate the limitless potential of space-inspired fashion.

Cameron Picton, the bassist‑vocalist behind British art‑rock outfit Black Midi, has unveiled his first solo statement under the moniker My New Band Believe. Recorded with a cadre of improvisational musicians—including veteran drummer Steve Noble, formerly of Rip Rig + Panic—the album abandons the band’s signature wall of sound for an intimate, acoustic approach.The record opens with the gentle ballad “Still,” a track originally tucked away on Black Midi’s sprawling rock‑opera Hellfire. Here, Picton’s unadorned vocal delivery replaces Geordie Greep’s theatrical croons, setting a tone of understated sincerity that runs through the entire project.Every song is built from live‑sounding instruments: fingerpicked guitars, double bass, piano, subtle percussion and tasteful string arrangements. This stripped‑back aesthetic allows the lyrics to move away from Black Midi’s often surreal narratives toward more direct, everyday subjects. For instance, the opening track “Target Practice” retains a hint of the band’s dark humor, while “Love Story” paints a nostalgic picture of a couple cooking together, and “Opposite Teacher” reflects on the challenges of fatherhood.Even within this quieter framework, Picton injects moments of tension. The second track, “In the Blink of an Eye,” introduces dissonant chords that remind listeners that “understated” is a relative term for an artist accustomed to sonic extremes. Throughout, the songs remain episodic, with sudden key changes and tempo shifts that echo the restless spirit of Van Dyke Parks’ 1967 Song Cycle—a collaboration Picton initially pursued before budget constraints halted the partnership.Highlights such as “Heart of Darkness” weave together folk‑rock riffs, jazzy drumming and an improvised coda of feedback‑like strings, while “Actress” balances sweet melodies with dramatic pauses and volume surges, ending more as a gradual fade than a conventional finish.Compared with Black Midi’s recent releases—most notably the chaotic, genre‑bending Hellfire and Geordie Greep’s solo effort The New Sound—Picton’s debut feels more approachable without sacrificing artistic curiosity. The album’s constant motion is contained by its acoustic instrumentation, making it easier to love rather than merely admire. It resists standard song structures, defies easy categorisation, and showcases a plethora of unconventional musical ideas, all while wearing its intelligence with a lighter touch.

Double 30th‑anniversary celebrations saw Scottish indie‑pop veterans Belle & Sebastian take the stage at London’s Royal Albert Hall on 9 April 2026, performing their debut LPs Tigermilk and If You’re Feeling Sinister in their entirety. Both records originally arrived in 1996, with Tigermilk limited to just 1,000 copies until a 1999 reissue gave it wider exposure.The challenge of translating these lo‑fi classics to a live setting was turned into an advantage. Backed by a nine‑piece ensemble—four of the original six members plus seasoned newcomers—the band expanded the sonic palette, brightening tracks like “You’re Just a Baby” and weaving in subtle nods to Nick Drake, Felt, mariachi brass on “Expectations”, and Stereolab‑style synths on “Electronic Renaissance”.Each song was paired with a brief film that referenced the band’s aesthetic touchstones—second‑hand vinyl, indie comics, 1960s Paris—creating a multimedia experience that reinforced the private universe Stuart Murdoch has cultivated since the mid‑90s.The concert’s second half turned into a “shaggier ramble” through the catalogue, featuring highlights such as the wistful “Lord Anthony” and the propulsive “Lazy Line Painter Jane”. Murdoch, now a more extroverted, Chris Martinesque‑style front‑man, interspersed witty anecdotes, playful digressions, and brief stage invasions that lasted for three songs, showcasing his growth from enigmatic bedsit maestro to confident people‑pleaser.Following the London shows, the duo will continue the two‑concert anniversary tour across Manchester, Mexico, and North America, reaffirming that their early DIY spirit remains as compelling as ever.

It's been 20 years since the passing of Muriel Spark, a celebrated Scottish novelist, short story writer, poet, and essayist. With a career spanning over two decades, Spark left an indelible mark on literature with her 22 novels, which are characterized by their uncanny, astute, and witty storytelling. James Bailey, author of the biography Like a Cat Loves a Bird: The Nine Lives of Muriel Spark, provides a guide to Spark's oeuvre, highlighting her unique narrative style. A typical Spark novel begins by introducing an enclosed community, such as nuns, schoolgirls, or desert island castaways, filled with gossip, deceptions, and conflicts. This setup is then disrupted by a dramatic event, like a murder or scandal, allowing Spark to explore the consequences. For readers new to Spark's work, Memento Mori (1959) is a great starting point. This darkly comic novel follows a cast of bickering pensioners who receive anonymous phone calls with the ominous message: 'Remember you must die.' The novel raises questions about mortality, fear, and the human condition. Spark's debut novel, The Comforters (1957), is a remarkable example of her innovative storytelling. The protagonist, Caroline Rose, believes she can hear the clanking typewriter keys of an entity she calls the Typing Ghost, which dictates the events of her life. This novel showcases Spark's ability to blend diabolism, diamond-smuggling, and supernatural elements. One of Spark's most famous novels, The Prime of Miss Jean Brodie, is known for its quotable lines, such as 'Give me a girl at an impressionable age and she is mine for life.' This novel explores themes of favouritism, fascism, and the seductive power of belonging. Spark considered The Driver's Seat (1970) her finest achievement, describing it as her creepiest work. This novel follows Lise, a protagonist whose holiday romance takes a dark and unexpected turn. Spark's works often explored the contrast between public personas and private lives. Her 1968 novel, The Public Image, is a prime example, delving into the world of a film star struggling to maintain her reputation amidst paparazzi and self-absorbed relationships. Spark's short stories, collected in her Complete Short Stories, offer a glimpse into her versatility as a writer. These tales often feature unquiet spirits and explore themes of mortality, guilt, and redemption.

Aston Villa took a significant step towards the Europa League semi-finals with a 3-1 victory over Bologna in the first leg of their quarter-final tie. The Premier League side capitalized on a mistake by Bologna goalkeeper Federico Ravaglia to take the lead through Ezri Konsa. Despite being second best for much of the match, Villa's clinical finishing and composure under pressure proved decisive.Ollie Watkins doubled Villa's lead shortly after halftime with a cool finish, showcasing his ability to remain calm in pressured situations. This goal was crucial in shifting momentum in Villa's favor, as Bologna struggled to create clear-cut chances. Watkins added a second goal in the 90th minute, securing a 2-0 lead for Villa before the match ended 3-1 in their favor.Bologna's English winger Jonathan Rowe had a standout performance for the hosts, creating several chances and eventually scoring a late consolation goal. However, it was not enough to overturn Villa's advantage. Unai Emery's tactical acumen was evident as Villa focused on set pieces, which ultimately led to their opening goal.The result puts Aston Villa in the driving seat ahead of the second leg, with Bologna facing a tough task to qualify for the semi-finals. Villa's performance demonstrated their resilience and adaptability in a challenging away match, setting them up well for the return fixture.

Cartoonist Stephen Lillie has created a humorous illustration for The Guardian, depicting the return of the Artemis II crew. The cartoon, published on April 9, 2026, offers a lighthearted take on the mission.The Artemis II mission is a significant event in space exploration, marking a crucial step towards humanity's return to the Moon. While specific details about the cartoon's content are not provided, it is clear that Lillie's work aims to bring a touch of humor and satire to this space mission.Lillie's cartoon is part of The Guardian's series of opinion cartoons, which often provide witty commentary on current events. This particular piece showcases Lillie's skill in using humor to engage with significant topics like space exploration and the moon.

Max Verstappen's future in Formula One has been thrown into doubt after his long-time engineer, Gianpiero Lambiase, announced that he will be leaving Red Bull to join McLaren in 2028. Lambiase has been a crucial part of Verstappen's team since 2016, playing a key role in his four world championships.The news is a significant blow to Red Bull, as Lambiase's departure comes at a time when Verstappen has been expressing disenchantment with the current F1 regulations. The Dutch driver has been vocal about his frustration with the focus on energy management, which he believes has made the racing less enjoyable.Verstappen's contract with Red Bull runs until 2028, but performance-related escape clauses could allow him to exit before then. The team has been going through a period of change, with several key figures leaving, including Christian Horner as team principal, Adrian Newey as chief designer, and Jonathan Wheatley as sporting director.Lambiase's move to McLaren will see him take on a role supporting the team principal, Andrea Stella. The British-Italian engineer has been a close ally of Verstappen, and their partnership has been highly successful. Their radio interactions during races have been closely followed, showcasing a strong professional and personal bond.The departure of Lambiase and other key figures has raised questions about the future of Red Bull and Verstappen's commitment to the team. With the current regulations and the competitiveness of the Red Bull car, Verstappen's future in F1 is uncertain.

The latest Cannes lineup reveals a clear pivot from the usual Hollywood glamour toward a roster dominated by celebrated world‑cinema auteurs such as Pedro Almodóvar, Cristian Mungiu and Asghar Farhadi. While last year’s festival was anchored by a Mission: Impossible spectacle starring Tom Cruise, this edition offers a more eclectic mix, including debut features from Andy Garcia (who also stars in his crime drama Diamond) and John Travolta, who directs the aviation‑themed Propeller One‑Way Night Coach based on his own novel.Under the stewardship of director Thierry Frémaux, Cannes continues to bar films that are exclusive to streaming platforms, a stance that has been vindicated by recent Oscar successes for festival selections. The festival also entered the AI debate: Steven Soderbergh’s documentary John Lennon: The Last Interview employs artificial intelligence to reconstruct visual elements of the legendary interview, sparking both fascination and unease among attendees.Gender representation remains skewed, with a noticeable predominance of male directors in the competition slate, although the final list is still pending. Notably absent are any British filmmakers, despite the inclusion of Polish auteur Paweł Pawlikowski, whose biopic of Thomas Mann, Fatherland, could be loosely claimed as a UK entry given his long residence there.Geopolitical undercurrents are hard to ignore. Russian director Andrey Zvyagintsev returns with Minotaur, a film about a beleaguered Russian businessman. Zvyagintsev, once favored by Vladimir Putin, now lives in exile in France, adding a layer of political intrigue to his work amid the ongoing war in Ukraine.The competition also features a strong historical thread: László Nemes’s Moulin revisits occupied France, Emmanuel Marre’s Notre Salut explores Vichy‑era France, and Lukas Dhont’s Coward follows a Belgian soldier’s harrowing experience in World‑I trenches.Among the more provocative entries, Nicolas Winding Refn’s Her Private Hell promises shock value in the out‑of‑competition slot, while the Un Certain Regard section showcases Jane Schoenbrun’s queer slasher Teenage Sex and Death at Camp Miasma, likely to become a festival highlight.