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Pope Leo XIV arrived in Algeria on Monday, inaugurating the first papal visit to the country and the opening leg of an ambitious 11‑day African tour that includes Cameroon, Angola and Equatorial Guinea. The trip, the longest since his election in May 2025, signals a strategic shift toward the continent.The choice of Africa sends a clear message, according to scholars, that the continent is now a top priority for the Church. Professor Adriaan van Klinken of the University of Leeds notes that Africa now accounts for roughly 20% of the world’s Catholics, making it one of the fastest‑growing Catholic regions, while western Europe’s Catholic numbers are in decline.In the past year, 14 new dioceses have been established across Africa, and the Catholic population has risen by 7 million, according to John Pontifex of Aid to the Church in Need UK. He describes the continent as “coming of age” in Catholicism.Upon landing at Algiers International Airport, Pope Leo was greeted by Algerian President Abdelmadjid Tebboune and later visited the Maqam Echahid, a monument honoring those who died in Algeria’s 1954‑62 war for independence.Father Peter Claver Kogh, rector of the Basilica of Our Lady of Africa, framed the visit as a bridge‑building effort between Christians and Muslims, emphasizing a “climate of peace and tolerance.” He added that the world “needs a fraternal living and harmony” now more than ever.For biographer Austen Ivereigh, the trip continues Pope Francis’s legacy of interfaith dialogue, recalling the 2019 “human fraternity” accord signed with Muslim leaders in the UAE. John Pontifex also highlighted the visit’s timing amid a decline in religious freedom for Christians and liberal Muslims in Algeria.Lucy Esipila of Caritas Africa expects the journey to bolster Catholic communities facing conflict, debt and inequality, describing it as a vivid expression of “synodality” – the Church walking together with peripheral voices.Algeria holds special significance for Pope Leo, the first pontiff from the Augustinian order, as the birthplace of Saint Augustine. Professor Anna Rowlands of Durham University points out that North Africa was a cradle of early Christianity, underscoring the region’s deep theological heritage.The African focus comes as Pope Leo declined an invitation to the United States, opting instead to visit Lampedusa on July 4, a key entry point for migrants crossing the Mediterranean. Historian Dr Miles Pattenden suggests this contrast sends a powerful message to both European leaders and African communities.Father Kogh summed up the atmosphere in Algiers: “It’s a feeling of joy… a message of peace, coexistence and fraternity.”

Tanya Khovanova has long been a leading voice in the world of recreational mathematics, authoring a popular blog and running the Number Gossip site where enthusiasts can inquire about any number.She now debuts her first book, Mathematical Puzzles and Curiosities, co‑written with fellow puzzle‑enthusiasts Ivo David and Yogev Shpilman. Published by World Scientific, the volume offers fresh challenges and inventive twists on classic problems.To give readers a taste, Khovanova selected three puzzles for the Guardian column:1. Battleships – As a naval admiral you must choose between sending a single vessel with a success probability of P % or two vessels each with a P/2 % chance, where the mission succeeds if at least one ship does. Which strategy maximises the odds?2. The Two Oracles – You face two respondents, Randie, who answers randomly, and Rando, who randomly decides to tell the truth or lie before each answer. Is there a method to distinguish them?3. Bad Maths – A student computes 5548 − 5489 as 59, claiming the “548” cancels out. He then experiments with a subtraction of the form XXYZ − XYZW (distinct digits) and observes the result is XW. How many digits in the new expression match those in the original calculation?Solutions to the trio were later posted online (update), but readers were urged to avoid spoilers until the scheduled reveal.Khovanova also reminds fans that she has been curating puzzles for the Guardian every other Monday since 2015 and welcomes new submissions via email.

England and Spain meet again on Tuesday night in front of more than 70,000 at Wembley in the Women's World Cup 2027 qualifiers. This match comes eight-and-a-half months after they faced off in the Euro 2025 final, which England won.Spain has undergone significant changes since then, with a new head coach, Sonia Bermúdez, and a crop of emerging young players. Despite these changes, they remain unbeaten since the Euros with five wins and a draw in six matches. Bermúdez has already led them to the Nations League title.The visitors have a number of talented young players, including Fiamma Benítez, the 21-year-old Atlético Madrid midfielder, who has made a strong impact with seven goal contributions in the Champions League this season. Another player to watch is Vicky López, the Barcelona winger, who has become a regular starter.England head coach Sarina Wiegman believes that despite the changes, Spain's DNA remains the same: they want to have the ball and play dynamically. Wiegman noted that there might be some tweaks but the principle will be very similar.For England, Leah Williamson is an injury doubt due to a hamstring injury, but she has started training with her international teammates. Keira Walsh is set to win her 100th cap and Wiegman praised her vision and game understanding.England will have to make at least one change from the starting XI that beat Spain in Switzerland, with Ella Toone out injured. Jess Park is likely to start in her place.

A federal judge in Miami has dismissed former President Donald Trump’s defamation lawsuit against the Wall Street Journal and News Corp, granting the former president a two‑week deadline to refile the case. Trump’s suit, filed last summer, alleged that a lewd drawing featured in a July 2025 article—purportedly a “bawdy” birthday letter to the late financier Jeffrey Epstein—was fabricated, and that the newspaper published it with actual malice. The complaint also named media mogul Rupert Murdoch, whose News Corp owns the Journal, as a defendant. Judge Darrin P. Gayles ruled that the complaint “fails to adequately allege actual malice,” the legal standard required for defamation actions by public figures. He noted that the Journal had conducted a “significant” inquiry into the authenticity of the drawing and that Trump’s assertion of falsity alone does not prove the newspaper acted with “serious doubts” about the story’s truth. In his opinion, the judge wrote: “Because President Trump has not plausibly alleged that defendants published the article with actual malice, both counts must be dismissed.” He also observed that Trump’s team had not presented evidence of special damages. Under the order, Trump may refile the lawsuit by April 27 with additional proof that the Journal knowingly published false material. A spokesperson for Trump’s legal team confirmed they will pursue a revised filing, emphasizing the administration’s intent to “hold accountable those who traffic in fake news.” The Wall Street Journal and its parent company, Dow Jones, welcomed the decision. A Dow Jones representative said, “We stand behind the reliability, rigor and accuracy of The Wall Street Journal’s reporting.” The dismissal underscores the stringent “actual malice” requirement for defamation suits involving public officials, a threshold that continues to shape media‑law battles in the United States. It also leaves Trump with ongoing litigation against the BBC and other media outlets over separate First Amendment disputes.

Chala Chala Nav Bala (Maze Baal, 1943) marks the debut of Asha Bhosle, who entered the film world at ten years old. Paired with her sister Lata Mangeshkar, her bright falsetto captures the youthful innocence of the Marathi romance, foreshadowing the emotive style that would define her career. Aaiye Meherbaan (Howrah Bridge, 1958) showcases Bhosle’s rise during Hindi cinema’s golden age, thanks to her partnership with composer O.P. Nayyar. The song’s sultry vibrato and lush orchestration set the tone for the film’s noir atmosphere, establishing her as a leading‑lady playback voice. Aao Huzoor Tumko (Kismat, 1968) became a chart‑topping hit, featuring intricate vocal runs over a flamenco‑style guitar. Bhosle’s lower‑register chorus broke the conventional shrillness of female playback, while her nuanced phrasing added depth to the on‑screen heroine’s drunken allure. Dum Maro Dum (Hare Rama, Hare Krishna, 1971) stands out as her most successful crossover, later sampled by Western rappers. The track, produced with R.D. Burman—her future husband—blends psychedelic Beatles‑inspired grooves with Hindi lyrics, demonstrating her ability to bridge Eastern and Western pop sensibilities. Piya Tu Ab To Aaja (Caravan, 1971) pushes the fusion further into jazz‑cabaret territory, with bold horn sections and cinematic guitar reverb. Bhosle’s breathy, suggestive delivery sparked controversy, yet the performance remains a masterclass in balancing sensuality with technical agility. Chura Liya Hai Tumne Jo Dil Ko (Yaadon Ki Baaraat, 1973) epitomises the “masala” film soundtrack, merging drama, romance, and crime. Over a gentle guitar backdrop, Bhosle’s tender humming conveys quiet longing, contrasting with the film’s high‑octane narrative. In Ankhon Ki Masti (Umrao Jaan, 1981) sees Bhoske venture into Urdu ghazals with composer Khayyam. Her lower, huskier timbre—adjusted a half‑step down—highlights her continued artistic experimentation even as she approached fifty. Bow Down Mister (1991) illustrates her early 1990s foray into international collaborations, lending wordless, soaring vocals to Boy George’s post‑Culture Club project. The track transforms into a rave‑infused anthem, underscoring Bhosle’s versatility across genres. Radha Kaise Na Jale (Lagaan, 2001) pairs Bhosle with a young A.R. Rahman, reaffirming her status as an elder stateswoman of Indian music. The duet with Udit Narayan blends tabla and flute with powerful vocal runs, marrying traditional Hindustani scales to contemporary film scoring. The Way You Dream (2002) features an unexpected partnership with REM frontman Michael Stipe on the 1 Giant Leap project. The eight‑minute piece weaves tabla rhythms, subtle guitar, and a dramatic breakbeat, proving that Bhosle’s voice can seamlessly inhabit New Age and electronic soundscapes.

How shaky is the Iran‑US ceasefire? The question underscores growing concerns among analysts about the durability of the truce that has held between Tehran and Washington since the latest diplomatic outreach.While the ceasefire has prevented direct military clashes, underlying mistrust and competing strategic interests continue to cast doubt on its long‑term viability. Observers point to recent diplomatic exchanges, economic sanctions, and regional proxy activities as potential flashpoints that could reignite hostilities.Experts caution that any misstep—whether a perceived violation of the agreement or an escalation in proxy conflicts—could quickly erode the fragile peace, prompting a renewed cycle of confrontation that would affect not only the two nations but also the broader stability of the Middle East.

PCK Dance’s latest double‑bill, “Into the Light,” opens with a palpable tension: dancers inhale as if grasping something costly, their gazes unfixed, brows furrowed, signalling an emotional gravitas that the production amplifies with dark lighting and portentous music.Choreographers James Pett and Travis Clausen‑Knight, both alumni of Company Wayne McGregor, demonstrate why their pedigree matters. Their movement language is slick, finessed and relentlessly precise, with legs whipping to extreme angles and sequences that cascade like the “chatter of a motoring brain.” The duo’s fluency in form lets them forgo the heavy‑handed theatrical cues that often drown subtler expression.The centerpiece, the duet “In the Absence,” features Pett and Clausen‑Knight alongside third dancer Isabelle Evans. Their interplay oscillates between closeness and disconnection, tension and tenderness, hinting at loss. Evans’s decisive gestures—flexed wrists, expressive hands—act as declarations, while a striking passage sees the choreographers literally throwing her body between them, creating a kinetic flash that feels both chaotic and meticulously crafted.Music, composed by Pett with co‑composer Greg Haines, emerges live from a bank of stage‑side technology. The piano interludes give way to pitch‑less textures that evoke a “joyless, end‑of‑days” ambience. This soundscape reinforces the programme’s suggestion that the work grapples with survival in an AI‑driven future, casting the performance as a low‑key apocalypse rather than a conventional dystopia.By marrying razor‑sharp choreography with a minimalist, tech‑infused score, PCK Dance asks a vital question: in a world increasingly mediated by algorithms, what does it mean to remain truly human? The answer, if any, lies in the fleeting connections forged on stage—moments where bodies speak louder than the surrounding machinery.

The U.S. Court of Appeals for the District of Columbia has granted the Trump administration a brief reprieve, extending the pause on the White House ballroom construction until April 17. The move allows officials to pursue a potential Supreme Court review of a lower‑court injunction that barred further work. In a split decision, Judges Patricia Millett and Bradley Garcia formed the majority, while Trump‑appointed Judge Neomi Rao dissented. The majority questioned the administration’s repeated claim that the construction pause creates a national‑security risk, noting that the original order already exempts work necessary for the White House’s safety. Judge Richard Leon, appointed by former President George W. Bush, had issued the March 31 injunction, stating that a project of this magnitude requires explicit Congressional authorization. Leon’s order included a 14‑day stay to let the administration appeal, a stay that was set to expire this week before the appeals court’s extension. The court highlighted that the administration has not demonstrated how the injunction interferes with any existing security plans. As the majority wrote, “Defendants have not, on this record, explained how, if at all, the injunction interferes with their existing plans for safety and security.” Furthermore, the judges pointed out that the ballroom—spanning roughly 90,000 sq ft (8,360 m²)—was always projected to be a multi‑year undertaking. Planning documents estimate completion nearly three years after groundbreaking, raising doubts about the claim that a short‑term delay poses additional harm. In her dissent, Judge Rao argued that the majority’s demand for further fact‑finding would cause “irreparable injury” by halting construction, asserting that the aesthetic concerns raised by critics are outweighed by the administration’s interests. The controversy stems from the decision to demolish the historic East Wing, a structure dating back to 1902, to make room for the new ballroom. Critics, including the National Trust for Historic Preservation, contend the demolition was executed without notice and exceeds presidential authority, prompting a lawsuit that led to Leon’s injunction. While the appeals court has sent the case back to the district court for clarification on factual disputes and the scope of the security exemption, the extension effectively keeps the construction site active for another week, maintaining the political flashpoint surrounding one of the most transformative building projects on the nation’s capital in recent memory.

A temporary 32‑hour ceasefire between Russia and Ukraine started at 4:00 p.m. local time (13:00 GMT) on Saturday and will run until midnight on Sunday, according to the Kremlin. President Volodymyr Zelenskyy affirmed Kyiv’s commitment to honor the pause provided Moscow does the same. President Vladimir Putin ordered the ceasefire to align with Orthodox Easter celebrations, more than a week after Zelenskyy first proposed the truce. Both sides have publicly confirmed their intention to observe it. Zelenskyy posted on social media that Ukraine will “adhere to the ceasefire and respond strictly in kind. The absence of Russian strikes in the air, on land, and at sea will mean no response from our side.” The Ukrainian army added it stands ready to react immediately if the truce is breached. Hours before the truce began, Russian forces launched at least 160 drones against Ukrainian targets, killing four civilians in the east and south and wounding dozens. The southern Odesa region suffered two fatalities and damage to civilian infrastructure. In the Russian‑occupied parts of Donetsk and Kherson, Ukrainian drone attacks killed four people, according to officials installed by Moscow. Public confidence in the ceasefire remains low. Last year’s Easter pause saw numerous accusations of violations from both sides, and similar doubts persist this time. Despite the tension, the warring parties completed a reciprocal exchange of 175 prisoners of war each on Saturday. The United Arab Emirates facilitated the swap, as confirmed by the Russian Ministry of Defence. Prisoner exchanges have become one of the few tangible outcomes of the stalled U.S.-brokered peace talks, which continue to falter over territorial issues. Ukraine has reiterated its proposal to freeze the conflict along the current front lines, a suggestion Russia rejected, insisting Kyiv relinquish all territory it holds in the Donetsk region—an offer Kyiv deems unacceptable. Kremlin spokesman Dmitry Peskov noted that Russia did not discuss the Easter proposal with the United States in advance and did not signal an immediate revival of the three‑way peace negotiations. Fighting on the front has largely stalled. While Russia has achieved modest territorial gains at a high cost, Ukrainian forces have recently pushed back in the southeast, and Russian advances have slowed since late 2025, according to the Institute for the Study of War. Moscow now occupies just over 19 percent of Ukraine, most of which was seized in the early weeks of the conflict.