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The International Monetary Fund (IMF) has issued a stark warning that the ongoing conflict in the Middle East will lead to higher prices and slower global growth, affecting countries worldwide. The Washington-based organisation emphasised that a rise in energy and food costs will harm economic growth this year and could leave lasting scars on the global economy.The IMF's analysis, published in a blogpost by its main department heads, including chief economist Pierre-Olivier Gourinchas, noted that governments with high levels of borrowing will have limited access to funds to cushion the worst effects of the crisis. The organisation warned that all roads lead to higher prices and slower growth should the conflict continue to disrupt the supply of oil, gas, and fertiliser from the Gulf.While some countries, such as the US, may gain from higher fossil fuel prices as net exporters of oil and gas, the rise in bills for petrol, diesel, and food will harm living standards. Businesses are also forecast to come under pressure to raise prices, possibly forcing central banks to raise interest rates to combat inflation.The IMF highlighted that about a third of fertiliser production travels through the strait of Hormuz, which could push up prices. The UN Food and Agriculture Organisation projects that global prices could average 15% to 20% higher in the first half of 2026 if the crisis persists. Natural gas prices have more than doubled in the UK since last December to about £140 a therm, while a barrel of Brent crude that cost about $60 before the conflict hit more than $116 on Monday before falling back to $112.The IMF added that forecasts for sharp rises in the cost of gas and electricity in Europe next winter are forcing governments to consider higher subsidies and welfare payments to the worst-affected households. The organisation noted that countries such as Italy and the UK are especially exposed by their reliance on gas-fired power, while France and Spain are relatively protected by their greater nuclear and renewables capacity.

The 2000 film 'The Beach', directed by Danny Boyle and starring Leonardo DiCaprio, evokes a sense of nostalgia and adventure in its viewers. The movie follows Richard, a young traveler who embarks on a journey to discover a hidden beach in Thailand, symbolizing the pursuit of freedom and the unknown. At its core, 'The Beach' is about living wildly and embracing uncertainty, a theme that resonates with many travelers. The film's protagonist, Richard, is driven by a desire to escape the monotony of daily life and find something more meaningful. This sentiment is echoed in the film's iconic soundtrack, which features tracks like 'Porcelain' by Moby. However, the film also critiques the impact of mass tourism on local environments and cultures. The movie's portrayal of a utopian island community, led by the enigmatic Sal (played by Tilda Swinton), ultimately unravels into chaos, highlighting the fragility of idealistic worlds. The article's author reflects on the film's enduring appeal, noting that it continues to inspire a sense of wanderlust and adventure in viewers. Despite its dated CGI and mixed reviews, 'The Beach' remains a beloved film that captures the raw spirit of travel and exploration. In a poignant twist, the real-life beach where the film was shot is now overrun with tourists, serving as a testament to the film's prophetic commentary on the consequences of unchecked tourism.

The BBC has been plunged into a new crisis after sacking Radio 2 presenter Scott Mills over allegations about his personal conduct. Mills, who hosted Britain’s most popular radio breakfast show, was blindsided by the decision to take him off the air last Tuesday.The corporation has opted to terminate his contract after claims made against him. According to a report in the Mirror, the allegations relate to a 'historic relationship' more than 10 years ago.This dismissal is the latest crisis to hit the BBC over the alleged behaviour of one of its leading figures. The broadcaster has repeatedly said it is trying to create a culture where no one is unaccountable, after allegations against prominent presenters such as Huw Edwards and Tim Westwood.The departure took place in Tim Davie’s last week as the BBC’s director general. He announced his resignation at the end of last year after he was worn down by a series of crises including over the conduct of some BBC presenters.The BBC said: “While we do not comment on matters relating to individuals, we can confirm Scott Mills is no longer contracted and has left the BBC.”Replacing Mills is now likely to become one of the first big personnel decisions for Matt Brittin, the former Google executive chosen to replace Davie as director general.Mills, 53, took over the Radio 2 breakfast show from Zoe Ball in January 2025. Under his stewardship, the show’s audience increased to 6.5 million listeners, making it the UK’s most popular breakfast show.

Nicola Jennings, a renowned cartoonist for The Guardian, has created a thought-provoking cartoon that illustrates the recent court rulings against Meta, the tech giant behind Facebook and Instagram. The cartoon, which is part of Jennings' ongoing series for The Guardian, visually represents the legal challenges faced by Meta, emphasizing the company's struggles with regulatory compliance and public scrutiny. Jennings' work often provides incisive commentary on current events and societal issues, and this cartoon is no exception. It offers a unique perspective on the implications of these court rulings for Meta and the broader tech industry. The cartoon is part of a larger collection of Jennings' work that can be found on The Guardian's website, where she regularly publishes her cartoons on a wide range of topics, from politics and social issues to technology and culture.

Véron Mosengo-Omba, the general secretary of the Confederation of African Football (Caf), has resigned after repeated calls for his removal and at a turbulent time for African football. His departure comes amid a crisis of confidence in the organisation's leadership, largely due to the decision to strip Senegal of the Africa Cup of Nations (Afcon) title and allegations of corruption.Mosengo-Omba, 66, said he was retiring but his exit follows a period of intense criticism of his tenure, including accusations of creating a toxic workplace culture at Caf. An investigation into staff complaints had previously cleared him of wrongdoing. He is of Congolese origin but a Swiss citizen and a former Fifa employee.In a statement, Mosengo-Omba said: 'After over 30 years of an international professional career dedicated to promoting an ideal form of football that brings people together, educates, and creates opportunities for hope, I have decided to step down from my position as secretary general of Caf to devote myself to more personal projects.'He expressed gratitude to Caf's president, Dr Patrice Motsepe, and his teams, and hoped that the progress made during his tenure would 'last and be sustained'. Mosengo-Omba is expected to run for the post of president of the Democratic Republic of Congo's football federation.The controversy surrounding Caf's leadership has led to Senegal's government calling for an international investigation into the organisation. Caf's competitions director, Samson Adamu, will take over as acting general secretary.Earlier this month, Motsepe admitted that Caf was struggling with questions over its integrity. The organisation is set to expand the Africa Cup of Nations to 28 teams from 24, with plans to introduce a Nations League annually from 2029.

The Tate has made history by lending an LS Lowry painting to a school for the first time. The painting, 'Dwelling, Ordsall Lane, Salford', was displayed at the Lowry Academy in Salford for two days.The artwork, painted in 1927, shows a crowd of children on the corner of a bustling residential road and shines light on Lowry's belief that 'a street is not a street without people'.The physical presence of the painting has had a hugely positive impact on the school, teachers said. It has spurred a number of art, history, and English literature projects and led to careers workshops that may have set children on paths they had not thought about previously.Helen Legg, the director of Tate Liverpool, said that the loan was a significant event, highlighting the importance of making art accessible to young people. 'We want young people to come to our museums,' she said. 'They are their museums. But sometimes you need to make that invitation really explicit and that is what this is about.'The loan was welcomed by the culture minister, Ian Murray, who said that it was a great chance to inspire Salford's young people and ignite creativity.

The new HBO Max series Portobello had all the makings of a gripping drama: a charismatic TV host, a mind-controlled parrot, and allegations of mafia involvement. However, the show's pacing and tone leave much to be desired.Based on the true story of Enzo Tortora, the former host of Italy's top TV show, Portobello explores the intersection of celebrity, politics, and organized crime. The series' setting in the 1980s and its themes of false accusations and the power of the media are certainly relevant today.Despite its potential, the show's execution is wildly dull. The 72-minute first episode feels like a slog, and the period-authentic aesthetic, while well-intentioned, doesn't quite make up for the lack of tension or excitement. Even the bizarre subplot involving a mind-controlled parrot and its owner's obsession with Tortora can't seem to elevate the show's overall pace.The show's portrayal of the justice system is also noteworthy, highlighting the Kafkaesque experience faced by Tortora as he navigates the complexities of the law. However, this powerful theme is often overshadowed by the show's meandering pace and lack of dramatic tension.Ultimately, Portobello feels like a missed opportunity to create a compelling drama about a fascinating true story. While it may appeal to fans of character-driven dramas or those interested in Italian culture, others may find themselves checking their watches.

Al Jazeera recently had the opportunity to visit a historic palace in Iran that is listed as a UNESCO World Heritage Site. The palace, which suffered significant damage during a war, offers a glimpse into the country's rich cultural heritage and the impact of conflict on its architectural treasures.The palace, a testament to Iran's architectural prowess, stands as a symbol of resilience in the face of adversity. Despite the challenges posed by war, the site continues to attract visitors and serve as a reminder of the importance of preserving cultural heritage.Al Jazeera's visit to the palace provides a unique perspective on the intersection of history, culture, and conflict in the region. The palace's story serves as a powerful reminder of the need to protect and preserve cultural sites for future generations.

When Hugh Bonneville was first asked to reprise his role as Ian Fletcher in John Morton's workplace satires, his emotions were conflicted. The actor described being 'absolutely delighted' yet 'terrified' at the prospect, calling the experience 'the most painful and horrible' of his television career.Bonneville, now widely recognized for his roles in Downton Abbey and Paddington, first portrayed Fletcher as 'Head of Deliverance of the Olympic Deliverance Commission' in Twenty Twelve. In W1A, he played 'Head of Values' at the BBC. Nine years later, the weary character returns as 'Director of Integrity' at an international football organization hosting a tournament, with its real-world basis deliberately obscured by the production.Despite the seemingly mundane setting of boardroom meetings and PowerPoints, the series stands out for its meticulously constructed naturalism and intricate dialogue. The scripts are twice as long as typical 30-minute sitcoms, featuring stammered half-sentences where the difference between phrases like 'yes well but' and 'but well yes' is profoundly significant.'It's the most impossible thing to learn because sometimes the sentences don't make sense,' Bonneville explains. 'The difference between 'yes well but' and 'but well yes' is profound', he adds, noting that he frequently struggles with the complex dialogue while his co-stars excel.Twenty Twenty Six shifts the setting to Miami, transforming Fletcher from a captain of British politeness into a mediator in American corporate culture. He's reunited with Will Humphries (Hugh Skinner), his hapless intern from BBC days, whose social uncertainty remains unrivalled. 'I'm now describing Will as the Paddington of the office world - he means well, but he's going to bump into everything and set the photocopier on fire,' Bonneville says.The series expands the ensemble with international characters including Belgian chief coordinating attaché Eric Van Dupuytrens, American sustainability head Sarah Campbell, and Mexican 'VP Optics and Narrative' Gabriela De La Rosa. If previous shows examined unspoken British social etiquette, this installment presents more of a culture clash comedy, with Fletcher navigating a world where people express themselves directly rather than through British subtlety.John Morton, the creator, chose the World Cup backdrop not for its football significance but because its unwieldy scale across 16 cities presents fertile ground for comedic mishaps. 'As a writer, you think: hmm, that smells like things could go wrong,' Morton explains. The show addresses contemporary issues including Trump references and environmental concerns, though Morton maintains it's not about football controversies.The filming itself presented unique challenges, with production in a Wembley school transformed to resemble a Miami arts center. Despite the artificial setting, the cast found the UK heat surprisingly authentic to Florida's climate. 'The irony being had we filmed it in Miami, it would have been air-conditioned,' Bonneville laments, capturing the production's British approach to discomfort.