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The Foreign Press Association (FPA) has strongly condemned a violent assault by Israeli soldiers on a CNN crew in the occupied West Bank. The incident occurred while the crew was reporting on the aftermath of an assault by Israeli settlers and the establishment of an illegal outpost near the Palestinian village of Tayasir.The CNN team, which included photojournalist Cyril Theophilos, was detained by Israeli soldiers who aggressively targeted the crew and Palestinian civilians, pointing their rifles at them despite the journalists identifying themselves. The soldiers attempted to infringe the crew's right to film, ordering them to stop and threatening to confiscate their camera.In a disturbing escalation, an IDF soldier approached Theophilos from behind, placed him in a chokehold, slammed him to the ground, and damaged his camera. The FPA described the incident as a direct attack on press freedom, emphasizing that the use of force was excessive and dangerous.The association has called for an investigation into the incident, asserting that such behavior reflects a deeply alarming pattern of hostility toward the media and cannot be tolerated. The military has announced that the incident will be looked into, with Lt Col Nadav Shoshani stating that the soldiers' conduct does not represent the IDF and that an apology has been made.This incident is the second such event involving CNN this month, following an unprovoked assault on a CNN producer by Israeli police officers during Ramadan, which resulted in a fractured wrist. The ongoing violence in the West Bank and the surge in deadly attacks by Israeli settlers have raised concerns about the safety of journalists and the protection of press freedom in the region.

Iran's regime has organised over 850 public demonstrations in support of the government since the beginning of the war, showcasing its resilience amid a month-long campaign of intensive airstrikes by the US and Israel. The high number of pro-regime gatherings and the increasing number of detentions underline the regime's determination to maintain control.The war began with a surprise Israeli strike that killed Ayatollah Ali Khamenei, Iran's supreme leader, and many senior officials. Despite this, the regime has not fragmented, and there are no defections. Experts say the messaging within Iran is that they are winning, and this is constant and consistent.Clionadh Raleigh, president of Acled, an independent conflict monitor, noted that the US-Israeli decapitation strategy could not have been more successful, but the regime has adapted. The Acled research also shows that the number of US and Israeli strikes on Iran has remained steady at between 47 and 102 attacks daily that have caused significant civilian casualties.Tehran's retaliation has been largely ineffective, causing only 70 fatalities during the war, compared with 1,157 killed inside Iran, of whom 341 have been identified as civilians. The researchers noted that 99.2% of protests were pro-regime, indicating a coordinated effort to show nationalist consolidation under external attack.The arrest campaign is the regime's primary domestic tool, with approximately 1,465-plus detained in 27 days. Charges escalated from 'filming damage' to 'espionage' and 'mercenary' as the conflict progressed. Details of such repression are difficult to obtain, but recent incidents include the deaths of 10 people when Revolutionary Guards fired on anti-regime demonstrators and shot at apartment windows in Tehran on 25 March.Estimates of civilian casualties vary, with over 1,900 people killed and at least 20,000 injured in Iran since the start of US and Israeli attacks, according to the International Federation of Red Cross and Red Crescent Societies (IFRC). The US-based Human Rights Activists news agency (HRANA) said 3,300 people had been killed since the war began, including 1,464 civilians and at least 217 children.

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.

David Chase, the creative mind behind HBO's groundbreaking series The Sopranos, recently shared insights into how the show transformed both his life and television history. The 80-year-old creator revealed that his seminal work was born from personal pain, particularly stemming from his complex relationship with his mother.While in London promoting HBO Max's UK launch, Chase reflected on how The Sopranos elevated HBO from a little-known network focused on sports and standup comedy to a powerhouse of prestige television. Despite the show's monumental success, Chase remains characteristically modest, attributing much of the achievement to luck rather than his own genius."I'd been taking network notes and eating network shit for however many years, and I was done with it," Chase explained of his decision to create The Sopranos after years working on network television shows like The Rockford Files and Northern Exposure. The creative freedom offered by HBO proved transformative, with the network providing minimal notes throughout the series' run.Chase revealed that the show's central premise—a mob boss seeking therapy—was directly inspired by his own difficult family dynamics. "In 1967 at the height of the Vietnam war, my mother said to me, 'I'd rather see you dead than avoid the draft,'" he shared. "I had to create a whole TV series to get over it."The interview also touched on Chase's complex relationship with James Gandolfini, who portrayed Tony Soprano. While acknowledging their creative tensions, Chase defended Gandolfini's commitment to the role, emphasizing that the actor never refused to perform scenes despite his struggles with the character's darkness.When asked about his legacy nearly two decades after The Sopranos concluded, Chase offered a simple yet profound reflection after a long pause: "God is in the details."Looking ahead, Chase discussed his upcoming limited series about MKUltra, the CIA's experimental program that sought to weaponize LSD. The project will explore scientists Sidney Gottlieb and Jolly West, who became consumed by their research into psychedelic substances. "They all went crazy and it became like the big party drug of the 1970s," Chase noted of the scientists' descent.The creator also expressed disappointment about a previously announced project, "A Ribbon of Dreams," about early cinema, which was ultimately shelved after HBO insisted on filming in western Canada. "I thought, 'What are you talking about? I don't even want to go into this,'" Chase recalled of the network's decision.

Actor Paul Dano is inviting fans to ask him questions in a special Guardian reader interview. This comes after a recent controversy sparked by Quentin Tarantino's comments on Dano's acting abilities, calling him 'weak sauce'. Tarantino's remarks, made on a podcast last year, led to a strong reaction from the film community, with George Clooney, Toni Collette, Ben Stiller, and Daniel Day-Lewis coming to Dano's defense. Dano has had a successful career with notable roles in films such as There Will Be Blood, Love & Mercy, 12 Years a Slave, and Prisoners. His versatility as an actor has been praised, particularly his ability to portray complex characters with a likable yet quietly unnerving quality. Dano is also set to appear in the upcoming political thriller The Wizard of the Kremlin, where he plays a young artist in 90s Russia who becomes an influential government official. The film, starring Jude Law as a young Vladimir Putin, is set to release in UK and Irish cinemas on April 17. Interested fans can post their questions for Dano by 6pm GMT on April 2, and his answers will be published shortly after.

For the first time, scientists have documented whales assisting each other during birth, a behavior previously only observed in primates. A team from Project Ceti, an international effort to understand whale communication, captured the extraordinary footage off the coast of Dominica in the Caribbean on July 8, 2023.The team observed a pod of 11 whales, including a 19-year-old female named Rounder, who was about to give birth to her second calf. Over nearly five and a half hours, the scientists documented the group's behavior, filming them with drones and recording sounds underwater. This exceptional rarity in the history of science was published in the journals Scientific Reports and Science.Out of 93 species of cetaceans, only nine have been observed giving birth in the wild. What's even rarer is that unrelated whales were helping the mother. The birth lasted 34 minutes, during which other adult females dived under Rounder's dorsal fin, often on their backs with their heads facing her genital slit.Immediately after birth, the pod's behavior changed rapidly, with all adults touching and squeezing the newborn's body with their heads, pushing it around underwater and on their bodies above the surface. This behavior is believed to help the newborn calf, which sinks after birth, prevent drowning and facilitate its first breaths.The scientists also recorded significant changes in vocalization during the birth, suggesting that the group was coordinating to support the birth or protect the newborn. Sperm whales have one of the longest pregnancies in the animal kingdom, with a gestation period of up to 16 months, and calves rely on their mother's milk for at least two years.The newborn was spotted again on July 25, 2024, with other young members of the pod, indicating that it had survived its first year, a good sign of reaching adulthood.

The film The Blue Trail (O Último Azul in Portuguese) has struck a chord with older women in Brazil, who see themselves in the protagonist Tereza, a tenacious woman who refuses to be defined by her age.The movie's themes of ageism and ageing resonate strongly in Brazil, where older women are increasingly prop up the community. The film offers a dark solution to the issue, depicting a dystopian future where senior citizens are banished to a remote housing colony.The film's director and screenwriter, Gabriel Mascaro, was inspired by his grandmother, who took up painting in her 80s after losing her husband. The film has been praised for its portrayal of older women as vibrant and full of life.Gilda Olinto, an 80-year-old woman who was given a prize at work recently, felt as if she was being told “nothing more is expected of you”. She relates to Tereza's story and sees her as a woman who “resists and is hungry for life”.The film's star, Denise Weinberg, puts her casting down to the fact that she is one of the few Brazilian actors her age who hasn’t had any cosmetic procedures. She joked with the director: ‘did you choose me because I have wrinkles?’Brazil is undergoing a rapid demographic shift, with the number of over-60s more than doubling between 2000 and 2023. This demographic is expected to account for a third of the population by 2050, prompting questions as to whether the country is prepared for this new reality.

German film-maker and author Alexander Kluge, a leading figure in the New German Cinema movement, has died at the age of 94. Kluge was known for his intellectually stimulating films and his role in shaping the cinematic landscape of post-war Germany. Kluge's career was marked by his innovative approach to filmmaking, which often incorporated cinematic collages and experimental techniques. His film Abschied von Gestern (released as Yesterday Girl in the US) was one of the first films to emerge from the Oberhausen Manifesto, a call to the German film industry to break free from traditional and shallow filmmaking. Kluge's contributions to German cinema were significant, and his influence can be seen in the work of other notable directors such as Rainer Werner Fassbinder and Werner Herzog. He continued to produce films and television programs throughout his career, including arts, magazine, and interview programs for German television through his production company DCTP. Kluge's wartime experiences had a profound impact on his life and work, shaping his commitment to pacifism. However, his comments on the topic have been met with controversy, particularly in the context of Russia's invasion of Ukraine. Throughout his career, Kluge collaborated with other artists and writers, including Ben Lerner, with whom he co-authored a poetic dialogue book, The Snows of Venice. Kluge's legacy as a pioneering film-maker and author continues to be celebrated, and his influence on German cinema and culture remains significant.

A light-up C-3PO head used in Star Wars: Episode V – The Empire Strikes Back has fetched more than $1 million at an auction. The prop was part of a collection of film and TV memorabilia that went under the hammer on Wednesday as part of the Spring Entertainment Memorabilia Live Auction at Propstore auction house in Los Angeles.It is the only known example of the fictional droid’s head to appear on the collector market and sold for $1,058,400 (£790,440 or A$1,519,259), having received a pre-sale estimate of $350,000 to $700,000.The C-3PO head was the top lot at the auction, which also saw the harpoon gun used by the actor Robert Shaw in Jaws, accompanied by its original case, fetch $327,600.Elsewhere, a Wilson volleyball used by Tom Hanks in 2000’s Cast Away sold for $189,000 after receiving a pre-sale estimate of $150,000 to $300,000.The auction also featured broken pieces of a sword used in The Lord Of The Rings, which sold for $252,000.The first day of the auction fetched $6.5 million and also included items such as a golden ticket from the 1971 film Willy Wonka & the Chocolate Factory.Brandon Alinger, Propstore’s chief operating officer, said: “We’ve seen a strong start to the auction, with competitive bidding right from the outset.“At Propstore, Star Wars material continues to resonate with collectors and the C-3PO head from The Empire Strikes Back was a real highlight of the day.“The Jaws collection also delivered an impressive overall result, coming just after the film’s 50th anniversary and reflecting its enduring appeal with collectors.“With such a diverse lineup of material still to come, we’re excited to see how the rest of the auction unfolds.”The final day of bidding, 27 March, will be dedicated to animation, with more than 200 lots celebrating the artistry of animation in film and television.