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President Donald Trump issued a stark warning on Sunday, giving Tehran until Tuesday night to reopen the Strait of Hormuz or face U.S. strikes on Iranian power plants and bridges. The message, posted on his Truth Social platform, was laced with profanity and a deadline of 8:00 P.M. Eastern Time. Iran’s parliament speaker, Mohammad‑Bagher Ghalibaf, responded on social media, accusing the United States of “reckless moves” that would set the entire region ablaze and turn it into “living hell.” The latest escalation follows the rescue of a second U.S. crew member from a downed F‑15E fighter that crashed in southwestern Iran, an operation that saw American special forces and Iranian troops racing against each other in mountainous terrain. Trump has repeatedly shifted the deadline for Iran, extending it at least twice. In his expletive‑laden post he warned, “Open the Fuckin’ Strait, you crazy bastards, or you’ll be living in Hell – JUST WATCH!” Financial markets reacted instantly: the U.S. benchmark West Texas Intermediate rose 1.86 % to over $112 per barrel, while Brent crude climbed above $110. The surge underscores how geopolitical flashpoints can quickly translate into higher energy costs for consumers worldwide. Trump also hinted at a possible diplomatic breakthrough, telling Fox News there was a “good chance” of an agreement on Monday. Yet he added, “If they don’t make a deal and fast, I’m considering blowing everything up and taking over the oil.” Legal scholars warned that targeting civilian infrastructure would breach the Geneva Conventions. Yale professor of international law Oona A. Hathaway noted that the president offered no justification to reclassify power plants, bridges, or steel factories as legitimate military targets, and that any such attacks would likely constitute war crimes. Iranian authorities estimate that the ongoing U.S.–Israeli campaign has damaged roughly 81,000 civilian sites, including 61,000 homes, 19,000 commercial facilities, 275 medical centres, and nearly 500 schools. Israeli Prime Minister Benjamin Netanyahu claimed that the coalition has destroyed about 70 % of Iran’s steel production capacity, citing its alleged use in missile manufacturing. In retaliation, Iran has intensified attacks on Gulf shipping and infrastructure. Over the weekend Iranian drones struck a petrochemical complex in Bahrain, igniting thick black smoke, and hit multiple Kuwait Petroleum facilities, causing fires and “significant material losses” at power and desalination plants. The most dramatic recent strike was the demolition of Iran’s unfinished 136‑metre B1 suspension bridge, a $400 million project meant to link Tehran and Karaj. The attack killed 13 people and injured 95, prompting the bridge’s engineer to lament the loss of a symbol of national pride. Trump posted a video of the bridge’s destruction, framing it as a response to Iran’s alleged unwillingness to negotiate. He later told Axios that the U.S. had been “close to an agreement” but that Iran’s demand to meet “in five days” was a pretext for the attack. Domestic criticism was swift. Senate Minority Leader Chuck Schumer denounced the president’s rhetoric as “unhinged” and warned that such threats could alienate allies and amount to war crimes. International law experts reiterated that civilian objects—such as power plants, bridges, and hospitals—are protected under the Geneva Conventions. Any deliberate targeting of these assets for bargaining leverage would violate the conventions and could trigger legal accountability for the United States and any cooperating parties.

The Guardian’s weekly podcast roundup highlights a varied selection of new audio series, offering listeners everything from light‑hearted celebrity banter to hard‑hitting investigative journalism.Funny You Ask – In a delightfully candid moment, Mindy Kaling exclaims, “Oh, this is a quizshow?!” upon hearing Ike Barinholtz’s latest podcast, which blends trivia with rambling conversation about topics as eclectic as Chevy Chase and New Jersey Italian cuisine. The show positions itself as a breezy, low‑stakes alternative to the crowded celebrity‑interview market.Assume Nothing: What Happened to Mary Glasgow? – Host Nathan Edgar revisits the 1991 tragedy at Stradreagh mental hospital, where nursing assistant Mary Glasgow died after a patient altercation. Through interviews with Glasgow’s daughter Emma, the series treats the case as both a detective narrative and a memorial, probing whether the incident was an isolated mishap or a symptom of systemic failures.Single Ladies in Your Area – Comedians Amy Gledhill and Harriet Kemsley continue their third series, a witty exploration of 30‑something singledom. Recent guests have included Jameela Jamil and Catherine Bohart, who discuss topics ranging from “mean flirting” to the quirks of a “lesbian louche life.”The Overturn – Partnering with the Future Justice Project charity, Marnie Duke examines potential wrongful convictions, notably the case of former sub‑postmaster Robin Garbutt, imprisoned for his wife’s murder. The series asks whether the broader Post Office scandal could cast doubt on the prosecution’s narrative.Amityvilleville – Host Alex Goldman (of Hyperfixed and Reply All) teams up with Vice writer Caroline Thompson to watch all 91 films inspired by the Amityville haunting, beginning with the 1979 classic The Amityville Horror. Their commentary blends humor with genuine enthusiasm for the genre’s most bizarre entries.

Romanian director Radu Jude is known for his wildly improvised and low-budget filmmaking style, often incorporating elements of TV ads, AI-generated content, and amateur dramatics into his movies. His latest film, 'Dracula', continues this trend, presenting a satirical take on Romania's dark past and the country's most reliable export: the legend of Dracula. The film is a meta-cinematic experiment, featuring a smug and supercilious film-maker, Adonis Tanta, who introduces the audience to his cheapo film about Dracula, created on his iPad using unbearable AI. The story is interspersed with set-piece mini-films-within-a-film on Dracula-adjacent themes, including a communist-era tale of a truck driver who falls in love with a local woman. Jude's film is a scathing critique of Romania's persistent strains of fascism, antisemitism, clerical arrogance, exploitative service economy, and stakeholder capitalism. Specifically, it relates to a proposal for a Dracula theme park in the late 1990s, in which thousands of Romanian citizens invested money that they would never see again. While the film may test the audience's patience at times, it features moments of startling insanity and is a testament to Jude's innovative filmmaking style. As the reviewer notes, 'one day, I predict, Jude will make a biopic of political vampirism about the most pressing Romanian subject of all: Nicolae and Elena Ceaușescu.' 'Dracula' is set to premiere at the ICA in London on April 10.

Itamar Ben‑Gvir, a senior figure in Israel’s coalition government, presented his latest proposals regarding Palestinians who are currently on death row. The details, reported by Al Jazeera on 5 April 2026, signal a potential shift in Israel’s approach to the handling of capital‑punishment cases involving Palestinian detainees. The minister’s plan, though not fully disclosed, emphasizes a stricter stance that could affect legal proceedings and the broader political climate in the region. Analysts note that such measures may further complicate already fragile relations between Israel and the Palestinian territories. International observers are watching closely, as any change in policy toward prisoners on death row carries significant humanitarian and diplomatic implications.

Iran is experiencing the longest nationwide internet blackout ever recorded, according to the global monitoring group NetBlocks. Since the United States and Israel launched their war on Iran on February 28, connectivity has hovered at about 1% of pre‑war levels, effectively cutting the country off from the global web. The blackout follows a prior 20‑day shutdown in January, which coincided with deadly nationwide protests. Combined, these measures mean that Iranian civilians have spent close to two‑thirds of 2026 in digital darkness, relying only on a slow, state‑controlled intranet for basic services and state‑run news. NetBlocks highlighted that while regions such as Myanmar, Sudan, Kashmir and Tigray have endured longer intermittent outages, no other war has forced an entire nation offline to this extent. The monitor added that Iran is the first country to lose previously functional internet connectivity by reverting to a national network. Economic analysts warned that the January shutdown already caused the economy to lose tens of millions of dollars each day in direct damages, with far‑reaching indirect effects. Companies reported that many online businesses could not survive more than three weeks without connectivity, leading to a wave of layoffs and reduced pay raises. One affected worker, Kamran, a product designer in Karaj, said he was dismissed after the latest wave of cuts. He now relies on a local skill‑matching group, but fears competition from thousands of similarly displaced workers. A senior data analyst from a Tehran firm disclosed that the firm is offering lower-than‑expected raises and shifting to three‑month contracts, creating uncertainty about future employment. Compounding the digital crisis, the war has targeted Iran’s steel factories, petrochemical plants and other civilian infrastructure, aggravating pre‑existing problems of high inflation and unemployment. Only a limited segment of the population can access the global internet—either because they are whitelisted by the state or because they pay steep fees for proxy connections that often disappear after a few hours. Government spokeswoman Fatemeh Mohajerani stated that internet access is being granted only to those who can “get the voice out,” such as officials, state‑affiliated entities and news agencies. Citizens on the ground describe a grim reality: frequent power outages, uncertainty about water supplies, and an inability to use services like Google Search or AI tools, even as they watch live feeds from space missions that remain inaccessible. In response to the prolonged shutdown, authorities have begun rolling out a tiered system dubbed “Internet Pro.” Business groups have received a “guide to connect to international internet,” urging them to contact a state‑run messaging app, Bale, for registration. Parallel efforts by a major telecom carrier offer one‑year data packages at prices higher than normal plans, while existing providers have not refunded customers for services they cannot deliver. President Masoud Pezeshkian’s administration, which campaigned on unblocking Iran’s internet, has offered no official explanation for the shutdown, leaving both the battered digital sector and the broader economy facing an uncertain future.

Disturbing footage has emerged showing an Israeli military dog attacking a Palestinian man inside a mosque. The incident has sparked widespread concern and outrage over human rights violations and the conduct of Israeli military forces.The video, obtained from Al Jazeera, provides a harrowing glimpse into the incident, which has not been officially commented on by Israeli authorities. The lack of transparency and accountability in such cases often exacerbates tensions between Israel and Palestine.Human rights organizations have repeatedly criticized the Israeli military for its treatment of Palestinian civilians, citing numerous instances of excessive force and abuse. This latest incident is likely to fuel ongoing debates about military conduct and the need for greater oversight.

The Trump administration has filed an emergency motion to resume construction on its White House ballroom project, citing national security concerns. The project, which has been temporarily halted by a court decision, is estimated to cost nearly $400m and has sparked controversy over its potential impact on the White House's historic design.Lawyers for the Trump administration and the National Park Service have called the court decision to pause construction 'shocking, unprecedented, and improper'. They argue that the court-ordered suspension has left a 'massive excavation' site next to the executive mansion, threatening grave national-security harms to the White House, the President and his family, and the President's staff.The motion outlines various security measures slated to be incorporated into the ballroom project, including drone-proof roofing materials and glass meant to withstand bullets and blasts. 'Time is of the essence,' the motion reads.The court filing is the latest response from the Trump administration to a March 31 ruling from Judge Richard Leon, an appointee of former Republican President George W Bush. Judge Leon had issued a 35-page ruling ordering construction on the project to stop, citing the need for congressional approval for a project so transformative.The Trump administration has appealed Leon's injunction against the project and has claimed broad authority to make changes to the White House, citing past renovations under earlier presidents. The project has grown from a $200m structure to a nearly $400m one, by current estimates, and is set to span 90,000 square feet.

A projected ocean backdrop bathed the Hollywood High School auditorium in sunset hues as Mitski opened her five‑night residency, delivering a performance of “Dead Women” from her latest album Nothing’s About to Happen to Me. The stage, arranged like a cozy living room with a writing desk, chaise lounge and warm lamps, amplified the DIY‑style intimacy the artist sought.Addressing the crowd, Mitski quipped, “It’s dark in here – no one can see you. You can cry,” a line that resonated with the mixed‑age audience, prompting genuine emotional responses.The residency coincided with an innovative attendance challenge: students who maintained perfect attendance for two weeks were entered into a raffle for tickets. School staffer Michael Reagan called it “the most effective attendance drive in the district’s recent history.”Beyond the music, Mitski’s agreement to cover the venue’s rental fee will fund caps and gowns for graduating seniors, while she pledged to donate $2 from each ticket to a local youth‑focused music‑education nonprofit.The event attracted students from across Los Angeles and beyond. One senior, Sophia Barrios, traveled by train from the Central Valley after receiving tickets for her 18th birthday, praising Mitski’s genre‑spanning sound and personal lyrics. Fellow attendees echoed the sentiment, noting how the artist’s words gave voice to feelings they struggled to articulate.Former alumna Jessica Torres Vicente, now a therapist, described the experience as “a healthier dose of memory lane,” recalling the unchanged gold‑lettered welcome sign and vintage school‑production posters that still adorn the auditorium.Mitski’s decision to perform in a high‑school setting harks back to the venue’s history of hosting notable acts, such as Morrissey in 2013, and reflects her desire to recapture the raw connection of early‑career punk and DIY shows.The concert retained the hallmarks of a Mitski show—precise, balletic movement, immersive visuals, and a sound that enveloped the crowd—while the unique setting left an indelible impression. When she sang “Two Slow Dancers,” the audience shouted back, “Yes!” in unison, underscoring the shared intimacy of the night.

Xavier Giannoli's latest film, 'Rays and Shadows,' has ignited a firestorm of controversy in France with its portrayal of Jean Luchaire, a French journalist and press baron who collaborated with the Nazis during World War II. The film, told from the perspective of Luchaire's daughter Corinne, a former actress known as 'the new Garbo,' delves into the moral compromises and betrayals of occupied France.The film's depiction of Luchaire as a disillusioned spendthrift rather than a diehard ideologue has sparked criticism from left-leaning critics, who argue that it relativizes the actions of those who willingly served the Nazi killing machine. Historian Laurent Joly also questions the film's portrayal of Luchaire, suggesting that his path to collaboration was driven by amorality and venality rather than pacifism.Despite the controversy, the film has drawn over 300,000 spectators in its opening week in France, sparking important discussions about the Vichy period and the complexities of human behavior during times of war. Giannoli's goal was to strike a balance between fascination and indignation, and to explore the traps that a human being can fall into when faced with difficult choices.