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Argentina's glacier law has been in effect since 2010, and was the first legislation in Latin America to protect glaciers. It has been a point of contention for mining companies and provincial authorities ever since.The law bans 'any activity' that can affect the 'natural condition' of a glacier or the periglacial frozen land surrounding it, or that results in 'its destruction, movement or interferes with its advance'. That includes the construction of infrastructure not for scientific purposes and any industrial activity. Mining companies, including Barrick, have previously sought to have the law deemed unconstitutional, but the supreme court rejected the challenge.However, a recent reform to the glacier law driven by the far-right government of Javier Milei will relax restrictions, paving the way for mines in high-altitude areas blanketed with ice and snow, which are sources of water. The new law, approved on Wednesday by 137 votes to 111, with three abstentions, will enable provincial authorities to decide which glaciers are protected and which are open for development based on whether they represent a 'relevant water function'.Environmentalists and community members such as Zeballos, a 51-year-old accountant turned activist, have long alleged that Veladero, owned by Canada-based Barrick Mining Corporation and China's Shandong Gold, is operating illegally in an area considered off-limits by Argentina's Ley de Glaciares – or glacier law. The reform has sparked a wave of protests, with Greenpeace activists staging a demonstration on the steps of the National Congress.'What is at stake is the protection of key water reserves in Argentina,' says Andrés Nápoli, a lawyer and executive director of the Foundation of Environment and Natural Resources (Farn), an environmental and human rights NGO. 'Saying that you have to destroy glaciers to guarantee the energy transition is an oxymoron.'About 7 million people, 16% of the population in Argentina, live in areas that depend on glaciers, according to environmental organisations. Glaciers don't just feed rivers; they balance fragile ecosystems hit hard by a heating planet. In Argentina's northwest, scientists say they have shrunk by 17% in the past 10 years.

Jim Jarmusch, the 73-year-old director known for his offbeat Americana films, has spent seven years crafting his latest project, 'Father Mother Sister Brother'. The film, which won the prestigious Golden Lion at the Venice film festival, is an anthology drama that explores the complexities of family relationships through three distinct stories set in New Jersey, Dublin, and Paris.Jarmusch's approach to filmmaking is characterized by his unique ability to elicit low-key performances from big stars and his focus on the quotidian aspects of life. He cites influences from filmmakers like John Cassavetes and David Lynch, but emphasizes his own humanist approach. 'I make films out of the things other people would leave out,' he notes, highlighting his attention to detail and ability to find beauty in everyday moments.The film features a star-studded cast, including Cate Blanchett, Adam Driver, Mayim Bialik, and Tom Waits. Jarmusch's process involves casting first and then writing the script quickly, often in a matter of days. 'I cast first then write fast,' he explains, showcasing his collaborative approach with actors.Jarmusch reflects on his career, mentioning the challenges of getting films made without compromising his artistic vision. 'It's harder every time to get a film made,' he acknowledges, but remains committed to his unique approach. The director also touches on themes of mortality and the cyclical nature of life, emphasizing the importance of living in the present.The film 'Father Mother Sister Brother' is set to release in UK cinemas on April 10, offering audiences a glimpse into Jarmusch's distinctive filmmaking style and thematic explorations.

Bath Rugby has secured a spot in the Champions Cup semi-finals for the first time in 20 years with a stunning comeback against Northampton Saints. The match was an 11-try epic, with Bath ultimately prevailing thanks to a 76th-minute try by replacement forward Ted Hill.The game was a thrilling contest from start to finish, with Northampton Saints dominating early on. They scored five tries in the first half-hour, including scores from Henry Pollock, Archie McParland, Fraser Dingwall, Tom Lockett, and Josh Kemeny. However, Bath refused to give up, and their renowned forward strength eventually tipped the scales in their favor.Alfie Barbeary and Thomas du Toit were among the key figures for Bath, who came roaring back to trail by only 38-33 with 20 minutes left. The visitors were temporarily down to 14 players during this period, which Bath capitalized on.The match was a grand advert for the English club game, with both teams showcasing their skills and determination. Bath's coach, Johann van Graan, marveled at his side's dramatic fightback, saying, 'I have been in rugby for a long time and this ranks as one of the best I have been involved in.' Northampton Saints' director of rugby, Phil Dowson, was frustrated with the loss, stating, 'It was obviously a good game of rugby but it’s frustrating to be on the wrong side of it.' The win sets up a semi-final clash for Bath against the winners of the all-French tie between Bordeaux and Toulouse.

Arne Slot acknowledges that last season’s Premier League title postponed the inevitable end of an era at Liverpool, but stresses that the club recognised the need for a rebuild when he was appointed to succeed Jürgen Klopp. Two more stalwarts of the Klopp era – Andy Robertson and Mohamed Salah – will exit on free transfers this summer, further signalling the transition. The remaining veterans who delivered league and Champions League glory – Virgil van Dijk, Alisson and Joe Gomez – are now entering the final years of their contracts. The campaign has been harsh, with Liverpool suffering 16 defeats, a tally Slot describes as “unacceptable”. Yet he insists that he, sporting director Richard Hughes, chief executive of football Michael Edwards, and the owners at Fenway Sports Group remain aligned on the causes of the club’s struggles and the path forward. “It’s normal for clubs to go through cycles,” Slot explained. “We were fortunate that last season’s success delayed the start of this cycle, but now we must manage the break‑up of a great Liverpool side.” He highlighted that the departing players have benefited from last summer’s signings, gaining insight into the club’s ethos and work ethic. Despite the recent run of poor results, Slot feels the backing of the board and, surprisingly, the fans. “Support isn’t always shouted daily; it’s felt in the conversations we have and the shared understanding of the challenges,” he said, adding that he has sensed that support since arriving at Anfield. Slot concluded, “Everyone – the ownership, Richard, Michael and the wider club – sees the same issues. We are all aligned on what needs to be done and why.”

The play Good Golly Miss Molly! is a joyous tribute to community spirit, set in the 1970s in Tunstall, where residents resisted a council plan to demolish their houses. The show, written by Bob Eaton, uses rock'n'roll standards to tell the story of a community coming together.Eaton's show has taken a hold of the audience, with its insinuatingly woven narrative of social history, pop, and politics. The story revolves around the residents of Hawes Street, who fought against the council's slum clearance programme and successfully argued for home improvements instead.The director cleverly uses music as the glue that binds the community together, telling the story through a band reuniting for a nostalgic knees-up in a social club. The play's protagonist, Molly, played by Shirley Darroch, evolves from a belligerent schoolgirl to a lead singer, NUM staffer, and residents' association chair, finding self-fulfilment along the way.The company's performance is tremendous, with doo-wopping, harmonising, and swapping instruments, making the angst and yearning of the songs a perfect expression of the working-class struggle.While the conflict could be more fully explored, the play gives a joyful sense of the music pulling the audience into the action, providing an exuberant lift to the company's 40th anniversary season.The play is showing at the New Vic theatre, Newcastle-under-Lyme, until 2 May.

The US inflation rate experienced a significant surge in March, rising to 3.3% over the year, with prices increasing by 0.9% compared to the previous month. This spike is largely attributed to the escalating conflict with Iran, which has resulted in a substantial increase in energy prices.The Consumer Price Index (CPI) for energy rose by 10.9% in March, primarily driven by a 21.2% increase in gasoline prices. This increase accounted for nearly three-quarters of the monthly all-items increase. Airfares also saw a notable rise, increasing by 2.7% in March and 14.9% higher than a year earlier.Core inflation, which excludes volatile food and energy prices, rose at a more modest 0.2% over the month and was 2.6% higher over the year. The annualized inflation rate has not exceeded 3% since summer 2024.The conflict with Iran has driven the American economy into deeper uncertainty, adding to the precariousness that began with Donald Trump's tariffs last year. The war has also led to a rise in oil prices, with US crude oil priced 10% higher than before the conflict and nearly 30% higher since the start of the year.Recent data shows that prices are affecting producers, with the gross domestic product (GDP) for the last quarter of 2025 revised down from an initial 1.4% to 0.5%. The prices index in the Institute for Supply Management's survey of managers saw its largest one-month increase in 13 years, rising from 63 in February to 70.7 in March.Consumer confidence is also falling, with the University of Michigan's closely-watched consumer confidence survey recording a 10.7% drop to its lowest level on record. Survey director Joanne Hsu noted that many consumers blame the Iran conflict for unfavorable changes to the economy.Despite the challenges, the labor market appears resilient, with employers adding 178,000 jobs in March and the unemployment rate falling to 4.3%. However, the Federal Reserve faces a tricky situation in adjusting interest rates amid the conflict, as raising rates could help curb inflation but risk destabilizing the labor market and increasing unemployment.

The latest offering from writer Theo Jamieson and director Adam Lenson is a boldly conceived musical that thrusts a turbulent romance into a sci‑fi framework. The story follows a young astronaut, Daniel, who vanishes from his shuttle with barely enough fuel, prompting a quest to uncover the motives behind his reckless flight.Stuart Thompson (as Daniel) and Poppy Gilbert (as Emily) anchor the piece with performances that are both visceral and nuanced. Their chemistry captures the push‑pull of a relationship scarred by childhood bullying, parental betrayal, and a shared history of trauma, delivering songs that soar and hit hard.Visually, the production leans heavily on interstellar projections that transform the stage into a shifting cosmos, while the score oscillates between Sondheim‑style wit and full‑blown symphonic passages. This combination creates an epic sense of strangeness that distinguishes Flyby from more conventional West End fare.However, the narrative’s fragmented structure hampers its emotional payoff. The non‑chronological storytelling leaves critical gaps, and the metaphor of being "stranded in space" feels over‑extended—especially with the protagonist’s surname, Defoe, a thin nod to Robinson Crusoe. The three narrators, played by Simbi Akande, Gina Beck, and Rupert Young, often drift into digressive asides that dilute the central arc.Despite these flaws, moments of brilliance emerge, particularly in the musical’s treatment of mental‑health themes. The show hints at the potential to join the ranks of modern theatre successes like Next to Normal and Dear Evan Hansen, should its structural rough edges be smoothed.The production is currently staged at Southwark Playhouse, Borough, London and will run through 16 May. Audiences seeking a daring blend of emotional intensity and cosmic spectacle will find Flyby a compelling, if imperfect, experience.

European airports have issued an urgent warning that jet fuel shortages could materialise within the next three weeks if the Strait of Hormuz remains closed.Airports Council International (ACI) Europe addressed a letter to EU transport commissioner Apostolos Tzitzikostas, stating the bloc is only three weeks away from a systemic shortage.The threat is linked to the ongoing US‑Israel conflict with Iran, which has effectively shut the strait—a key shipping lane for Gulf oil exports—pushing Brent crude to around $96 per barrel, up from roughly $72 before the hostilities.ACI warned that without a stable resumption of traffic through Hormuz within three weeks, a “systemic jet fuel shortage is set to become a reality for the EU.”Jet‑fuel prices have more than doubled year‑on‑year, reaching $1,650 per tonne according to IATA data. Europe’s price surge stands at 138%, while Asia has seen a 163% increase.Ryanair chief Michael O’Leary highlighted that the United Kingdom, heavily dependent on Kuwaiti supplies, is the most vulnerable market in Europe.Shipping data from Vortexa shows the last Gulf‑origin jet fuel cargo for Europe is due in Copenhagen tomorrow, following a partial delivery to Rotterdam earlier this week. The final tanker bound for the UK arrived in Kent on Tuesday.More than 60% of Europe’s jet fuel traditionally comes from Gulf refineries, with over 40% shipped via the Hormuz corridor. The blockade forces European buyers into direct competition with Asian carriers for alternative cargoes.Australian investment bank Macquarie notes that jet fuel lacks the pipeline alternatives available to crude oil, making the market especially vulnerable. Even if shipments resume, the refined‑product market could take two to three months to normalise, lagging behind crude markets.Airlines have already begun trimming schedules and raising fares, a trend that will feed into broader inflationary pressures. A genuine shortage could force travelers and businesses to postpone trips and shipments, deepening economic damage.ACI called for proactive EU monitoring and action, warning that the peak summer travel season—critical to many economies—could be hit hard if fuel supplies falter.IATA director‑general Willie Walsh cautioned that even with the strait reopened, restoring adequate supply will take months due to disrupted refining capacity in the Middle East. IATA had previously projected a 4.9% year‑on‑year growth in passenger traffic for 2026.

Sue Day, the FA’s director of women’s football, defended a radical overhaul of the women’s lower‑league structure, asserting that the sport is at a crucial turning point. The proposal, first reported by The Guardian, would see four Women’s Super League academy sides compete in the third tier of the Women’s National League starting in the 2027‑28 season. The reform package also includes a mid‑season split for tier three, an expanded loan system, additional relegation places and new playoffs in tier four, and a £1 million financial boost aimed at supporting clubs during the transition. FA officials argue the move is needed because the share of England‑qualified players in the WSL has fallen dramatically, dropping from roughly two‑thirds in 2017‑18 to just over a quarter this season. Sonia Bompastor, Chelsea’s manager, warned that the gap between academy football and the top flight is widening, citing her experience in Lyon where academy graduates regularly contributed at senior level. Critics in the third tier are skeptical. Daniel McNamara, head coach of Wolves Women, questioned on X whether the league’s purpose is to chase promotion or to serve as a development platform for elite WSL players. Several other third‑tier coaches have voiced strong opposition, fearing the integration of academy teams could dilute competition. Day emphasized that the proposals aim to “future‑proof” the women’s game by increasing meaningful competitive minutes for young English players and strengthening the national team pipeline. She added that no final decisions have been made; the FA is still consulting stakeholders and will consider feedback before any vote. The FA hopes to ratify the changes this summer, with implementation slated for the 2027‑28 season and a two‑year review built into the plan to assess whether the objectives are being met.