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The film 'All the President's Men', directed by Alan Pakula and starring Robert Redford and Dustin Hoffman, premiered 50 years ago on Saturday at the John F Kennedy Center for the Performing Arts. The movie is based on the 1974 book of the same name by Washington Post reporters Bob Woodward and Carl Bernstein, which chronicled their investigation into the Watergate imbroglio that led to the downfall of President Richard Nixon. The film was a critical and commercial success, earning eight Oscar nominations and winning four, including best adapted screenplay for William Goldman and best supporting actor for Jason Robards as Ben Bradlee, the Post editor. The movie is widely regarded as a classic of American cinema and a landmark in the genre of journalism films. Jane Alexander, who played the role of Judy Hoback, the 'Bookkeeper' of the Committee to Re-elect the President, recalls her experience filming the iconic scene with Hoffman and Redford. She praises Pakula's direction and the attention to detail that went into recreating the Post's newsroom. The film's accuracy and attention to detail were indeed a hallmark of its production. Woodward and Bernstein worked closely with the filmmakers to ensure that the story was told accurately, and the production team went to great lengths to recreate the Post's office and the Washington D.C. of the 1970s. The article also touches on the impact of the film on the careers of its stars and the journalists it portrayed. Redford and Hoffman spent months researching and rehearsing their roles, and their performances are widely praised. Woodward reflects on the film's portrayal of him and its impact on his personal life. The anniversary of the film comes at a time when the media is under attack and the Washington Post, now owned by tech billionaire Jeff Bezos, has recently undergone significant changes. The film's themes of investigative journalism and the importance of a free press remain as relevant today as they were 50 years ago.

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.

The UK government has announced that it will not pursue a ban on foie gras imports and will not restrict fur imports, citing the need to prioritize trade agreements with the EU. This decision reverses a previous commitment to restrict the import of these products, which are often associated with animal cruelty.The move has been criticized by animal welfare charities, who argue that the UK's high animal welfare standards should not be compromised for the sake of trade agreements. The RSPCA and other organizations have expressed disappointment and concern about the impact on animal welfare.The UK had previously banned fur farming in 2000 and the production of foie gras in 2006, but imports of these products have continued. The EU has made it clear that it will not allow member states to ban each other's products on animal welfare grounds, which has limited the UK's ability to restrict imports.The decision is seen as a significant concession to the EU as the UK seeks to secure a trade deal. The government has stated that it is prioritizing economic growth and has set up a working group to examine the fur industry.Animal welfare charities and some businesses are urging the government to reconsider its decision and maintain its commitment to banning these products. Some restaurants and shops have already removed foie gras from their menus and shelves, citing concerns about animal welfare.

The world is facing an energy crisis reminiscent of the 1970s, with rising energy prices and fears of stagflation. In response, countries may turn to coal, a dirtiest of fuels, to meet their energy demands.Historically, energy crises have led to increased investment in coal production. During Jimmy Carter's presidency, the US aggressively developed domestic coal sources, which became America's 'black hope'. Similarly, Donald Trump's America is doubling down on fossil fuels, pushing to develop US coal and oil reserves.The energy crisis sparked by the US-Iran war highlights the need for renewable energy sources. However, the conflict has raised hurdles to investing in renewable power generation capacity, including inflation and interest rates. As a result, countries around the world, including Japan, India, and Europe, are considering or have already ramped up their use of coal.Despite the progress made in decarbonization and the switch to cleaner gas in power generation, the current crisis could unravel these efforts. Coal consumption worldwide has increased by about 1.3bn tons since 2020, to 8.8bn tons, driven by demand in India and China. The International Energy Agency (IEA) reports that coal supplied 23% of the world's energy in 2000, increasing to 28% in 2023.The global energy landscape is shifting, with renewable energy sources becoming increasingly important. However, the ongoing conflict in Iran and rising energy prices pose significant challenges to the transition to a low-carbon economy.

When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

The World Health Organisation (WHO) has issued a stern warning against the ongoing US-Israeli attacks on Iranian healthcare facilities, amid the escalating conflict. The organisation's chief, Tedros Adhanom Ghebreyesus, reported that over 20 attacks on healthcare facilities in Iran have been verified since March 1, resulting in at least nine deaths, including an infectious diseases health worker and a member of the Iranian Red Crescent Society.The Pasteur Institute in Tehran, one of the oldest research and health facilities in the country, has sustained significant damage and was rendered unable to continue delivering health services. Iranian Ministry of Health spokesperson Hossein Kermanpour shared images of the heavily damaged building on social media, with parts of the facility reduced to rubble.Despite the attacks, Iran's ISNA news agency reported that the services of the Pasteur Institute have not been interrupted, and vaccine and serum production would continue. The WHO chief emphasised that the Institute plays a crucial role in protecting and promoting population health, particularly in emergencies.The attacks have not been limited to the Pasteur Institute. The WHO has reported damage to other healthcare facilities, including the Delaram Sina Psychiatric Hospital and the Tofigh Daru pharmaceutical facility, with no casualties reported. An explosion near the Imam Ali Hospital in Khuzestan province led to the facility's evacuation and cessation of services.Tedros stressed that humanitarian workers, ambulances, relief supplies, and humanitarian facilities must be respected and protected under international law. The Geneva Conventions, agreed upon after World War II, designate healthcare facilities as protected locations.The Iranian Red Crescent Society reported that a warehouse belonging to the organisation was targeted, destroying two-wheeled relief containers and two buses and relief vehicles. According to the organisation, 307 health, medical, and emergency care facilities have been damaged in the war.

The UK medicines regulator has opened an inquiry into a growing number of clinics that sell injectable peptides while promoting them as cures for everything from ageing to injury recovery. The investigation, disclosed by the Guardian, focuses on whether these businesses are breaching the Human Medicines Regulations 2012 by making unauthorised medicinal claims. Interest in peptide‑based treatments has surged in recent years, driven by social‑media influencers, some healthcare professionals, and direct‑to‑consumer marketers. Yet the scientific foundation for most of these claims is weak, with the bulk of research confined to animal models or cell‑culture studies. According to an MHRA spokesperson, any clinic that advertises a peptide as having therapeutic benefits must treat the product as a medicine, which triggers a comprehensive regulatory framework. "If clinics offering peptide injections make medicinal claims for those treatments, the products will be considered medicines and subject to regulation," the agency warned, adding that it will act against any identified breaches. Guardian reporters identified several high‑ranking Google search results that list peptides such as Cortexin (promoted for neuroprotection), BPC‑157 (claimed to aid tissue repair), and Thymosin Alpha (advertised to boost immunity). After being contacted, one clinic removed the statements from its website. Another clinic, while acknowledging the limited human evidence, continued to market seven specific peptides, providing price lists (£350 per month for a single peptide, £450 for two) and offering delivery via vials, syringes, or pre‑filled pens for an additional fee. During a free consultation, a clinician highlighted the experimental nature of the products, noting the absence of large‑scale, randomised clinical trials and recommending a break of four to eight weeks between treatment cycles to mitigate unknown risks. The clinician suggested BPC‑157 for post‑exercise recovery, describing it as a facilitator of cellular repair and blood flow, but warned against its use in smokers or individuals with a family history of cancer due to potential angiogenic effects. The second peptide discussed was MOTS‑C, portrayed as a mitochondrial enhancer that could improve stress resilience, lower insulin resistance, and reduce visceral fat by boosting cellular energy production (ATP). The MHRA confirmed it is reviewing whether the clinician’s statements constitute medicinal claims. The clinic defended its approach, emphasizing that it clearly informs clients that the peptides are not licensed medicines and that the evidence base is largely pre‑clinical. In a broader statement, Lynda Scammell, head of borderline products at the MHRA, explained that peptide products may be marketed as cosmetics, supplements, or medicines, and each case is assessed on its intended use, pharmacological effect, and supporting evidence. She added, "We disregard claims that products are for ‘research purposes’ if it is clear that such claims are being used as an attempt to avoid medicines regulations." Peptides are short chains of amino acids, some of which occur naturally (e.g., insulin). While synthetic peptide analogues like semaglutide and tirzepatide have secured approval for weight‑loss treatments, many of the compounds promoted by these clinics remain experimental and lack the rigorous safety and efficacy testing required for medicinal products.

American consumers are watching gasoline and airline fares climb, while economists warn that the war in Iran will keep pressure on prices across the U.S. economy.“The good old days are gone,” said Christopher Tang, a professor at UCLA’s Anderson School of Management who studies global supply chains. “We see gasoline prices rising now, but that’s only the tip of the iceberg; everything will become more expensive.”Since the conflict began in late February, crude oil has surged past $110 a barrel. The rally is tied to Iran’s leverage over the Strait of Hormuz, a narrow chokepoint through which roughly 20% of the world’s oil passes.In a recent address, President Donald Trump claimed the United States is “totally independent of the Middle East” and has “plenty of gas.” However, Brookings Institute’s energy‑security director Samantha Gross reminded listeners that oil is a globally traded commodity and the U.S. still imports significant volumes, meaning American consumers will face the same high prices as the rest of the world.Iran has either halted shipments through the strait or imposed a toll of up to $2 million per vessel. Tankers are forced to take longer routes or pay the fee, inflating logistics costs for all downstream users.Major logistics players are already passing those costs on. Amazon announced a 3.5% surcharge for third‑party sellers, while UPS and FedEx have introduced fuel surcharges exceeding 25%. The United States Postal Service will add an 8% surcharge to transportation rates starting 27 April, noting the charge is “less than one‑third of what our competitors charge for fuel alone.”When the prices go up, they rarely come back down— Christopher Tang, UCLACountries have dipped into strategic oil reserves to blunt the shock, but economists such as Virginia Tech’s David Bieri warn that refilling those stockpiles will require buying oil at today’s elevated prices, keeping the upward pressure on the market.Higher oil costs ripple beyond fuel. Crude is a key feedstock for chemicals, pharmaceuticals and fertilizers, meaning the surge could translate into higher prices for prescription drugs and groceries.Cornell University’s agricultural economics professor Christopher Wolf explained that diesel, a major input for farm equipment and fertilizer production, is also climbing, raising the cost of both crop cultivation and livestock raising.Retailers and food processors are already adjusting. “If we anticipate higher costs, we start raising prices early to avoid a sudden shock later,” Wolf said, describing a “rational expectations” approach.The Independent Grocers Alliance warned that a 10‑15% rise in fuel costs could lift food prices by 2‑4% by mid‑summer, underscoring the broader impact on household budgets.Although President Trump expects the United States to exit the Iran conflict within two to three weeks, experts agree that even a swift resolution will not instantly reverse the price spikes.The strait’s strategic importance means the political risk premium on oil will linger. “You never know when this could flare up again,” said Northeastern University’s Ravi Ramamurti, adding that the effect is likely to be persistent.As Tang summed up, “When the prices go up, they rarely come back down.”

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.