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A federal judge in Miami has dismissed former President Donald Trump’s defamation lawsuit against the Wall Street Journal and News Corp, granting the former president a two‑week deadline to refile the case. Trump’s suit, filed last summer, alleged that a lewd drawing featured in a July 2025 article—purportedly a “bawdy” birthday letter to the late financier Jeffrey Epstein—was fabricated, and that the newspaper published it with actual malice. The complaint also named media mogul Rupert Murdoch, whose News Corp owns the Journal, as a defendant. Judge Darrin P. Gayles ruled that the complaint “fails to adequately allege actual malice,” the legal standard required for defamation actions by public figures. He noted that the Journal had conducted a “significant” inquiry into the authenticity of the drawing and that Trump’s assertion of falsity alone does not prove the newspaper acted with “serious doubts” about the story’s truth. In his opinion, the judge wrote: “Because President Trump has not plausibly alleged that defendants published the article with actual malice, both counts must be dismissed.” He also observed that Trump’s team had not presented evidence of special damages. Under the order, Trump may refile the lawsuit by April 27 with additional proof that the Journal knowingly published false material. A spokesperson for Trump’s legal team confirmed they will pursue a revised filing, emphasizing the administration’s intent to “hold accountable those who traffic in fake news.” The Wall Street Journal and its parent company, Dow Jones, welcomed the decision. A Dow Jones representative said, “We stand behind the reliability, rigor and accuracy of The Wall Street Journal’s reporting.” The dismissal underscores the stringent “actual malice” requirement for defamation suits involving public officials, a threshold that continues to shape media‑law battles in the United States. It also leaves Trump with ongoing litigation against the BBC and other media outlets over separate First Amendment disputes.

In the quiet town of Iseyin, about 200 km north‑west of Lagos, shaded courtyards and narrow lanes have become the beating heart of Nigeria’s iconic aso‑oke textile industry. Under makeshift sheds, weavers operate wooden looms that have remained largely unchanged for generations. Recent years have seen a surge in demand for the thick, multicoloured fabric, driven by the Nigerian diaspora and an expanding international appetite for African fashion. Yet the craftsmen and women of Iseyin staunchly oppose the introduction of machines, arguing that the hand‑woven process is essential to the cloth’s distinctive texture and cultural value. The craft now serves as an economic lifeline. Young Nigerians—including university graduates—are flocking to Iseyin to learn the trade, attracted by the promise of a steady income. One such convert, Waliu Fransisco, abandoned a career as a Lagos nightclub singer a decade ago to master the loom. At 34, he says, “I now earn a decent living from weaving aso‑oke and I’m satisfied.” Aso‑oke, literally meaning “cloth from the up‑country,” has become a staple in Nigeria’s fashion scene, appearing in ceremonial attire, contemporary streetwear, and even high‑profile outfits such as the wrapper and shawl worn by Meghan Markle during her 2024 visit to Nigeria with Prince Harry. Traditionally, the fabric was produced from locally sourced cotton or silk, with threads hand‑spun, dyed, and woven in limited colour palettes. Today, most weavers use loom‑ready yarns imported primarily from China, allowing for a broader spectrum of hues while preserving the labor‑intensive hand‑weaving technique. Each loom requires meticulous arrangement of narrow, tightly patterned strips that are later sewn together to form the wider cloth used for garments and accessories. “This is what Iseyin is known for,” says 35‑year‑old weaver Kareem Adeola, echoing the sentiment of a community that views the craft as a direct inheritance from its forebears. As global fashion houses and consumers continue to seek authentic African textiles, the artisans of Iseyin stand at the crossroads of tradition and market opportunity, proving that cultural heritage can thrive alongside modern demand.

Gout Gout, an 18‑year‑old sprint prodigy, delivered a historic performance at the Australian Athletics Championships in Sydney, finishing the 200 m in 19.67 seconds. The time not only secured his victory but also established a new world Under‑20 record, surpassing the previous mark held by Erriyon Knighton. The achievement marks the first occasion an Australian has legally broken the 20‑second barrier in the 200 m, with a permissible tailwind of +1.7 m/s. Gout’s run also eclipses the age‑grade benchmark set by Usain Bolt, who recorded 19.93 seconds at 19 years old in 2004. Fellow countryman Aidan Murphy finished second, posting 19.88 seconds, making the two performances the fastest of the year. Both athletes benefited from the same legal wind assistance, underscoring a surge in Australian sprinting depth. Speaking at the Sydney Olympic Park Athletic Centre, Gout emphasized the competitive environment: "Competing with world‑class athletes in Australia pushes us to new limits. Having two Australians under 20 seconds is extraordinary." The record also improves on Gout’s own national best of 20.02 seconds set the previous season, and it is his first sub‑20‑second run under legal wind conditions. Last year he had recorded 19.84 seconds with a wind‑assisted tailwind. Gout’s rise began in 2024 when he ran 20.04 seconds at the Australian All Schools Athletics Championships, breaking Peter Norman’s long‑standing national record of 20.06 seconds from the 1968 Olympics. His rapid progression has drawn international attention, with analysts comparing his explosive style to that of Bolt. On the final day of the meet, Gout’s main rival, Lachlan Kennedy, withdrew from the 200 m to manage his workload, though he later claimed the 100 m title with a 9.96‑second dash, becoming the first Australian to break ten seconds on home soil. Born to South Sudanese immigrants, Gout’s background adds a compelling narrative to his athletic success, highlighting the multicultural fabric of Australian sport. With the world record now in his hands, Gout expressed confidence about his future: "Running this time legally lifts a huge weight off my shoulders. I’m ready for the next challenges."

The transition from live piano accompaniment in silent cinemas to recorded soundtracks marked a turning point for movie‑goers; the Vitaphone disc system of 1926 and the optical Movietone process that followed gave films a reliable, repeatable musical identity.Sunrise: A Song of Two Humans (1927) was the first feature to have its music and sound effects printed directly onto the film strip, allowing audiences to hear orchestrated pieces by Chopin and Gounod in perfect sync with the picture.King Kong (1933) showcased Max Steiner’s pioneering use of the orchestra to drive narrative, mood and scene transitions, laying the groundwork for the symphonic Hollywood score that dominated the mid‑20th century.Citizen Kane (1941) gave Bernard Herrmann a platform to break from the lush, “Hollywood” sound, delivering a stark, atmospheric score that emphasized psychological tension and set a new standard for dramatic underscoring.Blackboard Jungle (1955) introduced Bill Haley’s Rock Around the Clock as the film’s musical spine, proving that popular rock could boost a movie’s commercial appeal and ushering in the era of song‑driven soundtracks.Forbidden Planet (1956) featured the first entirely electronic score, created by Louis and Bebe Barron using magnetic‑tape techniques; the pioneering use of the theremin and other electronic textures opened a fresh sonic frontier for sci‑fi cinema.Breakfast at Tiffany’s (1961) highlighted Henry Mancini’s “symphonic pop” style, marrying a timeless hit – Moon River – with a jazzy, contemporary score that demonstrated how pop sensibilities could coexist with traditional orchestration.2001: A Space Odyssey (1968) is remembered more for its curated classical pieces than Alex North’s original score, yet the film’s bold juxtaposition of Ligeti, Strauss and Khachaturian proved that pre‑existing music could become an integral narrative force.American Graffiti (1973) assembled over 40 period songs, weaving them into the story’s fabric and proving that a soundtrack could function as a cultural time‑capsule, influencing countless later productions.Star Wars: A New Hope (1977) revived the full‑orchestra tradition when John Williams delivered a heroic, leitmotif‑rich score that re‑ignited audience love for symphonic film music and set a template for blockbuster scoring.Crimson Tide (1995) marked Hans Zimmer’s breakthrough, blending aggressive electronic pulses with a powerful orchestral choir to create the modern, hybrid sound that now defines many high‑budget action films.These ten milestones illustrate how film music has continually evolved— from live accompaniment to electronic experimentation—while retaining a core purpose: to deepen storytelling and shape audience emotion. The legacy of these scores is celebrated each April at the London Soundtrack Festival, underscoring their lasting influence on both cinema and popular culture.

When Corentin Roudaut arrived in Paris a decade ago, he swapped his student‑era bike for a car, daunted by the city’s traffic and lack of cyclist protection. After a protected lane opened on Boulevard Voltaire in the 11th arrondissement, he reclaimed his two‑wheel commute and now volunteers with the cycling advocacy group Paris en Selle, witnessing a city that has shed its car‑centric image.Roudaut notes that the shift “started slowly but really accelerated in the last ten years,” with a growing network of bike routes that is becoming safe and nearly complete in many districts.Mayor Anne Hidalgo’s 12‑year agenda reshaped Paris’s urban fabric. Since taking office in 2014, her administration planted 155,000 trees, created several hundred kilometres of segregated bike lanes, pedestrianised 300 school streets, and banned cars from the banks of the Seine. Former parking spaces have been turned into green plazas and café terraces, reducing the risk of children being hit while walking to school.As Hidalgo departs on Sunday, her legacy is touted as a blueprint for progressive European cities, especially as some national governments retreat from green initiatives.Nevertheless, the reforms have sparked pushback. Motorists object to the loss of road space, and recent referendums on higher parking charges for SUVs and further school‑street pedestrianisation suffered low voter turnouts. Right‑wing mayoral candidate Rachida Dati described the new public‑space regime as “anxiety‑inducing,” though she stopped short of promising a reversal.In a candid interview, Hidalgo described the Seine‑bank pedestrianisation as “a tough battle” that, once won, left residents reluctant to revert to car traffic. She highlighted a generation of children who have never known cars on those riverbanks, prompting awe‑filled reactions from visitors.Urban scholars attribute the rapid change to Paris’s tight administrative boundaries, which limit suburban influence on city transport decisions, and to groundwork laid by previous mayors. Yet they stress that political courage was essential to implement measures that inconvenienced drivers while delivering social and environmental benefits.Environmental epidemiologist Audrey de Nazelle of Imperial College London, a Paris native, praised the transformation as “fabulous” and warned that many cities lack the bravery to pursue similar legacies.A recent report placed Paris among 19 global cities that cut two major toxic air pollutants between 2010 and 2024. While Brussels and Warsaw saw faster declines in fine‑particle matter, London outpaced Paris in reducing nitrogen‑dioxide levels.By contrast, Berlin—despite opening a new inner‑city motorway and scrapping 30 km/h speed limits on key streets—still records a higher share of cyclists than Paris.Transport researcher Giulio Mattioli argues that Paris simply needed to add bike lanes to unlock latent demand, noting that the city started from a lower baseline but quickly caught up with peers.However, the transformation remains uneven. The extensive suburbs continue to be dominated by cars, hemmed in by the 35 km Boulevard Périphérique ring road. Analyst Jean‑Louis Missika of think‑tank Terra Nova stresses that “as long as this motorway encircles Paris, the Greater Paris metropolis will remain an administrative construct devoid of urban reality.” He calls for dismantling or repurposing the ring road to achieve a truly post‑car metropolis.

Analysts say that more than two years of relentless campaigns against Gaza, the Houthis, Lebanon and now Iran have reshaped Israel’s politics, economy and social fabric.Washington, rather than Jerusalem, is likely to decide the ultimate outcome of the conflict that Israeli leaders describe as an “existential battle” with Tehran.According to the Bank of Israel, the cumulative cost of these wars has reached 352 billion shekels (about $112 bn), which translates to roughly 300 million shekels ($96 m) per day. The financial pressure is compounded by the International Court of Justice hearing credible genocide accusations and the International Criminal Court’s arrest warrants for the prime minister and a former defence minister.Domestically, Israelis endure frequent air‑raid alerts and school closures, while many families juggle work and shelter duties. Yet a poll by the Israel Democracy Institute in late March showed that 78 % of Jewish Israelis still support continuing the war, even as a majority doubt that Washington and Israeli planners have fully grasped Tehran’s capabilities.Political commentator Dahlia Scheindlin told Al Jazeera that a “graveness” has settled over the population, noting a grim determination to press on despite exhaustion.Israel’s right‑wing coalition, led by figures such as National Security Minister Itamar Ben‑Gvir and ultra‑Orthodox Finance Minister Bezalel Smotrich, has pushed through a controversial death‑penalty law targeting Palestinians and approved a record $271 bn budget. The budget allocates substantial funds to ultra‑Orthodox and settler communities, a move described by critics as an attempt to shore up Prime Minister Netanyahu’s waning support.Internationally, the United Nations, European Union and several Muslim‑majority states have condemned the new death‑penalty legislation, though Israel has so far avoided direct sanctions.Economists warn that the war’s fiscal impact extends beyond defence spending. A Le Monde analysis highlighted rising defence outlays, lost productivity from reservist mobilisation, and dampened consumer activity. While temporary tax cuts have mitigated fuel‑price spikes caused by Iran’s closure of the Strait of Hormuz, political economist Shir Hever cautions that Israel’s reliance on imported fuel means any relief is short‑lived.Hever likens the current economic trajectory to that of a “totalitarian state,” where military expenses are pursued arbitrarily, ignoring broader economic stability.Ultimately, the war’s duration may hinge more on U.S. policy than Israeli strategy. When asked by Newsmax about progress toward its goals, Prime Minister Netanyahu could only claim the effort was “halfway” achieved.

On a cobbled lane in Belfast’s Cathedral Quarter, the Kindred of Ireland boutique draws shoppers with oversized butter‑yellow linen blouses and Donegal mulberry tweed jackets accented by rose‑pink linen bows, signalling a fresh commercial pulse for a fabric that once defined the city.Linen earned Belfast the nickname “Linenopolis” when, at its height, the industry employed about 40% of Northern Ireland’s workforce. After a post‑war collapse, the trade faded, but today it is re‑emerging as a marker of local identity and sustainable fashion.Designer Amy Anderson, whose grandmother worked as a mill‑hand in Moygashel, says the fibre remains deeply personal for many families. Her modern, Japanese‑inspired silhouettes rely on linen’s natural structure to balance avant‑garde volume with comfort.Reviving a near‑extinct industry is daunting, yet Belfast’s history of turning adversity into opportunity—exemplified by the Titanic Quarter’s tourism boom—has attracted an eclectic coalition of supporters. Among them are former blacksmith Charlie Mallon, who has converted his 150‑year‑old Magherafelt farm into a regenerative flax operation, and fashion heavyweight Sarah Burton, former creative director of Alexander McQueen.Mallon’s restoration of heritage machinery aims to keep flax “field‑to‑fibre” in Ireland, preserving the long fibre length that makes linen less prone to creasing. He contrasts this with most modern linen, which is “cottonised” in China, shortening fibres and increasing wrinkles.Burton’s two‑day field trip to Northern Ireland inspired the spring 2020 Alexander McQueen collection, featuring a beetled linen gown with a pearl‑like sheen that debuted on the Paris runway.In autumn, the Prince and Princess of Wales visited Mallon Farm, expressing a rare interest in sustainable fashion and regenerative agriculture. The Princess, who usually avoids media focus on her wardrobe, asked detailed questions about the Andersons’ brand, underscoring the royal endorsement of Belfast’s textile renaissance.The city’s fashion resurgence is also celebrated at the Ulster Museum’s “Ashes to Fashion” exhibition, which juxtaposes historic silk ballgowns with contemporary pieces by Irish designers, including Kindred of Ireland.Looking ahead, Kindred of Ireland plans a temporary boutique in central London, building on a successful six‑week Mayfair pop‑up that the brand describes as “commercial rocket fuel.” The Andersons note that Northern Irish firms benefit from full access to the UK market while still aligning with certain EU single‑market rules under the Windsor framework, offering a strategic advantage for product‑focused businesses.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

The United States Department of Defense has strongly denied allegations that a broker for Defence Secretary Pete Hegseth attempted to make a large investment in weapons companies in the run-up to the war on Iran. The denial comes after a report by The Financial Times claimed that a wealth manager for Hegseth contacted BlackRock about making a multimillion-dollar investment in a defence-related fund.Pentagon spokesman Sean Parnell demanded the immediate retraction of the report, stating that the allegations were 'entirely false and fabricated.' He emphasized that neither Secretary Hegseth nor any of his representatives approached BlackRock about any such investment.The proposed investment was reportedly in an exchange-traded fund whose holdings include Lockheed Martin and Northrop Grumman. However, according to The Financial Times, the investment did not go ahead because the fund was not yet available for purchase at the time.The report has sparked scrutiny of well-timed trades in financial and prediction markets, fueling speculation that figures with insider knowledge may be profiting from US President Donald Trump's war plans.Despite the denial, the incident has raised concerns about the integrity of defence-related investments and the potential for insider trading.