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The ongoing conflict between the US and Israel against Iran has significantly impacted global oil supplies, causing prices to surge. Despite this, US President Donald Trump claims that the US is 'totally independent' of the Middle East and doesn't need their oil. However, experts argue that the oil market is highly interconnected, making it unlikely that the US can escape the effects of the crisis.The US is a major oil producer, having surpassed other countries due to the fracking boom. Yet, it still imports millions of barrels per day, with a significant portion coming from Gulf nations. This reliance on imports means that the US is not as insulated from global price trends as Trump suggests.Oil prices have risen by nearly half since the start of the war, with Brent crude trading above $100 per barrel. This increase has had a ripple effect on the global economy, with US fuel prices breaching $4 per gallon for the first time since 2022. The surge in fuel costs is likely to impact the US economy and may influence the midterm elections.Experts warn that the concept of 'energy independence' may be a 'smokescreen' and that low-income households will be disproportionately affected by higher fuel prices. While some sectors of the US economy, such as energy production, may benefit from the current situation, the overall impact on consumers is expected to be negative.The article also highlights the broader implications of the conflict, including disruptions to global fertilizer supplies and helium production. With the Strait of Hormuz remaining paralyzed, the effects of the crisis are likely to be prolonged, and experts are skeptical that fuel prices will quickly return to normal even if the conflict ends soon.

Chris Haskins, Lord Haskins, who has died at the age of 88, was a highly influential figure in British business and politics. He was a key supporter of Tony Blair's New Labour project and played a crucial role in advising on regulatory reform and rural affairs. Early Life and Career Born in Dublin, Ireland, Haskins studied modern history at Trinity College Dublin, where he developed a reputation as a radical. He began his career in journalism, covering the Aldermaston marches for the Irish Times, before moving into business. In 1959, he traveled to England, married Gilda Horsley, and joined his father-in-law's company, Northern Dairies, which later became Northern Foods. Business Achievements Under Haskins' leadership, Northern Foods grew into Britain's leading food manufacturer. He was instrumental in developing chilled food techniques, which enabled the mass production of ready meals and convenience foods. A significant partnership with Marks & Spencer was established, which became a cornerstone of the company's success, generating annual sales of half a billion pounds. Public Service and Politics Haskins was a vocal advocate for various public causes, including European monetary union, English regional devolution, and the reduction of subsidies to British agriculture. He served as a 'rural tsar' during the foot and mouth outbreak of 2001 and authored a rural recovery report for Defra, which proposed a shift towards environmental concerns and a long-term reduction in subsidies. Legacy Throughout his life, Haskins was known for his 'no-nonsense approach' and his commitment to telling the truth as he saw it. He was a passionate advocate for regional devolution and took an active role in various Yorkshire economic bodies. Despite facing disappointment as governments wound down bodies he chaired, Haskins remained dedicated to his causes, reflecting on his life's work: 'Most of the campaigns of my life have failed, largely, I comfort myself, because I have been ahead of my time.' He is survived by his wife, Gilda, their five children, nine grandchildren, and a great-granddaughter.

A federal judge has dismissed 10 out of 13 claims made by Blake Lively against director Justin Baldoni, including allegations of sexual harassment, conspiracy, and defamation. The lawsuit, which centers around the filming of 'It Ends With Us,' a domestic abuse drama where Lively and Baldoni starred as characters with intimate scenes, will proceed to trial next month on claims of a retaliatory campaign against Lively.Baldoni's lawyer, Bryan Freedman, described the defendants as 'very good people who have not engaged in this sexual harassment as alleged.' He expressed satisfaction with the court's ruling, stating it confirms what his legal team believed from the start.The judge's 152-page opinion emphasized that Lively's claims must be viewed in the context of the film's production, noting that creative artists need space to experiment within scripted scenes without fear of liability for sexual harassment. The court also determined Lively was working as an independent contractor, not an employee, which impacted her ability to bring sexual harassment claims.Lively's attorney, Mike Gottlieb, responded that the ruling was based on 'legal technicalities' and not an endorsement of the defendants' conduct. A trial is scheduled for May 18.

Channel 4 is poised to shake up the traditional Boat Races with its debut coverage of the event, bringing a fresh perspective and new talent to the table. The network has acquired the broadcasting rights from the BBC, signaling a significant change in the event's media landscape. The Boat Races, a storied competition between Oxford and Cambridge universities, has been a staple of British sport since 1829. This year's event promises to be exciting, with Oxford's Heidi Long, a bronze medalist in the women's eight at Paris 2024, leading the charge against Cambridge's dominant women's team. Clare Balding, previously the face of the BBC's coverage, will continue as presenter, joined by newcomers Jamie Laing, a reality TV star and Radio 1 DJ, and Ade Adepitan, a TV presenter and Londoner. The on-screen team aims to bring a new dynamic to the event, appealing to a younger demographic. The production company, FilmNova, brings four years of experience from BBC broadcasts and has planned several innovations, including relatable comparisons and humanizing the rowers. One highlight is a 'fantasy boat' featuring well-known sportspeople, such as Serena Williams and Frankie Dettori. The Boat Races also shed light on pressing issues like Thames Water's mismanagement and sewage pollution in Britain's waterways, adding a layer of depth to the event. As Channel 4 takes the reins, the athletes can focus on their goals, with Long and her Oxford teammates striving to end Cambridge's eight consecutive wins. Heidi Long's remarkable story, balancing rowing with medical studies and personal loss, exemplifies the dedication and resilience of the athletes. Her leadership and experience are seen as key factors in Oxford's bid for victory.

According to a new United Nations Food and Agriculture Organization (FAO) briefing, the global food commodity price index climbed 2.4% in March, marking the second straight monthly increase and the first rise in five months for the broader basket of grains, meat, dairy, vegetable oils and sugar.The surge is largely attributed to the escalating conflict in the Middle East, which has pushed up energy prices and freight rates worldwide. The report highlighted that vegetable oil prices jumped 5% and sugar rose 7% during the month.Analysts warn that the war could trigger a broader wave of food inflation, as higher fuel, fertiliser and electricity costs increase the expense of transporting, processing and cooking food. About one‑third of global fertiliser production passes through the Strait of Hormuz, a key shipping lane that has been effectively closed since hostilities began.UN projections suggest that, if the crisis endures, global food prices could be 15%–20% higher in the first half of 2026 than pre‑conflict levels. The FAO noted that “price indices across all commodity groups rose to varying degrees, reflecting both market fundamentals and responses to higher energy prices linked to the conflict escalation in the Near East.”Specific commodity trends showed global wheat prices up 4.3% in March, driven by deteriorating crop conditions and drought concerns in the United States, as well as reduced planting in Australia due to soaring fertiliser costs. Better weather in Europe and strong export competition provided some offset.In the United Kingdom, the Food and Drink Federation – representing 12,000 manufacturers – now forecasts a **minimum 9% rise in food prices by the end of 2026**, a sharp increase from the 3.2% forecast made before the Middle East conflict. This outlook assumes the Strait of Hormuz reopens within weeks and that major energy facilities return to normal within a year – both uncertain outcomes.British producers are already feeling the pressure. The British Tomato Growers’ Association warned that consumers could see higher prices for tomatoes, peppers and cucumbers within six weeks as gas‑heated glasshouses become more expensive to run.Chancellor Rachel Reeves recently met with leaders of major retailers—including Tesco, Sainsbury’s, Morrisons, Marks & Spencer, Aldi and Lidl—to discuss measures that could ease the cost‑of‑living squeeze and strengthen supply chains.Nevertheless, a Bank of England survey of over 2,000 chief financial officers revealed that firms expect to raise their prices by an average of 3.7% over the next year, up from 3.4% in February. Expectations for overall economy‑wide inflation also rose from 3% to 3.5%.

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.

Alan Cumming’s latest theatrical venture – The High Life: The Musical, Still Living It! – bursts onto the stage as a gleeful, pantomime‑style extension of the cult 1994 TV sitcom. Co‑written by series creator Johnny McKnight alongside Alan Cumming and Forbes Masson, the production is deliberately overloaded with jokes, ranging from references to Andrew Mountbatten‑Windsor to a tongue‑in‑cheek nod to Sheena Easton. The show’s panto DNA runs deep. Audiences are addressed directly, invited to sing along, and treated to an underwater neon‑tube dance. The set, a whimsical take on a Brigadoon‑style hotel, features tartan wallpaper designed by Colin Richmond, a life‑size dog, and multiple costume changes that heighten the spectacle. Returning to the stage, Cumming reprises the role of flight attendant Sebastian Flight, while Masson appears as his counterpart Steve McCracken. They are joined by a “legacy cast” that includes Siobhan Redmond as the exacting supervisor Shona Spurtle and Patrick Ryecart delivering a delightfully unhinged performance as Captain Hilary Duff. Supporting them are high‑energy performers Rachael Kendall Brown, Louise McCarthy and Kyle Gardiner, who navigate Masson’s clever, rhyming songs that swing from Broadway flair to Eurovision sparkle. Beyond the slapstick plot – a cartoonish battle over the fictional airline Air Scotia and a detour to the “Lower Largo Triangle” – the musical hints at deeper questions about ageing, national identity and the need for cultural renewal, echoing themes raised in earlier Scottish adaptations. Directed by Andrew Panton, the production is a joint effort between Dundee Rep and the National Theatre of Scotland. It runs at Dundee Rep until 4 April before embarking on a UK tour that concludes on 23 May. In the end, the show is less a philosophical treatise and more a big, joyous laugh‑fest that celebrates the spirit of pantomime.

The ongoing conflict in the Middle East has significant implications for the UK, particularly in the energy sector. Some have called for the North Sea to be exploited for its remaining oil and gas reserves, citing energy security concerns. However, the climate crisis demands immediate action to reduce greenhouse gas emissions, making it crucial to prioritize renewable energy sources.The North Sea basin is past peak production, with only limited amounts of oil and gas remaining. Moreover, the UK is struggling to meet its 2030 emissions reduction target of 68% compared to 1990 levels and is off track to achieve net zero emissions by 2050. Any revival of homegrown fossil fuel usage would undermine these efforts.The reality of the climate crisis is worsening, with record-breaking heat across the US and devastating floods in Hawaii, northern Australia, and the Gulf states. The UK has also experienced record winter rainfall and the warmest February on record in England and Wales.The article emphasizes that the world is on course to exceed the 1.5C dangerous climate change threshold within the next three years, coinciding with key climate tipping points, such as the melting of the Greenland and West Antarctic ice sheets. The rate of global heating has accelerated since 2015, and without drastic action, the 2C limit will be shattered by the late 2030s.In conclusion, the government must hold its nerve and prioritize climate action by leaving North Sea oil and gas in the ground, rather than doubling down on fossil fuel exploitation. This approach will help reduce emissions, promote renewable energy, and mitigate the worst effects of the climate crisis.

The unexpected return of two William Hartnell episodes to the BBC archive has sent shockwaves of excitement through the Whovian community. For the first time since 1965, fans can now enjoy the first quarter of the 12-part adventure 'The Daleks' Master Plan.'The surviving five episodes are now on iPlayer, and the first three make for a stirring introduction to the adventure, with large impressive sets for the Earth control centre and the Dalek ship, contrasting with the dense forbidding foliage of the planet Kembel. Frequent tight closeup shots from director Douglas Camfield on the faces of the cast add to a claustrophobic feel in the jungle sequences.At the time, Hartnell was not to know that within a year he would be 'renewed' as the lead of the show by Patrick Troughton. Hartnell's health problems, reputation for being difficult on set and frequent flubbing of lines during a production schedule that allowed little leeway for second takes has tainted his tenure in the role.Here, especially in the opener, we get to see him in some of his strongest moments as the Doctor. With Stephen (Peter Purves) incapacitated by the poison he picked up in Troy, and Katarina (Adrienne Hill) little more than a hollow vessel of a character, Hartnell has much more to do than usual. The actor gets to show the gleeful side of his nature as he delights at his own invention of the magnetic chair and his ingenuity at repelling – at least initially – boarders to the spaceship.Rediscovering episode one also means we can enjoy beloved children's television presenter Brian Cant flexing his acting chops in something other than Playschool, and all three episodes prominently feature Nicholas Courtney, who would go on to play Brigadier Lethbridge-Stewart for 40 years, as Bret Vyon. A highlight is the Addams family-esque kookiness of the aliens making up the Dalek council, which is certainly preferable to the somewhat cliched prison planet savages set-up of part three.The biggest mystery, of course, is how these episodes have ended up surviving. Film is Fabulous, the people who secured them, have said they are respecting the wishes of the estate of the person who was holding and keeping them anonymous. Perhaps the most intriguing thing is that, given it was never sold overseas, the missing episodes of the Daleks' Master Plan were among the least likely to ever be found, but two episodes were sitting in those film cans all along. Who knows what else might still be out there?