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President Donald Trump has announced a new policy threatening to impose 100% tariffs on US pharmaceutical companies that do not agree to lower their drug prices. This move is part of his effort to address the high cost of prescription medications in the US.The tariffs will specifically target branded drugs and their active ingredients, while generic drugs, which account for over 90% of medicines sold in the US, will be exempt for at least one year. Additionally, certain specialty drugs, such as orphan, veterinary, and other specialty drugs, will be exempt if they are from countries with which the US has a trade deal or meet urgent public health needs.Drugmakers that enter into pricing agreements with the White House and onshore drug production will be exempt from the tariffs. Companies planning to increase their domestic manufacturing will face a 20% tariff that will escalate to 100% over four years.The policy has been met with criticism from industry groups, such as the Midsized Biotech Alliance of America (MBAA), which argues that it creates an "unfair two-tiered system" that benefits large companies with diversified portfolios.Trump has been under pressure to lower drug prices, with US patients often paying nearly triple what patients pay in other developed nations. The announcement comes as the White House faces pressure from consumers to address rising costs amid other tariff-related price increases and high gas prices triggered by geopolitical tensions.

European carmaker Stellantis has issued a recall for 44,000 vehicles in the UK due to a fault that could result in the cars catching fire. The issue affects certain models across its Peugeot, Citroën, DS Automobiles, Vauxhall, Lancia, Alfa Romeo, Jeep, and Fiat brands, produced between 2023 and 2026.The fault is related to a lack of clearance between the gas filter pipe and a component of the belt starter generator, which could cause water to leak into the engine bay during wet driving conditions. This creates a potential risk of fire in the engine.In response, Stellantis will immediately contact affected car owners to schedule a free appointment with their dealer. This recall comes as the company faces challenges, including a €22bn charge and the sale of a stake in its battery joint venture due to slower-than-expected growth in electric vehicles.The recall is a significant setback for Stellantis, which had previously planned to launch an electric truck, the Ram 1500 BEV. Meanwhile, sales of electric vehicles in Europe have soared, but demand in the US has collapsed following the withdrawal of a consumer tax credit.In contrast, rival Jaguar Land Rover (JLR) reported a recovery in sales over the past quarter, with a 61.1% jump in sales to 95,300 vehicles. However, quarterly sales were still down 14.5% compared to the same period a year earlier, largely due to a cyber-attack that halted production.

The Unicorn Theatre's production of 'A Midsummer Night's Dream' is a playful and punchy adaptation of Shakespeare's romantic comedy, made accessible to a young audience. Co-directors Rachel Bagshaw and Robin Belfield have trimmed down the original language while incorporating slapstick comedy and playful captions.The production feels like the start of a brilliant venture, still finding its feet. The editing is smart, but could have been more radical. The framing story in Athens has been cut down but not excised, making it harder to understand.The magical elements are kept low-key and gently engaging, with Titania's fairies conjured up using childlike voiceovers, Holly Khan's delicate soundscape, and Will Monks' entrancing word projections. Joséphine-Fransilja Brookman's Puck is an impish schoolkid who climbs up balconies, jumps on tyre swings, and causes mischief.The standout star is Emmy Stonelake as Bottom, a natural comic and talented Shakespearean who raises big laughs without compromising the language. When Bottom is turned into a donkey, Stonelake cries out: “This is to make an ass of me!” and is met with big laughs and heavy sighs.The most lucid and enjoyable scenes are those with the rude mechanicals as they rehearse their (terrible) play. There's a whiff of the CBeebies panto to these encounters, with the actors dressed in neon costumes and delivering their gags with gusto. The hard-working ensemble jump from playing heartsick lovers to hammy actors with real aplomb.At the Unicorn theatre, London, until 10 May.

Acclaimed filmmaker Danny Boyle is set to unleash a sprawling, one‑off pop‑culture spectacle at London’s Southbank Centre on 3 May 2026. Titled “You Are Here”, the event will weave together 75 years of British youth movements—from teddy boys and punk to rave and Brit‑pop—across the venue’s historic spaces. Marking the 75th anniversary of the Royal Festival Hall’s 1951 opening, the production anticipates 1,000 performers and more than 10,000 attendees. Boyle, who directed the iconic 2012 Olympic opening ceremony, describes the show as an antidote to the “hi‑tech curation” that dominates modern life, likening today’s media overload to “5,000 channels with everything on”. The immersive experience will unfold in five distinct beats, each spotlighting underground music scenes, sub‑cultural fashion, activism and spoken‑word performance. Poets, MCs and rappers will narrate stories that are then translated by choirs and dancers, creating a “kaleidoscopic narrative” that moves audiences from a high‑energy Northern Soul floor to a communal house‑party atmosphere. Boyle emphasizes that the event is deliberately free of celebrity headliners, allowing the chaos of the performance itself to become the focal point. He calls the Southbank a “gargantuan labyrinth of opportunity” and urges young people to seize the chance to experience culture beyond the “aquarium of indifference” offered by on‑demand streaming and food delivery services. Organisers stress that the show is not a traditional pageant or seated theatre; instead, the entire Southbank site becomes a living stage, inviting visitors of all ages to wander, engage, and reflect on Britain’s evolving identity. Tickets for “You Are Here” go on sale now at southbankcentre.co.uk. The event promises to be a landmark moment for London’s cultural calendar, blending history, music, fashion and activism into a single, chaotic celebration.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.

Ministers are rewriting planning rules to make it easier to approve intensive livestock farms, despite ongoing concerns about water pollution, air quality and local opposition.Freedom of Information documents obtained by the Guardian reveal that proposed changes to the National Planning Policy Framework (NPPF) have been discussed in response to lobbying by the country’s leading chicken producers for at least two years.The British Poultry Council (BPC) told farming minister Angela Eagle last autumn that “access to more growing space is the number one priority for the poultry meat sector.”In a submission to the government’s farm profitability review, the BPC argued that the need for a solution—whether through planning reform or land‑use policy—“dwarfs all other issues currently facing us.”Ahead of a January round‑table with Eagle, the BPC urged the government to “develop national planning direction and oversight for food production … to safeguard the UK’s long‑term food security.”Eagle responded that the government has “announced proposals to reform the planning system to more quickly unlock food and farming infrastructure,” emphasizing that “planning should enable ambition, not stifle it.”Her briefing notes directly linked the proposed changes to industry lobbying, describing planning reform as one of the sector’s “biggest asks” and noting that the Department for Environment, Food & Rural Affairs and the Ministry of Housing, Communities and Local Government are working to “find solutions to planning barriers to poultry sheds and other infrastructure necessary for food production.”The draft NPPF includes several measures that could ease approval of new intensive livestock developments: a higher threshold for refusing applications on environmental grounds, reduced scope for local authorities to adopt tougher rules, greater weight given to “domestic food production,” and a new emphasis on “better accommodation for livestock.”The industry says it needs extra space to house chickens because of voluntary commitments to lower stocking density. Critics point out that these welfare commitments are not legally binding and that planning conditions do not guarantee long‑term compliance. Recent withdrawals by restaurant chains from the Better Chicken Commitment underscore the controversy.Richard Griffiths, chief executive of the BPC, said the reforms are needed to accommodate welfare improvements rather than to expand production, noting a voluntary reduction in stocking density from 38 kg to 30 kg per square metre.Griffiths warned that failing to support domestic production could increase imports, and the BPC has called for food production to be classified as “critical national infrastructure.”Prof. Paul Behrens of the University of Oxford countered that the food‑security case for intensive poultry is “illusory” because the sector depends on imported feed and vitamins and is vulnerable to disease outbreaks such as avian flu.Opposition to poultry megafarms is organised, with local residents raising concerns over water pollution, air quality and the climate crisis. The Environment Agency estimates agriculture accounts for roughly 70 % of nitrate and 25‑30 % of phosphorus pollution in UK waterways, and runoff from intensive poultry units contributes to that burden.Last year, Norfolk councillors rejected Cranswick’s plan for a 900,000‑bird chicken farm after the company failed to demonstrate that the development would not cause “significant adverse effects on protected sites.”The BPC has also urged early intervention by the Planning Inspectorate to minimise delays, arguing that centralised oversight would bring objectivity to a system where “naysayers, particularly via social media, have a disproportionate sway in the decision‑making process.”Campaign group Communities Against Factory Farming warned that the proposed regime “risks embedding decades of industrial livestock land use in rural and green‑belt locations without adequate scrutiny,” giving “substantial weight” to the economic benefits of intensification.A government spokesperson rejected claims that the NPPF proposals are driven by lobbying, stating that they have been carefully considered to balance sector support with broader priorities such as food security and environmental protection.

Blanche McIntyre reimagines Noël Coward’s classic Private Lives at Manchester’s Royal Exchange Theatre with a daring in‑the‑round set that spins the audience into the couple’s turbulent romance.The production opens in a sleek, monochrome French resort designed by Dick Bird. As ex‑spouses Amanda (played with acid poise by Jill Halfpenny) and Elyot (delivered with dry detachment by Steve John Shepherd) collide on their respective honeymoons, the stage begins to rotate, creating a queasy, carnival‑like atmosphere that mirrors their escalating desire and spite.Both characters quickly abandon their new partners—Victor, a self‑satisfied ordinary portrayed by Daniel Millar, and the hysterically grating Sibyl, embodied by Shazia Nicholls—and flee to Paris. In Amanda’s cluttered flat, surrounded by half‑eaten meals and booze, the rekindled romance begins to sour, exposing the uglier layers of their destructive bond.The chemistry between Halfpenny and Shepherd shines as they deliver Coward’s razor‑sharp bon mots with effortless flair. Yet, in the second act, the performance feels slightly restrained; moments of lust and violence are hinted at rather than fully unleashed, leaving the climactic confrontation somewhat blunted despite the frantic spinning set.Supporting roles add texture: Millar’s Victor exudes contented self‑importance, while Nicholls hints at a hidden cunning beneath Sibyl’s hysterics. Sara Lessore’s turn as the Parisian maid Louise underscores the privileged caprices of the main characters.Overall, the production presents Amanda and Elyot’s relationship as a capricious game between sophisticated players rather than a dangerously irresistible passion, a nuance amplified by the theatrical whirl that never quite loses control.The show runs at the Royal Exchange until 2 May, offering theatre‑goers a uniquely dizzy experience of Coward’s wit and venom.

Russia has pledged to continue providing assistance to Cuba, following the delivery of a Russian-flagged tanker carrying 730,000 barrels of oil to the island nation. This shipment marks the first crude oil delivery to Cuba in three months, providing much-needed relief to the country's struggling energy grid.Maria Zakharova, spokesperson for the Russian Ministry of Foreign Affairs, stated that Cuba is Russia's closest friend and partner in the Caribbean, and that Russia will not abandon it. Zakharova also expressed solidarity with Cuba, calling for the US to lift its blockade on the independent sovereign state.The oil shipment, which arrived at the Bay of Matanzas, is expected to produce approximately 180,000 barrels of diesel, enough to meet Cuba's daily demand for nine or 10 days. This temporary reprieve comes as Cuba faces an energy crisis, exacerbated by the loss of Venezuelan oil supplies following the removal of President Nicolas Maduro in January.The energy crisis has led to frequent blackouts and brought hospitals, public transportation, and farm production to the brink of collapse. The Cuban government has welcomed the shipment, with Energy and Mines Minister Vicente de la O Levy expressing gratitude to Russia for its support.Russia's actions have drawn attention from the US, with President Donald Trump stating that he had 'no problem' with Russia sending oil to Cuba for humanitarian reasons. However, Trump also criticized Cuba's leadership, saying that the island nation's problems would not be solved by receiving oil shipments.

Closing the Strait of Hormuz has choked a vital artery that carries roughly one‑fifth of the world’s crude oil and LNG, sending energy prices soaring and unsettling global trade. Even if the waterway reopens tomorrow, analysts say the ripple effects will endure for months. Nils Haupt, senior director of corporate communications at German carrier Hapag‑Lloyd, told Al Jazeera that the end of hostilities does not equate to the end of logistics challenges. “Once the bombardments stop, the real work begins,” he said, noting that hundreds of vessels will scramble for berths in Persian Gulf ports, creating a prolonged bottleneck for containers and bulk cargo. According to the International Maritime Organization, about 2,000 ships are currently stranded because of Iran’s partial blockade, with only a handful of vessels from “friendly” nations granted passage. Maritime‑intelligence firm Windward estimates that roughly 400 of those ships are anchored in the Gulf of Oman, waiting for a green light. Diverted traffic has already forced many carriers to reroute via the Suez Canal or take the far longer Cape of Good Hope passage, inflating transit times and costs for shipments bound for Asia and Europe. Oil exports from Saudi Arabia are now being sent around the Red Sea, bypassing the strait entirely. Svein Ringbakken, managing director of the Norwegian Shipowners’ Mutual War Risks Association, cautioned that even with ports operating at full capacity, clearing the backlog of oil, gas and other goods will take months. He added that repeated attacks on regional energy and transport infrastructure have compounded the problem. The International Energy Agency reports that more than 40 energy assets across the Middle East have suffered “severe or very severe” damage, prompting companies such as QatarEnergy, Kuwait Petroleum Company and Bahrain’s Bapco Energies to declare force majeure. Beyond the immediate loss of flow, the shutdown has disrupted exports of petrochemicals, fertilisers and raw materials essential for plastics production, further straining global supply chains. Industry leaders warn that the risk landscape has fundamentally shifted. SV Anchan, chairman of US‑based logistics group Safesea, highlighted the rise of asymmetric threats, including unmanned vessel attacks, which have already accounted for at least 18 confirmed assaults since the conflict began. “A full reopening will only bring normalcy after a sustained period of stability and credible security guarantees,” Anchan said. Insurance costs have exploded as a result. Marco Forgione of the Chartered Institute of Export & International Trade noted that hull and cargo premiums have surged up to 300 %, a pressure point that could force shipping firms to curtail operations if rates remain high. Oscar Seikaly, CEO of NSI Insurance Group, stressed that war‑risk coverage will only normalize when a “truly permanent” security solution is in place, not a partial one. Recent data from Lloyd’s List show that a few vessels have managed to obtain Tehran’s permission to transit, with one ship reportedly paying $2 million for the right to pass. Iranian lawmakers have also moved to formalise transit fees for the strait. Nick Marro, lead global‑trade analyst at the Economist Intelligence Unit, warned that the security guarantees demanded by shippers may be hard to meet, citing the volatile Red Sea experience where commercial traffic remains below pre‑2023 levels. Marro predicts that the Hormuz shutdown will accelerate a broader trend of route diversification, similar to the supply‑chain shifts triggered by the COVID‑19 pandemic. “Geopolitical uncertainty will become a permanent feature of risk management, not a temporary reaction,” he said. Seikaly echoed this outlook, suggesting that exporters will increasingly explore alternative corridors for strategic and political reasons, ultimately reducing traffic through the Strait of Hormuz over the long term.