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Peter Whelan and the Irish Baroque Orchestra have returned Handel’s Messiah to Dublin, the city of its 1742 debut, with a landmark recording that is the first period‑instrument rendition by an Irish ensemble. The project seeks to echo the original performance at the Fishamble Street music hall, where audience etiquette was so strict that women were asked to forgo hoop skirts and men to leave their swords at home.The album features a cast of historically informed singers. Helen Charlston delivers the contralto arias once associated with the scandal‑ridden Susannah Cibber, her voice described as firm, slightly metallic and unflaggingly expressive. A rare duet‑and‑chorus version of “How Beautiful Are the Feet,” originally written for two Dublin cathedral countertenors, showcases Alexander Chance in buoyant form, while soprano Hilary Cronin provides a sweet‑sounding contrast.Whelan draws a fleet‑footed performance from a modest 13‑member choir and the orchestra, resulting in vocal lines that are light, precise, and at times almost conversational. Formerly a bassoonist with the orchestra, Whelan is poised to succeed Nicholas McGegan as music director of San Francisco’s Philharmonia Baroque, cementing his status as a rising star in the baroque world.Listeners can stream the recording on Apple Music or Spotify.

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 latest Supergirl trailer has generated significant buzz, hinting at a fresh take on the iconic DC character. Director Craig Gillespie has revealed that the film will feature a nine-world structure and a considerable amount of planet-hopping, setting it apart from previous superhero films.Building on the success of James Gunn's Superman, which offered a unique twist on the Man of Steel, Milly Alcock's Kara Zor-El is poised to bring a new level of excitement to the DC Universe. The trailer showcases Alcock's character navigating alien landscapes and battling foes with a swagger reminiscent of a cosmic gunslinger.What sets this film apart is its exploration of Kara's vulnerabilities when she's away from Earth's yellow sun. In the comic book series Supergirl: Woman of Tomorrow, Kara encounters a world under a green sun that drains her powers, making her physically ill. This element could add a layer of complexity to the story, as Kara searches for an antidote across multiple planets.The film's setup has a video-game-like quality, with Kara's power levels potentially fluctuating as she navigates different environments. This mechanic could sharpen the drama and create a sense of tension, as Kara faces challenges that test her abilities.While there are risks involved in this bold new direction, the prospect of seeing a more vulnerable and dynamic Supergirl on the big screen is an intriguing one. As the DC Universe continues to evolve, fans are eager to see how this new take on a classic character will unfold.

Marks & Spencer has formally urged the UK government and London’s mayor to intensify efforts against retail crime, describing the problem as “more brazen, more organised and more aggressive” following a noticeable surge in shoplifting and violent incidents at its stores.Chief executive Stuart Machin addressed a letter to Home Secretary Shabana Mahmood, while retail director Thinus Keeve wrote to Mayor Sadiq Khan, both demanding additional police resources to target repeat offenders and crime hotspots.Keeve detailed recent attacks on the M&S website, noting that “in the past week alone we have had gangs forcing open locked cabinets, stripping shelves, two men emptying steak displays, a large group ransacking a store and assaulting a security guard, a colleague head‑butted while trying to defuse a situation, and another hospitalised after ammonia was thrown in their face.”He warned that the situation is “worse in London, but it is happening across the country, and it is becoming routine, because it seems there are no consequences.”Police responded to reports of antisocial behaviour in Clapham, south London, where “several hundred young people” gathered after coordinating via TikTok and Snapchat. About 100 officers were deployed, fires were lit on Clapham Common and fireworks set off, and six teenage girls were arrested for incidents “fuelled by online trends”. Five people, including four officers, were assaulted.Mayor Khan condemned the Clapham events as “utterly unacceptable”, pledging that “the culprits will face the full force of the law” and that police are working with social‑media platforms to curb viral content that encourages theft and violence.According to Keeve, the UK recorded roughly 5.5 million shoplifting incidents last year, not counting the “vast number that go unreported”. He added that “every day, more than 1,600 retail workers face violence or abuse,” characterising the trend as systemic and worsening.External affairs head Adam Hawksbee told BBC Radio 4’s Today programme that the rise in retail crime is affecting staff morale, with employees “worried about coming into work and nervous about the journey home.”Office for National Statistics data show that shoplifting offences in England and Wales rose to 519,381 in the year to September 2025, a 5% increase from the previous year’s 492,660, and remain just below the record 530,439 offences recorded in the year to March 2025.Keeve concluded that “without a government seriously cracking down on crime and a mayor that prioritises effective policing we are powerless. We need a stronger, faster and more consistent police response, using tools that already exist to target repeat offenders and crime hotspots, and far greater transparency on crime so the true scale and impact is understood.”

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?

Human Rights Watch (HRW) released a comprehensive report titled None Can Run Away, concluding that Burkina Faso’s military, its allied Volunteers for the Defence of the Homeland (VDPs), and the al‑Qaeda‑linked Jama’at Nusrat al‑Islam wa al‑Muslimin (JNIM) have perpetrated war crimes and crimes against humanity since the coup that brought the junta to power in September 2022. Through in‑person and telephone interviews with more than 450 witnesses across Burkina Faso, Benin, Ivory Coast, Ghana and Mali, HRW verified 57 distinct incidents involving wilful killing, attacks on civilians and civilian objects, pillage, looting, and forced displacement. The report estimates that 1,837 civilians were killed between January 2023 and August 2025, with over 1,200 deaths directly linked to government forces. The United Nations estimates that the conflict has displaced approximately two million people, underscoring a humanitarian crisis of regional magnitude. Among the deadliest attacks, the military and VDP militias slaughtered more than 400 civilians across 16 villages near the northern town of Djibo in December 2023. In November 2023, allied militias killed 13 Fulani civilians—including six women and four children—in the western village of Basse, employing methods described by survivors as “blindfolded, hands tied, and riddled with bullets.” JNIM’s own atrocities were highlighted by the August 24, 2024 massacre in Barsalogho, where at least 133 civilians, many of them children, were shot indiscriminately. HRW’s findings point to a systematic targeting of the Fulani ethnic group, whom the junta accuses of supporting armed insurgents, resulting in what the report characterises as an ethnic cleansing of entire communities. HRW calls for urgent investigations into President Ibrahim Traoré, the supreme commander of the armed forces, and six senior military commanders for “grave abuses.” The organization also urges scrutiny of Iyad Ag Ghaly, JNIM’s supreme leader wanted by the International Criminal Court, and four of his commanders under the principle of command responsibility. “The scale of atrocities taking place in Burkina Faso is mind‑boggling, as is the lack of global attention to this crisis,” said Philippe Bolopion, executive director of HRW. “The junta is committing horrific abuses itself, failing to hold those responsible on all sides to account, and curtailing reporting to obscure the suffering of civilians caught in the violence.” Survivors recount harrowing details: a 41‑year‑old father described his son’s body “shot in the back of the neck,” while a 39‑year‑old witness to the Barsalogho attack said, “People were falling like flies. They came to exterminate us. They did not spare anyone.” These revelations amplify calls from the international community for accountability and for renewed humanitarian assistance to the millions displaced by the protracted Sahel conflict.

Despite a United Nations-led ceasefire in Yemen, which largely reduced hostilities four years ago, nearly 1,200 children have been killed or injured due to shelling, gunfire, landmines, and other explosive remnants of war. According to Save the Children, since the truce brokered on April 2, 2022, at least 339 children have been killed and 843 injured, with some suffering life-altering injuries.The United Kingdom-based humanitarian organization found that 511 child casualties, nearly one in two, were due to landmines and explosive remnants of war. Data from the Civilian Impact Monitoring Project (CIMP) suggested that children were more than three times more likely than adults to be killed or injured by explosive remnants. Save the Children attributed this to a lack of mine risk awareness and increased exposure due to child labor.“These figures are a reminder that beyond the front lines, the war on children continues in their homes, schools and areas where they play and help their families tend to land,” said Rishana Haniffa, Save the Children’s country director in Yemen. “Amid escalating wider regional tensions, there is a real risk of triggering a wider confrontation in Yemen and the Red Sea that could undermine hard-won progress to reduce armed violence in the country in the past four years, exposing children to even more harm.”The conflict in Yemen has also led to significant psychological distress in children, with blast injuries causing permanent disabilities, including injuries to the spine, amputation of limbs, and loss of sight and hearing. Children have experienced difficulty sleeping, daily fear, and anxiety, with some, like Kamal, undergoing life-changing surgery.

NASA's Artemis II space mission has successfully launched from Florida, embarking on a historic journey around the moon with four astronauts on board. This mission marks a significant milestone in the United States space agency's plan to return humans to the moon and eventually send astronauts to Mars.The 32-storey rocket rose from NASA's Kennedy Space Center in Cape Canaveral, where tens of thousands gathered to witness the liftoff. The Artemis II crew, consisting of NASA astronauts Reid Wiseman, Victor Glover, and Christina Koch, and Canadian Space Agency astronaut Jeremy Hansen, are set for a nearly 10-day journey around the moon and back.“On this historic mission, you take with you the heart of this Artemis team, the daring spirit of the American people and our partners across the globe, and the hopes and dreams of a new generation,” said Charlie Blackwell-Thompson, the launch director. “Good luck, Godspeed Artemis II. Let’s go.”During the mission, the astronauts will spend the first one to two days in high Earth orbit carrying out extensive systems checks. They will then perform a critical engine burn known as translunar injection, which will send the spacecraft out of Earth's orbit and onto a trajectory towards the moon.The journey will take several days, during which the crew will continue monitoring spacecraft systems as they travel farther from Earth. Orion will then fly behind the moon on a free-return trajectory, a path that naturally swings the spacecraft back towards Earth using the gravity of both the moon and Earth, with minimal fuel required.After the lunar flyby, the crew will spend several days traveling back to Earth while carrying out additional deep-space tests on power systems, thermal controls, and crew operations. As Orion approaches Earth, the capsule will re-enter the atmosphere at speeds of about 40,233km per hour (25,000 miles per hour), before splashing down in the Pacific Ocean, where recovery teams will retrieve the crew.

Spain's coastal towns are taking proactive measures to prepare for tsunamis, a threat that has been historically underestimated. The town of Chipiona, located on the Atlantic coast, has become Spain's first 'tsunami-ready' community, recognized by the Intergovernmental Oceanographic Commission (IOC) of UNESCO in 2024. Chipiona's mayor, Luis Mario Aparcero Fernández, emphasizes the importance of public awareness and education in tsunami preparedness. The town conducts annual evacuation drills, and information boards have been installed to inform residents and tourists about what to do in case of a tsunami. The town's tsunami-ready status is part of a larger regional goal to establish 25 tsunami-ready communities by the end of this year and prepare all communities at risk by 2030. Jorge Macías, a tsunami modeller at the University of Málaga, stresses that preparedness is key, as the Mediterranean will experience a tsunami of at least a metre in height in the next 30 to 50 years with '100% certainty'. Spain's national tsunami warning system can detect an offshore earthquake and compute an initial assessment within three to five minutes. However, in the Mediterranean, this may leave only minutes to evacuate. Juan Vicente Cantavella, the director of the National Tsunami Warning System in Spain, notes that tsunami wave height is often underestimated, and even small waves can cause significant damage. Despite progress in some areas, much of the Costa del Sol remains in the earlier stages of planning, with sparse public signage and unclear evacuation routes. Miriam García, a geomorphologist and urban planner, highlights the vulnerability of Spain's Mediterranean coast, which was built without considering tsunami risks. The article concludes that preparedness is not about predicting the day and time of a tsunami, but about choosing not to be surprised when nature eventually repeats what history and geology say it will.