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At a high‑profile meeting in Downing Street, Prime Minister Keir Starmer told senior executives from Meta, Google, TikTok, X and Snap that the status quo "can’t go on like this" and that immediate, tangible steps are needed to protect children online. Government ministers are now weighing a legal under‑16 age restriction for all social‑media platforms, alongside proposals to curb addictive design elements such as infinite scrolling, autoplay videos and push notifications. During the discussion, Starmer urged the tech leaders to act with "more urgency on internet safety for children" and warned that continued inaction places young users at risk. He emphasized that a world where access is limited but safety is ensured is preferable to one where "harm is the price of participation." While the companies present offered no comment, they have already rolled out a suite of child‑safety tools: Meta’s teen‑account option for users under 18, TikTok’s family‑pairing feature that lets parents set screen‑time limits, and compliance with the UK’s Online Safety Act. The legislation obliges platforms to suppress violent, hateful or abusive content and to keep explicit material, self‑harm, suicide and eating‑disorder content off children’s feeds. The government’s child online‑safety consultation has already attracted 47,000 responses. It explores a formal minimum age of at least 16, as well as restrictions on features that encourage endless usage. The consultation closes on 26 May, after which ministers have pledged “swift action” on the findings. In the House of Lords, a peer‑led amendment to the education bill seeks to introduce a default ban, giving ministers a 12‑month window to decide which apps fall under the age limit. Although MPs have rejected the amendment twice, Conservative peer John Nash is pressing to reinstate the clause. Starmer remains cautious about a blanket ban, fearing it could push teenagers onto the dark web or leave them ill‑prepared for responsible digital use at 16. Nonetheless, Australia’s recent nationwide ban has shifted the political calculus: more than 60 Labour MPs signed a letter in January urging the UK to follow suit. Child‑safety advocates are divided. The Molly Rose Foundation, founded after the tragic death of Molly Russell, warns that an under‑16 ban would punish children for industry failures and calls for stronger enforcement of the Online Safety Act instead. Conversely, Esther Ghey, mother of murdered teenager Brianna Ghey, and Children’s Commissioner for England Rachel de Souza support the introduction of smartphones for under‑16s with built‑in social‑media restrictions.

Israel has escalated its attacks on medical workers in Lebanon, with a recent 'quadruple tap' killing four medics and wounding six others. The attacks, which have been condemned by the Lebanese health ministry and the World Health Organization, have left healthcare workers in Lebanon feeling vulnerable and under attack.The 'quadruple tap' occurred when Israeli forces targeted an initial airstrike site, then hit the ambulances and medical workers who responded to the scene, and finally struck again twice more. This tactic has been criticized as a blatant violation of international humanitarian law, which protects medical workers and facilities.The Lebanese health ministry has accused Israel of deliberately targeting ambulance crews, stating that 'paramedics have become direct targets, pursued relentlessly in a blatant violation that confirms a total disregard for all norms and principles established by international humanitarian law.'The attacks have resulted in the deaths of 91 healthcare workers and the wounding of 214 others in Lebanon since the Israel-Hezbollah war started on March 2. The World Health Organization has called for the immediate protection of healthcare facilities, health workers, ambulances, and patients.The Israeli military has not provided justification for its repeated attacks on medical infrastructure and workers, apart from accusing Hezbollah of using ambulances and hospitals to transport fighters and weapons, without providing evidence for the claim.

Hull FC's fans and players came together in a heartfelt display of unity and support for coach John Cartwright following the team's loss to St Helens. The emotional show of solidarity came as Cartwright's future with the club hangs in the balance after a tumultuous 10 days.The match saw St Helens secure a 24-14 victory at the MKM Stadium, but the focus was on Cartwright as the game ebbed into its closing moments. The big screen inside the stadium panned to the coach, prompting a stadium-wide round of applause from the fans, despite Hull FC heading for a fifth league defeat in eight games.At full time, hundreds, if not thousands, of fans stayed to applaud Cartwright once again as he conducted his media duties. This display of unity from Hull FC's fans towards their coach mirrored the spirited performance from Cartwright's players on the field.The reason for such emotion was clear: this had all the hallmarks of Cartwright's last stand in charge of Hull after a tumultuous 10 days. The Black and Whites confirmed last week that Cartwright would leave at the end of the season, with the club already understood to have agreed a deal to bring in Steve McNamara next year.Cartwright responded on Monday by expressing his feelings of being 'betrayed and disrespected' by the club's lack of communication over that decision. With time to consider whether an early parting of the ways is the best course of action, Cartwright may have actually coached Hull for the final time.“I honestly don’t know,” Cartwright said when asked what happens next. “I’ll let the dust settle on that. I’ve got a couple of meetings early next week and then we’ll find out. They’re very passionate fans and they’ll have their opinion on something and they’ll make it known. It means a lot to me to see it.”Despite the loss, Hull were superb in the first half, leading 12-6 by the break thanks to tries for Logan Moy and Amir Bourouh. However, St Helens, led by coach Paul Rowley, showed their resilience and navigated an emotionally charged evening to go top of the table.The final act of this night belonged to Cartwright, who, after his media duties, walked down the tunnel with his players in one last show of unity. His players have displayed how they feel; now it is down to Hull’s hierarchy to show their hand.

President Donald Trump announced a 10‑day ceasefire for Lebanon on Thursday, a move hailed as urgently needed yet fraught with uncertainty. The pause follows a wave of Israeli attacks that, on "Black Wednesday," saw 100 strikes in ten minutes and left hundreds dead. Iran and Pakistan, acting as mediators, initially believed Lebanon fell under the scope of a prior U.S.–Israel–Iran truce. However, Israel’s subsequent offensive—including the destruction of the last bridge linking southern Lebanon to the rest of the country and a strike on a school—demonstrated a stark departure from that assumption. Casualty figures are grim: more than 2,100 people have been killed, among them at least 172 children, with thousands more injured. One in five Lebanese citizens are now displaced, many facing permanent uprooting as Israel reportedly erases entire villages, echoing tactics used in Gaza. Direct talks between Lebanon and Israel on Tuesday marked a "striking departure" from the conflict’s trajectory, but the Lebanese government does not control Hezbollah, the militant group driving much of the fighting. While Lebanon expelled Iran’s ambassador a month ago, the envoy remains in place, and Hezbollah did not block the recent negotiations. President Joseph Aoun rejected a U.S. request to speak directly with Prime Minister Benjamin Netanyahu, underscoring the limited scope of diplomatic outreach. The ceasefire’s durability is tightly linked to broader U.S.–Iranian discussions. Israel’s baseline demand remains the disarmament of Hezbollah, whereas Hezbollah insists on a full Israeli withdrawal. Netanyahu’s recent surprise visit to Lebanon’s south, where he pledged to expand a so‑called "buffer zone," signals a hard‑line stance that could jeopardize any lasting peace. Within Lebanon, public anger toward Hezbollah has surged after its rocket retaliation for the killing of Iran’s supreme leader ignited the war. Simultaneously, the relentless Israeli bombardment has eroded confidence in the Lebanese state, pushing vulnerable communities toward the militant group and deepening social fissures that harken back to the country’s civil‑war era. Internationally, even long‑standing allies of Israel, notably the United States, are expressing growing unease over the conduct of the campaign. Critics argue that any pause must be genuine and sustained, not a superficial lull that leaves civilians exposed to continued violence. The fragility of the current ceasefire is evident, especially as Israel continues strikes in Lebanon despite a prior truce and as its military actions in Gaza have already resulted in hundreds of Palestinian deaths.

The Scotland women's rugby team encountered significant contract uncertainty before their 2025 Rugby World Cup quarter-final appearance. According to former Scotland international Beth Blacklock, the situation was stressful for many players, with some having contracts that ended in October after the World Cup.In the lead-up to the tournament, talks took place between players and the Scottish Rugby Union (SRU). While 21 of the 32 players in the World Cup squad received contracts, 11 did not. Blacklock, who was one of the players without a new deal, described the process as 'difficult' to see teammates struggling with uncertainty.The SRU stated they engaged with the Scotland Women playing group over several months, including face-to-face and online meetings, to work through the contracting process ahead of the Rugby World Cup. Despite this, Rachel Malcolm, the Scotland captain, described the talks as 'disruptive' to their preparations.Blacklock, who has since retired from international rugby and is pursuing a career in data engineering and aviation, expressed excitement about the new era for Scottish women's rugby under coach Sione Fukofuka. She praised Fukofuka's organized plan and the team's potential for growth.The next significant test for the team will be their first standalone match at Murrayfield against the defending champions, England, with nearly 30,000 tickets sold.

Stella McCartney, a renowned luxury fashion designer known for her commitment to sustainability, has partnered with Swedish retail giant H&M; to launch a new eco-friendly clothing collection. The collaboration, set to hit stores in May, aims to make sustainable fashion more accessible to a wider audience. The collection includes a range of stylish pieces, such as a 'Rock Royalty' T-shirt (£37.99), a grey oversized pinstripe blazer (£259.99), and matching trousers (£139.99) made from wool that meets responsible wool standards. A vegan version of her iconic Falabella bag will also be available for £189.99, crafted from recycled polyamide to reduce dependence on fossil fuels. McCartney emphasized her desire to break down barriers in the fashion industry, stating, 'I hate how elitist the fashion industry is. I want a younger and wider audience to have access to my stuff.' The collection's focus on sustainability is reflected in its use of eco-friendly materials, such as beads made from 80% recycled glass and a python-effect jacket crafted from plastic derived from recycled vegetable oil and agricultural waste. While some critics have accused McCartney of 'greenwashing' by collaborating with a fast-fashion brand like H&M;, which produces 3 billion garments annually, McCartney defended her decision, saying it's better to 'infiltrate from within and have conversations with people who are like 'the devil' in a sense and then try to change them into a more conscious way of working.' This collaboration marks McCartney's second effort with H&M;, following a successful partnership 21 years ago. The collection's emphasis on transparency is evident in the swing tags on each piece, which will disclose the materials used. By working together, McCartney and H&M; aim to promote sustainable fashion practices and make eco-friendly clothing more mainstream.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.

Massive Attack has returned with their first single in a decade, 'Boots on the Ground', featuring the iconic voice of Tom Waits. The song is a seven-minute track that showcases the band's signature dark and experimental sound.The song's release marks a significant event in the music world, especially given Massive Attack's influential history in shaping the trip-hop genre with their debut album Blue Lines in the 90s. The band's music has since evolved to incorporate more abstract and disquieting elements, as evident in 'Boots on the Ground'.The track features a haunting intro and coda with Tom Waits's labored breathing, creating an unsettling atmosphere. Waits's vocals are unmistakable, and his presence elevates the song to a new level of intensity. The lyrics are surreal and disturbing, tackling themes of violence and authority.The song's accompanying video features the work of a documentary photographer, showcasing powerful images of Black Lives Matter protests, ICE raids, and homeless veterans. This visual component adds to the song's impact, making it a thought-provoking and timely release.'Boots on the Ground' is a fitting addition to Massive Attack's discography, reflecting the band's continued ability to push boundaries and create music that resonates with the current times. The song's dark and ominous tone, combined with Tom Waits's haunting vocals, makes it a standout track in the band's oeuvre.

The creation of the soundtrack for the film 'Mother Mary' was a collaborative effort between director David Lowery, actress Anne Hathaway, musician FKA twigs, and producers Charli xcx and Jack Antonoff. The film, which explores the story of a fictional pop star, required a soundtrack that captured the essence of 21st-century pop music.Lowery spent time studying the music of the last 25 years, including artists like Taylor Swift, Lorde, and FKA twigs, who appears in the film as a medium named Imogene. As the film's story emerged, Lowery's musical influences shifted towards artists like James Blake and Aldous Harding, who better captured the emotional tone of the film.Anne Hathaway, who plays Mother Mary, had a background in theater and had won an Oscar for her performance in the musical Les Misérables. However, the recording process for 'Mother Mary: Greatest Hits' was a new experience for her. She spent time with Jack Antonoff to record the soundtrack, exploring her vocal range and learning about production. She even changed minor lyrics to better fit her character.FKA twigs contributed to the soundtrack with her song 'My Mouth Is Lonely for You', which was not included in the final film but showcased her ability to create shimmeringly erotic and captivating music. Her other contribution, an ethereal song, was used in a scene featuring the dress Mother Mary requires from her former friend and designer, Sam.The soundtrack, 'Mother Mary: Greatest Hits', paints a uniform portrait of a 21st-century pop star with a cult-like following and avant-garde fashion sense. The music and performance footage have been acclaimed, with Hathaway and twigs delivering standout performances.Hathaway describes Mother Mary as a pop star who embodies a type of stardom that is neat, perfect, and huge, with a mass appeal that is slightly glossier than what twigs and xcx have experienced. The film implies that Mother Mary's fandom is attracted to her ecstasy and vulnerability, with fans feeling safe around her and seeking a motherly figure.