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Ukraine war briefing: Death toll from strikes across Ukraine rises to 27; Russia shunned at Venice Biennale | Russia

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  • The death toll from Russian attacks throughout eastern Ukraine rose to at least 27 people on Tuesday, in one of the worst round of strikes so far this year. The deadly strikes came just hours before the deadline for a proposal from Kyiv for an open-ended ceasefire to begin at midnight. Ukrainian foreign minister Andrii Sybiha, writing in English on X, said: “With mere hours until Ukraine’s ceasefire proposal comes into force, Russia shows no signs of preparing to end hostilities. On the contrary, Moscow intensifies terror.”

  • In the south-eastern city of Zaporizhzhia, an attack by aerial bombs and drones killed at least 12 people, regional governor Ivan Fedorov said on Telegram. Three aerial bombs dropped on the frontline city of Kramatorsk killed six people, prosecutors in eastern Donetsk Region said on Telegram. In Dnipro, in south-eastern Ukraine, a Russian attack killed four, while a Russian overnight strike on the gas production facilities in the Poltava region killed five people, including one person in the neighbouring Kharkiv region.

  • Russia announced a ceasefire for 8-9 May to coincide with commemorations of the Soviet Union’s victory over Nazi Germany in the second world war and a military parade in Moscow’s Red Square. Ukraine, in response, announced a proposal for an open-ended ceasefire starting at midnight on Wednesday (2100 GMT), urging Russia to reciprocate.

  • Meanwhile a Ukrainian drone attack in Russian-occupied Crimea killed five civilians, the region’s Moscow-installed authorities said on Wednesday. “Unfortunately, as a result of the enemy UAV strike on Dzhankoi, there are civilian casualties – five people have been killed,” said Sergey Aksyonov, the region’s head.

  • The Venice Biennale has begun previewing its 61st edition, just days after the contemporary art show’s jury resigned over the participation of Israel and Russia. The Russian pavilion will only be open to visitors during previews that run through Friday and will not be open to the public after the biennale opens for a 6-month run on Saturday. The pavilion has organised a series of performers for this week, and had an open bar upstairs near a flowering tree. Curators were not available for interviews.

  • Russia’s opening cost the biennale 2 million euros ($2.3m) in EU funding over three years. The biennale has defended the decision, saying that any country with relations with Italy was free to open a pavilion, a position that has put it at odds with the government in Rome.

  • Ukrainian artist Zhanna Kadryova created “The Origami Deer” to take the place of a nuclear-capable Soviet fighter jet that had long stood in a park in Pokrovsk, in the Donbas region of Ukraine. Curators of the Ukrainian pavilion – its third since Russia’s 2022 full-scale invasion – evacuated the statue from the park in 2024, with the frontline just 5km (3 miles) away. Co-curator Ksenia Malykh fiercely opposed the biennale’s decision to allow Russia to open its pavilion, calling it “a false attempt to stay neutral”. “You can’t stay neutral in these times. You can’t be neutral when people are dying every day because of Russians,” Malykh said.

  • US secretary of state Marco Rubio spoke by telephone on Tuesday with Russian foreign minister Sergei Lavrov, according to the state department. The two, who spoke at Lavrov’s request, “discussed the US-Russia relationship, the Russia-Ukraine war, and Iran,” a state department spokesperson said.

  • Separately, the US state department approved the potential sale of Joint Direct Attack Munitions – Extended Range and related equipment to Ukraine for $373.6m, it said in a statement on Tuesday. The principal contractor will be Boeing Company, the state department added.

  • Two drones suspected of violating Finnish airspace at the weekend likely came from Ukraine, which is at war with Finland’s neighbour Russia, the Nordic nation’s border guard said on Tuesday. The drones entered Finland’s airspace from the south and flew towards the north-east into Russian territory, but where they ended up was unknown, the border guard said. The suspected airspace violations took place in the eastern Gulf of Finland, near Finland’s 1,340km (830-mile) border with Russia.



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    What we know so far about Bedford train crash

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    Two East Midland Railway trains crashed into each other, injuring dozens of passengers and crew.



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    David Guetta and Sia’s song Titanium got me through my fertility treatment | Dance music

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    At the end of 2011, party season was under way but I was in no mood for festivities. Two years into fertility treatment, my body was pumped full of synthetic hormones and felt like a pin cushion, while my head was filled with both the fragile hope of having a baby, and the exhaustion of failed clinical attempts to do so.

    I was in my late 20s. I met my husband when I was 22; we got married when I was 25. “I want to have kids young,” I’d told him. It was a feeling I’d harboured since my teenage years. But I’d also had the nagging sense that it might not come easily to me. As it turned out, my intuition was right. Approaching 28, I was a regular on the infertility merry-go-round.

    I was recovering from my second miscarriage that year when I heard Sia’s raspy voice on the car radio belting out words that sounded emotionally weighty for an electronic dance number – her David Guetta collaboration, Titanium.

    It’s not a song I would have necessarily rated or listened to again – I’m more likely to play 00s R&B and hip-hop – but it came at the perfect time in my life. I had forgotten how days felt before fertility drugs and the diarised cycles of administering them. I’d been constantly wearing a brave face and cramming in hospital appointments before and after work, going about my job through a fog of longing and hormones. It had left me in a “cry on the bedroom floor” kind of a heap. I needed something to drag the hope back into me.

    I turned the radio up and listened to the lyrics: “I’m bulletproof, nothing to lose / Fire away, fire away.” It felt as if it was talking to and about me, issuing a riposte to all those shots of disappointment that had been fired our way. As Sia’s vocals ascended through the chorus with Guetta’s soaring synths – “Ricochet, you take your aim” – I cried, but I felt myself gaining power with her, too. “You shoot me down, but I won’t fall / I am titanium.” Those were the words I needed to hear.

    I felt like a puppet pulled upright again. I streamed it on repeat in the days that followed. I might not have been able to face the work Christmas party but I wasn’t going to languish on the bedroom floor any more.

    Over the next months, I spent a lot of time in my car, travelling to work and to fertility appointments to get my blood tested, hormones measured or insides scanned. Listening to Titanium became routine. Each time, its cinematic surge had the same empowering effect and I’d turn up the volume, wind down the windows and defiantly sing along in my terrible voice so it could wash over me.

    The following May, when my husband and I headed to the clinic for another IVF embryo transfer, I let it motivate me; when we drove back from scans confirming we were six weeks, then 12 weeks pregnant, I celebrated with it. As I nervously made my way through my pregnancy, I turned to it when I needed the boost.

    In January 2013, our first son was born. Today, he is the eldest of three: his brother arrived 15 months later, via IVF too (the last of our fertilised embryos) and four years later, another brother, without fertility treatment. We consider ourselves unspeakably lucky; for many, the outcome is not the same.

    In our family, everyone knows Titanium is my fight song. It’s the only big commercial dance hit on my playlists, and a marker of something I overcame.

    My kids call me in whenever it streams or plays on TV. When I made my husband a playlist for our 15th wedding anniversary, it’s the song that represented our 2011. And the other week, when he was out with friends, he sent me a voice note from the bar: he’d recorded it playing in the background.

    There’s something all-consuming about fertility treatment: you view life only through the filter of your efforts to get pregnant. If you’re lucky, the filter lifts. It did for me, but the fight song remained. So, now, elsewhere in life, when I need a shot of strength and find myself alone in the car, down goes the window and on it goes.



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    Parents 'facing uncertainty' as SEN children left without school places

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    Amy Gibney says she is one of eight families at her child’s school to find out that they don’t have a place for next year.



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