one of the most powerful hurricanes ever to hit the us state of louisiana is moving inland, flooding coastal areas and cutting power to all of new orleans. one person is reported to have died after being hit by a tree. resident biden has dictated a major disaster. —— declared it stop american military officials say they're confident say they're confident that an air strike on a vehicle in the afghan capital kabul hit its intended target — a suicide bomber who was about to attack the airport. police in central athens have used tear gas to disperse thousands of people protesting against mandatory covid—19 vaccinations. the government has suspended holiday leave for all healthcare workers from next month, when the new measure comes into effect.

now on bbc news, hardtalk. welcome to hardtalk, with me stephen sackur. today i am in the rural east of england in the rural east of england in the studio of one of the country? leading painters and sculptors, maggi hambling. her work has defied convention. she has one international acclaim and stirred plenty of controversy as well. so how has her creativity evolved over six decades? maggi hambling, welcome to hardtalk. ., maggi hambling, welcome to hardtalk.- let - maggi hambling, welcome to hardtalk.- let me - maggi hambling, welcome to hardtalk.- let me ask| maggi hambling, welcome to -

hardtalk.- let me ask you hardtalk. hello. let me ask you about this location. _ hardtalk. hello. let me ask you about this location. many - about this location. many people around the world would associate you with central london, a bohemian side of the city but in recent years you have been doing your work in the middle of the suffolk countryside. has it changed the way you work and what you do? not at all. way you work and what you do? not at all-— not at all. even though the atmosphere _ not at all. even though the atmosphere is _ not at all. even though the atmosphere is so _ not at all. even though the atmosphere is so very - atmosphere is so very different?— atmosphere is so very different? ., ., ., , different? not at all. i still aet u- different? not at all. i still get up at _ different? not at all. i still get up at five _ different? not at all. i still get up at five in _ different? not at all. i still get up at five in the - different? not at all. i still. get up at five in the summer and six in the winter and come into the studio and make a drawing and get going. if i stayed in bed, i would just worry about everything so it is far better to be up and at it. i suppose what is missing here is the community, the people, the buzz but you did not miss it? ., ., , ., it? you have the buzz of the bees and — it? you have the buzz of the bees and the _

it? you have the buzz of the bees and the birds, - it? you have the buzz of the bees and the birds, peoplel it? you have the buzz of the - bees and the birds, people buzz by. not during the morning, they are not allowed to come. you sound even now very disciplined about your work. the early start, the determination to work every day. is it discipline and work ethic really central to you? yes, i am very boring. i am a total workaholic. yes, i am very boring. i am a totalworkaholic. i yes, i am very boring. i am a total workaholic. i never go on holiday and i get a bit potty than ever if i don't do it for a day and a half. i5 than ever if i don't do it for a day and a half.— a day and a half. is it true that the _ a day and a half. is it true that the first _ a day and a half. is it true that the first thing - a day and a half. is it true that the first thing you . a day and a half. is it true that the first thing you do j that the first thing you do everybody is drop left—handed even though you are right—handed? even though you are right-handed?- even though you are right-handed? even though you are riaht-handed? , ., , right-handed? yes, i do. i use m left right-handed? yes, i do. i use my left hand — right-handed? yes, i do. i use my left hand and _ right-handed? yes, i do. i use my left hand and other- right-handed? yes, i do. i use my left hand and other things| my left hand and other things can happen with the left hand. these hand, after all these years, since the age of ia, is full of tricks but this had

something could happen, something could happen, something i did not know about. that sounds almost incomprehensible but when you start to draw with your left hand, you are not quite sure where it is going? exactly so. let's talk about your bike and i want to begin with your most recent work because you have could denude painting right through lockdown and you even had a show in lockdown and you are still at it every day. has what has happened to the world in the last year and a half affected the subject matter? well, at the beginning of lockdown, i made a self portrait, angry, because a lot of plans were up in the air. i was going to show in new york and one thing and another and a lot of people felt angry and suddenly things stopping but

then, it was marvellous, there were no air planes, not much traffic, you could hear the birds and it was a very good not having to see people one did not want to see. 50 not having to see people one did not want to see.- did not want to see. so less anuer did not want to see. so less anger new? _ did not want to see. so less anger now? i _ did not want to see. so less anger now? i think- did not want to see. so less anger now? i think anger i did not want to see. so less anger now? i think anger is | anger now? i think anger is cuite a anger now? i think anger is quite a good _ anger now? i think anger is quite a good thing, - anger now? i think anger is quite a good thing, anger. anger now? i think anger is | quite a good thing, anger is energy, and about things that are happening in the world, thatis are happening in the world, that is all part of it. i are happening in the world, that is all part of it.- that is all part of it. i do want to _ that is all part of it. i do want to talk _ that is all part of it. i do want to talk about - that is all part of it. i do want to talk about the l that is all part of it. i do i want to talk about the way that is all part of it. i do want to talk about the way the world is going and your view of it. i am strike by your recent work, these portraits of animals and, if one is honest, you look at the elephant, the bear, they all look pretty miserable and i was wondering if that is a reflection of your view of where our planet is going, where the environmental challenges we face are going? do you feel somewhat despairing

of the state our planet is in? i am pretty much in anger and despair, yes. the sequence of events, following the many waves of the north sea that i painted, then came the walls of water in response to this huge storm that happened further up the coast, and the terrifying — they were beautiful and terrifying at the same time — that was nature answering us back. the little seawall seem to be made of the finest china about to be smashed to bits. and then the icecap melting paintings, and the icecaps melting lead to the animals and what we're doing to animals. are these two works behind you,

part of that sequence? yes. are these two works behind you, part of that sequence?— part of that sequence? yes, i do not know _ part of that sequence? yes, i do not know if— part of that sequence? yes, i do not know if they _ part of that sequence? yes, i do not know if they are - do not know if they are finished yet but they are part of the icecap melting. we are destroying everything, aren't we? , ., we? do you feel it is that bad? i feel it in _ we? do you feel it is that bad? i feel it in my _ we? do you feel it is that bad? i feel it in my bones. _ we? do you feel it is that bad? i feel it in my bones. when - we? do you feel it is that bad? | i feel it in my bones. when you call part of the series, the edge, you feel we are how close to that edge?— to that edge? maybe not in my lifetime but, _ to that edge? maybe not in my lifetime but, i— to that edge? maybe not in my lifetime but, i mean, - to that edge? maybe not in my lifetime but, i mean, your- lifetime but, i mean, your grandchildren grandchildren ever going to see a tiger and the rest of it? we're our best to make a hash of everything, it seems. to make a hash of everything, it seem-— to make a hash of everything, it seems. ., ~ i. . ~ it seems. let me take you back a little bit. _ it seems. let me take you back a little bit, you _ it seems. let me take you back a little bit, you grew _ it seems. let me take you back a little bit, you grew up - it seems. let me take you back a little bit, you grew up in - a little bit, you grew up in suffolk so in a sense you have come home. i was going to say you are not from an artistic family but it turns out you

were, yourfamily family but it turns out you were, your family actually proved to be a very talented painter but when you were a girl at first introduced to painting, no idea your dad was quite gifted?— quite gifted? no, it all started _ quite gifted? no, it all started at _ quite gifted? no, it all started at school- quite gifted? no, it all started at school when quite gifted? no, it all. started at school when i quite gifted? no, it all- started at school when i was 14 started at school when i was ia and there was an art exam and i did nothing but flick paint people generally drew attention to myself because i was deeply in love with the biology mistress who was modulating the exam and i saw the clock and it was 20 past three and i knew that at 330 i had to hand in a painting and so i did what and when results came in, i was a type of art and i thought, this is with looking into. i don't have to try, i am good at it. that it started then and then i went onto my first oil painting. i went to the edge of

hadley. painting. i went to the edge of hadle . . ., painting. i went to the edge of hadle . . . ., , hadley. cedric and lead became real mentors. _ hadley. cedric and lead became real mentors. absolutely. - hadley. cedric and lead became real mentors. absolutely. he i real mentors. absolutely. he said the most _ real mentors. absolutely. he said the most important - real mentors. absolutely. he| said the most important thing anyone has ever said to me, you must make your bike your best friend. in other words, you can go to it with whatever you're feeling, tired, bored, randy, no matter what you're feeling go to and have a conversation with her. ., , go to and have a conversation with her-— with her. that is the mantra that has stuck— with her. that is the mantra that has stuck with - with her. that is the mantra that has stuck with you - with her. that is the mantra that has stuck with you your entire career. i don't want to sound like a cod psychologist but let me propose to you i thought which is that you have been frank about your family life being somewhat unusual and somewhat difficult in that by the time you came along, your father was actually bisexual and really was more interested in homosexual relationships and you have always said that painting for us about truth and

honesty so i am wondering whether actually turning to painting and giving yourself to painting and giving yourself to painting is your bait i'm getting to the truth that wasn't really there in your family? wasn't really there in your famil ? ., , wasn't really there in your famil ? . , , family? that is absolutely ri . ht. family? that is absolutely ritht. i family? that is absolutely right. i bedroom - family? that is absolutely right. i bedroom becamel family? that is absolutely i right. i bedroom became my studio and i tried to get at the truth because the rest of life was more of a sherrard and the undercurrent going on when ever spoken about. —— a charade. i ever spoken about. -- a charade— ever spoken about. -- a charade. . . ., charade. i am aware looking across at — charade. i am aware looking across at this _ charade. i am aware looking across at this amazing - charade. i am aware looking| across at this amazing studio space, a painting you did of yourfather space, a painting you did of your father and space, a painting you did of yourfather and now, at the other end of your career, as you look back... i other end of your career, as you look back. . ._ you look back... i am not at the end _ you look back. .. i am not at the end of— you look back... i am not at the end of my _ you look back... i am not at the end of my career, - you look back... i am not at the end of my career, do i you look back... i am not at| the end of my career, do you mind? i the end of my career, do you mind? ., , the end of my career, do you mind? . , , ., the end of my career, do you mind? . , ,, i. mind? i am very young. in your extremely _ mind? i am very young. in your extremely active _ mind? i am very young. in your extremely active and _ mind? i am very young. in your extremely active and busy i mind? i am very young. in your extremely active and busy but i extremely active and busy but you are an experienced painter now with insight into yourself

and there is your father and i am wondering whether in retrospect you discovered you had a real painting talent,... yes, yes, he was always behind the daily telegraph. my mother was mother and father to me. then when i left, i had a lot of oil paint he retired from the bank at xt and said sadly one morning, he started to paint. ——60. it brought us together and we loved each other very much. let together and we loved each other very much.— together and we loved each other very much. let me ask about budget _ other very much. let me ask about budget painting. i other very much. let me ask about budget painting. you i other very much. let me ask. about budget painting. you had portraits famous around the world of very celebrated

people, artists, even sportspeople like andy murray, michaeljackson, you painted. is there something about every portrait you do that is common to them all, awake you're looking at that person? well, i mean, it looking at that person? well, i mean. it is _ looking at that person? well, i mean, it is the _ looking at that person? well, i mean, it is the same _ looking at that person? well, i mean, it is the same for- mean, it is the same for everything i'm trying paint. i try to empty myself so that the truth can come through me into the drawing or into the painting and it is the truth of the person in front of me, this period. do not to worry about like this, like this just happens. but i try to paint the spirit of the person. if i was painting you, for instance, the spirit comes through the floor into me and into the campus. [30 into me and into the campus. do ou into me and into the campus. do you have to like to paint them? well, i did turn down painting mrs thatcher, for instance. you

felt ou mrs thatcher, for instance. you felt you could _ mrs thatcher, for instance. you felt you could not _ mrs thatcher, for instance. you felt you could not get _ mrs thatcher, for instance. you felt you could not get deep into her? aha, felt you could not get deep into her?— felt you could not get deep into her? �* ., ~ ., ., ., into her? a work of art has to be a work _ into her? a work of art has to be a work of _ into her? a work of art has to be a work of love _ into her? a work of art has to be a work of love and - into her? a work of art has to be a work of love and love i into her? a work of art has to be a work of love and love is | be a work of love and love is not something i felt for mrs thatcher so i said, no. interesting. so in a sense, if we look at your portraiture and there are so many, it is a connection that you have had with all these people? that has to be a kind _ with all these people? that has to be a kind of— with all these people? that has to be a kind of rapport. - with all these people? that has to be a kind of rapport. you i to be a kind of rapport. you are also _ to be a kind of rapport. you are also very _ to be a kind of rapport. you are also very well-known i to be a kind of rapport. you are also very well-known - | to be a kind of rapport. you are also very well— known — and are also very well—known — and this is perhaps difficult to get into, — but for painting death and indeed i think i am right in saying you painted your mother right after she had died, you have painted others in death as well.— in death as well. yes, george said i would _ in death as well. yes, george said i would go _ in death as well. yes, george said i would go down - in death as well. yes, george said i would go down in i in death as well. yes, george said i would go down in art i said i would go down in art history as maggi hambling

coffin. when somebody is lying in the coffin, my mother, my father, it is the last time you're going to see them before they go down there so it is obvious to make a drawing. but it is not necessarily a time where you feel like working? it is a sort of work as well as an act of love?— act of love? well, it is the last time _ act of love? well, it is the last time you _ act of love? well, it is the last time you see - act of love? well, it is the last time you see the i act of love? well, it is the i last time you see the person and this whole thing about death, if you love someone, for anyone, they go on and being alive in side of you, don't they. alive in side of you, don't the . ., , they. tell me about the shift of bein: they. tell me about the shift of being a — they. tell me about the shift of being a pure _ they. tell me about the shift of being a pure painter i they. tell me about the shift of being a pure painter to i they. tell me about the shift| of being a pure painter to and embracing sculpture as well. why did you move in that direction?— why did you move in that direction? ~ ., , direction? well, i was painting a painting _ direction? well, i was painting a painting which... _ direction? well, i was painting a painting which... it - direction? well, i was painting a painting which... it was i a painting which... it was during the laugh painting, which i painted in the 90s when

everything was doom and gloom and thatcher. and the paintings were becoming more and more like an object in space. an image of an object in space and so, being rather slow coming from suffolk, i realised i should be making the things rather than making them. and quite often, i could be working on a painting for quite a while and realised it was a sculpture and realised it was a sculpture and vice—versa. things are very funny. and vice-versa. things are very funn . �* , ., and vice-versa. things are very funn . �* y., and vice-versa. things are very funn . �* ., ., and vice-versa. things are very funn .�* ., ., , funny. and you took on a very ublic funny. and you took on a very public commission, _ funny. and you took on a very public commission, a - funny. and you took on a very i public commission, a monument stroke statute commission and in central london you did an intriguing public sculpture celebrating oscar wilde, you took on a commission to celebrate theirjoint... took on a commission to

celebrate theirjoint. .. celebrate their “oint. .. that was not a h celebrate theirjoint. .. that was not a commission, i celebrate theirjoint. .. that was not a commission, the| celebrate theirjoint... trust was not a commission, the oscar wilde was a commission but scallop on aldeburgh beach... that is this extraordinary four ton of steel, and elaborate scallop shell shape right on the shingle beach.- scallop shell shape right on the shingle beach. yes, it is shattered — the shingle beach. yes, it is shattered scallop. _ the shingle beach. yes, it is shattered scallop. i- the shingle beach. yes, it is shattered scallop. i think i shattered scallop. i think benjamin took classical music and rang by the neck and reinvented it so it is a shattering scallop shell but a friend of mine did come and said, i thought there was going to be a statue of him and i thought you were going to do it. and i said, vanessa, you up potty than ever because i remember about five years earlier, they had been something in the newspapers

about aldeburgh not wanting a sculpture of him so i started to make a my cat and the whole floor was covered in bits and all the rest of it and then, various people came to see it, including some in loftus, the chairman of aldeburgh brewery at the time and he liked it very much and said we will have to get some money together and make it and so we work together and i began to make see paintings and i showed the see paintings, 200 quid went every time one salt towards this culture and so people gave money and so it wasn't commissioned... what i was getting too was that exposed you to a new level of sort of public scrutiny, because these are extremely well—known pieces that you are putting on very public place is theyjust putting on very public place is they just sit there forever,

and people take a very strong view, both for and against. and for an artist, i wonder what it is like when, for example, the good old scholar shell has a petition against it in the community of aldeburgh, and hundreds of people are saying get rid of it, as an artist, what does that feel like? well... you know, you make a thing, in the studio and it goes out into the world, and thenit goes out into the world, and then it is up to the world how then it is up to the world how the world responds, you know? does it make you angry? imelt the world responds, you know? does it make you angry?- does it make you angry? well i was rather. _ does it make you angry? well i was rather, i _ does it make you angry? well i was rather, i thought _ does it make you angry? well i was rather, i thought scholar i was rather, i thought scholar was rather, i thought scholar was one of the more beautiful things i have managed to make, —— scallop. the first time there was graffiti on it, boring, boring stuff. ie there was graffiti on it, boring, boring stuff. 13 times it not boring, boring stuff. 13 times it got graffiti. _ boring, boring stuff. 13 times it got graffiti. 13 _ boring, boring stuff. 13 times it got graffiti. 13 times, i boring, boring stuff. 13 times it got graffiti. 13 times, yes. | it got graffiti. 13 times, yes. i it got graffiti. 13 times, yes. i thought — it got graffiti. 13 times, yes. i thought if _ it got graffiti. 13 times, yes. | thought if | _ it got graffiti. 13 times, yes. i thought if i wanted - it got graffiti. 13 times, yes. i thought if i wanted graffiti | i thought if i wanted graffiti on it i would have put it on in

the first place. i was a bit hurt at first, and then ijust got someone from aldeburgh to clean it off, he wasn't... you know. i don't set out to be controversial, i try to make something pure actually. but it shows it has a bit of life to it if people respond in this way. it if people respond in this wa . ~ . , , ., way. which brings me to the latest very — way. which brings me to the latest very public _ way. which brings me to the latest very public work. i i latest very public work. i thought you might get around to that. �* , . thought you might get around to that. �* , ,, , ., ., that. laughs. it is again, fascinating _ that. laughs. it is again, fascinating to _ that. laughs. it is again, fascinating to see - that. laughs. it is again, fascinating to see the i fascinating to see the reaction. you did this statue, or a monument, a celebration of a life of mary wollstonecraft, one of the earliest sort of feminist writers, women's rights writers, and it is in north london, and a lot of women don't like it. ifocus on the women who don't like it

because they are saying, why are you put this statue together with a sort of every woman figure at the top of it, who is naked, and... they don't understand that, and i am just wondering what your response has been. i wondering what your response has been. . , , wondering what your response has been-— has been. i was very surprised at the response _ has been. i was very surprised at the response of _ has been. i was very surprised at the response of the - at the response of the feminists. i mean, don't they have bodies? one asks oneself, don't they have bodies? the idea is that that riding form out of which rises this really tiny figure of a woman are challenging the world. that was very annoying in the newspapers, they only ever reproduced the figure of the women, which was very irritating. but well. one reaction. _ irritating. but well. one reaction, of _ irritating. but well. one reaction, of one - irritating. but well. one reaction, of one woman j irritating. but well. one i reaction, of one woman writer is, "just think about, for example, a celebratory statue of winston churchill, which

portrayed him as some sort of sexy naked young man, can you even imagine it". the sexy naked young man, can you even imagine it".— even imagine it". the point is this statue — even imagine it". the point is this statue is _ even imagine it". the point is this statue is for _ even imagine it". the point is this statue is for mary - this statue is for mary wollstonecraft, not of worry —— mary wollstonecraft. ok? it is for her spirit, the ongoing battle that women have everywhere. and it is for mary, it is the spirit of mary wollstonecraft. i am not interested in making historical statue of mary wollstonecraft in some old frock holding a book or something like that. what is the point? people just think oh, that is another historical statue, you know. i mean, i wanted to speak to people now. mean, i wanted to speak to people now-— people now. that is very interesting, _ people now. that is very interesting, you - people now. that is very interesting, you are i people now. that is very interesting, you are so l people now. that is very i interesting, you are so keen to be in the now, because the now, in the art world, is full of discussion about whether there

is, in essence, an attempt to sort of... make art adhere to view of the world which is progressive, liberal, you know, this word which so many were —— people use now, woke. i wonder whether as an artist you feel there are constraints, unspoken constraints... i there are constraints, unspoken constraints. . ._ constraints... i can't be doing with constraints. _ constraints... i can't be doing with constraints. life - constraints... i can't be doing with constraints. life dictatesj with constraints. life dictates what i paint. if you ask me what i paint. if you ask me what i paint. if you ask me what i will be painting in six months, i couldn't answer you. because i don't know what might happen, somebody might die, or like that plenty of mine, gulf women prepare for war, done in the 80s, it was four years before the gulf war happened. but i saw this shocking image in the newspaper, it was a black—and—white image of these women which seemed to be, to my

view then in the 80s, biblical costume. i mean you see a lot of people around now like that, but then you didn't. and the shock of this image of these women dressed... dressed in biblical costume practising with rocket launchers in the middle of the desert was a very shocking image. and so it demanded, i made a painting of it. and you know, things happen, and i respond to them. so i suppose my question is, do you think we are... culturally more timid today? i you think we are. .. culturally more timid today?— you think we are... culturally more timid today? i think so, es, more timid today? i think so, yes. and _ more timid today? i think so, yes. and all— more timid today? i think so, yes, and all this _ more timid today? i think so, yes, and all this political i yes, and all this political correctness and the rest of it, yes. correctness and the rest of it, es. ., . correctness and the rest of it, yes-_ yes. - correctness and the rest of it, yes-_ yes. of i yes. you feelthat? yes, of course i — yes. you feelthat? yes, of course i do. _ yes. you feelthat? yes, of course i do. would - yes. you feelthat? yes, of course i do. would they i yes. you feelthat? yes, of| course i do. would they get yes. you feel that? yes, of i course i do. would they get the money to make the producers now, one of the great films, with the money come forth to make that film? i very much doubt it. make that film? i very much doubt it— doubt it. interesting, but as

an artist i — doubt it. interesting, but as an artist i am _ doubt it. interesting, but as an artist i am getting i doubt it. interesting, but as an artist i am getting a i doubt it. interesting, but as an artist i am getting a very| an artist i am getting a very clear message that whatever the cultural mores are, you are not interested in adhering to any of them, you are just going to do the work you want to do. it is whatever hits me in here and makes me do something about it. so i don't actually think about cultural mores and stuff. what next for you — cultural mores and stuff. what next for you then? _ cultural mores and stuff. what next for you then? what - cultural mores and stuff. what next for you then? what do i cultural mores and stuff. what | next for you then? what do you mean, next for you then? what do you mean. what _ next for you then? what do you mean, what next? _ next for you then? what do you mean, what next? you - next for you then? what do you mean, what next? you talked l next for you then? what do you | mean, what next? you talked in the beginning — mean, what next? you talked in the beginning about _ mean, what next? you talked in the beginning about the - mean, what next? you talked in the beginning about the focus i the beginning about the focus you have had on water and the sea and your feelings about where the planet is going — will that be a recurring theme? ijust said, asked me in six months, i don't know. it is very bad to talk about what you are doing at the moment, and i can't possibly foretell the future. ., ., future. so we will have to wait. future. so we will have to wait- you _ future. so we will have to wait. you will— future. so we will have to wait. you will have - future. so we will have to wait. you will have to - future. so we will have to i wait. you will have to wait. man an wait. you will have to wait. maggi hambling, _ wait. you will have to wait. maggi hambling, it - wait. you will have to wait. maggi hambling, it has - wait. you will have to wait. i maggi hambling, it has been wait. you will have to wait. . maggi hambling, it has been a real pleasure talking to you, thank you very much.- real pleasure talking to you,

thank you very much. hello there. sunday was a day of contrast — cool in the cloud, warm in the sunshine — and in actual fact, across south—west england, we saw temperatures into the mid—20s. a beautiful sunday afternoon for many. the next few days look likely to stay quite quiet across the whole of the country. quite a lot of dry weather around as well, but it will be mostly cloudy, and i suspect the temperatures easing away just a touch, around average if we're very lucky. high pressure still dominates the story. it's a blocking high that's preventing weather fronts from moving in off the atlantic. but a little bit more of a breeze always down towards the south, and that's going to continue to push this cloud in off the north sea, which could be thick enough on monday morning for a spot or two of drizzle. favoured western areas, perhaps

as we go through the afternoon, seeing some sunny spells, but i suspect not as much as recent days. so, the temperatures not as high. cool in the cloud and drizzle, 15—17 celsius, maximum values of 21, possibly 22. now, that cloud will continue to push back in off the north sea through the night. that's going to act like a blanket. it's not going to be a cold night, with overnight lows perhaps staying into mid—teens for some. it will be a quiet start to tuesday, but once again, a rather grey and gloomy one. the high pressure keeping things very quiet, but again, that breeze just coming in off the north sea, and a few more isobars, so the breeze picking up, and the cloud will continue to sit across the country for much of the day. favoured spots for any brighter, sunnier spells perhaps into northern ireland and western fringes of scotland once again, but those temperatures are going to be a little bit more subdued. again, we're looking at maybe around 15—19 celsius at the very best.

wednesday is the beginning of september. the high pressure is still with us, little in the way of significant change to the weather story. so, i suppose the good news is you will be able to plan ahead. there's going to be a lot of dry weather to look out for. and maybe on wednesday, more sunshine coming through scotland, northern england and northern ireland. top temperatures in the sunnier moments maybe of 21—22 celsius. it looks likely that that dry theme is set to continue as well thursday into friday. no significant rain in the forecast of the next few days to come. enjoy.

this is bbc news. i'm ben boulos with the latest headlines for viewers in the uk and around the world. five rockets are reportedly fired at kabul airport. us military sources say they have been intercepted by an anti—missile system. more than 700,000 people are without power, including the whole of new orleans, as hurricane ida hits louisiana. the governor urges people to stay indoors. we can expect devastating impact to continue for most of the next 2a hours or so as the hurricane passes through the state. the main candidates to succeed angela merkel as german chancellor clash on climate change and taxation in their first televised debate ahead of next month's election.