this is bbc news, the headlines: tokyo condemns north korea for firing another ballistic missile, this time overjapan. authorities warn people to evacuate buildings and take shelter. japanese early warning systems were set off. the rocket eventually came down in the pacific ocean. the uk chancellor has tried to shore up his government's credibility following a u—turn on a major economic policy. kwasi kwarteng is now expected to bring forward publication of his medium term fiscal plan from 23rd november to this month.

indonesia has sacked a police chief in east java after one of the world's worst football stadium disasters. at least 32 children were among 125 people who died in the crush. since the events of the mini budget, the pound has regained most of its losses, but the costs of government borrowing and mortgage interest rates are still significantly higher. it was meant to be growth it was meant to be a growth plan, not a budget. it was meant to underpin the confidence of investors in all projects from those involving towering cranes to ordinary house moves to make that investment. but instead, it amplified an interest rate shock from around the world and targeted it at the uk. if i look back at this, natwest last week were quoting a five—year fixed rate at 3.77, whereas the changes that

were made today, their five—year fixed—rate cheapest is 5.14. and that's with a 40% deposit. and that was with a 40% deposit, yeah. 10 minutes�* walk from the chancellor's speech, a birmingham mortgage broker is still seeing the shock waves from last week hit ordinary consumers. it's been a massive shock in this past week, the pace of change very, very difficult to keep up with. lenders are withdrawing products with little or no notice, or even retrospectively telling us a deal has gone. the extent of the u—turn in financial terms is modest. the £45 billion of unfunded tax cuts becomes £15 billion. the now—abandoned cut in the 45p rate was to cost the exchequer £2 billion, but by far a bigger cut was the reversal to the national insurance rise. that's worth £18 billion and that's already being legislated for. and then the largest cut was the abandonment of the rise in corporation tax on company profits, worth nearly £19 billion a year. there could be some pressure for policy reverses here, as well as to extend the existing

windfall tax on rising energy prices. this u—turn is small in value terms, but hugely symbolic. the markets reacted well initially, with sterling going up a bit and the government's borrowing costs going down a bit. on the one hand, this reflects the government coming into line with the market consensus, but there is a need for a plan with a solid set of numbers. on the other, the markets now don't know if there are other things in the plan that eventually will require a u—turn that's not being admitted to right now. and for the chancellor, in the two fundamental aspects of doing his job, which is getting market credibility and being able to pass a budget, he is still playing catch—up, and he thinks growth is the answer. in the meantime, a mini budget premium on borrowing costs remains, and pressures on tax and spending too are being noticed

in the nearby northfields constituency, which switched to the conservatives in 2019. i'd be really worried if i'd got a mortgage. we are worried for our children because they will struggle. they are struggling with their mortgages. universal credit, . it'sjust not enough. people who earn more should pay more tax, simple as. that's my mathematics, anyway. if there aren't further tax u—turns, pressure will be for cuts to public spending. if the government doesn't increase spending in line with rising inflation, that could mean effectively an £18 billion cut in real terms to many already struggling services. perhaps tax credits and benefits won't be increased in line with inflation, but instead, the rises in wages. that is worth £5.5 billion a year, but difficult during a cost of living crisis. or long—term investment could be reduced, but that underpins the promise to level up. the new chancellor has decided to stop digging the hole created at the mini budget, but how to fill the one created in the public finances remains unclear. faisal islam, bbc

news, in birmingham. now on bbc news, talking movies. hello from picturesque telluride high up in colorado's rocky mountains. in today's programme we witnessed the beginnings of this year �*s oscars race on us soil is seen through the movies that were shown at the telluride film festival. we also report on movies is seen here at telluride which were first shown at the venice film festival. remote telluride

isn't easy to get to. many festival—goers come by air to savour a tightly curated 4— day festival the play is increasingly important role in launching films which go on to win academy awards. one big telluride stand out this year, the much praised women talking from sarah polley, displaying a group of mennonite women deciding on how they will respond to sexual assault. also getting accolades, empire of light from british director sam mendes with an impressive performance by olivia colman. top chilean filmmaker sebastian lelio was at the festival, gloria got in there first and then he is in with his latest film. this time he was at

telluride with the wonder, set in the irish midlands, which stars florence pugh as a nurse observing a young girl who despite apparently not eating remains miraculously alive. it got a mixed reaction. it's the story of the permission between faith and reason, between magical thinking and science. but it's also an exploration of these two systems of relief, assuming that they are both interpretations of reality. find interpretations of reality. and it was a good _ interpretations of reality. and it was a good year— interpretations of reality. and it was a good year for - interpretations of reality. and it was a good year for women in it was a good yearfor women in telluride. it's about intimacy. adding to the ranks of email filmmakers at the festival was french director who has brought us another adaptation of the controversial british literary

classic lady chatterley �*s lover from all the dh classic lady chatterley �*s loverfrom all the dh lawrence. —— laure de clermont—tonnerre. it has been banned from various countries in the past. it’s it has been banned from various countries in the past.— countries in the past. it's the first novel— countries in the past. it's the first novel that _ countries in the past. it's the first novel that addressed - first novel that addressed sexual female pleasure i first novel that addressed sexualfemale pleasure i think he was very avant garde, glorifying sex, not shameful, not dirty, making it a primal need for all those reasons, i feel that was the reason why it was banned because it was not scandalous at the time.- was banned because it was not scandalous at the time. while i was in telluride, _ scandalous at the time. while i was in telluride, many - was in telluride, many filmmakers and stars flew in from the venice film festival where their movies had just been playing. among them are talented italian filmmaker luca guadagnino with his first film set in america. it has the star power of timothee chalamet. this looks like the taste of success. the cast and crew of

bones and all are taking it across the globe, with success guaranteed perhaps particularly to one of its stars, timothee chalamet, with fans devouring it. this is italian director luca guadagnino's first film set in the usa, bones and all and adaptation of a coming—of—age novel set in the 19 805 coming—of—age novel set in the 19 80s has a kerouacian on the road feel with a backdrop of the american midwest. like the recent movie version of where the crawdads sing. this has a similar theme. the crawdads sing. this has a similartheme. canadian the crawdads sing. this has a similar theme. canadian actress taylor russell plays the protagonist abandoned by everyone close to her because of her affliction. the everyone close to her because of her affliction.— of her affliction. the way you enter through _ of her affliction. the way you enter through this _ of her affliction. the way you enter through this picture - enter through this picture frame of cannibalism to the

pure love these people and who they actually are in the purity of heart within them is really brilliant, i think. of heart within them is really brilliant, ithink. what of heart within them is really brilliant, i think. what was it like? a, brilliant, i think. what was it like? ~ , ., ., brilliant, i think. what was it like? , ., ., ., like? a rush. i want to leave interpretation _ like? a rush. i want to leave interpretation to _ like? a rush. i want to leave interpretation to people - like? a rush. i want to leave. interpretation to people when they— interpretation to people when they see the film, to add to they see the film, to add to the outsider experience, allowing people to feel now to tell a — allowing people to feel now to tell a story of two people who have — tell a story of two people who have a — tell a story of two people who have a curse that they have to grapple — have a curse that they have to grapple with, these two young people. — grapple with, these two young people, and that they find each other_ people, and that they find each other and — people, and that they find each otherand their inherent other and their inherent humanity otherand their inherent humanity is confirmed by each other — humanity is confirmed by each other. ., ., ., , other. timothee chalamet first worked with — other. timothee chalamet first worked with macro _ other. timothee chalamet first worked with macro when - other. timothee chalamet first worked with macro when in - other. timothee chalamet first j worked with macro when in the 2017 coming—of—age gay drama call me by your name. both actor and director were propelled by the film �*s success timothee chalamet will next star is willie wonka and is working on the next

instalment of denis villeneuve's dune. but he says this role is truly significant to him. �* , ., , to him. as i get older, these are the stories _ to him. as i get older, these are the stories i _ to him. as i get older, these are the stories i want - to him. as i get older, these are the stories i want to - to him. as i get older, these| are the stories i want to tell, it's about disenfranchised people but also people who are disenfranchised existentially as well, they have no path in front of them, and as much as we have more conversations today about mental health and things like that, some of these bigger questions are deemed either to romantic or strange. the story of young love with a macabre reveal isn't new in movies but as it is getting rave reviews, bones and all may be a rare dish, satisfying the appetites of both critics and the crowds. also present at telluride was a movie called close which was a big hit at

cannes earlier this year. it's the story of two very close 13—year—old belgian boys. one of them distances himself after negative comments on the relationships are made at school with dire consequences. the belgian director told me that it was inspired by his own experiences. i that it was inspired by his own experiences.— experiences. i did that as a ounu experiences. i did that as a young man _ experiences. i did that as a young man growing - experiences. i did that as a young man growing up, - experiences. i did that as a young man growing up, i i experiences. i did that as a l young man growing up, i had experiences. i did that as a - young man growing up, i had a lot of friendships with other boys that at a certain point in time i started to feel because i understood that intimacy is something that this world is not used to and wants to label and wants to put in a box. young actor eden dambrine plays one of the boys and hopes the film will address the issue. i have people understand it's not because people are judging you because people are judging you because your friendship you to change this friendship, and

just be yourself and be happy with it. �* with it. at the telluride screening _ with it. at the telluride screening i _ with it. at the telluride screening i went - with it. at the telluride screening i went to, . with it. at the telluride| screening i went to, the with it. at the telluride - screening i went to, the film appeared to appeal to a broad swathe of movie—goers. it appeared to appeal to a broad swathe of movie-goers. it was beautiful and _ swathe of movie-goers. it was beautiful and one _ swathe of movie-goers. it was beautiful and one of— swathe of movie-goers. it was beautiful and one of the - swathe of movie-goers. it was beautiful and one of the best l beautiful and one of the best ones — beautiful and one of the best ones we _ beautiful and one of the best ones i've seen.— beautiful and one of the best ones i've seen. thank you very much. ones i've seen. thank you very much- it's _ ones i've seen. thank you very much- it's a — ones i've seen. thank you very much. it's a real— ones i've seen. thank you very much. it's a realtearjerker. i ones i've seen. thank you very much. it's a realtearjerker. ll much. it's a realtear'erker. i sent much. it's a realtear'erker. i spent the h much. it's a realtear'erker. i spent the last h much. it's a realtear'erker. i spent the last 45 _ much. it's a realtearjerker. i spent the last 45 minutes - spent the last 45 minutes basically crying. it spent the last 45 minutes basically crying.— basically crying. it was phenomenal, - basically crying. it was phenomenal, really i basically crying. it was i phenomenal, really well basically crying. it was - phenomenal, really well done. the emotions that came out, he 'ust the emotions that came out, he just drew— the emotions that came out, he just drew them. it the emotions that came out, he just drew them.— just drew them. it was nice to see primary — just drew them. it was nice to see primary aged _ just drew them. it was nice to i see primary aged schoolchildren represented _ see primary aged schoolchildren represented in _ see primary aged schoolchildren represented in life _ see primary aged schoolchildren represented in life at _ see primary aged schoolchildren represented in life at that - represented in life at that time, _ represented in life at that time, kind _ represented in life at that time, kind of— represented in life at that time, kind of the - represented in life at that. time, kind of the relationship between _ time, kind of the relationship between boys _ time, kind of the relationship between boys and _ time, kind of the relationshipj between boys and friendships and what _ between boys and friendships and what it _ between boys and friendships and what it means, _ between boys and friendships and what it means, kids- between boys and friendships . and what it means, kids making fun of— and what it means, kids making fun of you — and what it means, kids making fun of you but _ and what it means, kids making fun of you but you _ and what it means, kids making fun of you but you are _ and what it means, kids making fun of you but you are still - fun of you but you are still friends _ fun of you but you are still friends with— fun of you but you are still friends with them - fun of you but you are still friends with them and - fun of you but you are still friends with them and it. fun of you but you are still . friends with them and it kind of really— friends with them and it kind of really loose _ friends with them and it kind of really loose and _ friends with them and it kind. of really loose and interesting time — of really loose and interesting time in — of really loose and interesting time in your— of really loose and interesting time in your life _ of really loose and interesting time in your life and - of really loose and interesting time in your life and the - of really loose and interesting time in your life and the film. time in your life and the film did that _ time in your life and the film did that in _ time in your life and the film did that in a _ time in your life and the film did that in a really— time in your life and the film did that in a really beautifull did that in a really beautiful way — did that in a really beautiful wa . ~ ., , way. although this well crafted film will engage _ way. although this well crafted film will engage anyone - way. although this well crafted film will engage anyone with i film will engage anyone with heart and intelligence, it will be really resonate with the lgbt q be really resonate with the lgbt 0 community because so many gay people are been ridiculed when young the close friendship with members of their own sex. it friendship with members of their own sex.—

their own sex. it is a clear experience _ their own sex. it is a clear experience that _ their own sex. it is a clear experience that you - their own sex. it is a clear experience that you get i their own sex. it is a clear| experience that you get to their own sex. it is a clear - experience that you get to see on screen, like this feeling of being intimate with someone and at the same time having the feeling of the world around you doesn't always allow that intimacy to happen. —— queer. or you yourself don't allow that intimacy to happen. i think there is this, yes, i would totally get why that response would be there but at the same time, i think that it's not only a queer experience.- it's not only a queer exerience. ~ f , experience. luke is' first film was the well-received - experience. luke is' first film . was the well-received address was the well—received address three, the story of a young lorena's gender transition. he has bolstered his position as a talented filmmaker and now to add to all the accolades his film was recently select it as belgium's official submission

to next yea r�*s belgium's official submission to next year's oscars race. the telluride film festival takes place within an affluent community, people here exist in a area of great wealth and privilege, in contrast to america's largest maximum—security resident, featured in a short but very potent documentary shown at the telluride film festival called, angola, do you hear us? the prison known as angola sits on the site of a former slave notation, it has over 6000 inmates and is cited as an example of how america disproportionately incarcerated black population. this shows what happens when a playwright, liza jessie peterson, goes inside the prison to perform

her 1—woman show, the peculiar patriot to a large group of inmates. patriot to a large group of inmates-— patriot to a large group of inmates. ., , , ., , inmates. not 'ust perform, but to activate. — inmates. notjust perform, but to activate. so _ inmates. notjust perform, but to activate. so animated - inmates. notjust perform, but to activate. so animated that l to activate. so animated that trison to activate. so animated that prison officers _ to activate. so animated that prison officers shut _ to activate. so animated that prison officers shut it - to activate. so animated that prison officers shut it down. | prison officers shut it down. the show really goes into what the families of incarcerated people experience and she create these characters and some of those characters really take a look at criminal justice. it is really kind of an indictment of profiting out of prison. what ended up happening in this room when the incarcerated men saw the play, they got so riled up, and connected to liza so much around all of it but particularly those parts that were about injustice, that they shut it down and ushered liza out, so this film is really about that day.— out, so this film is really about that day. what this film shows is how _ about that day. what this film shows is how liza _ about that day. what this film shows is how liza was - about that day. what this film shows is how liza was able, i about that day. what this film | shows is how liza was able, by using her imagination and her

authentic words to reach beaten down people, to awaken them. just because you see prison, what do you see inaudible ? i inaudible 7 iam inaudible 7 i am a poet, inaudible 7 iam a poet, i inaudible 7 i am a poet, i understand word sound power, it is a very real thing, words have energy. the power of life or death is in the tongue so i am aware of that. �* , ., ., , that. are 'ust thought it was so that. are just thought it was so powerful _ that. are just thought it was so powerful for _ that. are just thought it was so powerful for an _ that. are just thought it was so powerful for an artist - that. are just thought it was so powerful for an artist to . that. are just thought it was i so powerful for an artist to be using — so powerful for an artist to be using art— so powerful for an artist to be using art and writing to really engage — using art and writing to really engage these incarcerated kids and i_ engage these incarcerated kids and i wanted to tell the story of how— and i wanted to tell the story of how liza got to that room and — of how liza got to that room and what _ of how liza got to that room and what happened in that room 'ust and what happened in that room just from — and what happened in that room just from their viewpoint. of course there are those who will see this film and take the view that the incarcerated men don't need compassion because they committed the multiple crimes but for those who created this short documentary, that is not the point. they argue we need

to move forward from that way of thinking. to move forward from that way of thinking-— to move forward from that way of thinkint. . ., , ,., ~ of thinking. when i have spoken to some of _ of thinking. when i have spoken to some of the _ of thinking. when i have spoken to some of the men _ of thinking. when i have spoken to some of the men and - of thinking. when i have spoken to some of the men and women j to some of the men and women and hear the stories of the testimonies, they are very remorseful about what they did but hurt people hurt people, so we have to get to the root of the hurt. we have to get to the root of the wound.— the hurt. we have to get to the root of the wound. seeing those white correctional— root of the wound. seeing those white correctional officers - root of the wound. seeing those white correctional officers on - white correctional officers on horseback with rifles, itjust looks like some thing out of the antebellum south. but angola do you hear us isn't about the criminal justice reform. it is more about one talented play right. telluride was really big on documentaries this year and to my mind one of the best was called retrograde which had its world premiere at the festival. focuses on the final days of the us military

presence in afghanistan last year. the director has put together a very unsettling picture of what actually happened behind—the—scenes and he really benefited from the great access that he got. we are all familiar with the daily news journalism of last year of how it documented the hasty withdrawal of us forces from afghanistan. but maker matthew heineman had an ambition different from daily news journalism with his 90 minute film. in journalism with his 90 minute film. ., ., ., , ., film. in traditional news and journalism _ film. in traditional news and journalism you _ film. in traditional news and journalism you have - film. in traditional news and journalism you have to - journalism you have to helicopter in and out for a few hours, day or two. helicopter in and out for a few hours, day ortwo. i had helicopter in and out for a few hours, day or two. i had the luxury of being able to tell the story over months, we have over 1000 hours of footage that we culled together into a 96 minute film stop at the end of the day we are all trying to tell a story. the day we are all trying to tell a story-— tell a story. it's very nice what you _ tell a story. it's very nice what you do _ tell a story. it's very nice what you do with - tell a story. it's very nice what you do with your. tell a story. it's very nice i what you do with your work tell a story. it's very nice - what you do with your work that it he is an approachable man sensitive to the lives of others. in his previous films

including in cartel land which focused on the mexican drug trade and in city of ghosts which followed syrian journalists operating under cover. he always got good access to compelling individuals to tell a bigger story. he does the same with retrograde. fist story. he does the same with retrograde-— retrograde. at the portrait of the last several— retrograde. at the portrait of the last several months - retrograde. at the portrait of the last several months of. retrograde. at the portrait of| the last several months of the war of— the last several months of the war of afghanistan seen first through— war of afghanistan seen first through the eyes of a green beret— through the eyes of a green beret unit to the last appointment to afghanistan and after— appointment to afghanistan and after biden pulled out the troops _ after biden pulled out the troops and they left, i'd decided to pivot the story to focus — decided to pivot the story to focus on _ decided to pivot the story to focus on an afghan general that they were working with to follow _ they were working with to follow the trajectory of the end of— end of the war through his eyes so ended up embedding with him

all the _ so ended up embedding with him all the way to the final moments at the airport in kabul _ moments at the airport in kabul. a moments at the airport in kabul. n, ., moments at the airport in kabul. ., , ., kabul. matthew heineman shot the film himself— kabul. matthew heineman shot the film himself with _ kabul. matthew heineman shot the film himself with two - kabul. matthew heineman shot the film himself with two other| the film himself with two other collaborators. he is notjust skilled technically, you really feel the agony of humanity in his work and with retrograde connects us emotionally to those final days in afghanistan. uganda's celebrated bobby wine was the subject of the documentary bobi wine ghetto president, he encountered many dangerous obstacles along the way as emma jones reports. latte obstacles along the way as emma jones reports-— jones reports. we are in very dangerous — jones reports. we are in very dangerous times. _ jones reports. we are in very dangerous times. politics - jones reports. we are in very dangerous times. politics is. jones reports. we are in very| dangerous times. politics is a to mulcher — dangerous times. politics is a to mulcher with _ dangerous times. politics is a to mulcher with business - dangerous times. politics is a to mulcher with business but| to mulcher with business but few live lives as precariously as musician and reality tv star

turned ugandan member of parliament, bobi wine. somebody had to speak _ parliament, bobi wine. somebody had to speak for _ parliament, bobi wine. somebody had to speak for us. _ parliament, bobi wine. somebody had to speak for us. this - parliament, bobi wine. somebody had to speak for us. this very - had to speak for us. this very personal documentary follows every twist of his unsuccessful challenge for the presidency in 2021 and his repeated arrest, detainment and a legend tortured by the forces of uganda's leader since 1986. last year held under house arrest, he is now travelling the globe promoting the film with one of the documentary�*s codirectors christopher sharp, who first had a meeting with him in 2017.— him in 2017. when i started listening — him in 2017. when i started listening to _ him in 2017. when i started listening to what _ him in 2017. when i started listening to what bobi - him in 2017. when i started listening to what bobi wine j listening to what bobi wine said and how he had grown up in the ghetto and how he had become incredibly successful with music and then he decided to become an vest which was super dangerous and very risky

for his wife and family and then becoming a member of parliament. so i knew he had taken this massive risk and it just seemed like such an extraordinary story.- just seemed like such an extraordinary story. you have had everything _ extraordinary story. you have had everything in _ extraordinary story. you have had everything in life - extraordinary story. you have had everything in life in - extraordinary story. you have| had everything in life in terms of your success, so what motivates somebody like you to become an activist?— become an activist? what motivated _ become an activist? what motivated me _ become an activist? what motivated me as - become an activist? what motivated me as the - become an activist? what - motivated me as the realisation that all that so—called success is empty, it is deceitful. it's a lie. we are not free when your freedom depends a lie. we are not free when yourfreedom depends on a lie. we are not free when your freedom depends on the powers that be. the progress of an entire generation stands no chance unless one of us leaves their comfort zone. so it was a realisation that it is a matter of time before i'd also end up

like them and that's why i thought that with the resources that have been invested in me, the fame, the popularity, the fortune, the loud voice, the attention, it had to be used for the betterment of my people. for the betterment of my teo . le. ~ for the betterment of my tteole. ~ ., . ., for the betterment of my tteole.~ ., . ., people. with the launch of bobi wine ghetto — people. with the launch of bobi wine ghetto president - people. with the launch of bobi wine ghetto president are - wine ghetto president are echoes of another successful documentary this year about alexei navalny. the critically acclaimed film certainly gave his plate greater global exposure. his plate greater global exposure-_ his plate greater global ex-osure. ., ., exposure. come on, poison? seriously? — exposure. come on, poison? seriously? the _ exposure. come on, poison? seriously? the documentary| exposure. come on, poison? . seriously? the documentary can be a powerful — seriously? the documentary can be a powerful political _ seriously? the documentary can be a powerful political tool - seriously? the documentary can be a powerful political tool or. be a powerful political tool or portraying a potential hero. it

was an opportunity to tell our story to the world, the world that has always been misled about how it is in uganda and we embrace the opportunity. of course initially we are not very comfortable with cameras in private places, but with time we became close with the camera guys and even forgot about the cameras. so i am glad it was told the way it was. what you see in the film is not even 1% of the violence that happens in uganda but maybe this can create interest in uganda and then those that care about humanity, take their own private and independent time to look into the issues of uganda.

the world has successful examples of entertainers who have risen to the occasion as politicians as volodymyr zelensky, a four has done in ukraine. ~ ., zelensky, a four has done in ukraine-— zelensky, a four has done in ukraine. . ., ., ., ., ukraine. we are not going to sto . , ukraine. we are not going to stop. we _ ukraine. we are not going to stop. we are _ ukraine. we are not going to stop, we are not _ ukraine. we are not going to stop, we are not going - ukraine. we are not going to stop, we are not going to - ukraine. we are not going to. stop, we are not going to give up. stop, we are not going to give u ._ �* ., , stop, we are not going to give u-. �* ., , . stop, we are not going to give up. bobi wine may still be more than a self-described _ up. bobi wine may still be more than a self-described etto - than a self—described etto president. than a self-described etto president.— than a self-described etto president. we shall get our freedom or _ president. we shall get our freedom or we _ president. we shall get our freedom or we shall - president. we shall get our freedom or we shall die - president. we shall get our. freedom or we shall die trying. well, that brings out special telluride film festival edition of talking movies to a close. we hope you have enjoyed the show. please remember you can always reach us online and you can find us on twitter as well. so from me tom brooke and the rest of the talking movies production team, here in telluride, colorado, it is goodbye as we leave you with taylah simmons performing on one of the town's main street. music

hello. a much milder start to tuesday, compared with monday, particularly across scotland and northern ireland. but here, a wet start from the morning rush hour, heavy rain around through the morning, 1li—15 celsius. bit fresher, further southwards in eastwards, but a dry day to come.

east anglia, the southeast, and through the channel islands with some spells of hazy sunshine. brightening up to the north and west of scotland, though, for the afternoon, but southern scotland and northern ireland may stay cloudy with some rain or drizzle. heavier bursts of rain, then pushing into northern england and parts of wales, especially on the hills in the west. temperatures, even in a blustery wind at times, on the high side, 16—20 celsius. and a pretty warm night will follow tuesday night into wednesday, but we'll see gales pick up in the west later, and rain become heavy and persistent, especially across scotland and parts of northwest england. these are the temperatures to start the day — certainly a warm start, maybe fresher later. all areas will see cloud and rain quickly spread its way eastwards through wednesday morning, brightening up to sunshine showers later. and a fairly showery day to come on thursday in the north and west, and staying quite windy.

welcome to bbc news — i'm david eades. our top stories: tokyo condemns north korea for firing another ballistic missile — this time overjapan — authorities warn people to evacuate buildings and take shelter. the uk chancellor tries to shore up his government's economic credibility after an embarrasing u—turn on a key budget policy. i know the plan put forward over ten days ago has caused turbulence, i get it, i get it. we have listened. indonesia sacks a police chief — after one of the world's worst football stadium disasters — 125 people died in the crush. donald trump sues cnn for defamation and damages — claiming the network carried out a campaign of libel