to illegal gatherings, as courts are flooded with vote—rigging allegations after thursday's elections. independent candidates backed byjailed former prime minister imran khan have won the most seats in parliament. nato warns against undermining security after donald trump tells a campaign rally he would �*encourage�* russia to attack nato allies who do not pay their bills. the white house has condemned his comments as appalling and unhinged. and the uk housing secretary michael gove says landlords will be banned from evicting tenants for no real reason, before the uk's next general election. now on bbc news...|nside museums: the museum of islamic art in doha as an art critic and a journalist i

get to spend time in museums. during my working life and i have witnessed something astonishing, how radically they have changed. the days of museums as grand, intimidating treasuries for dusty objects, they are long gone. they are becoming much more dynamic and inclusive, less solemn, less elitist, museums, i believe, are having a moment and that's what i want to explore. it is art of that's what i want to explore. it is part of the — that's what i want to explore. it is part of the story. _ that's what i want to explore. it 3 part of the story, what is that's what i want to explore. it 1 part of the story, what is the museum about, what story do you want to tell? i museum about, what story do you want to tell? , ., ., , , ., to tell? i feel proud to be standing here looking _ to tell? i feel proud to be standing here looking at _ to tell? i feel proud to be standing here looking at these _ to tell? i feel proud to be standing here looking at these beautiful - here looking at these beautiful pieces— here looking at these beautiful pieces daily—macro pieces from my countrx _ pieces daily—macro pieces from my countrx |f— pieces daily-macro pieces from my count . , ., pieces daily-macro pieces from my count . pieces daily-macro pieces from my count. country. if you were bobbing about in a boat on _ country. if you were bobbing about in a boat on this _ country. if you were bobbing about in a boat on this exact _ country. if you were bobbing about in a boat on this exact spot - country. if you were bobbing about in a boat on this exact spot in - country. if you were bobbing about in a boat on this exact spot in the i in a boat on this exact spot in the arabian gulf half a century ago, what would you have seen? not the

futuristic cityscape before me today. in recent decades, doha has witnessed unbelievably rapid change. i cannot help but think the same is true of artistry, this excitingly dynamic discipline that is always evolving. that is certainly the case to with our ever expanding knowledge of islamic art, extraordinary and recently revamped museum filled with masterpieces fashion from everywhere from the mediterranean to southeast asia, all housed in a stunning limestone building, which i have travelled to qatar to explore. i'm hoping here, not only to experience for myself some horizon broadening work from the islamic world, but gain insight into what we mean by islamic art.

this is quite exciting. i wasn't sure if it was going to happen, but it has been confirmed i am being list to meet the sister of the emir of qatar, he will tell me the history of this meeting, which was the brainchild of a father. i'm glad i did come in a jacket, despite the heat, and i have even packed a tie. let's see if i remember how to do one up. i am thrilled to be seeing this building at first hand. it was designed by the chinese—american architect, the man behind the glass pyramid at the louvre. it is an impressive synthesis of classic islamic architectural ideas with an open atrium filled with light. i don't have time to take it all in just yet. it wouldn't do when

meeting royalty to be late. it is so lovely to meet you.— lovely to meet you. nice to meet ou. lovely to meet you. nice to meet yom thank _ lovely to meet you. nice to meet you- thank you — lovely to meet you. nice to meet you. thank you for _ lovely to meet you. nice to meet you. thank you for making - lovely to meet you. nice to meet you. thank you for making time | lovely to meet you. nice to meet i you. thank you for making time and thank ou you. thank you for making time and thank you for— you. thank you for making time and thank you for having _ you. thank you for making time and thank you for having me. _ you. thank you for making time and thank you for having me. thanks - you. thank you for making time and thank you for having me. thanks to | thank you for having me. thanks to her role of chairperson of qatar museums, she is an in law player in the international art stage. she wants to welcome me before the international art stage. wants to welcome me before the internationalart stage. she wants to welcome me before the international art stage. she wants to welcome me before this beautifully preserved ottoman reception room. so elaborate. yes. reception room. so elaborate. yes, this is a new _ reception room. so elaborate. yes, this is a new installation _ reception room. so elaborate. yes, this is a new installation in - reception room. so elaborate. 1e1 this is a new installation in the damascus room. it is a i9th—century room so it is during the ottoman empire. it was an average room in damascus, it was a prosperous city at the time and there is a european influence in terms of pattern and design with the inlay of the glass on the wood and the lacquer gold leaf is used as well. it gives you an idea of how people used to live. tell me about the genesis of this

museum? ~ , ., tell me about the genesis of this museum? ~ , . . ., museum? when my father decided to build a museum _ museum? when my father decided to build a museum of _ museum? when my father decided to build a museum of islamic _ museum? when my father decided to build a museum of islamic art. - museum? when my father decided to build a museum of islamic art. at - build a museum of islamic art. at first they said he had no interest, doesn't know anything about are part of the world. but he wanted the museum to stand alone on an island. and as you see, this museum stands by itself. this land was ill for this museum. it by itself. this land was ill for this museum.— by itself. this land was ill for this museum. it is a reclaimed island, he _ this museum. it is a reclaimed island, he spent _ this museum. it is a reclaimed island, he spent several - this museum. it is a reclaimed i island, he spent several months travelling through the middle east to study? travelling through the middle east to stud ? , ' travelling through the middle east tostud? m , travelling through the middle east tostud? m to study? different parts of the islamic world _ to study? different parts of the islamic world are _ to study? different parts of the islamic world are in _ to study? different parts of the islamic world are in this - to study? different parts of the i islamic world are in this museum, the fountain downstairs which is influenced by his visit to granada. another influence was a mosque in egypt. he brought what he thought was the best islamic architecture into this building. i think the difference in this museum, it is the first museum of this calibre on islamic art in a muslim country. it

allows us to expose it to a muslim population. people have seen islamic collections in the bigger cities of the west, whether it is europe or the west, whether it is europe or the us. it allows us to enter things within the context of this part of the world, in the context of the east. ,, ., the world, in the context of the east, ., ., the world, in the context of the east. ., ., ., ., east. so having heard all about the buildin: , east. so having heard all about the buildina, i east. so having heard all about the building, i think _ east. so having heard all about the building, i think it _ east. so having heard all about the building, i think it is _ east. so having heard all about the building, i think it is time - east. so having heard all about the building, i think it is time to - building, i think it is time to acquaint myself with the collection. i thought i would pop into the gift shop and pick up the official guide, which is here. the only thing is, it is quite big, i think it is nearly 600 pages. but it does give you a real sense of the scope of this collection that spans moo years collection that spans m00 years worth of history and contains all sorts of objects that were produced everywhere from spain in the west, all the way through to southeast asia. with such a vast timeframe and artefacts from so many different cultures, i want to understand how we can even define islamic art. i

want to begin here with one of its classic forms. frankly, i think it would be remiss while making a programme about islamic art, not to feature a beautiful patterned carpet. and this particularfine specimen in the collection. it is almost six metres long and it dates probably from the 16th century when it was made in one of the great carpet producing centres in iran. it is a wonderful design against a red ground that a first glance feels as though it is abstract, but when you spend some time with it and inspect the design, actually, there are loads of motifs from the natural world. and then you realise that this isn'tjust a world of tranquillity and harmony, because you have all of these moments of surprising bloodshed, voracity, the brutality of the natural world. the whole thing has this wonderful sense

of, it's not quite harmony because there is a real red and tooth and claw to the natural world that is being depicted, but nevertheless it feels like the setting is one of great paradise. something in which you can revel and enjoy. that mix of the decorative and the surprisingly naturalistic is also a hallmark of another of the museum's treasures, which i have been dying to see for myself. but it's not from what we in the west might think of as is lan's heartland. it was excavated in present—day spain. the curator has agreed to tell me more about it. it is one of the masterpieces of the collection, probably made in the late tenth, early 11th century in spain.

late tenth, early 11th century in sain. ., ., ., , spain. you have two competing impulses- _ spain. you have two competing impulses. because _ spain. you have two competing impulses. because one - spain. you have two competing impulses. because one is - spain. you have two competing impulses. because one is quite| impulses. because one is quite naturalistic. there are some absolutely charming details like the nostrils that are slightly flared and that which is that almost seem to be like a periscope. the map, which feels like it is omitting sound, but the other impulses look at this pattern, including the big medallion on its breast. what do we know about the original purpose and function of this object? has of know about the original purpose and function of this object?— function of this ob'ect? as of today it is still being — function of this object? as of today it is still being catalogued - function of this object? as of today it is still being catalogued as - function of this object? as of today it is still being catalogued as a - it is still being catalogued as a fountainhead. it would have had water going through this pipe going into the pedestal, through the feet of the animal, the body and then flowing through the mouth. that is why it has this shape. but recently the senior curator at the louvre museum did extensive research on a similar piece. may be a water clock that would have been indicating for example, time. just

that would have been indicating for example. time-— that would have been indicating for example, time. just remind me what was auoin example, time. just remind me what was going on — example, time. just remind me what was going on in _ example, time. just remind me what was going on in spain _ example, time. just remind me what was going on in spain at _ example, time. just remind me what was going on in spain at that - example, time. just remind me what was going on in spain at that time i was going on in spain at that time in terms of the islamic world? islamic rule in spain started in 1711 when the muslims arrived in spain, they really set up a new irrigation system and new technological advancements in terms of water management. i think what makes this piece very important is the fact that it really reflects the refinement of the society that had built very prominent buildings where you have exquisite architecture but very detailed pieces such as this. what is it secret that it can still speak to people in the 21st century? i think it is very dear to the arab world, as a glorious period of islam. this heritage feel they have lost, this morning for these past days that have seen so many advancements. so there is a sense of

nostalgia with and the loose. there was something _ nostalgia with and the loose. there was something just _ nostalgia with and the loose. there was something just so _ nostalgia with and the loose. there was something just so delightful about that brass hind with its coiffed mane and flaring nostrils. looking at it, i was transported to the golden age of al—andalus, and it would have been animated in a palace courtyard by the sight and sound of water gushing. and while it was made using techniques from the ancient mediterranean world, the coat is covered with tight geometric designs that also crop up far away, in syria for example. and that cultural cross pollination is what i'm hoping to discover even more about. i am at the museum of islamic art in doha. the building sits in its own

immaculate park and the setting, surprisingly, perhaps, from a monumental sculptor by one of the greats of western contemporary art. pretty much any western textbook about islamic art will tell you often on the very first page that a preoccupation with geometry is one of its chief hallmarks and that, i senseis of its chief hallmarks and that, i sense is what is being celebrated by this 80 foot high steel sculpture. its verticality clearly interacting with the skyscrapers across the bay by the american artist richard sarah, whose work i really love. it is constructed from seven steel plates, ingeniously put together and it is titled simply seven because it is drawing upon, alluding to the

spiritual and scientific importance of the number seven within the islamic world. it is a number associated with wholeness. and hoping to find out more about how art is reflected its islam's religious principles, i have come to the conservation department where i have been granted special access behind—the—scenes. here, the deputy director wants to show me one of the most sacred objects in the collection as it is prepared for display. this is a real treasure, parchment sheet from one of the most beautiful and luxurious koran is ever made. it beautiful and luxurious koran is ever made-— beautiful and luxurious koran is ever made. , , ., ever made. it is considered as one ofthe ever made. it is considered as one of the most _ ever made. it is considered as one of the most precious _ ever made. it is considered as one of the most precious objects - ever made. it is considered as one l of the most precious objects created in the islamic world. it is from the late ninth century, probably from north africa or spain. it is

outlined by dark ink. they have put glue on it and they would brush the gold leaf so we can come up with this beautiful golden script. the final ste - this beautiful golden script. the final step is _ this beautiful golden script. the final step is to _ this beautiful golden script. the final step is to polish the gold leaf? , , . ., , ., leaf? yes. highly meticulous and the calligraphers — leaf? yes. highly meticulous and the calligraphers are _ leaf? yes. highly meticulous and the calligraphers are extremely - leaf? yes. highly meticulous and the calligraphers are extremely highly i calligraphers are extremely highly skilled. it calligraphers are extremely highly skilled. , ., . ., skilled. it is noticeable for someone _ skilled. it is noticeable for someone like _ skilled. it is noticeable for someone like me, - skilled. it is noticeable for someone like me, who i skilled. it is noticeable for someone like me, who is| skilled. it is noticeable for. someone like me, who is not skilled. it is noticeable for— someone like me, who is not familiar with arabic, but it appears these very elongated marks come throughout to describe some of the letters? there are certain letters that the calligrapher have elongated for visually pleasing, rather than functional. it visually pleasing, rather than functional-— visually pleasing, rather than functional. , . functional. it is a design choice? yes, it is the _ functional. it is a design choice? yes, it is the design. _ functional. it is a design choice? yes, it is the design. the - functional. it is a design choice? j yes, it is the design. the golden functional. it is a design choice? i yes, it is the design. the golden is so crucial here _ yes, it is the design. the golden is so crucial here and _ yes, it is the design. the golden is so crucial here and the _ yes, it is the design. the golden is so crucial here and the interplay i yes, it is the design. the golden is so crucial here and the interplay ofj so crucial here and the interplay of the goals on the indigo background aesthetically seems to be so important? it aesthetically seems to be so important?— important? it is the contract between the _ important? it is the contract between the gold _ important? it is the contract between the gold and i important? it is the contract between the gold and blue l important? it is the contract i between the gold and blue that important? it is the contract - between the gold and blue that makes it really beautiful, amazing, actually. it is one of my favourite objects in the museum. i5

actually. it is one of my favourite objects in the museum.— actually. it is one of my favourite objects in the museum. ob'ects in the museum. is it? why? it objects in the museum. is it? why? it is the objects in the museum. is it? why? it is the value _ objects in the museum. is it? why? it is the value and _ objects in the museum. is it? why? it is the value and the _ objects in the museum. is it? why? it is the value and the culture i objects in the museum. is it? why? it is the value and the culture of i it is the value and the culture of islamic art, it is very simple yet highly sophisticated and beautiful when you look at it. i highly sophisticated and beautiful when you look at it.— highly sophisticated and beautiful when you look at it. i know that the blue koran — when you look at it. i know that the blue koran is _ when you look at it. i know that the blue koran is the _ when you look at it. i know that the blue koran is the main _ when you look at it. i know that the blue koran is the main event i when you look at it. i know that the blue koran is the main event today| blue koran is the main event today but when i came in i couldn't help led to think that this is in the conservation studio and this looks very familiar because i feel i have seen imagery like this to museums in london? we seen imagery like this to museums in london? ~ ., ., london? we are looking at illustration _ london? we are looking at illustration illustrating i london? we are looking at illustration illustrating the | london? we are looking at i illustration illustrating the story of hamza. it is the fiancee of hamza, she passed away before their marriage. it is hamza, she passed away before their marriaue. , ., . ., marriage. it is full of incident and detail. ithink— marriage. it is full of incident and detail. | think it _ marriage. it is full of incident and detail. i think it is _ marriage. it is full of incident and detail. i think it is a _ marriage. it is full of incident and detail. i think it is a nice - detail. i think it is a nice contract st with the blue koran where we are looking at highly stylised, nonrepresentational in the form of calligraphy. money, whoever

thinks you don't find non—representative forms in islamic art, look at this? non-representative forms in islamic art, look at this?— art, look at this? lots of art, manuscripts _ art, look at this? lots of art, manuscripts with _ art, look at this? lots of art, manuscripts with poetry i art, look at this? lots of art, manuscripts with poetry and | art, look at this? lots of art, - manuscripts with poetry and stories, there are lots of figurative representations.— there are lots of figurative representations. there are lots of figurative reresentations. , , ,, ., representations. this feels like one ofthe representations. this feels like one of the most — representations. this feels like one of the most action _ representations. this feels like one of the most action packed - representations. this feels like one of the most action packed stories i of the most action packed stories you could hope to encounter, but at the same time there is still absolutely classic kick slamming interest in ornaments in geometric pattern and something like this rug, it appears as though it is quite flat, but your eye is drawn right around, thanks to the use of these patterns and devices, you have this helter—skelter ride which takes the eye all the way down to the coffin. beautiful calligraphy and exquisite korans is exactly what you would expect to find at a museum of islamic art, but the objective produced by so many cultures, i am intrigued by some of the most surprising thing is they have decided to show. such as these, the guy ling li delicate golden, but mysterious ornaments. i really adore

these. they feel like fashion accoutrements of some description, could they be part of a headdress or something? it could they be part of a headdress or somethin: ? .., could they be part of a headdress or something?— something? it could have been ossible. something? it could have been possible. you _ something? it could have been possible. you see _ something? it could have been possible. you see the - something? it could have been possible. you see the base, i something? it could have been possible. you see the base, it| something? it could have been. possible. you see the base, it is something? it could have been i possible. you see the base, it is a little bit concave, so to be put on something round, ahead, we don't really know? we decided to put it together with this tree ornament, which is much, much older. they are about 2000 years between these two objects. very interesting the continuity. the endurance of this specific symbol in particular, which is the tree of life.— is the tree of life. detail in the top ornament, _ is the tree of life. detail in the top ornament, fruit, _ is the tree of life. detail in the top ornament, fruit, what i is the tree of life. detail in the top ornament, fruit, what do | is the tree of life. detail in the i top ornament, fruit, what do they represent?— represent? they might be fun arenade, represent? they might be fun grenade, which _ represent? they might be fun grenade, which has— represent? they might be fun grenade, which has to - represent? they might be fun grenade, which has to do i represent? they might be funj grenade, which has to do with abundance and facility. what

grenade, which has to do with abundance and facility. what can -- what i abundance and facility. what can -- what i find — abundance and facility. what can -- what i find so _ abundance and facility. what can -- what i find so tantalising, _ abundance and facility. what can -- what i find so tantalising, if - what i find so tantalising, if someone was wearing this emotion, it would be the sense of a breeze ruffling through the sculpture? sometimes found clinging as you move. ., ., w' sometimes found clinging as you move. . ., a ., sometimes found clinging as you move. . . ., , ., sometimes found clinging as you move. . ., ., , ., ., move. can i ask a question, i am struggling _ move. can i ask a question, i am struggling a _ move. can i ask a question, i am struggling a bit _ move. can i ask a question, i am struggling a bit with _ move. can i ask a question, i am struggling a bit with the - move. can i ask a question, i am| struggling a bit with the definition of islamic art, because i look at this incredible juxtaposition and of islamic art, because i look at this incrediblejuxtaposition and i come away thinking neither piece clearly is islamic, and it is so indebted to that, you can't call that islamic either, so what is it doing here?— that islamic either, so what is it doinu here? ., , ., doing here? you can ask the question on lots of objects _ doing here? you can ask the question on lots of objects on _ doing here? you can ask the question on lots of objects on display - doing here? you can ask the question on lots of objects on display and i doing here? you can ask the question on lots of objects on display and in i on lots of objects on display and in the collection. this museum has been produced in a geographical area, which at that time was ruled by a muslim ruler. we had to agree, ok, it is islamic art, we know it is problematic and when the visitors come here we try to bank the whole idea by showing the diversities. if

anyone can define what is meant by islamic art, surely it is a museum's director, julia. islamic art, surely it is a museum's director. julia-— islamic art, surely it is a museum's director, julia. now we come to the bo s' director, julia. now we come to the boys" ring- — director, julia. now we come to the boys" ring- it— director, julia. now we come to the boys" ring- it is _ director, julia. now we come to the boys' ring. it is extremely - boys' ring. it is extremely dramatic. _ boys' ring. it is extremely dramatic, what _ boys' ring. it is extremely dramatic, what is - boys' ring. it is extremely dramatic, what is the i boys' ring. it is extremelyl dramatic, what is the day? boys' ring. it is extremely i dramatic, what is the day? it is 0ttoman- _ dramatic, what is the day? it is ottoman. what _ dramatic, what is the day? it is ottoman. what is _ dramatic, what is the day? it is ottoman. what is this, - dramatic, what is the day? it is ottoman. what is this, a i dramatic, what is the day? it is ottoman. what is this, a pair. dramatic, what is the day? it is| ottoman. what is this, a pair of coral inlaid _ ottoman. what is this, a pair of coral inlaid pistols? _ ottoman. what is this, a pair of coral inlaid pistols? they- ottoman. what is this, a pair of coral inlaid pistols? they are i ottoman. what is this, a pair of. coral inlaid pistols? they are quite beautiful? , ., coral inlaid pistols? they are quite beautiful? , . ., ., coral inlaid pistols? they are quite beautiful?— i - beautiful? they are amazing. i wonder if— beautiful? they are amazing. i wonder if we _ beautiful? they are amazing. i wonder if we can _ beautiful? they are amazing. i wonder if we can interrogate i beautiful? they are amazing. i i wonder if we can interrogate islamic art and work out what it means? islamic not to say, extremely difficult. it has been invented by some western art historians. i wonder how much the western perception, if you like, has dictated understandings of islamic art? because a lot of wonderful art forms within islamic art will be things that historically in the west would be considered decorative, slightly lower down the aesthetic

pecking order, as it were? has that influence the _ pecking order, as it were? has that influence the way _ pecking order, as it were? has that influence the way people... - influence the way people... absolutely. when they open this they wanted to challenge this perspective here. they wanted to present it as art and decorative art. the concept of art itself is weird. you have the artist, he is a genius and so on. so these people were all geniuses, but you don't make such a drama out of it. it is part of the story here, what is the museum about, which history do you want to tell? than history do you want to tell? an extensive _ history do you want to tell? an extensive rehang of the collection now evokes stories to the full range of people who today called doha home. i of people who today called doha home. ., of people who today called doha home. . ., ., ., . ., home. i am from india and i can relate to it _ home. i am from india and i can relate to it because _ home. i am from india and i can relate to it because this - home. i am from india and i can relate to it because this is i home. i am from india and i can relate to it because this is my i relate to it because this is my culture. i really feel proud to be standing here looking at these beautiful pieces from my country. for me to see, for my son to see and future generations. it for me to see, for my son to see and

future generations.— future generations. it connects the history who — future generations. it connects the history who islam _ future generations. it connects the history who islam reached - future generations. it connects the | history who islam reached indonesia and how— history who islam reached indonesia and how it _ history who islam reached indonesia and how it spread. indonesia has become — and how it spread. indonesia has become the biggest muslim population. become the biggest muslim population-— become the biggest muslim population. become the biggest muslim --oulation. , . ., , population. good experience for my kids. museums _ population. good experience for my kids. museums today _ population. good experience for my kids. museums today are _ population. good experience for my kids. museums today are as - population. good experience for my kids. museums today are as much l kids. museums today are as much about the present _ kids. museums today are as much about the present does _ kids. museums today are as much about the present does the i kids. museums today are as much about the present does the past l kids. museums today are as much i about the present does the past and this one hopes to inspire a new generation of artists and makers by asking them to respond to its collection. i am asking them to respond to its collection. iam meeting asking them to respond to its collection. i am meeting one of them, lebanese fashion designer. this has a sculptural presence, there is this patchwork, punk sensibility where everything has been stitched together very prominently. it has an apparition like quality as though suddenly we are in a haunted persian realm and the rug is turning into this figure before our eyes. you are meant to walk around it? i before our eyes. you are meant to walk around it?— before our eyes. you are meant to walk around it? i wanted to create a iece walk around it? i wanted to create a piece people — walk around it? i wanted to create a piece people could _ walk around it? i wanted to create a piece people could interact - walk around it? i wanted to create a piece people could interact with. i piece people could interact with. you want people to step on it? i

want people to step on it. you want people to step on it? i i want people to step on it. normally ou are want people to step on it. normally you are kept _ want people to step on it. normally you are kept behind _ want people to step on it. normally you are kept behind something. i want people to step on it. normally i you are kept behind something. walk on it, ste you are kept behind something. walk on it. step on — you are kept behind something. walk on it. step on it. _ you are kept behind something. walk on it, step on it, it _ you are kept behind something. —i on it, step on it, it is a carpet. these are vintage and i collected them from flea markets in lebanon. the pieces are untold stories because these were in homes at some point and in somebody�*s life in lebanon and they help testimony to what happened in those houses. there are stories behind them, you know? in a sense, a museum that is devoted to islamic art is quite a peculiar concept, because the term which was invented by western art historians, encompasses so much and the collection here at the museum of islamic art is astonishingly, mind—bogglingly diverse, spanning continents, centuries. the artefacts

on display, they all come from the islamic world, but many of them are also related to other cultures and traditions. sometimes even more so. but what i love about this beautiful museum is that it isn't afraid to challenge the very label of islamic art that appears, as it were, above the door. if the story that this place tells a surprising and complex, doesn't that reflect history's reality? it is history lesson is never oppressive and rarely passes up an opportunity to revel in anaesthetic splendour. for more on inside museums, go to bbc dot—com.

hello there. last week was dominated by how cold it was in scotland and there was rain for all of us in some of it quite relentless which brought some localised flooding. over the weekend things quietened down and on sunday be so blue sky and sunshine. as we go through the week ahead it will turn and settled, showers will turn to longer spells of rain, breezy at times but it will turn incredibly mild through the middle of the week. monday we are still under this influence of low pressure, we have a week by the front producing more in the way of cloud and a few scattered showers around. showers most frequent, the further north and west you are, closest to this area of low pressure. once again, we could see a few wintry showers to the tops of the mountains, mild are generally across the country. six or 7 degrees in scotland, eight to ten elsewhere. as we move out of monday we will continue to see some clearing skies through the night and that will allow those temperatures to fall away and still had some showers around in the far north—west, there

could be some icy stretches around first thing in the morning. here, we will see temperatures below freezing. but tuesday will start relatively quiet and again, with some early morning sunshine. it is not expected to last, this net with a frontal spill in a lot of cloud ahead of the rains of clouding over as the day continues. a few scattered showers into the far north—west and the wintry flavour to higher ground. cloud and drink reggie bush channel isles south west england wales, perhaps grinding to a halt to us north—west england by the end of the day. there is temperatures fairly uniform by now, seven to ii temperatures fairly uniform by now, seven to 11 degrees overall. as we move out of tuesday into wednesday we will see more significant rain and this is where the showers will turn into longer spells of rain. heavy bursts of rain as we move into scotland. but more importantly with the south—westerly flow, we will start to see more milder air returning across the country. heavy

burst of rain to northern ireland and scotland, gradually another speu and scotland, gradually another spell of wet weather pushing across the channel isles and eventually into central and southern england. sandwiched in between the two perhaps a little bit brighter but look at the temperatures, m degrees, above where they should be at this time of year. low pressure centred to the south—west and again, another series of weather front starting to push in so on thursday the wettest of the weather will be across england, wales and northern ireland, perhaps drier into scotland. but still very mild, m degrees the expected high. if we look ahead to how much rain we will see, starts relatively quiet but as the week ahead continues, we see the wetter weather, the darkest of the blue suggests the heaviest of the rainfalls are some areas could see another inch to two inches of rain, up another inch to two inches of rain, up to 50 millimetres of rain before the week is three. what we could do it is dry weather. looking further ahead we will see spells of high

pressure quite the down, but not expected to last. low pressure will move through with another hide behind it. so, looking beyond that week towards six to ten day period, it is likely we will see some unsettled weather with drier, brighter interludes in between and it will turn that little bit fresher as the wind direction changes. that is it, more details coming up throughout the week.

live from london. this is bbc news. israel's prime minister insists he will press ahead with an offensive in rafah, where around 1.5 million palestinians are sheltering. nato hits back at remarks by donald trump —

he says enough of the hostages are alive to justify it. nato hits back at remarks by donald trump — that he would encourage russia to attack any nato ally that fails to meet its financial obligations to the alliance. final results from pakistan's election show independent candidates allied to imran khan have won the most seats in parliament — despite suffering a major crackdown. and we'll talk american football — the half time show — and taylor swift as the super bowl hits vegas. hello, i'm frankie mccamley. israel's prime minister has insisted he will press ahead with an offensive in rafah, where more than half of gaza's population has taken shelter. in an interview with abc news, benjamin netanyahu said israel will give civilians safe passage to areas they've

cleared north of rafah. international alarm is growing over the fate of those 1.5