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Apple is escalating its legal war with Epic Games by petitioning the U.S. Supreme Court to review the court's ruling on App Store fees. This move signals a critical juncture in the tech giant's defense of its revenue model, as it attempts to overturn a decision that limits its ability to charge developers for external payments. The Strategic Shift to the Highest Court After losing its appeal at the Supreme Court in a previous phase of the case, Apple is now taking its fight to the highest level of the U.S. judiciary. The tech giant filed a petition to review the Ninth Circuit Court's ruling, which found Apple in contempt for charging a 27% fee on external payments—a slight discount from its standard 30% fee. Current Status: Apple secured a temporary stay on the Ninth Circuit's ruling on April 6, 2026, effectively pausing the enforcement of the lower court's decision. Epic's Response: Epic Games immediately challenged this stay, arguing it is merely a delay tactic to prevent the court from establishing permanent bounds on Apple's fees. Legal Timeline: The battle began in 2020 when Epic bypassed Apple's fees, leading to a 2021 ruling where Apple was not deemed a monopoly but was ordered to allow external payment links. The Economics of the 27% External Fee The core of Apple's legal strategy revolves around the justification of its fee structure. While Apple reduced its commission to 27% for external transactions, Epic argues this effectively defeats the purpose of the court order, as developers still do not save significant money due to processing fees. Apple's Stance: The company argues the fee covers more than just payment processing; it includes hosting, discovery, software, and developer tools, reflecting the value of the ecosystem. Competitor Benchmark: Google settled with Epic Games last month, dropping its Play Store commissions to 20%, highlighting the pressure Apple faces to lower its rates. Developer Impact: Only a few developers, including Spotify, Kindle, and Patreon, have been willing to utilize the external payment links due to Apple's aggressive tactics. Erosion of the App Store Moat This legal battle represents a significant threat to Apple's primary revenue stream. If the Supreme Court upholds the lower courts' rulings, it could force Apple to lower its commissions or abandon its current fee structure entirely. Market Dynamics: As consumers increasingly turn to AI chatbots and agents for transactions, the traditional gatekeeper role of the App Store is being challenged. Regulatory Pressure: The court's decision will set a precedent for how tech giants can regulate commerce within their ecosystems, potentially opening the door for more developer freedom. A High-Stakes Legal Verdict Looking ahead, the Supreme Court's willingness to hear this case is uncertain. The Court previously declined to hear a similar appeal regarding Apple's monopoly status. If they reject this petition, the Ninth Circuit's decision stands, and Apple will be forced to comply with the lower fee structure. However, if the Court agrees to hear it, Apple will push to convince judges that courts should not have the authority to limit the fees it charges for its services, potentially reshaping the digital economy for years to come.

A24 marketed Kristoffer Borgli’s second English‑language film as a darkly comic romance, pairing Zendaya and Robert Pattinson as a seemingly picture‑perfect couple on the brink of marriage. The studio’s teaser, a faux wedding announcement in the Boston Globe, amplified the buzz that began with the trailer’s release and even earlier Reddit speculation. The narrative follows Charlie (Pattinson) and Emma (Zendaya) through a series of sun‑lit flashbacks that culminate in a tense pre‑wedding dinner. During a “worst‑thing‑you’ve‑done” game, Emma confesses that, as a depressed teenager in Louisiana, she once planned a mass shooting and even practiced with her father’s rifle, though she never pulled the trigger. This revelation serves as the film’s central twist and propels the story into a moral quandary about forgiveness and trust. Critics note that the film’s premise is deliberately provocative. Borgli, known for his satirical take on cancel culture in Dream Scenario, uses Emma’s confession to interrogate America’s obsession with gun violence. By placing the “thought crime” in the hands of a Black woman—contrasting with statistics that over 95% of mass shooters are male and more than half are white—the director forces a reversal of the usual gendered narrative surrounding firearms. The twist has provoked strong reactions from survivors and advocacy groups. Tom Mauser, who lost his son in the 1999 Columbine shooting, called the plot “awful” in a TMZ interview, while 2019 school‑shooting survivor Mia Tretta told USA Today that such a storyline “shouldn’t be joked about.” Parkland survivor Jackie Corin offered a more measured view, urging the film’s stars to use their platforms responsibly and questioning whether the project rises to the ethical standards their influence demands. Beyond the controversy, the film boasts technical strengths. Arseni Khachaturan’s cinematography creates a lush visual palette, and the editing maintains a brisk pace as the wedding day approaches. The climactic ceremony—described by many reviewers as the film’s “pièce de résistance”—forces Charlie and Emma to confront the fallout of Emma’s secret amid a chaotic, alcohol‑fueled toast that lays bare the fragility of their relationship. In the final scene, the couple reconvenes at a diner, echoing the opening “can we start over?” motif. The ambiguous resolution suggests that exposing one’s darkest thoughts may either deepen intimacy or foreshadow further turmoil. Overall, ‘The Drama’ is both a compelling watch and a flashpoint for debate about how cinema engages with the United States’ endemic gun‑culture. Whether the film succeeds as a thought‑experiment or merely courts outrage remains a divisive question that will likely fuel discussions well beyond its theatrical run.

The organiser of the Wireless Festival has reaffirmed that Kanye West, legally known as Ye, will appear on the bill, even as senior UK officials and Jewish organisations demand his exclusion over a series of antisemitic statements and admiration for Adolf Hitler.West’s controversial remarks, including a 2025 song titled “Heil Hitler” and the promotion of a swastika‑bearing T‑shirt, have drawn condemnation from MPs and prompted calls for a government ban. Bridget Phillipson, a senior minister, described his comments as “completely unacceptable and absolutely disgusting,” while Prime Minister Keir Starmer called the booking “deeply concerning.”Melvin Benn, managing director of Festival Republic, the promoter behind Wireless, said the artist is “intended to come in and perform” and stressed that the festival will not provide a platform for “extolling any opinion,” only for the songs that are popular on radio and streaming services. He added, “I am a deeply committed anti‑fascist… I lived on a kibbutz attacked on 7 October and support both a Jewish and a Palestinian state.”In a personal appeal, Benn invoked his experience with a family member’s mental illness, urging the public to extend “forgiveness and hope” to West, whom he described as seeking “second chances” in a “divisive world.” He also asserted that West has a legal right to enter the UK, though ministers are reviewing his entry clearance.Jewish leaders remain unconvinced. Phil Rosenberg, president of the Board of Deputies of British Jews, warned that Benn’s comments “will not reassure many within the Jewish community” and highlighted that West has “proclaimed himself a Nazi” while the festival stands to profit from his appearance.Political opposition has also weighed in. Liberal Democrat leader Ed Davey called for a ban on West’s entry, urging the government to act “tougher on antisemitism.”Commercial fallout has been swift. Pepsi and Diageo have withdrawn their sponsorship, and AB InBev announced it is pulling Budweiser and Beatbox support. PayPal confirmed it will no longer feature in the festival’s promotional materials.West has not performed in the UK since headlining Glastonbury in 2015, and his recent full‑page apology in the Wall Street Journal attributed his inflammatory remarks to bipolar‑1 disorder stemming from a 2002 car‑crash injury. Nonetheless, critics argue that a three‑day stage slot does not constitute a meaningful path to “health and healing.”

Conservationists and scientists have warned that the Minerals Council of Australia’s proposal to employ artificial intelligence for faster national environmental approvals could generate “Robodebt‑style” failures, further endangering already vulnerable species.The council has asked the federal government to allocate $13 million for a pilot that would use AI to help companies draft assessment applications and assist regulators in decision‑making.The Biodiversity Council – a consortium of independent experts from eleven universities – told Guardian Australia that while AI may assist with routine tasks, automating whole environmental assessments could lead to opaque, flawed decisions that push threatened species closer to extinction.“Robodebt” refers to the automated welfare‑debt recovery scheme that, between 2015 and 2019, wrongly accused hundreds of thousands of Australians of overpayments, highlighting the danger of opaque algorithmic judgments.Lis Ashby, the Biodiversity Council’s lead on policy and innovation, noted that the cornerstone of Australia’s environmental protection, the Environment Protection and Biodiversity Conservation (EPBC) Act, is riddled with vague language and broad ministerial discretion, which hampers rule‑based decision‑making and would be even more problematic for an AI tool.She added that establishing clear rules in the National Environmental Standards, including explicit definitions of unacceptable outcomes, would accelerate assessment times even without AI and is essential for any future automation.Brendan Sydes, national biodiversity policy adviser at the Australian Conservation Foundation, expressed scepticism, stating that “technology can be a good servant but a poor master.” He urged the government to focus on closing existing data gaps on threatened species and habitats rather than relying on AI.Prof. David Lindenmayer, a forest ecologist at the Australian National University and Biodiversity Council member, highlighted that one‑third of Australia’s threatened species have not been monitored and many others suffer from patchy data, gaps traditionally filled by expert consultation.He warned that AI decisions are only as reliable as the data they are fed, and most threatened species lack publicly available information, even basic location data, risking decisions based on outdated or incomplete evidence.The Albanese government recently passed reforms to the EPBC Act after a 2020 review found the legislation failing to protect species and habitats.Prof. Hugh Possingham, a leading conservation biologist at the University of Queensland, argued that AI models need robust training material, and the past two decades of EPBC approvals are “clearly unsuitable” because the Act has demonstrably failed to safeguard the environment. He suggested that hiring more human assessors would be a more effective way to speed up evaluations.Tania Constable, chief executive of the Minerals Council, dismissed the Robodebt comparison as “disappointing,” insisting the proposal is innovative and could strengthen environmental protection while improving efficiency. She said the AI tools would support human decision‑making for both regulators and project proponents, helping navigate the complexity of EPBC assessments.A federal government spokesperson said budget decisions on the AI trial will be made “in due course,” but the environment department is exploring how AI could simplify application processes. The statement emphasized that “decisions about whether to approve projects must, and will, always be made by assessment officers, not by AI.”Nonetheless, officials acknowledged that AI tools have the potential to save time, reduce uncertainty, and translate technical language for stakeholders.

Romanian director Radu Jude is known for his wildly improvised and low-budget filmmaking style, often incorporating elements of TV ads, AI-generated content, and amateur dramatics into his movies. His latest film, 'Dracula', continues this trend, presenting a satirical take on Romania's dark past and the country's most reliable export: the legend of Dracula. The film is a meta-cinematic experiment, featuring a smug and supercilious film-maker, Adonis Tanta, who introduces the audience to his cheapo film about Dracula, created on his iPad using unbearable AI. The story is interspersed with set-piece mini-films-within-a-film on Dracula-adjacent themes, including a communist-era tale of a truck driver who falls in love with a local woman. Jude's film is a scathing critique of Romania's persistent strains of fascism, antisemitism, clerical arrogance, exploitative service economy, and stakeholder capitalism. Specifically, it relates to a proposal for a Dracula theme park in the late 1990s, in which thousands of Romanian citizens invested money that they would never see again. While the film may test the audience's patience at times, it features moments of startling insanity and is a testament to Jude's innovative filmmaking style. As the reviewer notes, 'one day, I predict, Jude will make a biopic of political vampirism about the most pressing Romanian subject of all: Nicolae and Elena Ceaușescu.' 'Dracula' is set to premiere at the ICA in London on April 10.

Italian Prime Minister Giorgia Meloni recently visited Qatar, meeting with Emir Sheikh Tamim bin Hamad Al Thani to address pressing energy concerns amid the ongoing conflict between Iran, the United States, and Israel. This meeting marks a significant step in Italy's efforts to bolster its relationships with key Gulf nations and ensure a stable energy supply.The discussions between Meloni and the Qatari leader focused on energy issues and potential measures to mitigate the shocks caused by the Iran war. Italy, being highly dependent on energy imports, is particularly concerned about the rising energy prices resulting from Iran's effective blocking of the Strait of Hormuz, a critical waterway through which approximately 20 percent of global oil and liquefied natural gas transits.During the meeting, Meloni expressed Italy's readiness to contribute to the rehabilitation of Qatari energy infrastructure, which is essential for global energy security. This commitment underscores Italy's proactive approach to addressing the energy crisis and its willingness to collaborate with Qatar to ensure a stable energy supply.The Qatari Emir's office stated that both sides stressed the need for de-escalation and prioritized political dialogue and diplomacy to contain the current crisis in the Middle East and its repercussions on energy and supply chains. They also reviewed bilateral cooperation between Italy and Qatar, exploring ways to support and develop it in various fields, particularly in the economy and energy sectors.Since the beginning of the war at the end of February, Iran has targeted US and Israeli targets in the region, as well as Gulf countries, including Qatar. Iran's attacks on Qatar's energy installations, such as the missile strike on Ras Laffan Industrial City, have caused significant damage and are expected to affect Doha's natural gas export capacity.Meloni's trip to the Gulf aimed to strengthen relations with these countries and reiterate Italy's support against Iranian attacks. As the first leader of a European Union or NATO country to travel to the region since the war broke out, Meloni's visit underscores Italy's commitment to regional stability and energy security.

Indonesia formally received the coffins of three United Nations peacekeepers who lost their lives in southern Lebanon as Israel intensified its invasion, a development that underscores the expanding regional fallout of the US‑Israel war on Iran. On Saturday, uniformed officers carried the bodies into a solemn ceremony attended by President Prabowo Subianto. Following the tribute, Foreign Minister Sugiono urged a comprehensive UN inquiry into the fatalities, stressing that "incidents like this should not happen" and calling for a security guarantee for peacekeeping troops. The three soldiers—Farizal Rhomadhon (28), Zulmi Aditya Iskandar (33) and Muhammad Nur Ichwan (26)—were members of the United Nations Interim Force in Lebanon (UNIFIL). Rhomadhon was killed when a projectile, later attributed by a UN source to fire from an Israeli tank, detonated near his position. A day later, Iskandar and Ichwan perished in an explosion that struck a UNIFIL logistics convoy. Family members expressed deep sorrow. Iskandar’s father, Iskandarudin (60), told reporters from West Java that the loss was especially painful because the troops were deployed for peace, not combat. The government announced that the trio will be interred on Sunday and pledged financial assistance to their families, reflecting Indonesia’s commitment to support the bereaved. In a related incident, UNIFIL reported that three additional peacekeepers were wounded in a blast at a facility near Adeisse; the cause of that explosion remains unidentified, though the injured were confirmed to be Indonesian. Indonesia’s foreign ministry has called on the UN Security Council to convene an urgent meeting of troop‑contributing nations to review and strengthen protection measures for UNIFIL personnel. The tragedy occurs against the backdrop of a broader conflict: the US‑Israel offensive against Iran has spilled into Lebanon after Hezbollah, aligned with Tehran, launched rockets following the assassination of Iran’s Supreme Leader Ayatollah Ali Khamenei on 28 February. Israeli forces have been bombarding Lebanon for weeks, aiming to establish a 30 km (≈18.6 mi) security zone along the border. Key takeaway: The loss of Indonesian peacekeepers highlights the heightened risks faced by UN missions in volatile theaters and intensifies calls for stronger international safeguards amid escalating Middle‑East hostilities.

In December and January, researchers from the Bob Brown Foundation recorded the unmistakable call of the swift parrot – the world’s fastest bird – in a section of the Wielangta forest, southeast Tasmania, that had already been earmarked for clear‑felling.Dr Charley Gros, a lead scientist on the project, described the call as “tiny but very loud, sharp and quick,” making it easy to distinguish from other forest sounds. Over a two‑month period, the team – assisted by volunteer citizen scientists – logged 68 separate observations, which were later vetted by a government scientist and uploaded to the state environment department’s database.Gros argued that the frequency of detections indicated the area was being used for foraging and nesting, not merely as a fly‑by corridor. “If they’re there every day, that is their habitat,” he said.When the recordings were submitted, the Forest Practices Authority dispatched an ecologist to the site (identified as coupe WT003E) on 10 February. The official report stated that “no swift parrots were observed breeding in the harvest area.” By that time, the forest patch had already been cleared, which Gros noted made the absence of birds unsurprising.The logging operation was carried out by Sustainable Timber Tasmania (formerly Forestry Tasmania). The agency maintained that it operated “within Tasmania’s strict forest‑practice framework” and that “nesting trees are retained and harvested areas are regenerated as native forest,” asserting compliance with environmental regulations.The incident revives a broader debate over whether existing legislation adequately safeguards threatened species. Critics point to the swift parrot’s precipitous decline – a CSIRO‑published guide in 2021 estimated the population at about 750 individuals, down from roughly 2,000 a decade earlier – and warn that without stronger protection the bird could be extinct by the early 2030s. Forestry remains identified as the greatest threat, though government officials have historically downplayed the link.The Bob Brown Foundation accused both state and federal governments of “blatantly ignoring scientific advice” and allowing logging that drives the species toward extinction. A Tasmanian government spokesperson countered that the state’s “science‑based forest practices system” prohibits deforestation of swift‑parrot habitat, emphasizing that regenerated forests will provide future flowering eucalypts.At the federal level, a spokesperson for the Albanese government noted that a regional forestry agreement places responsibility for habitat protection on Tasmania, but an exemption for state‑run forestry from national environmental law expires in 2027. After that date, any logging that significantly impacts threatened species would require approval from Canberra.Environmental campaigners, including the Wilderness Society, have intensified pressure on retailers such as Bunnings to stop sourcing timber from the contested coupe. The society argues that the forest‑certification program awarded to logs from WT003E does not guarantee sustainable practices. Alice Hardinge, the Wilderness Society’s Tasmanian campaigns manager, warned that “customers don’t want to be sold timber that destroys unique forests and pushes the swift parrot to extinction.”Bunnings responded that an internal review found “no evidence to indicate non‑compliance with Tasmanian environmental or logging laws at this site,” reaffirming its commitment to sourcing wood from compliant, well‑managed operations.

When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.