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Jeffrey Stephen Wigand, a biochemist who helped reveal how tobacco companies targeted children and hid the addictive nature of cigarettes, has been drawing parallels between the tobacco industry and social media companies. Wigand, who played a crucial role in the landmark tobacco trials of the 1990s, believes that social media companies have similarly designed their products to be addictive, particularly targeting children.The recent verdict in a major social media trial, which found Meta and YouTube liable for their role in creating addictive products, has strengthened comparisons to the legal crackdown on big tobacco. Wigand sees it as a similar situation, where companies prioritize profits over people's well-being. He notes that both industries use advertisements to target children, with social media companies using data to create addictive algorithms.Wigand's experience in the tobacco industry informs his perspective on social media. He was hired by Brown & Williamson (B&W;) in 1989 to develop a safer cigarette but was fired after raising concerns about carcinogenic substances in cigarettes. He then publicly declared that the tobacco industry was a 'nicotine delivery business' and helped the federal government in its investigations.Wigand believes that social media companies, like tobacco companies, intentionally addict people, especially children, to generate revenue. He emphasizes that brain development in children makes them vulnerable to addiction, and that social media companies exploit this vulnerability.The tobacco industry faced significant reforms and financial penalties following Wigand's whistleblowing. He hopes that similar actions will be taken against social media companies, including putting guardrails on access for children and holding companies accountable for their role in creating harm. Wigand's message to tech workers considering becoming whistleblowers is to carefully weigh the personal costs and prepare for the challenges that come with speaking out.

The conventional view of procrastination is that it's a negative habit, linked to anxiety, diminished self-esteem, and depression. However, what if we could harness it to our advantage? By exploring medieval philosophy, particularly the concept of acedia, or sloth, we can uncover a more positive approach to procrastination. Medieval theologians didn't view sloth as laziness, but rather as a complex mix of boredom, depression, anxiety, and despair. This state can leave us feeling rudderless, unable to make progress towards our goals. However, by accepting and engaging with our procrastination, we can transform it into a catalyst for growth. Dante Alighieri and Bernard of Clairvaux offered valuable insights into navigating procrastination. Dante described the 'wrong' approach as sleepwalking towards disaster, where boredom anaesthetizes our minds, making us vulnerable to manipulation. In contrast, the 'right' approach involves embracing procrastination as a chance for self-discovery. Bernard of Clairvaux likened living a good life to running a marathon over rough terrain. We can't expect to maintain a constant pace; there will be days of apathy and boredom. On such days, we should stay awake and alert, engaging our brains to find value in even the most trivial distractions. By adopting this mindset, we can turn procrastination into a portal to self-discovery. As medieval poems like Parzival and The Pearl demonstrate, heroes often stumble upon profound revelations through distraction and wandering. Similarly, we can find unexpected gold in the midst of procrastination, leading to a deeper understanding of ourselves. So, the next time you find yourself procrastinating, consider embracing it as a chapter break, a chance to recharge and refocus. Remember that accepting procrastination can be essential to emotional growth, allowing us to return to our tasks with renewed energy and perspective.

Maggie Aderin-Pocock, a space scientist and CEO of Science Innovation Ltd, says the one item she would take to the lunar surface is a hand‑sewn purple‑cloth alien crafted by her daughter during a GCSE textile project. The tiny creature, made on a loom, embodies her child's love and would serve as a reminder of family ties at the farthest point from Earth. Sheila Hancock, acclaimed actor and writer, would use the trip as a cultural boot‑camp. She plans to study the complete works of Shakespeare, the epic novel War and Peace, and the full symphonies of Mahler as interpreted by Claudio Abbado, hoping the immersion will "strengthen her weakening brain" and deepen her appreciation of human genius. Michael Akadiri, a stand‑up comedian and resident doctor, imagines a lighter itinerary: a stack of old birthday cards to revisit heartfelt messages, an old‑school notepad for real‑time reflections, and a handful of puff‑puff (Nigerian doughnuts) – a cheeky nod to his fitness‑obsessed friends. Michael Rosen, children’s author and broadcaster, would bring three nostalgic comforts: giant yellow Chilean raisins from W Martyn’s shop in Muswell Hill, an oval brown pebble from the alleyway of his teenage flat, and the “furry” blanket his wife gave him during his 2020 COVID‑19 ventilator stay, each item a tactile link to his past. Athena Kugblenu, writer and comedian, opts for practicality and humor. She would pack a pair of Crocs for comfort, the guidebook Contact by Carl Sagan as a potential alien‑communication manual, and a jar of shito sauce – a Ghanaian shrimp‑tomato condiment – to introduce extraterrestrials to Ghanaian flavor before they learn English profanity. Nels Abbey, writer and broadcaster, frames his selection as a morale‑boosting toolkit. He would carry excerpts from Gil Scott‑Heron’s "Whitey on the Moon" and stand‑up routines by Paul Mooney, using their cynical wit to cope with the psychological challenges of space travel. Collectively, the panel’s choices illustrate how personal history, artistic heritage and even culinary curiosity can anchor humanity during the most extraordinary voyages. Their whimsical yet heartfelt lists underscore the idea that, even beyond Earth, we remain tethered to the stories, flavors and objects that define us.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.

The Idiot – A fresh five‑part series from the New York Times and Serial Productions, narrated by columnist M. Gessen, follows the unsettling tale of Allen, a self‑styled “idiot” who allegedly orders a hit on his ex‑wife. The narrative blends the investigative depth of earlier Serial hits like We Were Three and S‑Town, delivering a dark, character‑driven thriller that drops new episodes weekly.Friends Keep Secrets – Pop star Selena Gomez teams up with producer Benny Blanco, rapper‑actor Lil Dicky, and his wife Kristin Batalucco for a podcast that pushes the envelope of celebrity banter. Listeners can expect unfiltered conversations that even feature an unexpected Ed Sheeran interview, complete with the kind of raw, off‑beat humor that borders on “brain‑rot” territory.Screwed by AI – Hosted by Avantika Chilkoti of The Economist, this series travels to the Adult Video Network expo in Las Vegas – dubbed the “Oscars of porn” – to explore how the adult‑entertainment sector often foreshadows broader AI trends. The podcast examines the ripple effects on human relationships and the tech landscape, releasing new installments each week.Jacob Reed and Me – Described as an “investigative comedy,” writer Jacob Reed embarks on a nationwide quest to locate every other person sharing his name. The journey becomes a quirky storytelling experiment, featuring encounters with beach‑scene painters, economists, and even porn stars, all while the show’s advertisements are humorously sourced from fellow Jacob Reeds.Raven – This character‑driven investigation follows Raven Chanticleer, the founder of the African American Wax Museum in Harlem. The series weaves together Chanticleer’s flamboyant life story with the mystery surrounding the disappearance of his wax figures after his 2002 death, delivering a richly detailed narrative that unfolds weekly.All six podcasts are widely accessible across major platforms and release new episodes on a weekly schedule, offering a broad spectrum of content for listeners seeking true‑crime intrigue, celebrity insight, technological commentary, and off‑beat humor.

Tim Sweeney, the CEO of Epic Games, the company behind the popular online game Fortnite, has issued an apology after facing backlash for laying off an employee with terminal brain cancer. The layoff not only resulted in the loss of income for the employee's family but also meant they would lose their life insurance. The controversy began when Jenni Griffin, the wife of Mike Prinke, a laid-off employee, shared their story on social media. She revealed that her husband was fighting terminal brain cancer and that the layoff meant they would lose his life insurance. Griffin expressed her concerns about the financial burden they would face, including the cost of a funeral and burial. Sweeney responded to Griffin's post, apologizing for not recognizing the situation earlier and promising that Epic Games would solve the insurance issue for the family. He stated that the company would provide a solution to ensure the family receives the necessary support. Epic Games announced the mass layoffs on March 24, citing a downturn in Fortnite engagement and a need to make major cuts to keep the company funded. Sweeney justified the layoffs by saying that the company was spending significantly more than it was making. Affected employees were offered a severance package, including at least four months of base pay, along with other benefits tied to tenure at the company. The layoffs have sparked controversy, with many questioning the decision to let go of over 1,000 employees despite the company's annual profits of $4 billion. Fortnite is the world's fourth most-played PC game, and the company's financial situation has raised concerns about the impact of the layoffs on employees and their families. Griffin's post, which included a picture of her husband's brain scan, quickly went viral, prompting Sweeney to respond and offer support to the family. The incident has highlighted the human impact of corporate decisions and the need for companies to consider the well-being of their employees.

Gary Woodland has emerged victorious at the Houston Open, a triumph that seemed improbable just 30 months ago when he underwent brain surgery. His journey to this moment was further complicated by his recent struggles with post-traumatic stress disorder (PTSD). Woodland's win, secured with a closing three-under 67, was a dominant performance that saw him finish five shots ahead of Nicolai Hojgaard. This victory is not only his fifth career win but also his first since the 2019 US Open at Pebble Beach, making it a significant milestone in his career. The emotional weight of Woodland's journey was palpable as he described the moment of victory. The gallery's chant of his name fell silent as he prepared to roll in the winning putt, a moment he described as 'a good day' after a long and challenging period. Woodland's struggles began in 2023 when he discovered a lesion on his brain that caused unfounded fears about his mortality. Surgery in September 2023 removed much of the lesion, but he continued to face challenges with PTSD. Just two weeks ago, he opened up about his struggles in a Golf Channel interview, sharing that he often felt like he was 'living a lie' and that he was 'dying' inside. His decision to go public with his struggles has had a profoundly positive impact, allowing him to feel '1,000lbs lighter'. Despite ongoing challenges, Woodland expressed hope and gratitude for the support of his loved ones, particularly his wife, Gabby Granado, who was instrumental in his recovery. This victory not only marks a personal triumph for Woodland but also a professional one, as it secures his eligibility for the Masters in two weeks and moves him up to No 51 in the world ranking, his highest in five years. The win also underscores his standing on the PGA Tour, with Hojgaard and Min Woo Lee choosing to let him have the moment to himself on the 18th green. Woodland's resilience and determination serve as a powerful reminder to anyone struggling with their own challenges, as he poignantly noted, 'We play an individual sport out here, but I wasn’t alone today.'

The concept of luck has long been shrouded in mystery, often attributed to chance or fate. However, behavioural neuroscience has made significant strides in uncovering the underlying mechanisms that govern luck. According to research, luck is not just a roll of the dice, but rather a complex interplay of brain chemistry and behaviour that can be influenced and cultivated.The neuroscience behind luck reveals that it operates through identifiable patterns of brain chemistry and behaviour. Studies have shown that the consistently lucky are not blessed by fate, but rather, they possess a unique set of habits and characteristics that enable them to capitalize on opportunities and navigate challenges more effectively. Brain imaging techniques have even identified specific regions of the brain that are activated when individuals perceive themselves as lucky, shifting their perception from threat-detection mode to opportunity-recognition mode.Serotonin production, regulated by morning sunlight, tryptophan-rich foods, and a regular sleep-wake cycle, plays a critical role in determining one's luck. Individuals who prioritize these factors are more likely to experience a boost in serotonin levels, which in turn, enhances their mood, social confidence, and resilience. Conversely, those who lead erratic lifestyles and neglect these factors may find themselves chronically sleep-deprived and less likely to encounter fortunate events.Lucky individuals also tend to possess a clear awareness of their interests and passions, which guides their decision-making and behaviour. By following their 'fascination compass', they are more likely to stumble upon opportunities and experiences that align with their values and goals. Novelty-seeking and a willingness to take calculated risks also characterize lucky individuals, as they understand that each small departure from routine can be a ticket to new experiences and encounters.Generosity and a willingness to help others without expectation of return are also key characteristics of lucky individuals. Brain imaging studies have shown that acts of genuine generosity activate the brain's deepest reward centre, releasing feel-good chemicals that reinforce positive behaviours and build social capital. By investing in others and cultivating meaningful relationships, lucky individuals create a network of opportunities and support that can help them navigate life's challenges.In conclusion, luck is not just a matter of chance, but rather a complex interplay of brain chemistry, behaviour, and habit. By understanding the underlying mechanisms that govern luck and incorporating these insights into daily life, individuals can increase their chances of experiencing fortunate events and leading a more fulfilling life.

While birdwatching is a well-known hobby, moth-watching is gaining popularity as a fascinating and misunderstood pursuit. A recent study on birdwatching found that becoming an expert birder causes changes to the brain that may help protect against age-related cognitive decline. The study, led by Erik Wing, discovered that expert birders show more activity in brain regions linked to visual processing, attention, and working memory when identifying difficult species. The author, a self-proclaimed moth enthusiast, argues that moths are orders of magnitude more difficult to distinguish than birds, with over 2,500 species in the UK alone. The author participates in the Garden Moth Scheme, a citizen science project that has been running since 2008, and has found that moths play a vital role in the natural world, pollinating plants, providing food for wildlife, and contributing to nutrient cycling. Despite their importance, moths are often misunderstood and maligned, with many people viewing them as pests. However, the author highlights the beauty and diversity of moths, with some species having intricate patterns and colors that rival those of butterflies. The author also notes that moths are harbingers of environmental change, with many species declining in abundance due to habitat loss and climate change. The Garden Moth Scheme has revealed a troubling trend of declining moth populations, with half of UK garden moth species showing a decrease in abundance. This decline has significant implications for the balance of the natural world. The author concludes that moth-watching, like birdwatching, can be a mindful and rewarding hobby that not only promotes appreciation for nature but also supports brain health.