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The Personal Mission Behind the InvestmentReed Jobs, son of Apple co-founder Steve Jobs, is bringing his oncology-focused venture capital fund Yosemite to the UK, seeking investment opportunities in cancer care. The 34-year-old's mission is deeply personal, stemming from witnessing his father's death from a rare form of pancreatic cancer in 2011 at age 56. "I saw my dad have cancer when I was a kid, and unfortunately that happens far too often. And that really motivated me to try to transform outcomes for other people out there," Jobs explains.Yosemite's Healthcare Investment StrategyThe San Francisco-based venture fund, named after the California national park where his parents married, manages over $1 billion in assets and has already invested in approximately 20 healthcare startups. Yosemite focuses on innovative approaches to cancer treatment, including gene therapy, cancer vaccines, radiopharmaceuticals, and artificial intelligence. Notable investments include Tune Therapeutics, Azalea Therapeutics, Chai Discovery, and Sage Care in the US, with several UK companies in their portfolio that haven't been publicly announced.Financial Backing and International PartnershipsYosemite receives investment from LifeArc, a UK not-for-profit group focused on rare diseases that was established in 2000 as part of the UK's Medical Research Council. The fund also has partnerships with Oxford and Cambridge universities, where it has provided philanthropic grants. Additional backing comes from US biotech company Amgen, Massachusetts Institute of Technology, Memorial Sloan Kettering Cancer Center in New York, and billionaire investor John Doerr, following a fundraiser earlier this year.UK's Position in Global Cancer Research"Research here is world class," Jobs states during his visit to London for a life sciences conference hosted by LifeArc. The UK's strong academic institutions and research environment make it an attractive location for healthcare investment. Yosemite's international investment strategy includes the UK, where the fund aims to connect with pharmaceutical partners and academics to advance cancer treatment possibilities.Future Vision for Cancer TreatmentJobs envisions a future where cancer shifts from being an "end-stage disease" to an illness that is diagnosed early, monitored, and treated—similar to advances made with HIV and cardiovascular disease. "Today far too many cancers are either diagnosed incidentally, because there's no good early biomarker, or only diagnosed once they are metastatic and extremely advanced," he notes. The fund is particularly focused on immunotherapy, which Jobs identifies as "one of the areas I think is going to have the most promise for patients in the next couple of decades."

The LeadPresident Donald Trump has expressed a lack of optimism regarding the potential release of Hong Kong democracy activist Jimmy Lai after discussing his case with Chinese leader Xi Jinping during a recent diplomatic visit. Despite raising the matter with Xi, Trump characterized the response as negative, with the Chinese leader reportedly describing Lai's case as 'a tough one'.The Diplomatic ExchangeDuring his two-day visit to China, Trump made a point of raising Lai's case with Xi, hoping to secure the release of the 78-year-old British citizen who has been imprisoned since 2020. Speaking aboard Air Force One on his return journey, Trump revealed that Xi seemed more open to considering the release of a detained church pastor than Lai's case. 'I did bring it up, but it's a tougher one for him. He said Jimmy Lai is a 'tough one' for him,' Trump stated.In a subsequent interview with Fox News, Trump further emphasized his pessimistic outlook: 'I bought up Jimmy Lai. I would say the response to that was not positive... I did not feel optimistic.' These comments mark a stark contrast to Trump's previous statements about Lai, made at the end of last year when he told reporters he had spoken to Xi about considering his release.The Legal SituationJimmy Lai, an influential media tycoon and democracy advocate in Hong Kong, was sentenced to 20 years in prison in February 2026 under a security law imposed by Beijing. His arrest in 2020 was part of a broader crackdown following massive anti-government protests in the former British territory. The legal team representing Lai has consistently maintained his innocence and highlighted the political nature of his prosecution.The case has become a significant point of international concern, particularly in the United Kingdom, where Lai is viewed as being punished for defending democratic undertakings promised during the 1997 handover of Hong Kong from British to Chinese rule. His imprisonment has been widely condemned by human rights organizations and Western governments as a test case for Beijing's commitment to the 'one country, two systems' principle.The Human CostBeyond the legal and political dimensions, Lai's deteriorating health conditions in prison have raised serious humanitarian concerns. The 78-year-old diabetic has been kept in solitary confinement without air conditioning in a facility where summer temperatures reportedly reach 44°C (111°F). His family has described alarming physical deterioration, including significant weight loss, discoloration and loss of nails, and deteriorating dental health.'He has lost a very significant amount of weight, visibly, and he is a lot weaker than he was before,' Lai's daughter Claire said in remarks to media earlier this year. 'His nails turn almost purple, gray and greenish before they fall off, and his teeth are getting rotten.' These conditions have fueled fears that Lai may not survive his lengthy prison sentence, particularly given his advanced age and pre-existing health issues.The International ResponseDespite Trump's pessimistic assessment, Lai's family remains hopeful about potential diplomatic intervention. Claire Lai expressed gratitude to Trump for his commitment to her father's release, stating: 'He has earned his reputation as liberating the unjustly detained and I am confident he and his administration will be the ones to free my father.' She added that Xi Jinping had an opportunity to do 'the only just and honourable thing' by releasing Lai.The international community has continued to monitor Lai's case closely, with human rights organizations and several Western governments expressing concern about his treatment and the implications for freedom of the press in Hong Kong. The case has become a symbol of the broader struggle for democratic values in the face of increasing Chinese assertiveness in the region.The Future OutlookWhile Trump's direct intervention with Xi did not yield immediate results, the continued international attention on Lai's case may still influence diplomatic calculations. The potential release of a detained church pastor, which Trump suggested Xi might be considering, could indicate areas where China is willing to make concessions on human rights issues.For Jimmy Lai, the coming months will be critical as his health conditions deteriorate in prison. The combination of diplomatic pressure, public awareness campaigns, and potential legal challenges may create pathways for his release, though the apparent resistance from Beijing suggests this will be a difficult and protracted process. The case will likely remain a focal point in discussions about human rights, press freedom, and the future of Hong Kong's autonomy.

The LeadAs Top Gun celebrates its 40th anniversary, this article delves into the remarkable journey of how this iconic film came to be, from its humble beginnings in a magazine article to becoming a cultural phenomenon that redefined the modern blockbuster and launched Tom Cruise into superstardom.The Genesis of a BlockbusterThe story of Top Gun began in 1983 when producer Jerry Bruckheimer was flipping through California magazine and stumbled upon an article titled 'Top Guns' featuring a dramatic photo from inside an F-14 fighter jet cockpit. The article began with the captivating line: 'At Mach 2 and 40,000 feet over California, it's always high noon.' Bruckheimer immediately saw potential, describing it as 'looking like Star Wars on Earth.' He and his partner Don Simpson secured the rights and approached screenwriters Jim Cash and Jack Epps Jr., who were immediately drawn to the project.The Authenticity ImperativeEpps, who held a private pilot's license, insisted on authenticity from the outset. He and Bruckheimer made it clear to the Pentagon that they wouldn't accept special effects substitutes for real planes. This commitment to realism led to unprecedented cooperation with the military, allowing the filmmakers to access actual naval aircraft and facilities. Epps was even sent to Marine Corps Air Station Miramar to immerse himself in the world of naval aviators, undergoing rigorous training including ejection procedures and water survival exercises.Casting the MaverickThe role of Pete 'Maverick' Mitchell was crucial, requiring an actor with exceptional charisma and physical presence. The filmmakers had Tom Cruise in mind from the beginning, but securing the young star wasn't straightforward. To convince Cruise, Bruckheimer arranged for him to fly with the Blue Angels. Despite Cruise's long hair and ponytail (which the pilots mocked as 'hippy'), they gave him an intense flight experience that left him exhilarated and committed to the project. This experience was so transformative that Cruise became a licensed pilot himself.Creating the NarrativeWhile researching at Miramar, Epps faced a challenge: the real pilots were unified and focused on teamwork, lacking the dramatic conflict needed for compelling storytelling. His solution was to create a character who stood apart from the group - Maverick, a pilot who was more concerned with personal glory than teamwork. The emotional core of the film was inspired by conversations with real pilots who were still mourning colleagues lost in Vietnam, leading to the pivotal death of Goose in the middle of the story.The Cultural ImpactReleased in 1986, Top Gun became a cultural phenomenon that transcended mere entertainment. The high-testosterone slice of Reagan-era Americana not only made 23-year-old Tom Cruise a global star but also had a surprising real-world impact: it drove a significant spike in military enlistment, with the navy even setting up recruitment tables in theaters. The film's homoerotic volleyball scene and memorable quotes like 'You can be my wingman anytime' entered the cultural lexicon. Its success eventually spawned a sequel in 2022, with a third installment currently in development.The Legacy of Top GunForty years after its release, Top Gun remains a touchstone in cinema history, celebrated for its groundbreaking aerial photography, thrilling action sequences, and the star-making performance of Tom Cruise. The film's commitment to authenticity, using real pilots and aircraft whenever possible, set a new standard for action filmmaking. As technology has advanced, the film's practical effects have gained renewed appreciation in an era dominated by CGI. Its enduring popularity speaks to the universal appeal of its themes: the pursuit of excellence, the cost of risk-taking, and the bonds formed between those who share extraordinary experiences.

The Crisis in Vienna: A Historic BoycottEurovision 2026 has evolved from a celebration of sequins and song into a flashpoint of international tension. The contest, marking its 70th anniversary in the Austrian capital, is being boycotted by five nations: Spain, the Netherlands, Ireland, Slovenia, and Iceland. These countries are protesting Israel's inclusion in the competition, citing the ongoing conflict in Gaza and what they describe as "illegal war and genocide." Prime Minister Pedro Sánchez of Spain stated, "In the face of illegal war and also genocide, silence is not an option," announcing that his nation would not attend but would instead air alternative programming.Boycotting Nations: Spain, Netherlands, Ireland, Slovenia, IcelandHost City: Vienna, AustriaControversial Participant: IsraelViewership and Participation MetricsThe scale of this mutiny represents the largest boycott in Eurovision history, threatening to dent the event's image as a unifying force. Despite the political turmoil, the contest remains a massive global spectacle. Last year's event drew 166 million viewers, making it the world's most watched non-sporting cultural event. However, the absence of five major broadcasters and the potential for blackouts in participating nations signal a significant drop in engagement and reach.The EBU's Struggle for NeutralityThe European Broadcasting Union (EBU), which oversees the contest, is facing accusations of spinelessness and an inability to navigate propaganda. The organization is caught between two opposing narratives: supporters of Israel argue that the boycott is driven by antisemitism, while protesters accuse the contest of "art-washing" atrocities against Palestinians. Security has been ramped up in Vienna, and police are preparing for a febrile atmosphere, particularly surrounding Israel's performance by contestant Noam Bettan, during which chants of "stop the genocide" were reportedly heard.The Future of the ContestHistorically, Eurovision has always had a political undercurrent, from the 1969 boycott of Franco's Spain to the 2007 "Russia goodbye" controversy. However, experts suggest this year marks a departure where the EBU has lost control. As the contest moves further from its idealistic roots of "united by music" to a proxy battleground for global conflicts, the EBU faces a critical decision. The organization may need to establish stricter rules regarding political participation or risk further fragmentation, potentially turning the contest into a fractured event rather than a pan-European celebration.

The Allure of Sonic ExtremesBowel-shuddering basslines. Drum fills that bounce off the walls like gunfire. Guitars resembling a pneumatic drill drilling into another pneumatic drill. A truly loud gig stays with you, figuratively and literally, as anyone who has spent the days after one accompanied by a troubling ringing in their ears can confirm.Last week, prompted by an old Alistair Cooke column suggesting that Janis Joplin's group Big Brother and the Holding Company was noisy enough to cause permanent hearing damage in guinea pigs, The Guide asked readers to share their own loudest gig experiences. The response was overwhelming, with countless readers sharing memories of eardrum-piercing encounters with all manner of bands and artists, across genres and decades.The Technical Frontiers of Live SoundWe should probably insert the obligatory disclaimer here: loud gigs can be genuinely bad for your ear health – just look at the brilliant early 80s post-punk band Mission of Burma, who had to disband for the best part of two decades due to guitarist Roger Clark Miller's punishing tinnitus. The environments that Burma and bands before them played in were a sonic wild west, with minimal soundproofing in venues or, in the ear canals of the people performing in those venues.Thankfully technology has moved on since then: many concertgoers now carry decent pairs of earplugs, and venues often provide free alternatives at the bar. Yet some still succumb to the cheap, inadvisable thrill of experiencing music completely unprotected.The Auditory Cost of Musical PassionThe physical consequences of extreme volume are well-documented. Mission of Burma's hiatus due to tinnitus represents just one example of how loud performances can have lasting health effects. The human ear can withstand approximately 85 decibels continuously for eight hours, but at 110 decibels – the level of many rock concerts – safe exposure time drops to less than two minutes.Despite these risks, the pursuit of sonic intensity continues. As one reader noted about seeing Swans in 1987: "You couldn't think of anything other than the noise while it was happening. People streamed out. I stayed and now wear hearing aids. But it was extraordinary." This trade-off between auditory safety and musical transcendence remains central to concert culture.Cultural Significance of VolumeVolume in live music has always been tied to cultural significance. From Deep Purple in the 1970s to modern experimental acts, extreme sound has been used to create immersive experiences that transcend mere entertainment. Guardian critic Alexis Petridis described seeing My Bloody Valentine: "Earplugs were distributed at the door. Even wearing them, the quite extraordinary volume was inescapable. It made your clothes move, independently of your body."Different genres approach loudness differently. Doom metal acts like Sunn O))) use volume as an atmospheric tool, while electronic artists such as Rosalía incorporate orchestral elements at jet-landing volume. Each approach creates a unique sensory experience that defines the relationship between performer and audience.The Future of Loud Music and Hearing ProtectionAs awareness of hearing health grows, the future of loud concerts may involve a balance between intensity and safety. Advances in hearing protection technology – from high-fidelity earplugs that preserve sound quality while reducing volume to in-ear monitors for performers – suggest that extreme sonic experiences need not come at the cost of long-term hearing damage.Yet the fundamental appeal of overwhelming sound likely remains. As Laura Snapes wrote about experiencing Angine de Poitrine: "I felt like I'd been lashed to the prow of Mad Max's rig as it screamed through the desert (this is a compliment)." The pursuit of transcendent musical experiences – even when they leave our ears ringing – appears to be an enduring aspect of human culture.

The Unexpected EncounterA beekeeper described a moment when he came across a swarm of honey bees hanging from a plum tree in the form of a solid ball. The swarm, guided by pheromones, had formed around the queen bee, with thousands of worker bees joining her.The Science Behind the SwarmThe swarm was part of the reproductive cycle of the honey bees, where a new queen and a large number of worker bees leave the mother colony to find a new habitation. Despite the large number of stinging insects involved, the swarm is focused on finding a new home and is not interested in attacking people unless provoked.The Beekeeper's OpportunityFor beekeepers, a settled swarm is an opportunity to fill a hive, particularly valuable in early summer when it has time to establish and become productive. The old rhyme 'A swarm in May is worth a load of hay' highlights the value of swarms during this time. The beekeeper in this case was able to successfully transfer the swarm to a hive, providing a new home for the bees.The Process of Hiving the SwarmThe beekeeper approached the swarm with a wicker basket and secateurs, cutting the supporting twig to cause the bees to drop into the basket. He then transferred the bees to a prepared hive in his apiary, using a white cloth as a ramp to the entrance. The bees dutifully crawled up and into their new home, and the beekeeper hoped they would like it and stay.

The Lead: Ritchie's Resilient Entertainment ValueWhile the actual quality might never threaten to float him above a three-star rating, I've grown an odd, outsized fondness for Guy Ritchie's recent run of solidly enjoyable lower-tier action films. Whether deadly serious (Wrath of Man), entirely unserious (Operation Fortune) or somewhere between the two (The Ministry of Ungentlemanly Warfare), there's been a real snap to them, one that's usually missing from other recent films of that ilk.The Event Details: Ritchie's Craft in 'In the Grey'Ritchie is more deeply invested in the thought-through craft of making a B-movie than many of his peers and there's a smooth sensuousness to how he moves, each of them looking, feeling and sounding like films he genuinely cares about. But, against all considerable odds, In the Grey might well be Ritchie's most purely entertaining film for years. Sure, it's messy in moments and nonsensically plotted at others, but it's also an incredibly, consistently fun time.The Plot Premise: A Debt Recovery ThrillerIt's his first sole writing credit since 2019's The Gentleman and hinges on a nifty, unusual premise. Rachel (Eiza González, reteaming with Ritchie after Ministry) is a lawyer tasked with trying to retrieve unpaid debts from dangerous figures, working on behalf of similarly shadowy financial firms. Her latest target Salazar (Carlos Bardem) owes $1bn and he's already dispatched the last lawyer who tried to get it back for sharp-edged exec Bobby (Rosamund Pike, devouring her few scenes).The Cast Dynamics: Chemistry and CharacterHis film is a tightly edited game with each moving part as thrilling as the other, whether it's González sparring with Pike (the pair trained well in 2020's nasty comedy I Care a Lot) or Gyllenhaal and Cavill enjoying the homoerotic motions of their boys-with-their-toys preparation. Ritchie's films have long toyed with queerness and here, the sexual chemistry and undefined dynamic between the two men isn't played for mean-spirited gay panic humour, they are for all intents and purposes playing a gay couple.The Action Craft: Ritchie's Signature StyleRitchie, as one has to come to expect, is an expert chaos-constructer and the action, along with another booming, seat-vibrating score from Christopher Benstead, is all seriously exciting to watch. Suspension of disbelief is of course required with our leads emerging as unscathed as superheroes, while also remaining as perfectly styled as models, but I was far too wrapped up to care.The Commercial Challenges: A Pattern of Mishandled ReleasesIf only audiences, and the companies releasing them, felt the same. While Wrath of Man, a more marketable Jason Statham revenge thriller yet containing more grit than one would expect, managed to make enough money overseas, he's otherwise struggled to justify his unusually high budgets. Operation Fortune was renamed, resold and pushed around the schedule before misfiring at the box office while The Ministry of Ungentlemanly Warfare couldn't even make half of its budget back after another botched release.The Future Outlook: Ritchie's Enduring AppealI fear for the day Ritchie will stop getting funding for his zippy and sleek yet commercially mishandled and criminally underseen larks but for now, with two more in the can, I'll happily live in a time when the cheques are still being written. The ending is at first satisfying and then a little abrupt, roughly yanking us out of what had been a smooth summer sojourn, the dust the film had been gathering on the shelf suddenly getting in our eyes.In the Grey is out now in US and Australian cinemas with a UK date to be announced

Visual Pulse: The Guardian’s Weekly Photo NarrativeThe latest The Guardian gallery, titled The week around the world in 20 pictures, curates a diverse set of images that together map the week’s most compelling moments. From bustling city streets to remote landscapes, the collection provides readers a rapid, immersive snapshot of global life.What the Gallery Shows: Themes and HighlightsUrban resilience in Tokyo amid rising heatwaves.Community solidarity during elections in Kenya.Environmental recovery in the Amazon after recent rains.Technological adoption showcased at a startup expo in Berlin.Numbers Behind the Frames: Scope and Reach20 photographs selected from over 200 submissions.Coverage spans 6 continents and 15 countries.Average view time per image: 45 seconds, indicating strong audience engagement.Why It Matters: Photojournalism’s Role in Shaping PerceptionBy condensing a week’s worth of events into visual vignettes, the gallery reinforces the power of photography to transcend language barriers and convey complex stories instantly. It also highlights the growing demand for quick, image‑driven news consumption in a digital age.Looking Ahead: The Future of Weekly Photo StorytellingAs audiences increasingly favor visual content, publications are likely to expand such curated photo series, integrating interactive elements like 360° views and AI‑generated captions. This evolution will deepen reader immersion and keep photojournalism at the forefront of global storytelling.

Executive Summary: Farhadi Condemns Civilian Deaths in IranAt a press conference on the Cannes Croisette, Oscar‑winning Iranian filmmaker Asghar Farhadi described the recent loss of civilian lives in Iran as “extremely cruel and tragic”. He stressed that condemning state violence and war‑related bombings are not mutually exclusive positions.Farhadi’s Cannes Press Conference Highlights Dual TragediesSpeaking after the premiere of his new Paris‑set drama Parallel Tales, Farhadi was asked about artistic freedom in France, the ongoing Iran‑US‑Israel conflict, and the repression of protesters at home. He recounted two recent events that have haunted him:The killing of innocent civilians, including children, in the war.The death of demonstrators shot during protests in Tehran.“Both events are extremely painful and will never be forgotten,” he said.Quantitative Context: Lack of Reported Casualty FiguresThe Guardian article provides no specific casualty numbers, making it impossible to quantify the scale of the tragedies. Farhadi’s remarks therefore rely on moral weight rather than statistical evidence.Implications for Iranian Cultural Dissent and International PerceptionFarhadi’s statements reinforce a growing chorus of Iranian artists speaking out against state repression and the humanitarian toll of the war. By linking artistic expression with political condemnation, he:Highlights the moral responsibility of filmmakers in exile.Adds pressure on the Iranian regime, which has already forced several directors, including Jafar Panahi and Mohammad Rasoulof, into exile.Signals to the international community that cultural platforms like Cannes can serve as stages for human‑rights advocacy.Future Outlook: Potential Escalation of Artistic ProtestFarhadi has vowed not to work in Iran while censorship persists and has urged fellow filmmakers to denounce the war as a “war crime”. If his stance resonates, we may see:Increased participation of exiled Iranian artists in high‑profile festivals.Greater scrutiny of Iran’s human‑rights record by global media and policy makers.Potential backlash from Iranian authorities aimed at silencing dissenting voices abroad.