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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 2026 County Championship kicked off on Good Friday, 3 April – the earliest start in the tournament’s 140‑year history. Surrey’s captain Rory Burns was run out just ten minutes into the day’s play at Edgbaston, setting a new record for the competition’s earliest dismissal. Despite a modest crowd of around 800 spectators and roughly 4,000 viewers on YouTube, the match featured a heavyweight lineup: nine current England Test players were named in the Division One clash, underscoring the Championship’s status as the premier development arena for the national side. Surrey’s top six have all earned England caps, fueling expectations that the club could secure a fourth title in five seasons. Yet the opening session was anything but smooth. Burns fell early, followed by Jamie Smith, who managed only nine runs before being dismissed. A sharp edge from Ethan Bamber and an lbw to Ollie Pope (20) further rattled the home side. Dom Sibley provided a glimmer of resistance with an unbeaten 21 off 81 balls, but the team slumped to a precarious 65 for six. The turning point arrived when Ben Foakes and fast‑bowling all‑rounder Tom Lawes combined for a 155‑run partnership – a Surrey club record for the seventh wicket. Foakes, a seasoned England fringe player, smashed a commanding 128 runs, while Lawes contributed a career‑best 83 off 121 balls, stabilising the innings and shifting momentum. Chris Woakes and medium‑fast seamer Ethan Bamber added valuable overs, but it was the Foakes‑Lawes stand that propelled Surrey to a total of 328 all out, setting a competitive target for Warwickshire. While the season’s early start may raise logistical questions, the match demonstrated why the County Championship remains the crucible for England’s future stars, blending veteran internationals with emerging talent in a fiercely contested opening day.

OpenAI, the parent company of ChatGPT, has made a significant move into the media business by acquiring TBPN, a technology-focused talkshow closely watched by Silicon Valley insiders. The show, hosted by John Coogan and Jordi Hays, broadcasts live for three hours every weekday from Los Angeles, featuring guests such as founders, venture capitalists, and major figures in the technology world. The acquisition is part of OpenAI's efforts to engage more authentically with the public at a pivotal moment for artificial intelligence. Fidji Simo, OpenAI's chief of strategy, stated that the company aims to create a space for real, constructive conversation about the changes AI creates. She emphasized that TBPN will continue to run its programming, choose its guests, and make its own editorial decisions, ensuring its credibility is maintained. TBPN is known for its unique ritual where guests announce their latest fundraising haul, accompanied by the hosts banging a gong. The show is broadcast on X, YouTube, and Spotify, and will continue to air daily at its regular time. Coogan expressed his excitement about the acquisition, calling it a 'full circle moment' given his longstanding ties to OpenAI's chief executive, Sam Altman, who funded his first company in 2013. This strategic move comes on the heels of OpenAI closing a $122 billion funding round amid the AI boom, highlighting the company's growing influence and investment in the technology sector.

Korean culture is taking Latin America by storm, with K-pop, K-dramas, and Korean skincare products leading the charge. In Santiago, Chile, a group of young girls can be seen dancing to the beat of Blackpink's 'How You Like That', a song with over 1.3 billion views on YouTube. The phenomenon, known as hallyu or the 'Korean wave', has been spreading rapidly across the region, with Mexico, Colombia, and Brazil being key markets. Online personalities like Sujin Kim, known as Chingu Amiga, have become incredibly popular, sharing their love of K-dramas and skincare products with millions of followers. In Colombia, K-pop fan Zion Hwang has set up a string of karaoke restaurants to capitalize on the trend, while in Brazil, Korean-Brazilian influencers like Arthur Paek are promoting Korean culture and cuisine to their millions of followers. The Korean wave has also led to an increase in interest in Korean language and culture, with universities offering Korean studies programs and language classes becoming increasingly popular. Dr. Jinok Choi, director of the Universidad Central's Rey Sejong Institute in Santiago, notes that young Chileans are showing a 'real commitment to learning about Korea beyond just its culture'. The growth of Korean culture in Latin America is also being driven by a decline in the US's international appeal, with some observers suggesting that the US's flagging popularity under Donald Trump has led to a shift in interest towards Asian culture. Brazil's health minister, Alexandre Padilha, notes that 'perhaps the US is no longer, in people's imagination, the place they want to go'. As the Korean wave continues to sweep across Latin America, it's clear that Korean culture is here to stay. With K-pop concerts and K-drama fan events becoming increasingly popular, it's likely that the trend will only continue to grow in the coming years.

The conflict between the United States, Israel and Iran is now spilling onto academic grounds. The Islamic Revolutionary Guard Corps (IRGC) publicly warned U.S. universities in nearby nations following weekend attacks on two Iranian campuses.According to Tehran‑based sources, at least 21 Iranian universities have sustained damage since the war erupted. The targeting of educational institutions marks a troubling escalation, raising questions about the strategic value of universities in modern warfare.In a recent podcast episode, Setareh Sadeqi, an assistant professor at the University of Tehran, discusses the motivations behind these strikes and the broader implications for Iran’s higher‑education sector. The program, produced by Al Jazeera’s AJ E Podcasts team, also explores how the “war on Iran” is extending beyond traditional battlefields into classrooms and research labs.Key takeaways include the IRGC’s threat to retaliate against U.S. institutions, the potential impact on international academic collaborations, and the symbolic message that disrupting knowledge hubs can weaken a nation’s resilience.Listeners can follow the discussion on X, Instagram, Facebook, or YouTube via @AJEPodcasts.

The countdown at Kennedy Space Center is in its final stages for the Artemis II launch, the first crewed lunar mission since 1972. NASA Associate Administrator Amit Kshatriya confirmed after a Monday management meeting that the mission is cleared for a Wednesday liftoff. Launch window: A two‑hour window opens at 6:24 pm (22:24 GMT) on Wednesday, with daily two‑hour windows remaining available until April 6. The launch can proceed only when the moon’s position, orbital trajectories, weather, and Earth’s rotation align safely. Weather outlook: Forecasts show an 80 % chance of favorable conditions, though cloud cover and high winds remain the primary concerns. The mission has already endured two major setbacks. In early February a liquid‑hydrogen leak forced a scrub, and in early March a helium‑flow issue in the upper stage halted a second attempt. NASA will stream the launch live on YouTube, where viewers can follow the vehicle from rollout to liftoff. Artemis programme overview: Artemis is NASA’s multidecade effort to return humans to the Moon, establish a sustainable presence near the lunar south pole, and eventually enable crewed missions to Mars. The program comprises five missions (Artemis I‑V). Artemis I, an uncrewed test in 2022, validated the Space Launch System (SLS) and Orion spacecraft, providing critical data for the current flight. Mission profile: Artemis II will not land; instead, its four‑person crew will perform a lunar flyby, looping around the far side before returning to Earth. The flight will test Orion’s life‑support, navigation, communications, and overall performance in deep space—conditions that cannot be fully replicated on the ground. Crew members: Reid Wiseman (Commander, 50) – veteran NASA astronaut and former ISS commander. Victor Glover (Pilot, 49) – U.S. Navy aviator, first Black astronaut assigned to a lunar mission, previously flew on SpaceX Crew‑1. Christina Koch (Mission Specialist, 47) – holds the record for the longest single spaceflight by a woman (328 days) and has extensive EVA experience. Jeremy Hansen (Mission Specialist, 50) – Canada’s first astronaut slated for a lunar mission, highlighting international collaboration. During the ten‑day journey the crew will evaluate spacecraft systems, conduct radiation and fire‑response drills, perform a suit‑pressurisation test, and carry out medical and scientific experiments while observing the lunar surface. Strategic importance: Artemis II is a stepping stone toward Artemis III (planned for 2027), which will test integrated operations with commercial landers, followed by Artemis IV (early 2028) – the first crewed lunar landing since Apollo 17 – and Artemis V (late 2028) aimed at establishing a lunar base. The program also reinforces U.S. leadership in space amid rising competition, notably from China.

The recent ruling that Meta and YouTube are liable for creating addictive products has intensified the debate on restricting social media use for under-16s. However, there's another crucial aspect to consider: 85% of kids and teens interact online through video games. The suggestion to curb online gaming alongside social media restrictions raises significant concerns about feasibility and impact.Some online games, like Roblox, have proven to be unsafe environments for children, with cases of grooming and child exploitation. Nevertheless, implementing a ban on online gaming would be a regulatory nightmare. Games like Minecraft or EA Sports FC have different online components, making a blanket restriction difficult to enforce.Banning teens from playing games online entirely would be detrimental. Online games are vital social spaces for millions of teens, offering a few arenas where they can interact without adult surveillance. With two-thirds of council-run youth centers lost since 2010, video games fill a critical gap.The core problem lies in the internet's heterogeneous nature. Games, social media, and YouTube are distinct, making it hard to cancel out potential harms without also eliminating benefits. Instead of banning young people, the focus should be on taking back the internet from manipulative big tech companies.Parents concerned about their children's safety can use existing parental controls to mitigate risks. Features like chat restrictions, time limits, and age-appropriate settings can ensure children enjoy games while staying safe. A ban would introduce no further benefit and could cause significant harm.

Jurors in two separate U.S. courts delivered historic rulings that, for the first time, hold major social‑media platforms financially accountable for designs that allegedly harm young users. In New Mexico, a jury ordered Meta to pay $375 million for claims that its products contributed to child sexual exploitation and other harms. The following day, a California jury found both Meta and YouTube liable, imposing $6 million in damages for deliberately engineering addictive experiences. The verdicts arrive amid a wave of lawsuits filed by more than 2,000 plaintiffs—including families, school districts, and state attorneys general—targeting Meta, YouTube, TikTok and Snap. While both companies have announced intentions to appeal, the judgments signal a shift from public criticism to concrete legal exposure. During the trials, Meta’s defense repeatedly cited the American Psychiatric Association’s position that “social media addiction is not a thing” in the DSM‑5‑TR. The APA countered that the absence of a formal diagnosis does not negate the phenomenon’s existence, emphasizing growing research on the mental‑health impacts of compulsive platform use. Internal communications presented as evidence painted a starkly different picture. A 2020 Meta email exchange described Instagram as “a drug” and likened the company’s role to that of “pushers,” while another message warned that targeting 11‑year‑olds resembled tactics once used by tobacco firms. Similar concerns emerged from YouTube, where an internal document explicitly stated the goal was “not viewership, it’s viewer addiction.” TikTok’s own research echoed these findings, concluding that users could become addicted in under 35 minutes and that compulsive usage correlates with a range of negative mental‑health outcomes. Moody’s, a risk‑assessment firm, warned that the dual verdicts establish a precedent whereby design‑driven user harm can trigger liability. In an analysis, analysts Adam Grossman and Taro Ramberg noted that insurers should focus on the emerging “design‑centered liability theory,” which links engagement‑driven features—such as infinite scrolling and autoplay—to compensable injuries. They cautioned that the current cases are merely the first data points in a broader legal trend. Beyond social media, the same design principles appear in video games, sports‑betting platforms, AI chatbots and online retail. Moody’s tracker lists over 1,100 pending cases in Los Angeles alone and estimates roughly 4,000 lawsuits targeting 166 U.S. companies for allegedly addictive software design. Both Meta and YouTube maintain that they disagree with the verdicts. YouTube’s spokesperson called the California decision a “misunderstanding” of the platform’s nature, while Meta emphasized the complexity of teen mental health and the non‑unanimous nature of the California jury’s finding. Nevertheless, the courts have signaled that even without a settled clinical definition of “social‑media addiction,” companies can be held responsible for the foreseeable harms of their product designs.

The world of unofficial World Cup songs has come a long way since 'Vindaloo' by Fat Les became a surprise hit in 1998. The song, which was co-written by Keith Allen and Guy Pratt, was a quirky tribute to the England team's participation in the tournament. Despite its lack of musical sophistication, 'Vindaloo' captured the hearts of football fans and became a cultural phenomenon.Since then, unofficial World Cup songs have become a staple of the tournament. Some have been created organically by fans, while others have been produced by celebrities and music executives looking to capitalize on the excitement. However, not all of these songs have been well-received. The article cites Will Grigg's song as a notable exception, while also mentioning Freddie Flintoff's cover of Rasputin as a low point.The current trend in unofficial World Cup songs is the use of AI-generated music. One song in particular, 'Imbattables' by French artist Crystalo, has gained millions of streams on YouTube. While it may be catchy, the song has been criticized for not promoting actual French musicians.In contrast, JJ Bull's unofficial anthem for the Scottish team, The Tartan Army, has been praised for its substance and musical quality. The article concludes that while AI-generated songs may be the future of unofficial World Cup music, there is still room for creativity and authenticity in the tradition.