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Lake Erie, a vital source of freshwater for millions of people, has faced significant pollution challenges for decades. In the 1960s, the lakes and rivers around Cleveland were so polluted that they frequently caught on fire. While water quality has improved since then, the lake still struggles with poor water quality due to chemical runoff and pollution. The 2025 State of the Great Lakes report found that Lake Erie ranks poorly for pollution caused by chemical runoff and is consistently one of the top five most polluted lakes in the US. Over 5.5 billion gallons of freshwater are drawn from the lake daily to meet industrial and consumer needs, highlighting the importance of addressing these pollution issues. In response, the Cleveland Water Alliance, a non-profit organization, is working with over 300 companies, research institutions, and government agencies to develop clean water solutions for Lake Erie. The alliance has deployed hundreds of sensor buoys across the western section of the lake to observe and detect various water-related factors, including E. coli, algal blooms, and turbidity levels. Researchers at Case Western Reserve University have incubated research for a pilot program technology that can capture 90% of microplastics down to 50 microns in washing machines, preventing these materials from entering the lake. Other projects are recording solar radiation, dissolved oxygen levels, and water and air temperatures. Korean companies have also come to the area to test electrochemical water treatment methods in Lake Erie's water. The alliance's efforts aim to position Lake Erie as an open-air research facility, driving innovation and solutions to address the lake's pollution challenges. Despite these efforts, environmentalists say the challenges to cleaning up the lake are huge. A 40% reduction in phosphorus is needed to minimize blooms, with about 90% of phosphorus entering the western Lake Erie basin coming from agricultural runoff. The manure problem is also a growing concern, with the increasing number of livestock operations in the area contributing to pollution. The Cleveland Water Alliance's initiatives, such as the development of a system for making commercial-grade sodium hypochlorite on site, aim to promote technologies for wintertime monitoring of aquatic life activity and behavioral changes as well as levels of water turbidity. By leveraging data and innovation, stakeholders hope to improve the lake's water quality and mitigate the impacts of pollution.

In the quiet town of Iseyin, about 200 km north‑west of Lagos, shaded courtyards and narrow lanes have become the beating heart of Nigeria’s iconic aso‑oke textile industry. Under makeshift sheds, weavers operate wooden looms that have remained largely unchanged for generations. Recent years have seen a surge in demand for the thick, multicoloured fabric, driven by the Nigerian diaspora and an expanding international appetite for African fashion. Yet the craftsmen and women of Iseyin staunchly oppose the introduction of machines, arguing that the hand‑woven process is essential to the cloth’s distinctive texture and cultural value. The craft now serves as an economic lifeline. Young Nigerians—including university graduates—are flocking to Iseyin to learn the trade, attracted by the promise of a steady income. One such convert, Waliu Fransisco, abandoned a career as a Lagos nightclub singer a decade ago to master the loom. At 34, he says, “I now earn a decent living from weaving aso‑oke and I’m satisfied.” Aso‑oke, literally meaning “cloth from the up‑country,” has become a staple in Nigeria’s fashion scene, appearing in ceremonial attire, contemporary streetwear, and even high‑profile outfits such as the wrapper and shawl worn by Meghan Markle during her 2024 visit to Nigeria with Prince Harry. Traditionally, the fabric was produced from locally sourced cotton or silk, with threads hand‑spun, dyed, and woven in limited colour palettes. Today, most weavers use loom‑ready yarns imported primarily from China, allowing for a broader spectrum of hues while preserving the labor‑intensive hand‑weaving technique. Each loom requires meticulous arrangement of narrow, tightly patterned strips that are later sewn together to form the wider cloth used for garments and accessories. “This is what Iseyin is known for,” says 35‑year‑old weaver Kareem Adeola, echoing the sentiment of a community that views the craft as a direct inheritance from its forebears. As global fashion houses and consumers continue to seek authentic African textiles, the artisans of Iseyin stand at the crossroads of tradition and market opportunity, proving that cultural heritage can thrive alongside modern demand.

PCK Dance’s latest double‑bill, “Into the Light,” opens with a palpable tension: dancers inhale as if grasping something costly, their gazes unfixed, brows furrowed, signalling an emotional gravitas that the production amplifies with dark lighting and portentous music.Choreographers James Pett and Travis Clausen‑Knight, both alumni of Company Wayne McGregor, demonstrate why their pedigree matters. Their movement language is slick, finessed and relentlessly precise, with legs whipping to extreme angles and sequences that cascade like the “chatter of a motoring brain.” The duo’s fluency in form lets them forgo the heavy‑handed theatrical cues that often drown subtler expression.The centerpiece, the duet “In the Absence,” features Pett and Clausen‑Knight alongside third dancer Isabelle Evans. Their interplay oscillates between closeness and disconnection, tension and tenderness, hinting at loss. Evans’s decisive gestures—flexed wrists, expressive hands—act as declarations, while a striking passage sees the choreographers literally throwing her body between them, creating a kinetic flash that feels both chaotic and meticulously crafted.Music, composed by Pett with co‑composer Greg Haines, emerges live from a bank of stage‑side technology. The piano interludes give way to pitch‑less textures that evoke a “joyless, end‑of‑days” ambience. This soundscape reinforces the programme’s suggestion that the work grapples with survival in an AI‑driven future, casting the performance as a low‑key apocalypse rather than a conventional dystopia.By marrying razor‑sharp choreography with a minimalist, tech‑infused score, PCK Dance asks a vital question: in a world increasingly mediated by algorithms, what does it mean to remain truly human? The answer, if any, lies in the fleeting connections forged on stage—moments where bodies speak louder than the surrounding machinery.

When a Toronto reader confessed to always using "please" and "thank you" with Alexa, the Guardian invited its audience to share their thoughts on the etiquette of speaking to artificial assistants.One camp warns against treating AI as sentient beings, arguing that these systems merely mimic social cues and that confusing imitation with reality can erode our language’s power to challenge dehumanisation. As User30000 put it, we should avoid both de‑humanising language toward people and humanising language toward machines.Conversely, several contributors argue that politeness serves as a useful human default. Lauk notes that courteous phrasing may reinforce positive behavioural cues for AI that learn from user input, while also keeping the speaker grounded in genuine social norms.From an ecological standpoint, extra words translate into measurable energy and water waste. Superspartan highlights that each unnecessary token adds processing load to already energy‑intensive models, and that the cumulative effect of polite phrasing across millions of daily interactions could be substantial.Academic research supports the idea that courteous language can improve AI performance. A linked study finds that polite prompts often elicit more helpful replies, treating modern models as "statistical parrots" that mirror the tone they receive. Yet Sam Altman has publicly estimated that responding to thank‑you notes costs OpenAI tens of millions of dollars, underscoring a tangible financial dimension to the debate.Some readers take a lighter view, extending politeness to elevators, SUVs and even low‑battery iPads, while others, like Martin from Dorset, argue that the practice protects the human soul rather than the machine.There is growing concern that habitual rudeness toward AI may spill over into real‑world interactions. Poridgeoates observes that younger users, who spend more time with technology than with people, risk weakening empathy and emotional‑intelligence muscles if they treat conversational agents dismissively.Louise adds that the way we speak to objects can shape broader social behaviour, especially where power imbalances exist. While AI itself may not feel insulted, the act of being rude can reinforce undesirable character traits in the speaker.Overall, the discussion reveals a split between those who see politeness as a harmless habit that can improve AI responses, and those who view it as an unnecessary drain on resources and a potential threat to human civility.

This week Anthropic revealed that its latest AI system, dubbed Mythos, is so powerful that the company will not make it publicly available, arguing that the potential risks outweigh commercial incentives.U.S. Treasury Secretary Scott Bessent convened senior banking executives to discuss the implications of the model, underscoring growing governmental concern over advanced AI capabilities.In the United Kingdom, Reform MP Danny Kruger wrote to the government urging an immediate dialogue with Anthropic, warning that Claude Mythos could pose "catastrophic cybersecurity risks" to the nation.Critics such as AI researcher Gary Marcus questioned the hype, suggesting that Anthropic’s co‑founder Dario Amodei may possess strong technical skills but is "graduated from the same school of hype and exaggeration" as OpenAI’s Sam Altman.Beyond the policy debate, Anthropic has mounted a striking media offensive. The startup secured a 10,000‑word profile in the New Yorker, two feature pieces in the Wall Street Journal, and a Time magazine cover that placed founder Amodei alongside the Pentagon and U.S. Defense Secretary Pete Hegseth.Co‑founder Jack Clark and Amodei appeared on separate New York Times podcasts, fielding questions about machine consciousness and the model’s potential to "rip through the economy." Their "resident philosopher" even discussed with the WSJ whether Claude, Anthropic’s commercial product used for cryptocurrency trading and missile‑target designation, possesses a "sense of self."Anthropic’s public‑relations lead, Danielle Ghiglieri, celebrated the coverage on LinkedIn, describing the Time cover as a "mad dash" that finally let the company tell its own story.However, the company’s PR triumphs have not been without missteps. In early April, Anthropic inadvertently released part of Claude’s internal source code, though it assured that no customer data or credentials were exposed.Experts remain skeptical about the unverified claims surrounding Mythos. Dr. Heidy Khlaaf of the AI Now Institute warned that the vague marketing language could be an attempt to attract investment without substantive scrutiny.Cybersecurity specialist Jameison O’Reilly acknowledged the model’s novelty but downplayed Anthropic’s assertion of discovering "thousands of zero‑day vulnerabilities," noting that in a decade of offensive operations, zero‑days were rarely needed to achieve objectives.Anthropic also faces operational constraints. The firm has imposed usage caps on its popular Claude model and now requires customers to purchase additional compute capacity for third‑party tools, suggesting that infrastructure limitations may be a practical reason for withholding Mythos.As the race to dominate the emerging AI market intensifies, Anthropic’s strategy appears to blend genuine safety concerns with a calculated publicity push, positioning Mythos as a strategic signal that the company remains "open for business" while keeping the technology under tight control.

Despite a supposed ceasefire in the Gaza Strip, thousands of families are still unable to bury their loved ones six months into the agreement. The conflict, which began in October 2023, has left about 10,000 Palestinians missing and believed to be buried under collapsed buildings.An internationally mediated agreement was signed between Israel and Hamas on October 10, 2023, aiming to end the conflict. However, for many, the war has not ended. The United Nations reports that Israeli bombardment has generated over 61 million tonnes of rubble in the besieged Gaza Strip.Al Jazeera's Hind Khoudary spoke to a Palestinian father, Abu Mohammed, who survived an Israeli attack but lost four of his children. He has been trying to retrieve their bodies for three years but faces significant challenges due to the massive concrete slabs and lack of heavy equipment.The ceasefire has not allowed heavy machinery into Gaza to begin recovery efforts and reunite families. According to Mahmoud Basal, Gaza's civil defence spokesperson, nothing has entered Gaza except limited equipment for retrieving Israeli captives. Across Gaza, thousands remain buried, with at least 50 bodies trapped beneath the rubble in one apartment block in Bureij.Conditions on the ground have barely shifted six months into the ceasefire. Families continue to wait as bodies are not yet recovered, and Israeli attacks persist. Since the ceasefire took effect, at least 738 people have been killed and 2,036 wounded. Authorities have recovered 759 bodies from the rubble.Israel's actions in Gaza have resulted in over 72,317 Palestinian deaths and 172,158 wounded. Despite the ceasefire, Israel still occupies more than half of the Gaza Strip, having levelled most buildings in these areas and forced residents out.

West Ham United delivered a decisive 4-0 win over Wolverhampton Wanderers at the London Stadium, reviving their survival hopes with a performance that left Tottenham Hotspur slipping into the bottom three. The breakthrough came when Taty Castellanos slotted his fourth goal for the Hammers after a clever flick set up a one‑two with Pablo Felipe. Just 66 seconds later, Castellanos struck again, completing a rapid double that underscored the impact of his January move from Lazio. Earlier, Jarrod Bowen’s cross found Konstantinos Mavropanos, who headed past José Sá to open the scoring in the 42nd minute. Mavropanos, once criticised for defensive lapses, added a second goal with an acrobatic volley, cementing his transformation into a surprise goal‑machine. Defensive stability, bolstered by the recent arrival of Axel Disasi, helped the side keep a clean sheet despite Wolves’ early pressure. The Wolves, sitting at the foot of the table with just 17 points, were unable to recover after going behind. Beyond the three points, the result had league‑wide ramifications: Tottenham Hotspur fell to 18th place with 30 points, joining the relegation battle for the first time this season, while West Ham climbed to 17th, level on points with Nottingham Forest and just one point ahead of Leeds United. Manager Nuno Espírito Santo praised his January signings, noting that the additions of Castellanos and Pablo have given the squad the “punch in attack” needed to turn the season around. He remained cautious, stating, “It doesn’t change anything. Next week we play after our opponents. Today we did the job.” With only three losses in their last eleven matches, West Ham’s resurgence offers a glimmer of hope after a disastrous start that saw them languish near the relegation zone in early January. The victory also highlighted the growing pressure on Tottenham as they prepare for their first match under Roberto De Zerbi, a trip to Sunderland, while West Ham look ahead to a decisive clash with Leeds United on the final day.

Mom’s mantra – “don’t borrow trouble” – became the compass that steadied Feimster during the uncertain early years of her comedy career. She says the simple advice helped her shift focus from endless worry to actually performing. Growing up, Feimster was captivated by Carol Burnett’s slapstick brilliance, a love sparked by her grandmother’s nightly reruns. The legendary comedian’s on‑ and off‑screen silliness shaped Feimster’s own comedic sensibility. When she was cast as the beaver Nibbles in the upcoming Zootropolis 2, the process was anything but typical. “The script was top‑secret,” she recalls, noting that she entered the recording booth with only a brief scene description from director Jared Bush, never knowing how pivotal her character would become. Feimster also laughs about a nightmare charity gig in a Virginia biker bar, where the stage was literally a wooden crate, the lighting resembled a construction site, and a karaoke machine served as the sound system. “Nobody, including me, enjoyed the show,” she admits. Unlike many performers, she has no elaborate pre‑show rituals. She arrives minutes before the curtain rises, chats with the audience, and treats each performance like a regular day, much to the amusement of co‑host Tom Papa. The relentless travel schedule is a double‑edged sword. Feimster describes the constant touring as exhausting, with the added pressure of having to write fresh material after every special. “You finish one project and must start from scratch,” she says, highlighting the creative churn that fuels her growth. On set with Arnold Schwarzenegger for the film Fubar, Feimster found the experience inspiring. She notes that the legendary actor’s varied career – from bodybuilding champion to governor – made every day on set feel like a master class. Looking ahead, Feimster has wrapped two Netflix comedies: one starring Will Ferrell as a washed‑up pro golfer where she plays his caddie, and another ensemble with Kim Kardashian, Nikki Glaser and Brenda Song. She hints at a future shift toward a more serious, less self‑referential role. Meanwhile, her current stand‑up show “Takin’ Care of Biscuits” continues its North American and European leg, with a stop at London’s Hackney Empire on 3 June and the tour running through 9 August.

Lebanon has declared a national day of mourning following a devastating wave of Israeli attacks that killed at least 254 people and injured over 1,165 in a single day. Prime Minister Nawaf Salam has mobilized 'all of Lebanon's political and diplomatic resources to stop the Israeli killing machine.'Israeli Prime Minister Benjamin Netanyahu stated that Lebanon is not part of the ceasefire between the US and Iran, a position echoed by US Vice President JD Vance, who said, 'We never made that promise.'Pakistani Prime Minister Shehbaz Sharif, who mediated the ceasefire, claimed the deal included a pause in fighting in Lebanon. However, Iran's Foreign Minister Abbas Araghchi warned that Washington must choose between a ceasefire or 'continued war via Israel,' emphasizing that it 'cannot have both.'Iranian President Masoud Pezeshkian said a halt to Israeli attacks in Lebanon was a key condition of Iran's 10-point plan for securing an end to the Middle East war. However, a US official stated that Iran's published ceasefire plan is not the same set of conditions agreed on by the White House.US Vice President JD Vance will lead the country's delegation for talks with Iran in Pakistan, while French President Emmanuel Macron has urged that Lebanon be included in the ceasefire as the 'best path to peace.'The conflict has also affected the Gulf region, with Kuwait, UAE, Qatar, Saudi Arabia, and Bahrain reporting damage and disruptions from Iranian strikes. The situation remains volatile, with Israel's Prime Minister Netanyahu stating that Israel is prepared to 'return to battle' if necessary.