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The author spent a month testing Meta's smartglasses, which feature an integrated AI assistant voiced by Judi Dench. The glasses can take photos, provide directions, and answer questions, but the author found them to be unreliable and frustrating to use.The glasses raise significant privacy concerns, with the author noting that they can be used for covert recording and that people may not be aware when they are being filmed. The author also experienced creepy feelings while wearing the glasses, particularly when they were used to record strangers without their consent.The author concludes that while smartglasses have the potential to be useful assistive technology for people with disabilities, they are not yet reliable or functional enough to be widely adopted. The author also notes that Meta's plans for facial recognition and data collection raise significant concerns about privacy and surveillance.Experts warn that smartglasses may become a flashpoint in a bigger, existential discussion about how much integration we want with technology, and that regulation is needed to protect bystanders' privacy. The author ultimately decides that the glasses are not worth the risks and drawbacks, and that people should think carefully before adopting this technology.

The Guardian’s March reading roundup gathers a diverse set of recommendations from both its writers and its readership, offering a snapshot of the titles that captured their attention over the past month.John Lanchester highlights two recent British novels that resonated with him after completing his own manuscript: Drayton and Mackenzie by Alexander Starritt, a story of friendship intertwined with business, and The New Life by Tom Crewe, which explores gay life in the 1890s. His European picks include Eurotrash by Christian Kracht, a darkly comic road‑trip tale, Perfection by Vincenzo Latronico, a critique of the digital‑nomad lifestyle, and Olga Tokarczuk’s genre‑defying Drive Your Plow Over the Bones of the Dead. Lanchester also notes his own recent release, Look What You Made Me Do, available from Faber for £20 via the Guardian bookshop.James, a regular Guardian reader, is immersed in Tom’s Crossing by Mark Danielewski. He describes the 1,200‑page modern western as a masterclass in character depth and meticulous detail, urging readers not to be deterred by its length.Patmeena Sabit turns to shorter forms when time is scarce, recommending Hue and Cry by James Alan McPherson for its understated humanity, Fifty‑Two Stories (a new Chekhov collection translated by Richard Pevear and Larissa Volokhonsky) for its blend of classics and previously untranslated pieces, and Ada Limón’s poetry collection Bright Dead Things for its poignant beauty. Sabit also promotes her own work, Good People, published by Virago at £16.99.David praises Zbig: The Life of Zbigniew Brzezinski, America’s Cold War Prophet by Edward Luce, calling it a dense yet illuminating autobiography that traces U.S. and global power dynamics from the 1960s to the early Trump era, and recommending a piecemeal reading approach.Arash finds profound resonance in Mother Mary Comes to Me by Arundhati Roy. He describes the memoir as an emotionally powerful tribute to Roy’s mother, noting its refusal to fall into gendered clichés while championing compassion and resistance against chauvinism.

For theatre enthusiasts, April brings a range of exciting productions and performances. Patrick Stewart is set to read all 154 of Shakespeare's sonnets on Audible, a project that began as a pandemic hobby where he recited one sonnet each day on social media. This comprehensive collection, which includes his personal commentaries, will be available from April 7 and lasts almost four hours. In another notable production, Complicité presents 'I Don't Do Innocents', a radio play by Anne Carson directed by Simon McBurney, featuring a cast that includes Emma Corrin and Carson herself reading the stage directions. On the BBC, Sam Ryder gives a sneak preview of his Jesus Christ Superstar, which is set to appear at the London Palladium this summer, as part of the musical-theatre jamboree on iPlayer. Hosted by Jason Manford in Manchester, the event also features Victoria Hamilton-Barritt singing from Paddington: The Musical. Additionally, James Ijames' historical satire 'The Most Spectacularly Lamentable Trial of Miz Martha Washington' is set to run from April 9 to May 3. This play, which explores the life of the inaugural first lady of the US, could pair interestingly with 'Oh, Mary!' in the West End. The BBC is also celebrating the 120th anniversary of Henrik Ibsen's death with a comprehensive iPlayer season featuring various adaptations of his works, including two renditions of 'Hedda Gabler' and 'The Master Builder'. Other highlights include Rosie Sheehy's performance in 'King John' on Marquee TV and 'End' at the National Theatre, part of a trilogy by David Eldridge, which makes a compelling double bill with Stephen Poliakoff's 'Close My Eyes'. Finally, 'Back to the Future: The Musical' is set to embark on a UK tour after its run in London, with an Amazon Prime documentary offering a 'making of' insight into the show.

Ben Jennings offers a visual commentary on the recent overhaul of bin collection services in England. Published on 31 March 2026 in the Guardian's Opinion cartoon series, the illustration captures public concerns about how the new schedule may affect recycling rates and household waste handling.The cartoon, titled "Ben Jennings on changes to bin collections in England – cartoon," depicts a typical street scene where altered collection times create confusion among residents. By emphasizing the everyday impact of policy shifts, Jennings underscores the tension between local government decisions and the practical realities of recycling and waste management.While the piece contains no accompanying editorial text, its visual satire serves as a reminder that changes to public services can have ripple effects on environmental goals and community routines. The illustration, credited to Ben Jennings/The Guardian, invites readers to reflect on the balance between efficiency and sustainability in municipal waste policies.

New legislation takes effect on 31 March 2026 as the UK government rolls out the Simpler Recycling framework, requiring every council in England to provide distinct collections for food & garden waste, paper & card, all other dry recyclables (glass, metal, plastic, cartons) and residual waste. This uniform approach replaces the historic “postcode lottery” of waste services, applying to all households – including flats and communal properties. Recycling performance: England’s municipal recycling rate has plateaued at ~44% for several years, well below Wales (57%) and Northern Ireland (≈50%). The government’s ambition is a 65% recycling rate by 2035, a target that will require substantial behavioural and infrastructure shifts. Environment minister Mary Creagh confirmed that councils have received a notable budget increase for 2026 to support the rollout. How collected material is processed: Once gathered, waste is taken to Materials Recovery Facilities where magnets, optical scanners and air jets separate streams into paper, plastics, glass and metals. These are then baled and sent to reprocessors for conversion into new products. Approximately 50% of the UK’s recycled plastic is exported, mainly to Turkey, the Netherlands and Malaysia. This export trend has drawn criticism for undermining the domestic recycling sector, which industry estimates could generate £2 billion in revenue and support around 5,000 jobs. In the past two years, 21 plastic‑recycling facilities have closed, citing low virgin‑plastic prices, competition from cheap Asian imports and the scale of exports. By contrast, the UK still lacks a ban on plastic‑waste exports to developing nations, a policy the EU has already adopted. Paper and cardboard recycling also relies heavily on overseas processing, with 3.4‑4.3 million tonnes shipped abroad each year. Food waste collection overhaul: The most visible change is the introduction of free, weekly food‑waste collection for every household. Residents will receive a small kitchen caddy and a larger outdoor bin. When separated, food waste can be fed into anaerobic digestion facilities to produce renewable energy and bio‑fertiliser, reducing landfill‑derived methane – a greenhouse gas over 80 times more potent than CO₂. The policy is also expected to raise public awareness of personal waste generation, encouraging more responsible disposal habits. Implementation timeline: While all councils must standardise dry‑recycling collections by 31 March, a transitional arrangement allows 31 councils to delay the start of weekly food‑waste collection beyond the initial Tuesday. Contamination risks: Mixing biodegradable or compostable plastics with conventional recyclable plastics can contaminate entire batches, rendering them unrecyclable. Similarly, placing paper or cardboard in residual waste diverts it to landfill or incineration, increasing greenhouse‑gas emissions. Toothpaste tubes have historically been problematic, but a Wrap‑led initiative now makes most tubes 100% recyclable. Consumers can verify local acceptance via RecycleNow, and Boots stores also collect used tubes for recycling.

The Erosion of Digital Anonymity Apple's 'Hide My Email' feature, designed to shield user identities from apps and websites, has been exposed as ineffective against federal subpoenas. The company recently revealed it provided real names and email addresses to the FBI and ICE, undermining the feature's promise of anonymity for paying iCloud+ subscribers. This disclosure highlights a critical vulnerability in the privacy architecture of major tech platforms, where 'anonymity' often depends on the willingness of the provider to withhold data. The 'Hide My Email' Loophole The feature allows iCloud+ subscribers to generate anonymous email aliases that forward messages to their private inbox. While Apple claims it does not read the content of these forwarded messages, the legal mechanism allows authorities to bypass the alias entirely. In a recent affidavit, the FBI revealed that Apple provided the real identity behind an anonymized address used in a threat investigation against Kash Patel's girlfriend. Similarly, ICE agents obtained records linking multiple anonymized accounts to a specific individual involved in an alleged identity fraud scheme. Metadata vs. Content The data shared with law enforcement goes beyond simple forwarding logs; Apple provided the account holder's full name, email address, and billing information. In one instance, Apple disclosed records for 134 anonymized email accounts created via the feature. This indicates that while the content of emails remains private, the ownership of the account is easily accessible to authorities with a valid legal request. The distinction between encrypted content and unencrypted metadata is becoming the primary battleground for digital privacy. End-to-End Encryption Limits This incident underscores a critical distinction in modern cybersecurity: the difference between end-to-end encryption (E2EE) and account metadata. Apple touts its services as E2EE, meaning only the user can access their data. However, this protection does not extend to the account registration details, billing history, and unencrypted routing information that Apple stores. As a result, the demand for alternative privacy tools like Signal, which offer stronger protections against metadata collection, is likely to increase among privacy-conscious users. The Future of Privacy vs. Security As law enforcement agencies increasingly rely on metadata to solve crimes, tech companies will face mounting pressure to balance user privacy with national security obligations. We can expect a rise in legal battles regarding the scope of 'anonymized' services and a potential shift in consumer behavior, where users seek out services that offer true anonymity rather than just obfuscation.

A look back at the remarkable life of Mary Beth Hurt through a collection of photographs.

Los Angeles is saying goodbye to a piece of its history as Taix, a cherished French restaurant in the Echo Park neighborhood, closes its doors for good. The restaurant, which has been a staple of the community for 64 years, will be torn down to make way for a large-scale luxury apartment development. The impending closure has sparked an end-of-an-era frenzy, with lines down the street, packed tables, and loyal fans pinching menus and other memorabilia for their personal collection. Taix, pronounced 'Tex,' has been a de facto museum of a long-gone era of fine dining, offering classic dishes like french onion soup, mussels, and a decadent hamburger. While the restaurant will reopen on the ground floor of the new apartment complex, customers are skeptical that it will retain its historic charm. The current space, a 15,000 sq ft building, is simply too expensive to maintain, with repairs estimated to cost hundreds of thousands of dollars. The Taix family had been using personal savings to cover payroll, but the developer, Holland Partner Group, offered a lifeline with a dollar-a-year rent for the last seven years. The loss of Taix is significant for the Echo Park community, which has been impacted by gentrification. The restaurant has been a hub for creatives, hosting events like 'Gay Guy Night,' and its closure leaves a void in the neighborhood. As one customer noted, 'It’s just gonna be one of those condo buildings, giant, modern condo complexes.' Despite the closure, the legacy of Taix lives on through the memories of its customers, who recall the restaurant's role as a launching pad for nights out, a soft landing spot at the end of one, and a safe space for the LGBTQ+ community. As one regular put it, 'People are the thing that animates the space. Without people, it’s just a building.'

Nicola Jennings, a renowned cartoonist for The Guardian, has created a thought-provoking cartoon that illustrates the recent court rulings against Meta, the tech giant behind Facebook and Instagram. The cartoon, which is part of Jennings' ongoing series for The Guardian, visually represents the legal challenges faced by Meta, emphasizing the company's struggles with regulatory compliance and public scrutiny. Jennings' work often provides incisive commentary on current events and societal issues, and this cartoon is no exception. It offers a unique perspective on the implications of these court rulings for Meta and the broader tech industry. The cartoon is part of a larger collection of Jennings' work that can be found on The Guardian's website, where she regularly publishes her cartoons on a wide range of topics, from politics and social issues to technology and culture.