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Palantir, one of the world's biggest tech companies, has been accused of launching an intimidation campaign against a small Swiss magazine, Republik, after it published an investigative report on the company's activities in Switzerland.The report, which was a collaboration between Republik and the independent Swiss research collective WAV, alleged that Palantir had persistently courted Switzerland but had been rejected. The investigation found that Palantir had pitched itself to Switzerland's chancellor during the Covid-19 pandemic to help with data tracking, approached the Swiss army, and met Switzerland's then finance minister, Ueli Maurer.Palantir was not happy with the report and filed a lawsuit in a Swiss commercial court demanding that Republik print a detailed rebuttal. The company claims that the report paints a false and misleading narrative about Palantir and sets back important discourse on European software modernisation.The journalists behind the report say they had interviewed company executives and sent a full list of questions before publication, but that Palantir demanded they print a detailed rebuttal that went beyond the scope of their investigation. The lawsuit has sparked concerns about Palantir's tactics and the impact on journalism, with the European Federation of Journalists claiming that the legal action is an attempt at intimidation aimed at discouraging critical analysis of Palantir's activities."It does feel like an intimidation campaign," says Marguerite Meyer, a journalist who works with WAV. "However, we adhered to all journalistic standards, and had a thorough factcheck done. They are suing for an absurd list of changes."The investigation, which was published in December, gave an account of Palantir's years-long efforts to try to sell itself to the Swiss government. The journalists found that despite Palantir's efforts, no government contracts had been reported."We tried to find out, is there any kind of government agency that uses this software? I mean, they are in Switzerland, eventually some government official maybe thought they could use this Palantir," says Balz Oertli, who is also with WAV.The lawsuit has raised questions about Palantir's influence and the limits of journalistic scrutiny. Swiss law allows the subjects of a story to request a right of reply, but this has caveats: the right of reply has to be concise and stick to the facts of the story."This lawsuit for a right of reply is not about whether Republik was technically inaccurate or not. It is only about whether Palantir is allowed to place its view of the facts alongside that of Republik and whether Republik must publish it," says Dominique Strebel, an expert in media law and the editor-in-chief of Beobachter, another Swiss magazine.

Bach's St John Passion is a masterpiece that comes close to being an opera, and this new recording by Pygmalion, conducted by Raphaël Pichon, brings out its theatrical qualities in spades. The ensemble's performance is razor-sharp throughout, with a vigorous engagement with the reflective chorale texts.The St John Passion relies on the Evangelist to narrate the bulk of the story, and Pichon is fortunate in having Julien Prégardien on tenor vocals. Prégardien's voice rises to an outraged shriek as he declares Barrabas a murderer, and his achingly florid recall of Peter's bitter tears is noteworthy.The soloists are also impressive, with Huw Montague Rendall bringing tonal richness and unswerving gravitas to the role of Jesus, and Christian Immler's agitated Pilate swinging back and forth like a tormented weathervane. Ying Fang's purity and Lucile Richardot's otherworldliness round off one of the most theatrical St Johns in the catalogue.

The West's relentless pursuit of oil has been a driving force behind its involvement in the Middle East for over a century. This greed for oil has led to numerous conflicts, coups, and interventions, shaping the region's politics and economies.The 1953 coup against Iran's democratically elected government, led by Mohammad Mossadegh, is a prime example. The UK and US orchestrated the coup to prevent Iran from nationalizing its oil industry, which was controlled by the Anglo-Iranian Oil Company (now BP). This event set the stage for decades of repression under the shah's dictatorship and ultimately contributed to the 1979 revolution, which was hijacked by the ayatollahs.The article argues that capitalism and 'free markets' are often misconstrued. The pursuit of profit has led to the plunder of resources, exploitation of labor, and intimidation of communities. The fossil fuel industry, in particular, has extended and empowered capitalist systems, often at the expense of human lives and the environment.The world's military power exists largely to ensure the flow of oil and other resources to banks, shareholders, and commodity traders. This has led to a concentration of power in the hands of a few, undermining democracy and fueling autocratic regimes.To address these issues, the article calls for a reduction in oil dependency and a transition to greener, cleaner energy sources. This would help to defuel dictatorships, war machines, and climate breakdown. The author argues that an emergency program to phase out fossil fuels is necessary, with the same urgency and mobilization as wartime efforts.

In 1986, thrash metal reached a critical point with landmark albums from Slayer, Megadeth, and Metallica. However, across the Atlantic, a group of teenagers were forging their own path in the genre. Kreator, Sodom, Destruction, and Tankard, dubbed the 'big four' of German thrash metal, were faster and meaner than their American counterparts.These bands made up for their lack of finesse and professionalism with sheer aggression. Destruction vocalist and bassist Marcel 'Schmier' Schirmer notes that they focused on writing songs that 'punched hard' rather than striving for musical perfection.The German thrash metal scene was marked by its rough and violent approach, with bands drawing inspiration from English heavy metal albums and American thrash metal bands like Slayer. The scene was also influenced by the political climate of the time, with the presence of the Berlin Wall and the Cold War.Bands like Formel 1 from East Germany, who released their live album Live Im Stahlwerk in 1986, were also part of the thriving metal scene. Despite the challenges faced by these bands, including limited resources and censorship, they managed to create a lasting impact on the metal genre.Today, bands like Kreator, Sodom, and Destruction continue to tour and produce new music, with Kreator's 16th album, Krushers of the World, and Destruction's upcoming US tour with Overkill and Testament. The legacy of German thrash metal remains strong, with its unbridled aggression and brutal sound continuing to influence metal musicians to this day.

The world of ballet has long been associated with a specific physical ideal, particularly when it comes to foot shape. However, dancers with flat feet are proving that this condition is not a barrier to success. For Claudia Efemini, picking up her ballet shoes again after six years was a bittersweet experience. While she was excited to revisit a childhood hobby, she was also disheartened by the memory of being discouraged from pursuing ballet due to her flat feet.The industry's obsession with 'perfect' feet, characterized by high arches, has led some dancers to use fake arches, or farches, to create the illusion of more flexible feet. However, flat-footed dancers like Alex Maureen and Ruth Essel are thriving in the ballet world. Maureen, a performer and dance instructor at New York University, and Essel, founder of Pointe Black, a London-based ballet school, reject the notion that flat feet are an obstacle to success.Research shows that Black people are more prone to having flat feet, but Essel and Maureen's experiences demonstrate that this condition does not predetermine one's potential in ballet. Through education and self-advocacy, they have overcome discouraging beliefs about their feet and developed strategies to work with their body types. Essel, with a background in psychology, learned about anatomy and exercises to strengthen her ankles and improve foot mobility.Injury prevention is crucial for flat-footed dancers, who tend to land on their heels. Maureen and Essel stress the importance of educators adapting to different body types and seeking specialist advice when needed. They also highlight the need for greater diversity in ballet, including more Black pointe shoe fitters and physiotherapists.Maureen and Essel have developed checklists for their students before they start using pointe shoes, ensuring a comfortable and supportive fit. As Maureen advises, 'You just need your shoe to work for you, not against you.' For aspiring ballerinas with flat feet, Maureen's words of encouragement are 'Give yourself grace. Be kind to yourself.'

Surprise Launch Signals Apple’s Push into Premium AudioIn a low‑key event on Monday, March 16, 2026, Apple announced the AirPods Max 2, the first major refresh of its flagship over‑ear headphones since their 2020 debut. The announcement came without a pre‑launch leak, underscoring Apple’s intent to control the narrative around its high‑margin audio products.AirPods Max 2 Specs and New FeaturesActive Noise Cancellation: Up to 1.5× more effective than the original model.Adaptive Audio: Real‑time adjustment of ANC and Transparency based on ambient sound.Transparency Mode: New DSP algorithm for a more natural listening experience.Live Translation: In‑person language translation powered by on‑device processing.Voice Isolation: Advanced computational audio that prioritises the speaker’s voice during calls.High‑Dynamic‑Range Amplifier: Cleaner audio with improved bass, mids, and highs.Spatial Audio: Enhanced instrument localization and richer soundstage.Camera Remote: Digital Crown triggers iPhone/iPad camera shutter.Loud Sound Reduction: Protects ears from sudden loud noises while preserving audio fidelity.24‑bit/48 kHz Lossless Support: Via included USB‑C cable.Pricing and Availability: What the Numbers RevealThe AirPods Max 2 launch at $549, matching the price of the original Max. Pre‑orders begin on March 25, with shipments slated for early April. The headset will ship in six colors—midnight, starlight, orange, purple, blue, and the classic silver—and will be sold in more than 30 countries and regions.Pre‑order start: March 25, 2026First shipments: Early April 2026Price parity with 2020 model despite added hardware and software.Implications for the High‑End Headphone MarketBy keeping the price steady while delivering a richer feature set, Apple is positioning the Max 2 as a premium alternative to competitors such as Bose QuietComfort 45 and Sony WH‑1000XM5. The integration of live translation and camera remote functions deepens the synergy between Apple’s hardware ecosystem and its services, potentially increasing the lock‑in effect for iPhone and iPad users.Analysts note that the unchanged price point may boost margin growth, as the H2 chip and software improvements are largely cost‑neutral at scale. The broader color palette and expanded regional rollout also aim to capture fashion‑forward consumers in emerging markets.What’s Next for Apple’s Audio EcosystemLooking ahead, Apple is likely to leverage the Max 2’s H2 chip to roll out additional AI‑driven audio features, such as real‑time acoustic scene classification for AR experiences. The company may also explore subscription‑based audio services that tie directly into the headset’s spatial and translation capabilities.Industry watchers expect a next‑generation “AirPods Max 3” within 18‑24 months, potentially introducing bone‑conduction sensors and deeper health‑monitoring functions, further blurring the line between consumer audio and personal wellness.

Netflix's Historic Night at the 2026 Academy AwardsStreaming giant Netflix dominated the 2026 Academy Awards, securing a total of five Oscars. The wins for Guillermo del Toro’s *Frankenstein* and the animated hit *KPop Demon Hunters* highlight a growing trend of premium content production from non-traditional studios. While the Best Picture award remains out of reach for the streamer, the sweep of technical categories demonstrates a high ceiling for their creative output.Guillermo del Toro’s *Frankenstein* and *KPop Demon Hunters* Sweep the Visual CategoriesThe ceremony was a landmark night for Netflix’s diverse portfolio, with two distinct films taking home hardware across different genres.Frankenstein: Director Guillermo del Toro’s reimagining of the classic tale won three prestigious awards: Best Production Design, Best Costume Design, and Best Makeup and Hairstyling. The film was a heavy favorite, entering the night with nine nominations, including the coveted Best Picture and Best Supporting Actor.KPop Demon Hunters: Netflix’s most-watched movie ever, *KPop Demon Hunters*, secured Best Animated Feature and Best Original Song, proving that the streamer’s investment in global pop culture phenomena pays off on the awards stage.The Streaming Giant's Growing Influence on Award SeasonNetflix’s success tonight reinforces the reality that streaming companies are now integral to Hollywood’s award season ecosystem. The wins for *Frankenstein* and *KPop Demon Hunters* add to a growing list of streaming titles recognized by the Academy, following in the footsteps of Roma, The Power of the Dog, and All Quiet on the Western Front. This trend suggests that the barrier to entry for critical acclaim is lowering, even if the path to commercial dominance remains competitive.The Elusive Best Picture Prize for StreamersDespite the technical triumphs, the industry is still waiting for a streaming service to capture the Best Picture award. Host Conan O’Brien humorously acknowledged Netflix co-CEO Ted Sarandos’ presence, noting, “This is exciting: It’s his first time in a theater!” While *Frankenstein* was a top contender, the top prize ultimately went to *One Battle After Another*. This distinction marks Apple’s *CODA* (released during the pandemic) as the only streaming film to date to win Best Picture.The Future of Award-Winning Content in the Streaming EraThe 2026 Oscars indicate that while Netflix and Apple are winning technical and creative awards, the Best Picture title remains a rarefied air reserved for traditional studio powerhouses. However, with the volume of high-budget content increasing, the gap is likely to narrow. We can expect more streaming films to dominate the technical categories, but the Best Picture race will likely remain a battleground where theatrical exclusivity still holds significant sway.

Researchers at Cortical Labs in Melbourne have created a 'biological computer' using living human tissue, which can play the 1993 shooter game Doom. The team used 10ml of blood from CEO Hon Weng Chong to harvest 100 white blood cells, which were then reprogrammed into induced pluripotent stem cells (iPSCs). These cells were used to create a dish of 200,000 neurons that can interface with a computer system.The brain cells were taught to play Doom by encoding game state information, passing it through a neural network, and converting it into signals the neurons can understand. The neurons then fire an output, which the system decodes and converts back into actions in the game. This process is similar to how humans operate, with information going into the retina, being converted into electrical signals, processed in the brain, and resulting in an output.While the achievement has sparked concerns about sentience and consciousness, Chong believes the brain cells are not conscious, stating, 'At first it didn’t know how to move, aim or shoot. Then it would shoot two enemies and stop. So it’s definitely learning.' The next step could be integrating this technology with Neuralink, a brain-machine interface developed by Elon Musk.The application of biological computing lies not in gaming, but in medicine, such as disease modeling for conditions like epilepsy. This technology could allow for personalized drug testing and tailored treatments. Meanwhile, Eon Systems in San Francisco has created a virtual insect brain that can behave like a real fly, challenging the assumption that intelligence must be acquired.Biological systems like these could eventually power robots, drones, and other machines that need to navigate complex environments. As Chong notes, 'Abstract reasoning, mathematics and language are relatively recent in evolutionary terms... but motor control and probabilistic decision-making are things we’ve inherited through millions of years of evolution.' While we're far from uploading human consciousness into the internet, this technology marks a significant step in the development of biological computing.