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Iran's coastline is undergoing a significant transformation through ambitious architectural projects, reflecting the country's strategy to exert greater control over its coastal regions and drive economic growth. The development initiative aims to enhance the urban landscape while bolstering Iran's presence in the region. As the projects progress, they are expected to have a profound impact on the local economy and reshape the country's coastline for years to come.

The Giuffre family has publicly asked King Charles III to sit down with survivors of Jeffrey Epstein’s sex‑trafficking network during his upcoming state visit to Washington, scheduled for April 27‑30.The appeal arrives just before the anniversary of Virginia Giuffre’s death in April 2025, which was ruled a suicide.Giuffre, who first went public in 2010, alleged that she was groomed and trafficked by Jeffrey Epstein and his associate Ghislaine Maxwell, and that she was forced to have sexual encounters with Prince Andrew, the king’s brother.Sky Roberts and his wife Amanda, Giuffre’s brother and sister‑in‑law, told Reuters that they "strongly urge King Charles to meet with us and survivors and hear what we have to say," hoping the testimony could spur further British action against Epstein’s alleged co‑conspirators.The request comes as Charles’s Washington trip follows the U.S. Department of Justice’s release of the final tranche of more than 3.5 million Epstein‑related documents, mandated by the Epstein Files Transparency Act signed by former President Donald Trump.The massive disclosure has already triggered a wave of high‑profile resignations, arrests and ongoing investigations, including charges against former UK ambassador Peter Mandelson and Prince Andrew.Prince Andrew, now styled Andrew Mountbatten‑Windsor after being stripped of his military roles, patronages and royal titles, denied the allegations, settled a civil case with Giuffre in 2022 without admitting wrongdoing, and continues to contest criminal charges.Buckingham Palace has expressed “thoughts and utmost sympathies” for victims but did not comment on the Giuffre family’s request. The family thanked the king for his “decisive action” in removing his brother’s princely status.

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.

A projected ocean backdrop bathed the Hollywood High School auditorium in sunset hues as Mitski opened her five‑night residency, delivering a performance of “Dead Women” from her latest album Nothing’s About to Happen to Me. The stage, arranged like a cozy living room with a writing desk, chaise lounge and warm lamps, amplified the DIY‑style intimacy the artist sought.Addressing the crowd, Mitski quipped, “It’s dark in here – no one can see you. You can cry,” a line that resonated with the mixed‑age audience, prompting genuine emotional responses.The residency coincided with an innovative attendance challenge: students who maintained perfect attendance for two weeks were entered into a raffle for tickets. School staffer Michael Reagan called it “the most effective attendance drive in the district’s recent history.”Beyond the music, Mitski’s agreement to cover the venue’s rental fee will fund caps and gowns for graduating seniors, while she pledged to donate $2 from each ticket to a local youth‑focused music‑education nonprofit.The event attracted students from across Los Angeles and beyond. One senior, Sophia Barrios, traveled by train from the Central Valley after receiving tickets for her 18th birthday, praising Mitski’s genre‑spanning sound and personal lyrics. Fellow attendees echoed the sentiment, noting how the artist’s words gave voice to feelings they struggled to articulate.Former alumna Jessica Torres Vicente, now a therapist, described the experience as “a healthier dose of memory lane,” recalling the unchanged gold‑lettered welcome sign and vintage school‑production posters that still adorn the auditorium.Mitski’s decision to perform in a high‑school setting harks back to the venue’s history of hosting notable acts, such as Morrissey in 2013, and reflects her desire to recapture the raw connection of early‑career punk and DIY shows.The concert retained the hallmarks of a Mitski show—precise, balletic movement, immersive visuals, and a sound that enveloped the crowd—while the unique setting left an indelible impression. When she sang “Two Slow Dancers,” the audience shouted back, “Yes!” in unison, underscoring the shared intimacy of the night.

The deployment of reflective mirrors on satellites and the launch of thousands more satellites into low Earth orbit could have significant consequences for human health and ecosystems. Leading sleep and circadian rhythm researchers have raised concerns about the potential disruption to natural night-time light environments.The US Federal Communications Commission (FCC) is considering plans by Reflect Orbital to illuminate parts of the Earth at night using reflective satellites, as well as applications from SpaceX that could dramatically expand satellite numbers in low Earth orbit.2,500 researchers from over 30 countries have expressed concerns that altering the light-dark cycle could disrupt biological clocks that regulate sleep and hormone secretion in humans and animals, migration in nocturnal species, seasonal cycles in plants, and the rhythms of marine phytoplankton.Prof Charalambos Kyriacou, president of the European Biological Rhythms Society (EBRS), emphasized that "plants need the night" and that eliminating it could have global implications for food security.Reflect Orbital aims to use satellites equipped with large reflective mirrors to redirect sunlight onto areas roughly 5km to 6km wide "on demand", with brightness adjustable "from full moon to full noon".Meanwhile, SpaceX has proposed launching up to 1m satellites to create a giant solar-powered computing network in orbit designed to run artificial-intelligence workloads.Ruskin Hartley, chief executive of DarkSky International, noted that scientific studies have already shown that the existing number of satellites in orbit has increased diffuse night sky brightness by roughly 10%.Experts warn that if current trends in satellite launches and debris generation continue, night sky brightness could increase substantially over the coming decade, approaching the threshold astronomers have set for preserving naturally dark skies.

Japan's economic strategy has inadvertently created a Japanese century in global finance, driven by the yen's role as a cheap and reliable funding currency. The Bank of Japan's loose monetary policy has suppressed yields on public debt, effectively creating a publicly subsidized funding pipeline for bankers.By borrowing cheaply in yen and investing in higher-return assets, such as US equities, global investors have profited tens of billions of dollars from the 'yen carry trade'. This trade surged after the pandemic, with speculators betting $435bn in the two years to 2024 out of the estimated $1.7tn worth of yen supplied.Despite Japan's first rate hike since 2007 in March 2024, the carry trade remains popular. However, a persistent fear exists that the BoJ may aggressively raise rates, risking a global financial shock. A stronger yen would increase the cost of repaying yen-denominated debts, and heavily leveraged hedge funds could face significant losses.Japan's economic success has created an external dependency on the carry trade to manage internal crises. The country's reflationist prime minister, Sanae Takaichi, is committed to fiscal expansion, which may continue to stabilize the private sector but not necessarily drive growth.Economic analysis suggests that Japan's growth constraints are rooted in its macroeconomic prices, including profit, exchange rate, interest, wages, and inflation. While Japan has seen recent real wage growth, wages have historically been flat or falling, and the country's firms lack a reliably competitive exchange rate and viable profit rate to drive demand and reform.

Deontay Wilder secured a split‑decision win over Derek Chisora in London on Saturday, prompting the former WBC champion to directly challenge Anthony Joshua for a long‑awaited heavyweight bout.As Wilder exited the arena, he walked past Joshua, exchanged a fist‑bump, and declared, “Let’s do it.” The American added, “I’m ready for whoever is in the heavyweight division. Call me Mr Clean because I want to clean up the whole division.”Wilder, who holds a record of 45‑4‑1 with 43 knockouts, faced a resilient Chisora who fought his 50th professional contest. The British veteran, aged 42, fell to a split decision with judges scoring the bout 115‑111, 112‑115 and 115‑113 in Wilder’s favour.Joshua, who last fought in December when he knocked out Jake Paul, has since recovered from a serious car accident in Nigeria that claimed two of his close friends. Promoter Eddie Hearn told Fight Hub TV that Joshua would have “no problem” taking the fight, noting the British boxer stared at Wilder “ice‑cold” but would accept the challenge.Historically, Wilder was the WBC champion when Joshua held the WBA, IBF and WBO belts, but a unification bout never materialised after Wilder’s loss to Tyson Fury and Joshua’s defeat to Oleksandr Usyk, who later unified the titles by beating Fury in May 2024.Chisora, whose record stands at 36‑14 with 23 knockouts, acknowledged the end of his fighting career after the loss. Speaking beside his son Zion, he said, “I’m tired now. I can’t do it any more… I’ve had a great career.” While he hinted he might stay involved in boxing in another capacity, he stopped short of confirming a comeback.The potential Wilder‑Joshua clash now looms as the heavyweight division seeks a new marquee matchup, with both fighters positioning themselves as the next dominant force.

The conventional view of procrastination is that it's a negative habit, linked to anxiety, diminished self-esteem, and depression. However, what if we could harness it to our advantage? By exploring medieval philosophy, particularly the concept of acedia, or sloth, we can uncover a more positive approach to procrastination. Medieval theologians didn't view sloth as laziness, but rather as a complex mix of boredom, depression, anxiety, and despair. This state can leave us feeling rudderless, unable to make progress towards our goals. However, by accepting and engaging with our procrastination, we can transform it into a catalyst for growth. Dante Alighieri and Bernard of Clairvaux offered valuable insights into navigating procrastination. Dante described the 'wrong' approach as sleepwalking towards disaster, where boredom anaesthetizes our minds, making us vulnerable to manipulation. In contrast, the 'right' approach involves embracing procrastination as a chance for self-discovery. Bernard of Clairvaux likened living a good life to running a marathon over rough terrain. We can't expect to maintain a constant pace; there will be days of apathy and boredom. On such days, we should stay awake and alert, engaging our brains to find value in even the most trivial distractions. By adopting this mindset, we can turn procrastination into a portal to self-discovery. As medieval poems like Parzival and The Pearl demonstrate, heroes often stumble upon profound revelations through distraction and wandering. Similarly, we can find unexpected gold in the midst of procrastination, leading to a deeper understanding of ourselves. So, the next time you find yourself procrastinating, consider embracing it as a chapter break, a chance to recharge and refocus. Remember that accepting procrastination can be essential to emotional growth, allowing us to return to our tasks with renewed energy and perspective.

Mexico’s art world is in uproar after an agreement with Banco Santander to export a landmark segment of the Gelman collection to Spain. The collection, hailed as one of the most significant assemblages of 20th‑century Mexican art, features masterpieces by Frida Kahlo, Diego Rivera, Rufino Tamayo, José Clemente Orozco, María Izquierdo and David Alfaro Siqueiros. Approximately 400 cultural professionals have signed an open letter demanding clarity from the Mexican government about the fate of the works, especially those by Kahlo that the state has designated as an "artistic monument". Historian Francisco Berzunza warned that Kahlo is "the most important artist in the history of our country" and that her works should remain accessible in Mexico. The disputed batch comprises 160 paintings, sketches and photographs originally owned by collectors Jacques and Natasha Gelman and purchased by the Zambrano family in 2023. Under the Santander deal, the pieces—currently on public display in Mexico for the first time in two decades—are slated to travel to Spain this summer to become a centerpiece of the new Faro Santander cultural centre. Santander’s announcement promised to handle "conservation, research and exhibition" of the collection, yet it omitted the duration of the Spanish stay. The bank’s director, Daniel Vega Pérez de Arlucea, later told El País that the legislation governing the works is "flexible" and that the collection would enjoy a "permanent presence" at the centre, intensifying concerns. Mexican officials have attempted to reassure the public. President Claudia Sheinbaum stated, "Our desire is for the collection to remain in Mexico," while Culture Minister Claudia Curiel de Icaza emphasized that the export is only temporary and that the artworks are expected to return by 2028. Santander also issued a statement insisting the deal does not constitute a sale or permanent removal. Nevertheless, critics argue the contract is ambiguous. The agreement, viewed by the Guardian, allows Faro Santander to retain control of the collection at any point between June 2026 and 30 September 2030, with the possibility of extensions by mutual consent. Such language fuels fears that the pieces could become effectively permanent fixtures abroad. Legal experts note that Mexican law protects works declared national artistic monuments, mandating that they may leave the country only temporarily and that the National Institute of Fine Arts and Literature (Inbal) is responsible for their repatriation. With Inbal owning just four of Kahlo’s roughly 150 pieces, many fear the deal undermines the protective framework. Berzunza summed up the stakes: "If the works were not to return, a fundamental part of this artist’s body of work – and her history – would be lost. These pieces are essential to telling her story and to understanding our identity as Mexicans."