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The recent video of McDonald's CEO Chris Kempczinski sampling the chain's new 'Big Arch burger' sparked widespread ridicule. This incident highlights a growing trend: CEOs and corporate leaders increasingly seeking to center themselves in the spotlight. This phenomenon, which can be termed 'CEOism,' raises important questions about the motivations behind it and its impact on consumers.Examples of CEOism abound. During the Super Bowl, the founder of Ring featured in the company's ad, only to face backlash for the dystopian undertones of the doorbell technology being promoted. In the sporting world, Fifa president Gianni Infantino has taken to inserting himself into high-profile events, including interrupting the start of the World Cup to give a welcoming address and unveiling the official sticker album.The reasons behind CEOism are complex and multifaceted. On one hand, companies are seeking to be seen as more relatable and approachable, which may explain why CEOs want to center themselves in advertising. On the other hand, the current cultural and political climate appears to have emboldened corporate leaders, who now seem more willing to express their opinions and insert themselves into public discourse.The article's author, Larry Ryan, expresses skepticism about the trend, suggesting that CEOs are mistaking interest in their products with interest in the people themselves. He longs for a time when CEOs focused on financial performance rather than seeking to be in the spotlight.However, some argue that audiences want to hear from the people behind brands and that 'CEOism' can be an effective marketing strategy. The success of podcasts like 'The Diary of a CEO' and social media influencers suggests that people may indeed be interested in hearing from corporate leaders.

When Hugh Bonneville was first asked to reprise his role as Ian Fletcher in John Morton's workplace satires, his emotions were conflicted. The actor described being 'absolutely delighted' yet 'terrified' at the prospect, calling the experience 'the most painful and horrible' of his television career.Bonneville, now widely recognized for his roles in Downton Abbey and Paddington, first portrayed Fletcher as 'Head of Deliverance of the Olympic Deliverance Commission' in Twenty Twelve. In W1A, he played 'Head of Values' at the BBC. Nine years later, the weary character returns as 'Director of Integrity' at an international football organization hosting a tournament, with its real-world basis deliberately obscured by the production.Despite the seemingly mundane setting of boardroom meetings and PowerPoints, the series stands out for its meticulously constructed naturalism and intricate dialogue. The scripts are twice as long as typical 30-minute sitcoms, featuring stammered half-sentences where the difference between phrases like 'yes well but' and 'but well yes' is profoundly significant.'It's the most impossible thing to learn because sometimes the sentences don't make sense,' Bonneville explains. 'The difference between 'yes well but' and 'but well yes' is profound', he adds, noting that he frequently struggles with the complex dialogue while his co-stars excel.Twenty Twenty Six shifts the setting to Miami, transforming Fletcher from a captain of British politeness into a mediator in American corporate culture. He's reunited with Will Humphries (Hugh Skinner), his hapless intern from BBC days, whose social uncertainty remains unrivalled. 'I'm now describing Will as the Paddington of the office world - he means well, but he's going to bump into everything and set the photocopier on fire,' Bonneville says.The series expands the ensemble with international characters including Belgian chief coordinating attaché Eric Van Dupuytrens, American sustainability head Sarah Campbell, and Mexican 'VP Optics and Narrative' Gabriela De La Rosa. If previous shows examined unspoken British social etiquette, this installment presents more of a culture clash comedy, with Fletcher navigating a world where people express themselves directly rather than through British subtlety.John Morton, the creator, chose the World Cup backdrop not for its football significance but because its unwieldy scale across 16 cities presents fertile ground for comedic mishaps. 'As a writer, you think: hmm, that smells like things could go wrong,' Morton explains. The show addresses contemporary issues including Trump references and environmental concerns, though Morton maintains it's not about football controversies.The filming itself presented unique challenges, with production in a Wembley school transformed to resemble a Miami arts center. Despite the artificial setting, the cast found the UK heat surprisingly authentic to Florida's climate. 'The irony being had we filmed it in Miami, it would have been air-conditioned,' Bonneville laments, capturing the production's British approach to discomfort.

German film-maker and author Alexander Kluge, a leading figure in the New German Cinema movement, has died at the age of 94. Kluge was known for his intellectually stimulating films and his role in shaping the cinematic landscape of post-war Germany. Kluge's career was marked by his innovative approach to filmmaking, which often incorporated cinematic collages and experimental techniques. His film Abschied von Gestern (released as Yesterday Girl in the US) was one of the first films to emerge from the Oberhausen Manifesto, a call to the German film industry to break free from traditional and shallow filmmaking. Kluge's contributions to German cinema were significant, and his influence can be seen in the work of other notable directors such as Rainer Werner Fassbinder and Werner Herzog. He continued to produce films and television programs throughout his career, including arts, magazine, and interview programs for German television through his production company DCTP. Kluge's wartime experiences had a profound impact on his life and work, shaping his commitment to pacifism. However, his comments on the topic have been met with controversy, particularly in the context of Russia's invasion of Ukraine. Throughout his career, Kluge collaborated with other artists and writers, including Ben Lerner, with whom he co-authored a poetic dialogue book, The Snows of Venice. Kluge's legacy as a pioneering film-maker and author continues to be celebrated, and his influence on German cinema and culture remains significant.

A landmark verdict in a social media trial has held Meta and YouTube accountable for deliberately designing addictive products that harmed a young user. The jury awarded the plaintiff $6m in damages, with Meta to pay 70% and YouTube the remainder.Human rights groups, including Amnesty International and Human Rights Watch, have praised the decision, calling it a "watershed moment" for corporate accountability in the digital age. They argue that social media companies must change their design features to ensure children's safety.The plaintiff, a 20-year-old who went by the initials KGM, testified that she became addicted to YouTube at age six and Instagram at nine, which led to a long cycle of depression, self-harm, and body dysmorphia. Plaintiffs have taken issue with features such as infinite scroll and autoplay, arguing that they prioritize engagement over users' well-being.However, not all tech freedom and human rights groups agree on the verdict's implications. Fight for the Future, a US-based digital rights group, has expressed skepticism, worrying that the decision could be used to justify legislative solutions that raise free speech concerns.

UK Chancellor Rachel Reeves is facing pressure to raise taxes on businesses generating 'windfall' profits linked to the US-Israel war on Iran to fund emergency cost of living support for UK households.A group of leading charities, campaigners, and trade unions, including Greenpeace UK, the National Education Union, and Tax Justice UK, have written an open letter to Keir Starmer and Reeves, urging the government to strengthen its existing North Sea energy windfall tax and introduce new levies for firms in other sectors that stand to financially benefit from the conflict.The letter highlights that energy companies, banks, agricultural commodities businesses, defence companies, and tech firms are likely to profit from the economic fallout of the war. The group argues that the extra revenue generated from taxing these 'excess profits' could be used to support households struggling with the cost of living and invest in the UK's future energy security.R Reeves has signalled that the government is ready to provide targeted help for households grappling with the economic fallout from the Middle East conflict, amid a surge in energy prices since the onset of the war. The chancellor has also warned companies that she will not tolerate corporates profiteering from the crisis, telling bosses that the Competition and Markets Authority has been put on notice to detect and crack down on price gouging.The UK already has a windfall tax on North Sea oil and gas firms, the energy profits levy, which is due to run until 2030. However, Reeves had been planning to ease the tax before the US and Israel attacked Iran on 28 February.

UK Prime Minister Keir Starmer has announced plans to address addictive features in social media platforms, signaling a potential regulatory shift following a significant US court ruling that held Meta and YouTube accountable for harms caused by their technology designs.The prime minister emphasized that the recent California court verdict reflects rising public expectations for more aggressive regulation of social media platforms. "I'm absolutely clear that we need to go further," Starmer stated, adding that "the status quo isn't good enough" in terms of protecting children online.Starmer specifically mentioned that the government is consulting about banning social media for under-16s and expressed strong commitment to addressing addictive features within social media platforms. These remarks come amid growing international pressure on tech companies to address the potential harms of their products on young users.In the landmark US case, a California jury found Meta and YouTube negligent for failing to provide adequate warnings about the potential dangers of their platforms. The plaintiff, a 20-year-old woman who claimed she became addicted to social media during her childhood, was awarded $6 million (£4.5 million) in damages, with Meta responsible for 70% of the payment and YouTube covering the remainder.The Duke and Duchess of Sussex welcomed the verdict as "a reckoning" for tech companies, stating in a joint statement: "For too long, families have paid the price for platforms built with total disregard for the children they reach." They emphasized that "today, the truth has been heard and precedent has been set" regarding children's safety versus corporate profits.Both Google, which owns YouTube, and Meta have indicated they will challenge the decision. Google claimed the case "misunderstands YouTube, which is a responsibly built streaming platform, not a social media site," while Meta stated it "respectfully disagrees with the verdict and is evaluating our legal options." The verdict came after nine days of deliberation in the first lawsuit concerning social media's alleged harm to young people to reach trial.The ruling has resonated beyond the courtroom, with European Commission digital chief Henna Virkkunen noting that such cases send "a very clear message" to online platforms about the risks they pose. Campaigners for safer social media have celebrated the decision as a potential watershed moment in regulating platforms like TikTok, Instagram, and X.The Molly Rose Foundation, established after the death of 14-year-old Molly Russell who was exposed to harmful content on Instagram, called for legislation that would make "safety and wellbeing the price for tech firms to pay for doing business in the UK." Thomas Lancaster, a computing expert at Imperial College London, emphasized that policies must be effectively enforced to protect those they're designed to safeguard.Sacha Haworth, executive director of the Tech Oversight Project, declared that "the era of big tech invincibility is over," suggesting that the verdict validates concerns about tech platforms' impact on young people that have been raised for years.

Lily Allen, known for her hit album West End Girl, is exploring the possibility of turning her music into a stage play. The album, which details her painful experience of discovering her husband's infidelity, has already been performed in its entirety during a recent tour of theatre venues, including a show at the London Palladium.The album's narrative is semi-autobiographical and features songs that showcase Allen's mastery of dialogue, characterisation, and storytelling. The plot revolves around her being cast in a West End production, mirroring her own debut in 2:22: A Ghost Story in 2021.A potential play adaptation could feature intimate monologues or a more elaborate production with supporting actors. The character of Madeline, the other woman involved in Allen's husband's affair, could be a key role in the play. Allen's fans have been closely following her personal life through her lyrics, and her Architectural Digest video showcasing her Brooklyn townhouse with her now-estranged husband David Harbour. The album's sardonic humour and raw realism could be effectively translated onto the stage.The set design for the tour, created by Anna Fleischle, featured a distinctive two-act structure with an interval and innovative videography. A stage adaptation could also incorporate performance art elements, making it a unique theatrical experience.

The global food system is facing an unprecedented threat of collapse, much like the financial system did in 2008. The concentration of power in the hands of a few large corporations has led to a loss of diversity, redundancy, and modularity, making the system highly vulnerable to shocks.Recent data suggests that every part of this system is now highly concentrated in the hands of a few corporations, which have been consolidating both vertically and horizontally. One recent study found that the US food system has “consolidated nearly twice as much as the overall economic system”. Some of these corporations, diversifying into financial products, now look more like banks than commodity traders, but without the same level of regulation.These vulnerabilities are exacerbated by the use of just-in-time supply chains and the funnelling of much of the world’s trade through a number of chokepoints. Some people have long warned that the strait of Hormuz, alongside the Suez canal, Turkish straits, Panama canal and straits of Malacca, are critical chokepoints, whose obstruction would threaten the flow of food, fertiliser, fuel and other crucial agricultural commodities.When a system has lost its resilience, it’s hard to predict just how and when it could go down. The collapse of one corporation? The simultaneous closure of two or more chokepoints? A major IT outage? A severe climate event coinciding with a geopolitical crisis? The next step could be contagious bankruptcy and cascading failure across sectors.We know what needs to happen: break up the big corporations; bring the system under proper regulatory control; diversify our diets and their means of production; reduce our dependence on a handful of major exporting countries; build strategic food reserves, accessible to people everywhere. But there’s a problem, and it’s not just Trump. Almost all governments are beholden to corporate and financial power.The best we can hope for is that braver politicians in our own countries seek to insulate us from the worst impacts. A crucial step is to encourage a shift to a plant-based diet. People struggle to see the relevance, but it’s simple. A plant-based diet requires far fewer resources, including just a quarter of the land a standard western diet requires and much less fertiliser and other inputs.

Deal Overview Crusoe will purchase 12 gigawatt‑hours of Form Energy's 100‑hour iron‑air batteries. Delivery is scheduled for 2027, providing Crusoe with multi‑day backup capability. The agreement follows Form Energy's recent 30 GWh contract for Google in Minnesota, valued at roughly $1 billion. Redwood Materials will supply an additional 8 megawatts of power using repurposed EV batteries, augmenting Crusoe's existing 12 MW, 63 MWh microgrid installation. Financial and Market Implications Assuming a similar price per gigawatt‑hour as the Google deal (~$33 million/GWh), Crusoe's 12 GWh purchase could generate roughly $400 million in revenue for Form Energy, qualifying as “hundreds of millions” for the company. Form Energy is currently raising a $500 million funding round; the Crusoe contract adds tangible traction, supporting valuation uplift. Form has raised $1.4 billion to date, positioning it to scale production from its West Virginia factory. For Crusoe, the combined storage capacity (≈12 GWh + 63 MWh) reduces reliance on grid power, potentially lowering operating costs by an estimated 5‑7% annually for its data centers. Technology Insight Iron‑air batteries store energy via oxidation of iron pebbles; discharge produces rust and electricity, while charging reverses the reaction. The 100‑hour discharge rating enables multi‑day backup, a key differentiator from conventional lithium‑ion systems that typically last only a few hours. Redwood Materials focuses on second‑life EV batteries, extending their useful life and reducing material costs for large‑scale storage. Strategic Impact for Crusoe Enhanced resilience against grid outages and renewable intermittency, critical for high‑performance computing workloads. Demonstrates a commitment to sustainable operations, aligning with corporate ESG goals and attracting climate‑focused investors. Positions Crusoe as an early adopter of long‑duration storage, potentially setting an industry benchmark for data center energy strategy.