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UK Prime Minister Keir Starmer has expressed strong support for curbing addictive social media features that target children, stating that the government 'will have to act' to regulate these features. In an interview with the Sunday Mirror, Starmer emphasized that these features 'shouldn’t be permitted' and that the government is committed to taking action.The government's education secretary, Bridget Phillipson, also weighed in on the issue, stating that social media platforms are 'designed to keep you there' and that the government will closely examine how to tackle addictive features. The comments come amid a growing debate about the impact of social media on children's mental health and wellbeing.The UK government's consultation on social media regulation has garnered significant attention, with nearly 30,000 parents and children responding to the digital wellbeing consultation. The government is considering a range of options, including a ban on social media for under-16s, which has already been enacted in Australia.The move comes after a US court ruling found Meta and Google liable for a woman's childhood social media addiction, awarding $6m in damages. The companies plan to appeal the decision. The UK government's consultation will also examine the use of addictive algorithms and algorithmically driven content on social media platforms.As part of the consultation, hundreds of UK teenagers will trial social media bans, digital curfews, and time limits on apps as part of a government pilot. The government aims to introduce significant changes to regulate social media and protect children online.

IPO Overview Confidential Form F‑1 filed, targeting the second half of 2026. Proposed raise: $10 billion to $14 billion, equivalent to issuing roughly 2 % of existing shares. Current market cap: about $440 billion. Issuing 2 % of a $440 billion company would normally generate ~$8.8 billion; the higher $10‑14 billion range implies a modest premium, helping lift the share price toward U.S. peer multiples. Valuation Gap & Peer Comparison SK hynix trades at a discount to U.S. listed peers such as Micron despite comparable HBM capacity. Analyst notes that geography, not fundamentals, drives the gap. Cross‑listing could mirror TSMC's experience, where U.S.‑listed shares command a premium during AI‑driven demand spikes. Shareholder Structure Largest shareholder SK Square holds 20.07 % (Dec 2025), just above Korea’s 20 % holding‑company floor. The IPO design allows SK Square to retain its stake while still raising capital. Capital Deployment Plans Target net cash: $75 billion (≈100 trillion KRW) to fund AI‑era growth. Long‑term investment: $400 billion by 2050 for a semiconductor cluster in Yongin, South Korea. New facilities: $25 billion in South Korea and $3.3 billion in Indiana, USA. EUV lithography acquisition from ASML: $7.9 billion deal slated for completion by 2027 to boost HBM output. Industry Ripple Effects Investors urging Samsung Electronics to consider a similar U.S. ADR listing. Major shareholder Artisan Partners cites valuation uplift and broader U.S. retail access as benefits. Memory shortage dubbed “RAMmageddon” could persist through 2027, pressuring all AI‑focused chipmakers. Tech firms like Google are tackling the bottleneck with software solutions such as the TurboQuant memory‑compression algorithm. Strategic Implications The IPO not only provides immediate funding but also signals SK hynix’s intent to align its market valuation with global peers, potentially reshaping capital flows into the AI‑chip supply chain. If successful, the move may set a precedent for other Korean semiconductor firms seeking U.S. market exposure.

The US men's national team is facing a critical center-back shortage ahead of their friendlies against Belgium and Portugal, mirroring the kind of injury crisis they might encounter at the World Cup. Defenders Chris Richards and Miles Robinson are out due to injuries, leaving Pochettino with only three healthy natural center-backs: Tim Ream, Auston Trusty, and Mark McKenzie.Pochettino is considering tactical adjustments and alternative players to fill the gap. He mentioned that the absences could create an opportunity to try players at different spots, including Joe Scally, a right-back who has played as a right center-back in a three-man backline, and Tanner Tessmann, a midfielder who has filled in as a center-back for Lyon on several occasions.The team's strategy and player versatility will be put to the test as they prepare for the World Cup. Pochettino emphasized the importance of being prepared for such situations, stating, “When we talk about being right in the players that you pick … if this is happening in a World Cup, you need to see all the options that you have.”The friendlies against Belgium and Portugal will serve as a crucial test for the team's depth and adaptability, with potential implications for the World Cup roster. The USMNT will have to make the most of their current squad, as there are no reinforcements coming.

When Hurricane Beryl devastated Union Island in St Vincent and the Grenadines in July 2024, 61-year-old Tedica Alexander found refuge at the Ashton community center, which her grandchildren called 'Final Destination.' As the storm intensified, the shelter quickly filled to capacity with 47 children and 147 adults, including three people using wheelchairs, while windows shattered and floodwaters rose above ankle height. Alexander's experience mirrors a broader pattern revealed across the Caribbean: women often take on caretaker roles during natural disasters, yet studies show this responsibility can make their experiences more difficult. UN Women reported in 2022 that pre-existing social and cultural demands on women as primary caregivers increase their vulnerability during disasters, with gendered roles making women and girls more likely to be killed in such events. While emergency shelters provide critical protection from storms, they often fail to address gender-based violence risks. A 2021 systematic review published in BMJ Global Health found that post-disaster environments frequently heighten risks for women and girls, with inadequate shelter infrastructure—such as lack of doors, walls, and locks—contributing to increased violence in Haiti, Japan, and Nepal. The International Federation of Red Cross and Red Crescent Societies has been working to address these challenges, according to Loyce Pace, the organization's Americas regional director. The federation publishes manuals providing guidance to agencies working during natural disasters, focusing on ensuring governments understand their roles in emergencies and have access to necessary resources. Despite these efforts, significant challenges remain. In the Bahamas, emergency shelter capacity accommodates only 3% of the population, according to Aarone Sargent, managing director of the Disaster Risk Management Authority. During Hurricane Melissa in 2025, approximately 1,800 people from the southern islands were evacuated to New Providence and accommodated in six or seven shelters. The recovery phase presents particular difficulties for women. As Pace notes, while immediate response has improved attention to vulnerable populations, the recovery period often proves more challenging, especially for single women seeking loans or rebuilding businesses. Alexander, whose home and livelihood were destroyed in Hurricane Beryl, continues to live without electricity or water, struggling to regain stability months after the disaster. As the Caribbean region faces increasingly frequent and intense storms, experts emphasize the need for gender-responsive disaster planning and adequate shelter infrastructure that addresses the specific vulnerabilities women and girls face before, during, and after natural disasters.

The Dual Threat: Coruna and DarkSwordSecurity researchers have identified two distinct but equally dangerous hacking toolkits, Coruna and DarkSword, that have leaked onto the open web. These advanced exploit kits, capable of breaking into iPhones and iPads, were originally developed for high-level government surveillance but are now available for anyone to download.Coruna: Targets iOS 13 through 17.2.1. Linked to Trenchant, a unit within U.S. defense contractor L3Harris, and previously used in Operation Triangulation against Russian targets.DarkSword: Targets iOS 18.4 and 18.7. Leaked on GitHub, making it "plug-and-play" for cybercriminals.The Scale of VulnerabilityThe scale of this exposure is staggering. According to Apple's statistics, nearly one-in-three iPhone and iPad users are still not running the latest software. With over 2.5 billion active devices globally, this implies hundreds of millions of users are susceptible to these attacks.DarkSword is particularly concerning because it targets newer devices running iOS 18.4 and 18.7. Researchers have already tested the leaked code, successfully hacking their own devices to demonstrate the ease of use.From State-Sponsored Espionage to Public ExploitationThis leak marks a dangerous shift in the cybersecurity landscape. Historically, sophisticated tools like Coruna were the domain of state-sponsored actors targeting specific regions, such as the Uyghurs in China or activists in Hong Kong.However, the release of DarkSword represents a move toward indiscriminate cybercrime. The tool is written in web languages like HTML and JavaScript, allowing attackers to launch attacks simply by hosting a malicious website. Victims in China, Malaysia, Turkey, Saudi Arabia, and Ukraine have already been targeted.The Future of Zero-Day WeaponizationThe leak of these tools mirrors the infamous 2017 WannaCry ransomware attack, which was fueled by leaked NSA exploits. Once powerful zero-day vulnerabilities are released into the wild, they are nearly impossible to fully contain.Experts recommend immediate action: users must update to iOS 18.7.6 or iOS 26.3.1. For high-risk individuals, enabling Lockdown Mode remains the most effective defense, as there is currently no public evidence of hackers bypassing its protections.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

The V&A; Museum's lavish spring show, Schiaparelli: Fashion Becomes Art, is a surrealist's dream come true. The exhibition takes visitors on a journey through the life and work of Elsa Schiaparelli, a fashion designer who defied conventions and pushed the boundaries of art and fashion.Schiaparelli's designs are a whimsical and witty blend of art, culture, and fashion. From a shoe that becomes a hat to a telephone dial that transforms into a compact mirror, each piece is a testament to her innovative spirit and creative genius.The exhibition features collaborations with famous artists like Salvador Dalí and Jean Cocteau, showcasing iconic pieces such as the lobster telephone and the skeleton dress. These works demonstrate Schiaparelli's ability to merge fashion and art, creating something truly unique and groundbreaking.Elsa Schiaparelli was a trailblazer in her own right, launching her fashion career in Paris in the 1930s and quickly gaining recognition for her trompe l'oeil sweaters and shocking pink designs. Her legacy continues to inspire designers today, including Daniel Roseberry, who has been spearheading the brand's revival since 2019.The exhibition also features modern pieces that showcase the brand's continued commitment to innovative design and artistic collaboration. From a golden breastplate worn by Bella Hadid at Cannes to a robot baby made from old flip phones and circuit board shards, these works demonstrate the brand's ongoing dialogue with art and culture.Schiaparelli: Fashion Becomes Art is a must-see exhibition for anyone interested in fashion, art, and culture. It challenges visitors to think differently about the relationship between fashion and art, and showcases the enduring legacy of Elsa Schiaparelli's surrealist designs.

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.

A landmark jury verdict has found Meta and YouTube liable for deliberately designing addictive products that harmed a young user, KGM. The jury ruled that the tech companies were both negligent and failed to provide adequate warnings about the potential dangers of their products.The plaintiff, KGM, testified that she became addicted to YouTube at age six and Instagram at nine, which she claimed had deleterious effects on her wellbeing. By age 10, she said she had become depressed and was engaging in self-harm as a result. Her social media use allegedly caused her to have strained relationships with her family and in school.The jury awarded KGM $6m in damages, with Meta to pay 70% and YouTube the remainder. This lawsuit, over social media's alleged harm to young people, was the first of its kind to go to trial.KGM's lawyers argued that the companies' features, such as infinite scrolling and video autoplay, were designed to keep people on the apps and made the products addictive. The plaintiffs' arguments mirrored those brought against big tobacco in the 1990s, focusing on the addictive qualities of social media and the companies' public denial despite knowledge of their products' harms.Meta and YouTube have consistently denied wrongdoing and plan to appeal the verdict. A YouTube spokesperson said the video service was a responsibly built streaming platform, not a social media site. Meta said KGM's mental health issues were brought on by a difficult home life and social media use was not to blame.This trial is the first in a consolidated group of cases brought in California against Meta, TikTok, YouTube, and Snap on behalf of more than 1,600 plaintiffs. The next bellwether case is scheduled to go to trial in July.