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President Donald Trump's lawyers have filed a court document seeking a 90-day pause in a $10bn lawsuit against the Internal Revenue Service (IRS) to explore a potential settlement. The move has sparked concerns about a conflict of interest, as Trump controls both the executive branch and the Department of Justice, which will be involved in the settlement negotiations. The lawsuit stems from the unauthorized release of Trump's tax returns in 2020, which were leaked by a former IRS contractor. Trump's lawyers claim that the release of the tax returns caused him, his businesses, and his sons "significant and irreparable harm", including reputational and financial damage. However, experts have questioned the validity of the lawsuit, citing flaws in the calculation of damages and the statute of limitations. They also argue that the lawsuit represents a conflict of interest, as Trump is essentially negotiating with his own administration for a payout. The $10bn sum sought by Trump is based on media references to his leaked tax returns, which experts say is not a valid formula for damages. Additionally, the lawsuit contends that Trump did not discover the unauthorized disclosures until January 2024, despite posting about the issue on social media in 2020. Government watchdogs have attempted to stop a settlement from unfolding, arguing that it would threaten the integrity of the justice system and the important taxpayer and privacy protections at the heart of this case. The Emoluments Clause in the US Constitution also prohibits the president from profiting off his position, apart from his salary. Trump has justified the sum by saying it would be donated to charity, but legal experts argue that this could still run afoul of the Emoluments Clause. The case has raised significant concerns about the potential for abuse of power and the integrity of the justice system.

Recent years have proved challenging for Madonna. Her 2024 tour sparked controversy when a group of fans filed a lawsuit over her arriving onstage two hours late, underscoring the growing disconnect between expectations and reality.Her last three studio releases have received mixed critical reactions and have seen sales roughly halve with each successive album – from the lukewarm reception of 2012’s MDNA and 2015’s Rebel Heart to the even more niche appeal of 2019’s experimental Madame X, which blended trap, reggaeton, Portuguese fado and politically charged lyrics.In an era where her own singles struggle to chart, Madonna’s most notable recent commercial win came from a featured appearance on The Weeknd’s 2023 hit “Popular”, rather than from a solo release.Despite the “Queen of Pop” moniker still clinging to her name, some observers argue that branding her upcoming record as a sequel to the 2005 dance‑floor classic Confessions on a Dance Floor hints at desperation. Others contend it simply reflects a strategic return to her strongest creative territory.Evidence suggests the new album, tentatively titled Confessions II, is being crafted largely with longtime collaborator Stuart Price, the producer behind the original 2006 record, reinforcing the project’s club‑centric pedigree.The teaser track “I Feel So Free” embraces classic house aesthetics. Its DNA includes nods to Lil Louis’s 1989 anthem “French Kiss,” a bassline reminiscent of Donna Summer’s “I Feel Love,” and an acid‑line that surfaces around the four‑minute mark, creating a hypnotic, late‑night dancefloor atmosphere.Structurally, the song eschews a conventional chorus, opting instead for a gradual build typical of underground dance tracks, and it avoids the bombastic drops common in contemporary EDM.Madonna’s vocals are delivered as spoken‑word excerpts from a 2021 interview with fashion magazine V, repurposed to celebrate nightclubs as spaces for personal reinvention – a lyrical approach that would feel at home in a mid‑90s New York Sound Factory set.Overall, the track feels like a soft launch for the album: it is less pop‑oriented than the unnamed song she performed at Coachella, yet it is meticulously produced, authentically rooted in house music, and showcases Madonna as herself rather than a chameleon chasing fleeting trends. This bodes well for the full release of Confessions II, suggesting a confident, club‑driven direction for the pop legend’s next chapter.

A recent study funded by NASA has revealed that the Earth continues to get brighter every year, with a 16% increase in artificial light between 2014 and 2022. However, the progression has become increasingly volatile due to factors such as Covid-19, regulations on light pollution, and a faltering global economy.The study, conducted by researchers at the University of Connecticut (UConn), analyzed over 1.1 million satellite images taken over a nine-year period. The findings indicate that while some parts of the planet became dimmer, helping to offset a 34% overall rise in global radiance, others experienced significant brightening.Europe dimmed significantly due to efficiency regulations, while Venezuela lost more than 26% of its night-time light due to economic collapse. The Covid-19 pandemic also had an impact, with lockdowns, reduced industrial activity, and decreased tourism causing dimming in many areas.In contrast, Asia continued to lead all regions in brightening, with night-time light surging in China and northern India along with urban development. The study also revealed that energy conservation measures coincided with reduced light pollution in Paris and throughout France, which experienced a 33% dimming.The researchers used satellite images taken at approximately 1:30 am local time every day of the nine-year study period by NASA's Visible Infrared Imaging Radiometer Suite. The study's co-author, Zhe Zhu, described the experience as "like watching the heartbeat of the planet".The findings have significant implications for energy security and environmental sustainability. As Deborah Gordon, senior principal of the Rocky Mountain Institute's climate intelligence program, noted, "Understanding where gas is being wasted around the globe, and to have this data be public, is huge for energy, and economic and environmental security."

Heart Wall opens to the sound of a bustling karaoke session, with audience members belting out Friday‑night pub anthems before the drama even begins. The musical backdrop becomes the thread that ties together a family still haunted by a tragedy from more than twenty years ago.The story follows Franky (Rowan Robinson), who returns to her north‑west hometown after building a life in London with a boyfriend and a new job. Her parents, Dez (Deka Walmsley) and Linda (Sophie Stanton), remain trapped in their own grief – Dez appears overwhelmed by guilt, while Linda searches for happiness elsewhere. The play centres on this unprocessed grief, but also hints at a mystery surrounding Franky’s sister and the strained marriage of her parents, threads that never fully resolve.Under director Katie Greenall, the production delivers moments of genuine emotional revelation, yet the pacing feels uneven. Scenes of intensity erupt abruptly, then dissolve just as quickly, leaving the narrative feeling rushed despite its dense storytelling. Supporting characters such as Charlene (Olivia Forrest) and the pub manager Valentine (Aaron Anthony) remain under‑developed, serving more as generic placeholders than fully realised figures.Visually, the play benefits from Hazel Low’s meticulous set design, which recreates a cosy, authentic pub that grounds the audience. The karaoke framing injects warmth and musical energy, offering a lively contrast to the heavy themes.Ultimately, Heart Wall attempts to tackle a big, aching emotional core within a tight, interval‑free two‑hour run, but it bites off more than it can chew. With additional runtime – perhaps more karaoke interludes – the drama could better honour the depth of its subject matter.For those interested, the play runs at the Bush Theatre, London until 16 May.

Pope Leo XIV delivered a powerful homily to an estimated 120,000 worshippers at the Japorma stadium in Douala, Cameroon’s largest economic centre. Speaking in both English and French, the pontiff urged the city’s young people to turn away from violence and corruption, emphasizing that true wealth lies in values such as faith, family, hospitality and diligent work.Security measures were stringent for the Friday Mass, and many attendees camped overnight despite harsh conditions, determined to witness the historic event. One pilgrim, Kevin Kaegam, told Reuters that the cold and mosquitoes were a small price to pay for the chance to see the “supreme pontiff”.Following the Mass, the Pope was scheduled to visit a local Catholic hospital and later travel to Yaoundé to meet students at the Catholic University of Central Africa. This stop follows a previous visit to Bamenda, a city at the heart of Cameroon’s nearly decade‑long English‑speaking separatist insurgency, where he also called for peace and condemned the exploitation of religion for political gain.Cameroon, with roughly 30 % of its population identifying as Catholic, is grappling with multiple crises, including the Anglophone conflict and lingering unrest from last year’s post‑election protests. The bishop of Obala, Leopold Bayemi Matjei, described the papal visit as a moment of great joy and a hopeful sign of divine blessing for the nation.In a more forceful tone than usual, Pope Leo criticized “neocolonial” powers for violating international law and warned that the whims of the rich and powerful threaten global peace. His comments on the war in Iran drew ire from U.S. President Donald Trump, who labelled the pontiff “weak” and “terrible for foreign policy”. Leo responded that he harbors “no fear of the Trump administration”.The Douala gathering marks the second stop of a four‑country African tour that began in Algeria and will also include Angola and Equatorial Guinea, underscoring the Pope’s broader mission to address social and political challenges across the continent.

In the midst of escalating tensions, a heart-wrenching story emerges from Gaza. Inaam al-Dahdouh, a 62-year-old mother, sits in her makeshift tent with her six grandchildren, clinging to a photograph of her three sons, who have been detained by Israeli forces for two years. As Palestinian Prisoners' Day is marked on April 17, Inaam's anguish deepens. Her sons, Mahmoud, Alaa, and Diaa, were arrested during an Israeli attack on al-Shifa Hospital in December 2023. They were bound, blindfolded, and taken away, leaving behind a family torn apart. The situation worsens with the recent approval of an Israeli law allowing the execution of Palestinian prisoners convicted of killing Israelis. This move has sparked international condemnation and fears among families like Inaam's. Over 9,600 Palestinians are currently imprisoned, a nearly 83% increase since the war began, with 350 children and over 3,530 administrative detainees held without charge. Inaam's sons are civilians; Mahmoud is a father of six, Alaa had completed his law degree, and Diaa was about to start life after high school. Despite reassurances that the new law targets specific categories of prisoners, Inaam cannot shake off the fear that her sons might be affected. “They can endure hunger … we tell ourselves they can endure it. But execution? Not to that extent,” Inaam says, fighting back her emotions. She urges a global stance to pressure Israel to reverse its decisions against prisoners, emphasizing that a prisoner has the right to live and dignity. Inaam tries to fill the void by caring for her grandchildren and teaching them the Quran, a gift for her imprisoned sons. Her story highlights the human cost of the ongoing conflict and the desperate need for a resolution to protect the rights and lives of Palestinian prisoners.

Kharg Island, a strategic location in the Persian Gulf, has become a front-line target in the ongoing conflict between the United States and Iran. The island is the heart of Iran's oil trade, and the US has struck military sites there, escalating tensions in the region.Despite the critical role Kharg Island plays in Iran's economy, 8,000 people call the island home. Their lives have been severely impacted by the conflict, with bombs falling and ships stopped from moving. The situation on the ground is dire, with residents facing significant challenges in their daily lives.The US naval blockade on Iranian ports has further exacerbated the situation, severely impacting Iran's oil exports and economy. The blockade is part of a broader effort by the US to enforce sanctions on Iran and limit its ability to export oil.The conflict has significant implications for the global economy, particularly in terms of oil prices and supply chains. As tensions continue to escalate, the international community is watching closely to see how the situation will unfold.

Olivia Rodrigo returns with “Drop Dead,” a single that instantly grabs listeners with a razor‑sharp lyric about online stalking and instant infatuation. The opening couplet—“One night I was bored in bed / And stalked you on the internet”—sets a tone of modern romance that feels both playful and unnervingly catchy.The 23‑year‑old, who burst onto the global stage in 2021 after a Disney Channel stint, has built a reputation for “acute, obsessive” love songs that balance self‑awareness with raw emotion. Her debut “Drivers License” cemented her as a heartbreak anthem, while the pop‑punk edge of her first album Sour and the riot‑grrrl‑infused follow‑up Guts displayed her versatility.“Drop Dead” marks a decisive pivot from the punk‑kiss‑off expectations that surrounded her recent breakup. Instead of a straightforward revenge track, the song delivers a “gorgeous rush of romantic intensity,” aiming to freeze a fleeting moment before plunging back into it with relentless momentum.The track’s production, helmed by longtime collaborator Dan Nigro, layers lush strings and bright power‑pop guitars, creating a sound that feels “one bauble short of festive.” Critics note a vocal delivery that stays in Rodrigo’s highest register throughout the chorus, with melodic bends that echo both Chappell Roan’s maximalism and Taylor Swift’s signature style.Visually, the music video—directed by Petra Collins and filmed at the Palace of Versailles—portrays Rodrigo as a runaway figure reminiscent of Sofia Coppola’s “Marie Antoinette” and Emma Corrin’s Diana in “The Crown.” The lavish setting amplifies the song’s theatricality.Adding a rock pedigree, the single includes a subtle nod to Rodrigo’s friendship with The Cure’s Robert Smith, referencing his classic “Just Like Heaven.” Their rapport, highlighted in a recent Vogue cover story, underscores Rodrigo’s expanding artistic circle.Overall, “Drop Dead” blends maximalist pop production, romantic lyricism, and rock‑infused credibility, delivering a track that feels both instantly addictive and deliberately chaotic—mirroring the messy emotions it portrays.

The Chisenhale Gallery in London greets visitors with an unsettling aroma that oscillates between sweet butter and a harsh, chemical perfume, immediately signalling that the exhibition is designed to disturb both mind and nostrils.At the heart of the show stands a massive mobile health unit – a former US‑British field ambulance acquired at a military auction. Its presence transforms the pastel‑painted gallery into a simulated triage zone, complete with faded chemical warnings, triage forms and evacuation maps. Among the discarded paperwork, a single sheet reveals that the vehicle participated in decontamination after the 2018 Novichok attack on double‑agent Sergei Skripal, adding a chilling historical layer to the installation.The surrounding walls are coated in Baker‑Miller pink, the hue once tested in US jails to calm aggressive inmates. This “drunk‑tank pink” juxtaposes the sterile pink of the health unit, blurring the line between soothing and coercive environments.Beyond visual cues, the exhibition assaults the senses with a bespoke scent concoction. Crowther blends substances derived from powdered milk – a symbol of industrialised sustenance – with hexadecanal, a naturally occurring skin compound known to dampen aggression in men while provoking it in women, and famously emitted by newborns. The result is a “sweetly putrid” odor that feels both familiar and alien, prompting visitors to question whether they are inhaling rubber, milk, or something more sinister.Through this multisensory tableau, Crowther frames colour and smell as potential psy‑ops, probing how basic human experiences can be industrialised and militarised. She asks: What does health mean when it is administered by the state or corporate entities? Who truly benefits when care becomes a tool of surveillance and control?Visitors navigate a space that oscillates between comfort and exploitation, leaving them to wonder whether they are being nurtured or manipulated. The exhibition runs at Chisenhale Gallery until 14 June 2026, inviting the public to confront the uneasy overlap of medical aid, military apparatus and sensory manipulation.