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The ongoing conflict between the US and Iran has raised concerns about the protection of civilians in war. Donald Trump's threats to bomb civilian infrastructure, including power stations, desalination plants, and bridges, have been widely criticized as potential war crimes. In a recent statement, Trump doubled down on his threat, saying that a whole civilization will die if his demands are not met. This rhetoric has sparked fears of a humanitarian crisis and raised questions about the US's commitment to protecting civilians in war.Historically, the protection of civilians has been a cornerstone of international law. The Geneva Conventions, established in 1949, clearly state that civilian objects shall not be the object of attack or reprisals. The US has a long tradition of upholding these principles, dating back to the Lieber Code of 1863, which established protocols for the protection of the innocent during the Civil War.The article argues that protecting civilians is not a sign of weakness, but rather a sign of strength and self-discipline. It cites examples of leaders who have prioritized humanitarian concerns in times of war, including President Franklin D. Roosevelt's vision for a world united around democratic values and international organizations. In contrast, Trump's approach has been criticized for its lack of nuance and disregard for humanitarian concerns. The article notes that the US must distinguish between military targets and civilian infrastructure, and that cyber-attacks and other non-lethal methods should be used whenever possible to minimize harm to civilians.Ultimately, the article concludes that upholding American values and international law is essential to maintaining global stability and preventing humanitarian crises. By prioritizing the protection of civilians, the US can demonstrate its commitment to humanitarian principles and show that it is capable of fighting wars with greater purpose and a plan for peace.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

The threat of bombing Iran back to the 'stone ages' by US President Donald Trump has raised concerns about the morality, legality, and utility of such a campaign. In 2006, Israel bombed Lebanon's Jiyeh power station, causing a massive oil spill and significant damage. However, this did not prevent Hezbollah from rearming and continuing to fight. Similarly, Russia's sustained bombardment of Ukraine has not forced the country to concede. History has shown that bombing campaigns, including the British 'area bombing' of Germany in World War II and the US Rolling Thunder campaign against North Vietnam, have not always achieved their desired outcomes. Experts argue that bombing Iran's infrastructure would not change the regime's strategic calculus and would likely give the Iranian government a powerful propaganda tool. The US lacks a credible military option to force Iran into submission, and pressure alone may not be enough to break Tehran. The effectiveness of bombing campaigns in achieving war objectives is highly contested. The article cites the example of the British bomber command's promise to bring about the collapse of Germany within four months, which ultimately proved unsuccessful. Trump's threat to bomb Iran's infrastructure has been met with skepticism by experts, who argue that it is unlikely to achieve its desired outcome and may instead escalate the situation.

The International Monetary Fund (IMF) has issued a warning that emerging economies are facing a heightened risk of financial instability due to their increased reliance on market-based finance, particularly from hedge funds and investment funds. A cumulative $4tn flowed into emerging markets last year from outside the formal banking sector, which can bring benefits but also poses significant risks.The IMF's analysis suggests that this type of financing can be more volatile than traditional bank financing and is more likely to be withdrawn suddenly in times of financial stress. This can lead to abrupt retrenchments, intensify external financing pressures, raise borrowing costs, and trigger sharp currency depreciations, ultimately weighing on economic growth.The IMF highlights that some countries are already experiencing these challenges, particularly in the context of the war in the Middle East. Several emerging markets are experiencing a reversal of capital flows from non-resident non-bank investors, which can have a significant impact on their economies.The IMF also notes that hedge funds and mutual funds have the highest propensity to withdraw during market volatility, while pension funds and insurers tend to be more cautious. Additionally, the IMF warns about the growing flows of stablecoins into emerging economies, which can be vulnerable to wider fluctuations in cryptocurrency markets.The IMF's managing director, Kristalina Georgieva, warned that the conflict will lead to higher prices and slower growth, adding that even if the war were to stop today, there would be a lingering negative impact on the rest of the world.

The recent profanity-laden warning from US President Donald Trump to Iran has sparked renewed concerns about his behavior and the potential consequences of his actions. Trump's threats to carry out mass bombing of civilian infrastructure have been widely criticized, with many calling for his removal from office.One possible route for removal is the 25th amendment, which has been invoked by various politicians, including Senator Chris Murphy. However, the US system makes it incredibly difficult to remove a president, and it is unclear whether this method will be effective.The author suggests that if the 25th amendment cannot be used, an unconventional solution could be to replace Trump with an AI president. While AI is problematic, the author argues that it could be an upgrade from Trump's current behavior.The article also highlights the broader issues with the US political system, including the difficulty of removing incumbent politicians and the concerns about the mental acuity of some politicians, including Trump and Senator Dianne Feinstein.Ultimately, the author concludes that something needs to be done to address Trump's behavior and the potential consequences of his actions. Whether through the 25th amendment or an unconventional solution like an AI president, the author argues that the situation requires urgent attention.

Researchers at Rothamsted Research in Harpenden, Hertfordshire, have made a groundbreaking discovery in the field of food safety. By utilizing Crispr genome editing, they have successfully developed wheat that can be used to make bread with reduced levels of acrylamide, a toxic compound classified as a probable carcinogen.The innovation lies in the reduction of free asparagine, an amino acid in wheat that converts into acrylamide when bread is toasted, fried, or baked. Field trials over two years demonstrated that gene-edited wheat can have significantly lower concentrations of free asparagine without impacting crop yields. This translates into lower acrylamide formation in food products, making toasted bread safer for consumption.In tests, bread and biscuits made from the edited wheat showed substantially reduced acrylamide levels, with some bread samples having concentrations below detectable limits even after toasting. The Crispr editing targeted the gene responsible for asparagine production, achieving a reduction of up to 93% in free asparagine in dual-edited lines.Compared to conventional methods that achieved a 50% reduction in free asparagine but resulted in a 25% yield penalty, the Crispr-edited wheat offers a more efficient and effective solution. Dr. Navneet Kaur, a lead researcher, highlighted the potential of Crispr technology to deliver precise, beneficial changes in crop genetics, emphasizing the importance of supportive regulatory frameworks to unlock benefits for agriculture and food systems.The UK has become a global hub for gene editing research since Brexit, with the Genetic Technology (Precision Breeding) Act of 2023 facilitating the development and marketing of genetically modified crops. However, the future of these advancements may be influenced by negotiations with the EU over sanitary and phytosanitary agreements.Prof. Nigel Halford, who led the study, noted that low-acrylamide wheat could help food businesses meet safety standards without compromising product quality or incurring major costs, ultimately reducing consumers' dietary exposure to acrylamide.

Michigan secured its second national crown — the first since 1989 — by edging UConn 69‑63 in a gritty Final Four showdown that tested both teams’ resolve. Despite making only two three‑pointers all night (a 2‑for‑15 effort from beyond the arc), the Wolverines leaned on disciplined defense and a flawless free‑throw line, converting 25 of 28 attempts in the closing minutes. Elliot Cadeau emerged as the game’s catalyst, pouring in 19 points, including Michigan’s inaugural three‑point basket of the night 7:04 into the second half. His performance earned him the Most Outstanding Player honor for the Final Four. The decisive blow came when freshman Trey McKenney sank the Wolverines’ second three‑pointer with 1:50 remaining, extending the lead to nine points and forcing UConn into a frantic chase. UConn fought back valiantly; Solo Ball knocked down a three‑pointer with 37 seconds left to trim the deficit to four, and senior guard Alex Karaban added 17 points. However, missed free throws and a sub‑31% field‑goal percentage (30.9%) hampered the Huskies’ comeback. Injured graduate transfer Yaxel Lendeborg contributed 13 points on 4‑for‑13 shooting despite a sore knee and foot, while UConn’s leading scorer Braylon Mullins struggled, finishing 4‑for‑17 from the floor. Coach Dan Hurley watched his squad battle foul trouble and a cold shooting night, ultimately seeing the trophy travel to Ann Arbor instead of Storrs. Michigan closed the night with a 37‑3 record, capping a tournament run that had previously featured five straight 90‑point blowouts — a contrast to the defensive, low‑scoring finale that delivered the program’s long‑awaited championship.

Harry Maguire has committed his future to Manchester United by signing a contract extension that will keep him at the club until 2027, with the option for a further year. The defender, who joined from Leicester in 2019, was due to reach the end of his deal this summer.Maguire expressed his delight in extending his stay at the club, stating: “Representing Manchester United is the ultimate honour. It is a responsibility that makes myself and my family proud every single day. I am delighted to extend my journey at this incredible club to at least eight seasons and continue to play in front of our special supporters to create more amazing moments together.”He also highlighted the club's ambition, saying: “You can feel the ambition and potential of this exciting squad. The determination throughout the whole club to fight for major trophies is clear for everyone to see and I am confident that our best moments together remain ahead of us.”

François Ozon's The Stranger is a lustrously beautiful and superbly realised modern take on Albert Camus's classic novella L'Etranger. Set in 1940s French Algeria, the film follows the story of Meursault, a sensitive white European who commits a racist act under the unbearable noonday sun.The film, shot in Morocco, boasts an almost supernaturally detailed sense of period and place. Ozon's adaptation brings a contemporary perspective to the book's themes of empire and race, making changes that include a critique of the original text. This approach perhaps loses some of the source material's brutal, heartless power and arguably some of the title's meaning.Meursault, played by Benjamin Voisin, is portrayed as a character with an unreadable expression of listless unconcern. His story unfolds through flashbacks, showing his dull office job in Algiers, his blank reaction to his mother's death, and his relationship with Marie, played by Rebecca Marder.The film's climax features Meursault's fatal encounter with the vengeful brother of Raymond's girlfriend, Djemila. When asked for a motive, Meursault simply says: “C’était à cause du soleil” – “It was because of the sun”. This response highlights the absurdity of the situation and the racist undertones of the act.Ozon's adaptation softens the argument presented in Camus's original work, and Meursault is ultimately condemned to death. The film emerges as a passionate act of ancestor worship in honour of a renowned French artwork, while also critiquing the original text and its representation of imperialism.