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The Revolutionary GeneticistCraig Venter, the pioneering geneticist who revolutionized genome sequencing and challenged traditional scientific approaches, has died at age 79. His announcement at the 2001 BioVision conference that humans possess only about 30,000 genes—far fewer than the previously estimated 100,000—shattered scientific assumptions about genetic determinism. "We simply do not have enough genes for this idea of biological determinism to be right," Venter declared, emphasizing that human diversity is shaped primarily by environmental influences rather than hard-wired genetic code.The Breakthrough in Genome SequencingVenter's most significant contribution was developing the revolutionary whole genome shotgun sequencing technique, which allowed for faster, more efficient genome mapping. In 1995, his team achieved the remarkable feat of sequencing the first genome of a living organism, the bacterium Haemophilus influenzae. This breakthrough led to the founding of Celera Genomics in 1998, which aimed to sequence the entire human genome using Venter's innovative methods.The competition between Venter's privately funded Celera and the publicly funded Human Genome Project, spearheaded by the US government and UK's Wellcome Trust, created what scientists described as "testosterone-driven" rivalry. Despite tensions, this competition dramatically accelerated progress in genomics research, culminating in the announcement of the first draft human genome sequence at a White House ceremony in June 2000.The Scientific MaverickVenter was as famous for his bold personality as for his scientific achievements. A brilliant entrepreneur and unapologetic self-promoter, he enjoyed showcasing his success, private plane, yacht, and luxury watches. This flamboyant approach made him both admired and controversial. James Watson, co-discoverer of DNA's double-helix structure, compared Venter to Hitler for attempting to patent human genes, while others nicknamed him "Darth" Venter after the Star Wars villain.His tendency to break scientific protocols became evident when he revealed that much of the DNA used in Celera's human genome sequencing came from his own cells—a decision that annoyed scientists who felt he had subverted standard processes. "I've been accused of that so many times, I've got over it," Venter responded, noting that the analysis revealed he had an abnormal fat metabolism and elevated risk of Alzheimer's disease.A Life Shaped by Science and WarBorn in Salt Lake City, Utah, Venter had an unconventional path to scientific greatness. Growing up in California, he had a poor academic record and initially pursued "pursuits that involved drink, girls and bodysurfing" rather than education. His life took a dramatic turn during the Vietnam War, where he served as a senior corpsman in a naval hospital's intensive care unit in Da Nang."I witnessed several hundred soldiers die, more often than not while I was massaging their hearts – at times with my bare hand – or attempting to breathe life into them," Venter recalled. "Vietnam would teach me more than I ever wanted to know about the fragility of life." This experience sparked his interest in life sciences, leading him to study at the University of California, San Diego, where he earned a PhD in physiology and pharmacology in 1975.The Legacy of a Scientific PioneerAfter being dismissed as head of Celera in 2002, Venter used his substantial payoff to endow the J. Craig Venter Institute with $100 million. There, he pursued ambitious projects including designing energy-producing microbes and synthesizing bacterial genomes. He later founded Human Longevity and Diploid Genomics, companies that aim to combine artificial intelligence with advances in aging research and gene sequencing to extend human lifespans and improve disease diagnosis.While some of Venter's claims about the primacy of environmental influences over genetics have been questioned, his impact on genomics research remains undeniable. His revolutionary sequencing techniques transformed the field, and his competitive approach accelerated what would have otherwise been a much slower process of mapping the human genome. As the scientific community remembers Craig Venter, it acknowledges a complex figure who was simultaneously a brilliant innovator, a controversial competitor, and a transformative force in our understanding of life's fundamental building blocks.

Why Fans Are the Smart Summer Cooling ChoiceThe Guardian’s award‑winning tech journalist measured 16 fans and several evaporative coolers to see how they perform against a typical portable air‑conditioner that draws 1,000W (about 26p per hour). Fans in the test consumed between 8W and 60W, delivering a far lower electricity bill and carbon footprint while still moving enough air to make a noticeable temperature drop.Power Consumption Numbers Show Fans Beat Air‑ConditionersAirCraft Lume – 18W on top setting; could run 56 hours for the cost of one hour of air‑con.Dreo TurboCool misting fan 765S – 22W, best overall cooling performance.Devola desk fan – 12W, cheapest at £64.99.Shark FlexBreeze Pro Mist – 30W, premium misting option at £249.99.Swan Nordic evaporative cooler – 15W, lowest‑energy water‑based cooler at £69.Cooling Comfort Meets Carbon Savings for UK HouseholdsRunning a fan instead of an air‑conditioner can cut summer electricity use by up to 95 %, translating into lower bills and reduced greenhouse‑gas emissions. For a typical UK home, swapping a 1,000W air‑con for an 18W fan saves roughly £23 per month and avoids about 0.12 tCO₂ of emissions.What’s Next for Home Cooling in a Warming Climate?As heatwaves become more frequent, manufacturers are likely to focus on quieter, smarter fans with integrated sensors that adjust speed automatically. Expect more hybrid designs that combine low‑energy misting with airflow optimisation, giving consumers a wider menu of carbon‑friendly cooling solutions.

The British Solving Championship: An Opportunity for Chess Enthusiasts This week’s puzzle is a chance to enter an annual national competition in which Guardian readers ­traditionally perform well and in ­considerable numbers. White in the diagram, ­playing as usual up the board, is to play and checkmate in two moves, against any black defence. The Event Details The puzzle is the first stage of the annual Winton British Solving Championship, organised by the British Chess Problem Society and sponsored by the investment ­managers ­Winton. This competition is only open to ­British ­residents and entry is free. To take part, simply send White’s first move by post to Nigel Dennis, Boundary House, 230 Greys Road, Henley-on-Thames, Oxon RG9 1QY, or by email to [email protected]. Entry Requirements and Deadline All entries must be postmarked or emailed no later than 31 July 2026. Entrants must provide their name and home address. Juniors under 18 on 31 August 2025 must also give their date of birth. The Competition Structure The best 15-20 players from the postal round, plus the best juniors, will be invited to the final at Harrow school on Saturday 13 February 2027, where the prize money is expected to be at least £1,600. The winner of the final will have the right to represent Great Britain at the 2027 world ­solving championships, an event where GB are often medal contenders. A Note on Chess and Professionals Back in the 1950s most top English players were amateurs, often civil servants or teachers, who competed in tournaments during their vacations. After the 1970s Fischer boom and English successes brought an influx of sponsors, chess professionals could earn a decent living, but the tide turned again during the 1990s. The breakup of the Soviet Union brought harder international competition, while Nigel Short’s world title defeat and the move to screen rather than print marketing drove sponsors away. A New Grandmaster: Harry Grieve Harry Grieve became England’s latest grandmaster on Tuesday when the 25-year-old, who was British champion in 2022 and helped CSC/Kingston finish second in this season’s UK 4NCL League, won first prize in Budapest with a 7/9 total.

The Struggle of Working-Class Artists The Tara Clerkin Trio, consisting of Tara Clerkin, Sunny Joe Paradisos, and Pat Benjamin, has been making waves in the underground music scene with their eclectic sound, which blends elements of minimalist jazz, avant-pop, and trip-hop. Despite their growing success, the band members, who are all working-class artists, share their struggles in the UK's music industry. The Band's Unique Sound Their music is characterized by happy accidents and incidental noises, which they incorporate into their tracks. The band's sound is shaped by their use of loop pedals, sampling, and a variety of instruments, some of which they don't play properly. This unique approach has charmed fans across the music spectrum, including jazz enthusiasts. The Challenges of Making Music The band members discuss the difficulties of making a living as working-class artists in the UK. They highlight the struggle to balance touring, working, and making music, often having to juggle multiple jobs to make ends meet. The situation is further complicated by the fact that touring three times a year doesn't pay enough to support their living expenses. The New Album: Somewhere Good Their second album, 'Somewhere Good', is their most pop-oriented record yet, featuring more structured songwriting and storytelling. The album was written and recorded in precarious circumstances, with the band members working and touring simultaneously. Despite the challenges, the album captures a sense of optimism and positivity, with songs that address themes of loss, grief, and gentrification. The Future of Independent Music The Tara Clerkin Trio's experience reflects the broader challenges faced by working-class artists in the UK. They chose to release their album on the in-house label of east London record shop World of Echo, rather than signing with a bigger label, to maintain creative control and avoid giving away their rights. As they continue to make music, they hope to inspire others to do the same, despite the difficulties.

The Legacy of the White Hotel The White Hotel, a Salford venue housed in a former MOT garage, has been a generator for underground culture in the north-west for over a decade. Its programme has spanned classical music ensemble the Manchester Collective, a celebration of Bertolt Brecht, and Andy Weatherall's last ever DJ set. The Event Details The White Hotel will shut up shop in January due to its location in a flood-risk zone. The venue's artistic director, Austin Collings, and caretaker, Ben Ward, decided it was better to close on their own terms rather than risk becoming a museum. The Data Analysis The White Hotel has hosted sold-out gigs from notable acts such as Damo Suzuki and William Basinski. The venue has a 300-capacity space that was overwhelmed by a 2015 gig with Detroit legend DJ Stingray. The Impact Analysis The White Hotel's closure will erase a rare club built from the ground up, fueled by a spirit of experimentation and collaboration, disregarding the profit motive. However, its spirit will mutate, and the team behind the venue are celebrating its legacy with a new three-day festival, the Black Lights, in venues around Blackpool. The Prediction The team behind the White Hotel are launching a film production company, with Collings' directorial debut, a short titled Wild Bodies, set to go on the festival circuit with a soundtrack by the Coral. The future of the Black Lights festival is dependent on ticket sales, but it aims to continue the White Hotel's legacy of experimental and underground culture.

The Masterpiece of John Woo The title of this 1990 John Woo extravaganza might lead the uninitiated to expect a chillingly focused, targeted assassination. Actually, there are innumerable bullets and innumerable heads in this over-the-top gonzo spectacle. It is a crime thriller, a wartime action film set in Vietnam, but it offers something other than the usual Hollywood perspective; it is a parable of greed comparable to The Treasure of the Sierra Madre, and even a kind of romantic melodrama. The Symbolic Bullet There is, however, one key bullet in a head, a literal bullet lodged in the skull of someone who achieves a macabre zombie-like semi-survival, the bullet being symbolic of the way violence takes root in the brain, dehumanising its victim. The final “boardroom” scene disclosing this image is toweringly mad and strange. Yet in this movie, as in so many other Woo films, we can see how the director counterintuitively uses sad music – harmonica, woodwind – over grisly, brutal action sequences, as if what he wants us to register is not the violence or the shock but just how poignantly futile and pathetic it all is. The Plot Unfolds The setting is – initially – late 60s Hong Kong; Tony Leung plays Ben, a young guy getting married to his sweetheart Jane (Fennie Yuen), and on hand are his buddies Frank (Jacky Cheung) and Paul (Waise Lee). This trio are involved in a gang war with a rival mob who corner Frank when he has gone to get cash from the local moneylender to pay for the wedding. The confrontation ends in violence and, simply to get away and avoid the heat – Woo has a cameo as a police inspector – the three guys accept a crooked job from a local gang boss smuggling contraband pharmaceuticals in Vietnam. The Climax In Saigon, all their plans explode in pure anarchy; they are at first arrested under suspicion of working for the Vietcong, then upgrade their strategy to cynical arms smuggling for the North Vietnamese, and stealing the gold belonging to the local wiseguy who was supposed to be distributing their drugs. They make contact with a worldly fixer called Luke (Simon Yam), who has a Catherine Deneuve poster in his apartment, and also gallantly undertake to rescue a Hong Kong singer Sally (Yolinda Yam), who has been trafficked to Vietnam to sell sex. They end up on the spectacular field of battle itself (with helicopters, explosions, burning villages), where Paul, increasingly obsessed with the gold, finds himself at a key moment at mortal risk of detection if he cannot keep the wounded Frank quiet, whose cries of pain might alert the enemy to their position. The Legacy It’s an extraordinary, uninhibited barnstormer from Woo, who takes us from regular, domestic crime to military chaos with confidence and sweep. One moment, in which someone stands in front of a tank, even appears to echo the Tiananmen Square protests. No one else could have made it. The Release Bullet in the Head is in UK cinemas from 1 June, and on 4K UHD and Blu-ray from 22 June.

The Return of a Shakespearean Legend Kenneth Branagh is said to have played 35 Shakespearean parts, and his return to the Royal Shakespeare Company after more than 30 years is an event in itself. In this production of The Tempest, Branagh takes on the role of Prospero, Shakespeare's magician, deposed duke, and tyrant occupier. A Stormy Beginning Branagh's Prospero initially follows in the vein of his fast and feverish King Lear, performed in the West End in 2023. He seems to be speeding through the part rather than inhabiting it, too puckish, almost larky, rather underwhelming. However, the show itself casts its spell through its enchanting sights, sounds, and ensemble accomplishments. A Visual and Musical Feast Richard Eyre, directing his first Shakespeare play at Stratford, does a stupendous job of bringing an overt sense of performance to the production. The set design by Bob Crowley is enthralling, almost Disney-like with its sparkly, floaty elements, casting spells over the audience with its visual thrills and beautifully choreographed movement. A Strong Ensemble Cast The ensemble cast delivers strong performances, with Amara Okereke as Ariel being a delight, with her beautiful movement and song. The scenes featuring Caliban (Ashley Zhangazha), Stephano (Guy Henry), and Trinculo (Keir Charles) as they plot rebellion, wink toward a music hall comedy sketch. A Deeper Exploration As Branagh slows down, the production takes on deeper, more plaintive shades, and the audience feels the emotional hit when Prospero declares that the rarer action is in virtue than in vengeance. Caliban is wordlessly habilitated back into his rightful role as ruler of the island in this ending, giving power to Prospero's transformation. A Must-See Production The production runs at the Royal Shakespeare theatre, Stratford-upon-Avon, until 20 June. It is a must-see for fans of Shakespeare, theatre, and Kenneth Branagh, offering a unique and unforgettable experience.

The Lead Irish writer-director John Carney delivers a terrific comedy of bromance and betrayal in the world of music with 'Power Ballad', starring Nick Jonas as Danny Wilson, a preeningly insecure ex-boyband superstar trying to go solo, and Paul Rudd as Rick Power, a washed-up wedding singer. The Event Details The film revolves around the unlikely friendship between Danny and Rick, who bond over music and creativity. Rick plays Danny a catchy song he's been working on, which becomes a hit. The movie explores the themes of success and failure in the music industry, highlighting the struggles of those who don't make it big. The Impact Analysis 'Power Ballad' offers a fresh take on the music industry, focusing on the often-overlooked stories of those who don't achieve stardom. The film features a standout performance by Paul Rudd, who brings depth and nuance to his character. The movie's portrayal of the music industry is both humorous and poignant, making it a compelling watch. The Prediction With its talented cast and insightful direction, 'Power Ballad' is set to resonate with audiences. The film's release on May 28 in Australia and May 29 in the UK and US is expected to generate buzz in the entertainment industry. As a comedy about music, 'Power Ballad' has the potential to strike a chord with viewers and leave a lasting impression.

The LeadSimon Rogers, Google's data editor, presents a fascinating exploration of human curiosity through the lens of search queries in his book 'What We Ask Google.' The compilation of anonymized search data from 2004 to the present offers a unique mirror into our collective concerns, from parenting questions to existential queries, though the review suggests the book presents a somewhat rose-tinted view of technology's role in our lives.The Book OverviewRogers, a former Guardian journalist who joined Google in 2015, organizes the search data into themed chapters that blend statistics with personal anecdotes. The book traces search trends back to 2004, when internet access was limited to less than half of UK households. Rogers posits that our search queries reveal something 'real and deep and meaningful about who we are as humans,' arguing that even brief searches indicate genuine care and concern.The Data InsightsThe book reveals intriguing patterns in human search behavior. Parenting-related queries like 'Why do babies get hiccups?' and 'How to tell kids about divorce?' appear frequently. Notably, in early 2023, searches for 'take care of parents' surpassed 'take care of kids,' reflecting the demographic pressures on the sandwich generation. The data also highlights geographical peculiarities, such as Austrians, Nigerians, and Canadians most frequently asking about back pain at night, and Americans in Kansas struggling to spell 'chaos' while their Missouri neighbors are stumped by 'unconscious.'The Critical PerspectiveThe review identifies significant limitations in Rogers' approach. As a 'company man' who joined Google from Twitter, the book presents an overly optimistic view of the internet and Google's role in society. There's minimal acknowledgment of the AI revolution's impact on search behavior and its consequences for content creators. The book also avoids addressing darker aspects of human nature reflected in search histories, political influences like Donald Trump, and how big tech may actually amplify parenting anxieties rather than alleviate them.The Cultural ImpactDespite its limitations, the book offers a diverting window into collective curiosity. It demonstrates how our search habits reflect societal concerns, from the practical ('How to fold a burrito') to the profound ('How often can you donate plasma?'). The reviewer notes that Rogers interprets this latter query as evidence of altruism rather than recognizing it as a symptom of US healthcare inequities. The book ultimately serves as an interesting, if selective, cultural artifact that captures our digital age's peculiarities and preoccupations, even if it doesn't fully confront the complexities of our relationship with technology.