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South Carolina defeated UConn 62‑48 in the women’s NCAA Final Four on Friday night, snapping the Huskies’ 54‑game winning streak and booking the Gamecocks a spot in the national championship.With just 0.1 seconds left on the clock, the two veteran coaches met at the scorer’s table. Geno Auriemma raised his voice toward Dawn Staley, prompting a sharp retort from the South Carolina coach. Assistant coaches intervened before UConn could inbound the final play.In the post‑game press conference, Staley emphasized her integrity, saying she had shaken hands with every member of Auriemma’s staff before the game and was unaware of any perceived slight. "Sometimes things get heated, we move on," she told ESPN’s Holly Rowe.Auriemma, who later described the exchange as “nothing,” reiterated that he simply said what he felt was necessary, while Staley deflected responsibility, noting that he had initiated the conversation.Earlier in the fourth quarter, Auriemma vented frustration over officiating, alleging a series of fouls called against his team and accusing the opposing coach of “rants and raves” that distracted from the game.The loss exposed offensive struggles for UConn’s All‑America duo. Sarah Strong, the national player of the year, managed only 12 points on 4‑of‑16 shooting, and Azzi Fudd contributed eight points on 3‑of‑15, including a poor three‑point performance (2‑of‑9). In contrast, South Carolina’s Ta’Niya Latson scored 16 points and Agot Makeer added 14.Defensively, the game was a battle: UConn was called for 17 fouls, while South Carolina drew just eight. The Gamecocks’ interior size limited Strong’s attempts, and the Huskies could not find rhythm, recording their lowest point total since a 49‑point effort in the 2022 championship loss.UConn entered the Final Four with a 38‑1 record, marking their ninth undefeated run to the semifinal and the third consecutive year they fell short of the title. South Carolina (34‑3) will now face UCLA for a chance at their fourth national championship.

On a cobbled lane in Belfast’s Cathedral Quarter, the Kindred of Ireland boutique draws shoppers with oversized butter‑yellow linen blouses and Donegal mulberry tweed jackets accented by rose‑pink linen bows, signalling a fresh commercial pulse for a fabric that once defined the city.Linen earned Belfast the nickname “Linenopolis” when, at its height, the industry employed about 40% of Northern Ireland’s workforce. After a post‑war collapse, the trade faded, but today it is re‑emerging as a marker of local identity and sustainable fashion.Designer Amy Anderson, whose grandmother worked as a mill‑hand in Moygashel, says the fibre remains deeply personal for many families. Her modern, Japanese‑inspired silhouettes rely on linen’s natural structure to balance avant‑garde volume with comfort.Reviving a near‑extinct industry is daunting, yet Belfast’s history of turning adversity into opportunity—exemplified by the Titanic Quarter’s tourism boom—has attracted an eclectic coalition of supporters. Among them are former blacksmith Charlie Mallon, who has converted his 150‑year‑old Magherafelt farm into a regenerative flax operation, and fashion heavyweight Sarah Burton, former creative director of Alexander McQueen.Mallon’s restoration of heritage machinery aims to keep flax “field‑to‑fibre” in Ireland, preserving the long fibre length that makes linen less prone to creasing. He contrasts this with most modern linen, which is “cottonised” in China, shortening fibres and increasing wrinkles.Burton’s two‑day field trip to Northern Ireland inspired the spring 2020 Alexander McQueen collection, featuring a beetled linen gown with a pearl‑like sheen that debuted on the Paris runway.In autumn, the Prince and Princess of Wales visited Mallon Farm, expressing a rare interest in sustainable fashion and regenerative agriculture. The Princess, who usually avoids media focus on her wardrobe, asked detailed questions about the Andersons’ brand, underscoring the royal endorsement of Belfast’s textile renaissance.The city’s fashion resurgence is also celebrated at the Ulster Museum’s “Ashes to Fashion” exhibition, which juxtaposes historic silk ballgowns with contemporary pieces by Irish designers, including Kindred of Ireland.Looking ahead, Kindred of Ireland plans a temporary boutique in central London, building on a successful six‑week Mayfair pop‑up that the brand describes as “commercial rocket fuel.” The Andersons note that Northern Irish firms benefit from full access to the UK market while still aligning with certain EU single‑market rules under the Windsor framework, offering a strategic advantage for product‑focused businesses.

The recent statements and actions by the US, particularly by President Donald Trump, have raised serious concerns about potential war crimes under international law. During a national address, Trump warned that if Iran did not reach a deal with him, the US would target Iranian electric-generating plants and reduce the country to the 'stone ages.'Legal experts and human rights organizations have strongly criticized these threats. Erika Guevara Rosas, Amnesty International's senior director of research, advocacy, policy and campaigns, emphasized that intentionally attacking civilian infrastructure, such as power plants, is generally prohibited under international law. Such actions could cause disproportionate harm to civilians and are considered unlawful and potentially war crimes.More than 100 US experts in international law from prestigious universities, including Harvard, Yale, and Stanford, have expressed similar concerns. They highlighted Trump's comments, including the statement that the US may conduct strikes on Iran 'just for fun,' and Defense Secretary Pete Hegseth's remarks about not fighting with 'stupid rules of engagement.'The experts and legal experts point to the principle of distinction in international humanitarian law, which requires parties to avoid targeting civilian objects. Article 52 of the Geneva Conventions defines civilian objects as those that are not military objectives, and it is a war crime to intentionally direct attacks against them if they are not military objectives.Human rights organizations and experts warn that targeting Iran's power plants would have a devastating impact on the civilian population, affecting hospitals, water supplies, and other vital needs. Sarah Yager, Washington director of Human Rights Watch, noted that such actions would be catastrophic for the Iranian people.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

The women's college basketball landscape has witnessed a remarkable phenomenon: for the second consecutive year, the same four teams have secured their spots in the Final Four. UConn, UCLA, Texas, and South Carolina are set to battle it out for the championship, marking a historic repeat. This achievement is a testament to the dominance of these programs, with UConn being the reigning national champion. The Huskies, led by coach Geno Auriemma, have established themselves as a standard in women's college basketball, boasting 12 national championships and 25 Final Four appearances. Under Auriemma's leadership, UConn has won an impressive 1,288 games in 41 seasons. The Huskies (38-0) have been nearly unbeatable this season, with a 54-game winning streak and an average margin of victory of 37.8 points. They are led by first-team All-Americans Sarah Strong and Azzi Fudd, with eight players averaging at least 6.8 points per game. Strong emphasized the team's depth, stating, "I feel like no other team has a bench like us. We can have kind of anyone off the bench step up and change the whole pace of the game." UConn will face a familiar opponent in South Carolina, which they defeated in last year's title game. The Gamecocks (35-3) have reached the Final Four seven times in the past nine seasons under coach Dawn Staley, winning three national championships. They are led by second-team All-American Joyce Edwards, who averages 19.6 points per game. Meanwhile, UCLA (35-1) is seeking its first national championship under coach Cori Close. The Bruins are led by two-time All-American Lauren Betts, who averages 18.5 points and 7.6 rebounds while shooting 60.1% from the field. They will face Texas (36-3), which steamrolled its first four NCAA Tournament opponents by an average of 35.5 points per game. The Longhorns are led by fifth-year guard Rori Harmon and All-American forward Madison Booker.

The United Kingdom's prohibition on single-use vapes, implemented last June as part of efforts to address environmental concerns and curb youth vaping, is showing mixed results. 5.4 million adults in Great Britain now vape daily or occasionally, according to official figures, making these devices an inescapable part of modern British life.The ban, which carries penalties including fines up to £200 for initial violations and potential jail time for repeat offenders, was designed to tackle two significant issues: the environmental impact of millions of plastic devices with lithium-ion batteries ending up in landfills, and the rising popularity of vaping among young people.Recent data from the recycling campaign group Material Focus indicates that 6.3 million vapes and pods are still being discarded weekly, representing a nearly 25% decrease since the ban's implementation. While this suggests some impact, waste management companies report that the devices remain a major problem, with their batteries frequently causing fires in disposal facilities."It is quite a small reduction, really," said Sarah Marsh, the Guardian's consumer affairs correspondent and former vaper. "What we are hearing from Biffa and other waste companies is that they still have a massive problem with the waste, and that has not really changed. There are still fires and people still dump rechargeable vapes and the pods."Waste companies emphasize that the ban has not adequately addressed their concerns, noting that rechargeable vapes remain too inexpensive and appear disposable to many users. The lack of sufficient effort toward changing consumer behavior has limited the ban's effectiveness."If you introduce a ban like this but you don't put the support in place to achieve your goals, like making it easy for people to recycle, the ban isn't necessarily going to work," Marsh explained. "A ban in isolation is ineffective."The environmental challenges persist alongside concerns about youth vaping. The World Health Organization has warned that e-cigarettes are driving a new wave of nicotine use among children, who are nine times more likely than adults to vape. At least 15 million children vape globally according to WHO figures.While the UK government is conducting a large-scale study on vaping's impact on children, with a quarter of 11 to 15-year-olds having tried vaping, there is not yet clear evidence on whether the disposable vape ban has affected youth usage patterns."In short, disposables have driven the surge in youth vaping, and banning them should bring numbers down, but it won't fix everything," Marsh noted. "Big tobacco companies are already set up to adapt fast and keep the next generation using nicotine. It won't be easy."Waste management companies are calling for more comprehensive solutions, including potential deposit reward schemes and changes to vape design and pricing that would discourage disposal. The UK government maintains that the ban was necessary to address the environmental blight and youth nicotine addiction caused by single-use vapes.

Apple’s Lockdown Mode: Four Years of Zero Successful BreachesAfter almost four years since its launch, Apple has confirmed a significant milestone in consumer cybersecurity: no user with Lockdown Mode enabled has been successfully hacked with mercenary spyware. In a statement to TechCrunch, Apple spokesperson Sarah O'Rourke confirmed that the company is not aware of any successful attacks against devices protected by this feature, representing a four-year streak of effectiveness against some of the most sophisticated state-sponsored hacking tools in existence.The Architecture of Resistance: How Lockdown Mode WorksLockdown Mode is an opt-in security feature designed to harden Apple devices against exploits that are typically used by state-sponsored actors. By restricting certain functionalities, the feature effectively shrinks the attack surface available to hackers.Feature Restrictions: It disables most message attachments and restricts WebKit features.Targeted Threats: It specifically counters exploits used by notorious spyware vendors like the NSO Group, Intellexa, and Paragon Solutions.Zero-Click Exploits: It blocks remote attack chains that do not require user interaction, such as zero-click exploits.Security experts, including Patrick Wardle, describe this as one of the most aggressive consumer-facing hardening features ever shipped. By eliminating entire delivery mechanisms, the feature forces spyware developers to use more complex and expensive techniques to bypass the defenses.The Zero-Breach MilestoneDespite Apple sending notifications to users in over 150 countries alerting them to potential hacking attempts, the data remains clear: Lockdown Mode has not been bypassed in any confirmed case. Independent investigations by organizations like Amnesty International and the University of Toronto’s Citizen Lab have corroborated Apple's findings.Independent Verification: Amnesty International's Donncha Ó Cearbhaill confirmed no evidence of successful compromise where Lockdown Mode was active.Active Blocking: Citizen Lab documented instances where Lockdown Mode actively blocked attacks from NSO's Pegasus and Predator spyware.Evasion Tactics: Some spyware variants have been observed to abort attacks entirely if Lockdown Mode is detected, likely to avoid detection by security researchers.Shifting the Burden of Defense to the ConsumerThe success of Lockdown Mode marks a pivotal shift in the cybersecurity landscape. Historically, high-end security was the domain of governments and large corporations. Apple is now effectively forcing the burden of defense onto the individual consumer.While the feature requires users to accept a trade-off in usability—such as extra steps for copying links or occasional confusing notifications—the data suggests the trade-off is worth it for high-risk targets. The feature has successfully neutralized the most common vectors used by mercenary spyware, rendering them ineffective against the vast majority of attackers.The Future of Digital HardeningLooking ahead, the success of Lockdown Mode sets a new standard for consumer device security. As spyware vendors adapt to this new reality, we can expect a cat-and-mouse game where attackers attempt to find new vulnerabilities. However, for the foreseeable future, Lockdown Mode remains the gold standard for protecting individuals from state-sponsored digital intrusion.

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.

The UK's Competition and Markets Authority (CMA) has initiated investigations into five companies, including Autotrader and Just Eat, due to concerns about their handling of online reviews. The CMA is examining whether these companies have failed to adequately address fake and misleading reviews on their platforms. The investigations focus on several key issues: Autotrader and Feefo are being looked into for potentially excluding one-star reviews from being published; Dignity is under scrutiny for allegedly asking staff to write positive reviews; Just Eat is being investigated for possibly inflating star ratings; and Pasta Evangelists is accused of offering discounts in exchange for five-star reviews. CMA Chief Executive Sarah Cardell emphasized the importance of genuine reviews, stating, 'Fake reviews strike at the heart of consumer trust – with many of us worrying about misleading content when looking at reviews online.' The CMA has not yet reached any conclusions but aims to ensure that companies comply with UK consumer law. The investigations bring the total number of businesses under review to 14. If the CMA finds that a company has broken the law, it can enforce changes and impose fines of up to 10% of global turnover. The UK consumer body Which? has highlighted that 89% of people rely on reviews when making purchasing decisions, underscoring the significance of this issue. The CMA's new powers under the Digital Markets, Competition and Consumers Act allow it to address unfair practices related to online reviews without needing to go to court. This crackdown is part of a broader effort to protect consumers and maintain trust in online marketplaces.