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The Digital Roundabout: Understanding Phone AddictionWake up, 100 messages from group chat overnight about something – what? another assassination attempt; a village destroyed in Lebanon; the football result in England; the weather in Iran being manipulated; the pesticides causing lung and bowel cancer, so everyone who eats salads is now at risk of cancer; meditate for 20 minutes, then fire up x.com, a place I thought I'd never want to revisit, with its carnival barkers and supplement salesman, and have you seen the Lego thing calling Trump a paedo?, you gotta see the Lego thing, and this is before my first coffee, yet x.com is the coffee and the tea, whatever Elon has done to the For You algorithm is evil genius, it's like the global collective id, nasty and funny and addictive and compelling – like gawking at a car crash, like soaking in a hot bubble bath of anger, and memes, and geopolitical dramas, and Trump, Trump, Trump – soaking in Trump, and then, For Me (just as Elon promised).So begins the circuit around my phone, that goes all day and night, around the tiny screen with its icons (when a born-again Christian once told me he had favourite icons, for a long time I thought he meant apps, not pictures of the Virgin Mary). I started to feel like I was in Canberra, on one of those enormous roundabouts, rotating between the icons – not Joseph, not Jesus, but X and WhatsApp and TikTok and even LinkedIn for Christ sakes – round and round from one app to the next, just checking, checking in case something is happening. I watched tiny videos and maybe, occasionally, got distracted by the novel I am meant to be writing, which is due on 31 July. But the novel is boring, just a static Word doc on a screen, it's not giving; it's taking hard work. So I spend six minutes with my novel, and then it's time to go back to my phone, to circle the roundabout visiting all my icons again, like a demented Stations of the Cross, because I can't focus, I just can't focus on work right now when there is so much good scrolling to do …Clearly, this had to stop or I would become deranged and my novel wouldn't get finished by 31 July.But what could break the hold of a phone that seemed more and more addictive every day?The Physical Solution: Brick and Locked DevicesThen, while listening to a Guardian podcast (on my phone) I came across an author talking about a device that locked her phone and gave her her time and attention span back.I had tried apps to lock my phone before, but somehow having them embedded in the phone itself was like placing a piece of fruit in a box of chocolates. Sure you go in there to retrieve the fruit, but you end up distracted by the chocolates. Before you know it, the chocolates have been eaten! The fruit, of course, remains untouched and rotting.I needed an external device to lock my phone. This author was talking about something called Brick ($59US; £54 or $120 AUD including postage), a small plastic puck that you place on your phone which locks its most appealing apps. Hard!The Brick and its cheaper rival Locked ($39USD; £32; $59AUD) use Near Field Communication (NFC) technology to block whatever apps you nominate. To unblock them, you have to physically return to the puck and tap it against your phone. You can set a timer – I set it for one or two hour blocks when I want to focus on my novel – and if you try to unBrick beforehand, it asks you if you want to have a life, or if you want your phone back. That prompt is enough to make me affirm that, yes, I want a life.The Economics of Digital AttentionWhat Brick understands, and what every app-based screen time limit fails to grasp, is that the problem is not information or intention. I already knew I was using my phone too much. The problem is friction, or rather the total absence of it. Digital guardrails collapse the moment you need them most: one tap and you're back on Instagram. Brick makes that tap a physical hurdle.Using the Brick at night has been transformative. The hours I was losing in the roundabout, I now spend reading, thinking and occasionally just sitting in silence.The novel is moving again and I can focus in longer and longer increments.The algorithm doesn't get me after 8pm any more, and it turns out the algorithm, deprived of its evening session, has less purchase on me during the day too.The Psychology of Digital BoundariesBrick hasn't cured my addiction, but it has restored the thing addiction most destroys, which is the moment of pause between impulse and action.These physical devices represent a growing recognition that our relationship with technology requires more than just self-control – it needs environmental design and intentional friction to counteract the sophisticated algorithms designed to capture our attention.As digital products become increasingly sophisticated at capturing and holding our attention, the market for tools that help us reclaim our time and focus is likely to expand beyond simple app blockers to more comprehensive systems of digital wellbeing.The Future of Digital WellbeingLooking ahead, we can expect to see more innovative solutions that address the fundamental design principles of digital products. The success of devices like Brick suggests that consumers are becoming more aware of how their attention is being monetized and are seeking ways to regain control.As awareness of digital addiction grows, we may see regulatory interventions that require technology companies to build more ethical design principles into their products, potentially creating a market for both wellbeing tools and more responsibly designed digital experiences.Ultimately, the journey toward healthier digital habits will likely involve a combination of personal discipline, technological solutions, and systemic changes in how digital products are designed and monetized.

The Lead: Arctic Monkeys' Humble Beginnings In 2005, Sheffield's music scene was buzzing with energy, enough that NME coined the term "New Yorkshire" to describe the explosion of talent in the region. Among these bands, Arctic Monkeys were just beginning their journey, a group of childhood friends from High Green who would go on to revolutionize British indie music. Their story is one of youthful determination, local influences, and a rejection of the mainstream music industry's expectations. The Sheffield Divide: Art vs. Traditional Indie Sheffield's music landscape in the mid-2000s was characterized by a distinct split between two types of bands. On one side were the more artier, often student-led indie bands like The Long Blondes, who deliberately positioned themselves against the local scene. The Long Blondes famously declared in their press materials: "Our shared influences include the Mael Brothers, Marx Brothers and the Bewlay Brothers. We do not listen to the Beatles, the Rolling Stones, Jimi Hendrix, the Doors or Bob Dylan." This intentional pomposity was perceived as arrogance by some, but represented a deliberate rejection of what they saw as staid, male-dominated music. On the other side were more traditional local indie outfits like Milburn, formed in 2001 by a group of teenagers in their mid-teens. These bands were influenced by the punk ethos of doing it yourself, often with little regard for what came before. As Milburn's Joe Carnall recalled: "If you had said Longpigs to me, I'd have gone, what? And if you'd have said Pulp, I'd have been like, he's a bit poncey isn't he? We were just angry young lads, so everything was shit. Which I think is great because it means you try and do something new." The Regional Rivalry: North vs. South Sheffield The divide in Sheffield wasn't just musical—it was geographical and cultural. As Jon McClure of Reverend and the Makers explained: "Culturally, it's different. I'm from north Sheffield where the accent is different. It's a lot thicker and harder, and the people are more brusque." This regional tension created a competitive environment where bands were suspicious of each other, with Carnall admitting: "It was very regional. We were suspicious of other bands. Like, [arty band] the Long Blondes, what's that? I'm not proud of it but that fuelled what we did." Milburn's Influence: The First Local Success Formed in 2001, Milburn quickly became a significant presence in Sheffield's music scene. They released a demo called "Steel Town" and built a substantial following, selling out the 500-capacity Boardwalk venue (locally known as "The Mucky Duck"). Their success demonstrated that bands from Sheffield could achieve local recognition without being based in London or other major music centers. Arctic Monkeys drummer Matt Helders later acknowledged Milburn's impact: "Milburn were the first people we saw doing it that were kids our age. We didn't think it was a thing that people did where we were from. We had this naive, or even maybe cynical attitude that all bands were just put together in London and that it doesn't happen to people like us." Arctic Monkeys' Formation: From Street Corners to Stage Arctic Monkeys emerged from High Green, a suburb of north Sheffield near the Barnsley border. The band consisted of childhood friends Alex Turner, Matt Helders, and Andy Nicholson (soon joined by Jamie Cook). Their formation was organic and spontaneous, as Helders explained: "This band came about from us hanging out on the street. Instead of deciding which house to go and egg that night, we were like, why don't we start a band? It really came from those kinds of conversations when you're on a field somewhere and people are smoking and drinking cider." Before Arctic Monkeys gained recognition, Helders and Turner briefly played in a funk ensemble called Judan Suki (Japanese for "being kicked in the weak spot") organized by Jon McClure. The experience was formative, even if the band was "fucking horrendous" according to McClure. For Helders, it was crucial: "I can see why Jon looks back and cringes but for me it was really important. And also for Al, because we'd never played onstage before. So it made it seem more accessible and realistic." The Practice Regimen: Building From Scratch Unlike some bands that might have emerged fully formed, Arctic Monkeys dedicated themselves to rigorous practice before performing publicly. They practiced consistently for nearly a year before their first public shows, demonstrating their commitment to developing their craft. This dedication would later pay dividends as they honed their distinctive sound and tight musical chemistry that would become their trademark. The Legacy: How Sheffield Shaped a Global Phenomenon The story of Arctic Monkeys' early years reveals how a specific local environment can nurture unique musical talent. The band's success wasn't just about their songwriting or performance abilities—it was about their authenticity and connection to their roots. They emerged from a vibrant but divided scene, influenced by but distinct from their contemporaries, and maintained their identity even as fame came their way. As the band members themselves acknowledged, they were "stubborn teenagers" who didn't want to be famous—at least not in the conventional sense. This attitude allowed them to create music on their own terms, which ultimately resonated with audiences worldwide and helped redefine what British indie music could be in the 21st century.

The Artistic Response to War A group of young Palestinian artists from Gaza have come together to exhibit their work, which is deeply influenced by their experiences living through war and conflict. The exhibition provides a platform for these artists to express their emotions, thoughts, and experiences. The Impact of War on Art The war in Gaza has had a profound impact on the lives of its residents, particularly the young people who have grown up amidst the conflict. Their art pieces reflect the trauma, fear, and resilience that come with living through such conditions. A Showcase of Resilience The exhibition features a range of art forms, including paintings, sculptures, and installations. The artworks convey the artists' messages of hope, despair, and defiance. The young artists' work is a testament to the power of art as a means of expression and healing. The Future of Palestinian Art The exhibition not only showcases the talents of Gaza's young artists but also highlights the importance of art in times of conflict. It provides a glimpse into the lives of Palestinian youth and their struggles, hopes, and dreams. A Lasting Impression The exhibition serves as a reminder of the human cost of war and the importance of promoting peace, understanding, and cultural exchange. The young Palestinian artists from Gaza have created something truly remarkable, and their work will undoubtedly leave a lasting impression on all who experience it.

The Ruling Against Apple Epic Games has scored another procedural win in its fight with Apple over App Store fees, as the U.S. Court of Appeals for the Ninth Circuit has now granted the Fortnite maker’s latest motion. The decision means Apple must continue to allow developers to link to external payment options in their apps without charging commissions on those purchases, for now. Background of the Case An earlier order had let Apple pause further proceedings related to the required App Store changes while it sought Supreme Court review. Epic Games derided Apple’s move as “another delay tactic” and asked the court to reconsider the decision. Impact of the Latest Ruling The latest ruling means Apple’s request to pause the proceedings related to the changes has been reversed temporarily, swinging things back in developers’ favor and forcing the iPhone maker to keep the changes in place, at least for the time being. The Future of App Store Commissions The final outcome of the case will determine whether, and how much, Apple can charge in commissions on purchases made outside its U.S. App Store. In a post on X, Epic celebrated the court’s decision in its favor, pointing to the latest filing, which stated, “Apple has failed to show good cause to sustain our prior stay order. Apple has not demonstrated that any proceedings on remand will cause it irreparable harm if our decision is not stayed.” What's Next The District court will rule on the amount of the commission Apple can charge on link-out purchases. Any changes right now are temporary.

The LeadAn acclaimed North Yorkshire restaurant has been ordered to stop providing free lifts to customers due to licensing laws, despite the lack of adequate public transport in the area. The restaurant owner, award-winning chef Ruth Hansom, expressed disappointment as the service was created for customer safety.The Restaurant RecognitionHansom, located in the market town of Bedale, has gained significant recognition since opening two and a half years ago. The restaurant has been featured in the Michelin Guide and received a glowing nine out of ten rating from Times critic Giles Coren, who particularly praised the savoury bread and butter pudding as "Gorgeous, sensual, full of love and truth." Ruth Hansom herself is an accomplished chef, having been the first female winner of Young National Chef of the Year in 2017 and appearing on James Martin's Saturday Morning food programme.The Transportation ChallengeBedale, known as the "Gateway to the Dales," faces significant transportation limitations. There is no evening bus service, and the nearest railway station is eight miles away in Northallerton. While taxis are available, they require advance booking, leaving many diners stranded. The situation was particularly problematic for customers from nearby villages who needed short journeys that taxi services couldn't accommodate, and those from larger cities like York and Darlington who assumed they could get an Uber back but couldn't.The Customer Safety InitiativeThe free lift service began organically when Ruth Hansom noticed customers bringing a change of shoes to walk home in the dark. "We were getting lots of people deciding to walk home in the pitch black, which obviously is not safe," she explained. "People were bringing a change of shoes and they'd say: 'Oh, we're just going to walk home.' We were like, oh gosh, let's take you home because there's no streetlights or anything down some of these roads." Her husband Mark, who has a full-time job, would provide lifts within a 10-mile radius as an informal service.The Council InterventionThe arrangement came to an end when the North Yorkshire council informed the Hansoms that they were in breach of the Local Government (Miscellaneous Provisions) Act 1976. The council stated that even without a direct charge, the service constituted a "private hire service" that required proper licensing, including a private hire operator's license, vehicle licenses, and driver licenses. The council emphasized that these rules exist to ensure appropriate insurance, safeguarding measures, vehicle safety standards, and driver suitability checks.The Restaurant Owner's ResponseRuth Hansom expressed frustration with the council's approach, noting that they understood the law but felt there was no effort to find a workable compromise. "There's so many great restaurants in North Yorkshire that are bringing tourism to the area and helping the local economy," she said. "People come up to the restaurant, but they stay for the whole weekend." The council's corporate director for environment, Karl Battersby, defended the position, stating that while they are willing to work with businesses, operating without proper licenses creates serious risks.Broader Implications for Rural HospitalityThis case highlights the challenges faced by rural hospitality businesses in areas with inadequate public transportation. The situation raises questions about whether current licensing regulations are fit for purpose in modern rural contexts, where traditional transport options may be limited. The restaurant's predicament also underscores the tension between regulatory compliance and community-oriented service, particularly in areas where businesses may need to go beyond standard offerings to ensure customer safety and satisfaction.Future OutlookGoing forward, the Hansom restaurant will need to cease providing the free lift service unless they can navigate the complex and costly licensing requirements. This may result in some customers choosing not to visit the restaurant, particularly those who rely on the lift service for their return journey. The case may also prompt discussions between local hospitality businesses and the council about finding solutions that balance regulatory requirements with the practical realities of rural transportation needs. Some observers might suggest that the council could consider exemptions or simplified licensing processes for businesses providing free, short-distance transport as a customer safety measure.

Cole’s First Head‑Coach Role Marks a Turning PointAfter seven years of coaching on the training‑ground, former England defender Ashley Cole stepped into his inaugural head‑coach position at Cesena in mid‑March 2026. The appointment follows a personal journey that began when Cole met his wife Sharon Canu in Italy and has culminated in a dugout of his own in the Emilia‑Romagna city.Cole’s Appointment as Cesena Head CoachThe club, owned in part by American businessman Mike Melby, dismissed manager Michele Mignani and turned to Cole to inject “an exciting, energetic team that plays on the front foot.” Cole, 45, highlighted his seven‑year apprenticeship under various coaches and expressed gratitude for the opportunity, noting that his experience “means there is nothing more I could do to prepare.”Cesena’s Current Standing and Early ResultsLeague position: 9th in Serie B (as of 29 April 2026)Recent form: lost opening match under Cole, followed by a 3‑1 victory over playoff rivals CatanzaroWinning streak before appointment: 0 wins in the previous six‑seven gamesThe early win sparked a brief surge in fan enthusiasm, but consistency remains a challenge as the squad adapts to Cole’s tactical shift.What Cole’s Philosophy Means for Serie B and the ClubCole advocates a possession‑based, attacking style that emphasizes “intensity without the ball” and keeping wingers forward. He acknowledges the defensive realities of Serie B—teams often sit deep with ten men—but argues that controlling the ball creates more scoring opportunities and allows effective pressing. This approach could differentiate Cesena from the traditionally pragmatic clubs in the division and potentially raise the tactical standard of the league.Future Outlook for Cole and CesenaIf Cole can translate his philosophy into consistent results, Cesena could climb into the playoff zone and perhaps challenge for promotion to Serie A. For Cole, success would cement his transition from elite player to respected manager, opening doors to higher‑profile appointments. Conversely, failure to adapt could see the club revert to a more conservative setup and Cole’s managerial ambitions stall.

The Legacy of Robert Wilson Not far into Herman Melville's 1851 epic novel Moby-Dick, a shipowner describes the man who will take their whaler on a tragic quest. Captain Ahab, he says, is 'a queer man … a grand, ungodly, godlike man.' The same might be said of Robert Wilson. By the time he died last July at the age of 83, Wilson had transformed himself from a stuttering, gay son of conservative southern Baptist parents in Waco, Texas, into New York City's titan of experimental theatre, opera and dance. Wilson's Final Masterpiece Wilson launched many of these theatrical explorations from the Brooklyn Academy of Music (Bam), from 1970's almost-silent play The Life and Times of Sigmund Freud to 2016's Letter to a Man, starring Mikhail Baryshnikov as Vaslav Nijinksy. This spring, his final work will reveal itself to his hometown crowd after an initial 2024 presentation in Düsseldorf. In Moby Dick, Melville's wild rumination on global capitalism, obsession, masculine intimacy and fate comes to life on a stage at Bam defined by many of Wilson's signature gestures. The Collaboration There is Wilson's astonishing use of bands of light, for example, and his demands on performer's bodies to somehow do nothing and everything at once. There's a collaborator, too – in this case, the accomplished British musician Anna Calvi, who's written a raucous and glamorous suite of songs for the show. It's their second collaboration, following 2017's The Sandman. ' David Byrne put me in touch with him,' Calvi says via email, knowing she was a fan of Wilson's work with Tom Waits. '[Byrne] wrote to me, saying, 'Are you ready to go down the rabbit hole?' Which is a very good description of working with Bob!' The Impact of Wilson's Work In many ways, though, Wilson harpoons expectations for what might happen when a god of American theater hunts down a Great American Novel. Wilson's Moby Dick is short, sleek and almost sentimental. And it reminds us that ambition might sometimes have lethal costs, but that life isn't worth living without it. 'All the things that made him Bob Wilson are represented in this project,' says Bam artist director Amy Cassello, who worked with him for decades. The Future of Wilson's Legacy Indeed, Wilson and Calvi largely jettison Melville's notoriously verbose texts, building sea-shanty glossolalia into little cabins for all you need to know about, for example, a bar full of sailors, or how it feels to walk a plank. 'I loved how he always got me to do things I would never normally do,' says Calvi. 'I remember being at a casting and at one point, at Bob's request, I was rolling around on the floor with the other actors!' Moby Dick is at Brooklyn Academy of Music from 29 April to 3 May.

The Genre-Breaking FormulaWidow's Bay presents a unique challenge to traditional television categorization. The 10-part series from Apple TV masterfully combines horror elements with workplace comedy and family drama, creating an intoxicating blend that defies easy classification. Writer-creator Katie Dippold and director Hiro Murai (who helmed the first five episodes) deliver a show that lovingly embraces horror tropes while subverting expectations through sharp humor and character depth.The series follows Mayor Tom Loftis (Matthew Rhys) as he attempts to develop his charming New England island into the next Martha's Vineyard, all while confronting local legends about cannibalism, sea hags, clown killers, and supernatural entities. The show's brilliance lies in its ability to balance these elements—jump scares and gore are measured out beautifully, while the comedic timing and character development receive equal attention.The Performances That Elevate the MaterialMatthew Rhys delivers a career-defining performance that showcases remarkable range. Known for dramatic roles in The Americans and The Beast in Me, Rhys pivots with gorgeous ease between terror and comedy, with actual laugh-out-loud moments throughout the series. His portrayal of Tom—a grieving widower, skeptical mayor, and concerned father—adds emotional depth to the supernatural proceedings.The casting choices throughout are exceptional, particularly Kate O'Flynn as Tom's chief assistant Patricia. O'Flynn brings a glorious combination of deadpan expression with a borderline unhinged aura that perfectly complements the show's tone. The supporting cast, including Stephen Root as the alcoholic fisherman Wyck who serves as the Cassandra figure, creates a fully realized community of eccentric but believable characters.The Island's Supernatural MysteriesWidow's Bay establishes its horror credentials through various supernatural elements: a dark alley full of horrors, a hotel room where time passes differently, flickering lights and power failures at opportune moments, scratches that won't stop bleeding, and coma patients who turn into zombies. The series excels at building tension through these elements while maintaining a sense of humor about the proceedings.What makes the supernatural elements particularly effective is their integration with the small-town drama. The show suggests that there are many ways to be haunted—both literally and figuratively. The supernatural may be the least of the island's problems, as human evil and community secrets provide equally compelling sources of tension.Cultural Impact and Genre InnovationWidow's Bay arrives at a time when television increasingly embraces genre-blending approaches to storytelling. The series can be described as Mare of Easttown meets Schitt's Creek, but with something that makes it singular. Its ability to balance multiple tones while maintaining narrative coherence represents a significant achievement in television writing and direction.The series also benefits from its setting—a remote island that serves as both character and metaphor. The isolation allows the show to explore themes of community, memory, and the past's influence on the present. As one character notes, there are many ways for evil to creep through a community, and Widow's Bay explores these possibilities with nuance and depth.The Future of Genre-Bending TelevisionWith its successful blend of horror, comedy, and drama, Widow's Bay sets a new standard for genre-bending television. The series demonstrates that audiences are ready for stories that defy traditional categorization, offering both thrills and laughs in equal measure.As streaming platforms continue to compete for innovative content, Widow's Bay stands as a testament to the power of creative risk-taking. The show's ability to balance supernatural elements with human drama suggests a promising future for television that embraces complexity and refuses to be confined by genre boundaries.

The Rise of AI Jailbreakers Valen Tagliabue, a softly spoken and clean-cut individual in his early 30s, has spent years testing and prodding large language models like Claude and ChatGPT. His aim is to make them say things they shouldn't, often using techniques from psychology and cognitive science. The Art of Emotional Jailbreaking Tagliabue specialises in 'emotional' jailbreaks, combining insights from machine learning with advertising manuals, books on psychology, and disinformation campaigns. He uses various strategies to trick chatbots, including flattery, misdirection, and even abuse. The Dark Side of AI The outputs of these models can be chaotic and easily exploited for dangerous purposes. Despite safety filters, chatbots continue to spit out harmful content. The AI firms spend billions on 'post-training' to make them usable, but these systems can still be fooled. The Impact on Mental Health Jailbreakers like Tagliabue often face emotional challenges, as they delve into the darker aspects of human nature. Tagliabue himself needed to visit a mental health coach after a particularly intense session. The Future of AI Safety As AI becomes increasingly integrated into our lives, the work of jailbreakers like Tagliabue and David McCarthy becomes more crucial. Their efforts help AI firms identify vulnerabilities and improve safety measures, ultimately making these powerful tools more secure for everyone.