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The documentary series 'Trust Me: The False Prophet' has shed light on the sinister activities of a polygamous Mormon cult led by Samuel Bateman, who is currently serving a 50-year sentence for luring minors into criminal sex acts.Director Rachel Dretzin, a former investigative journalist for Frontline, worked on the series, which follows a pair of documentary filmmakers, Christine Marie and Tolga Katas, who embedded themselves in Utah's Fundamentalist Church of Jesus Christ of Latter-day Saints (FLDS) community. They earned the trust of the cult members and were invited into Bateman's home, where he presided over 20 'wives', many of them underage.The filmmakers' incriminating footage and witness testimony were essential to the FBI's case against Bateman and other men charged with crimes. The series transcends the true crime genre's typical sensationalism, presenting its revelations thoughtfully and honestly.Dretzin notes that documentary filmmaking can be more effective than the legal system in effecting change, particularly in cases like this where the community is fiercely insular. The series raises questions about the ethics of documentary filmmaking and the blurred lines between observer and participant.The story also highlights the manipulation and indoctrination of young women within the cult, including Naomi, a young woman who becomes a pivotal witness. Her aunt Carole, who defected from the FLDS, shares her insights on how the cult grooms girls for exploitation.Dretzin believes that the story has echoes in our ordinary lives and political landscape, particularly in the era of 'fake news' and echo chambers. The series serves as a reminder of the dangers of closed systems and the importance of critical thinking.

Copenhagen returns to the London stage under Michael Longhurst’s direction at Hampstead Theatre, a timing the reviewer calls “terrifyingly timely.” The three‑hander dramatizes the 1941 encounter between Danish physicist Niels Bohr (played by Richard Schiff) and German scientist Werner Heisenberg (Damien Molony), set against the looming threat of Hitler’s nuclear ambitions. The production draws unsettling parallels to contemporary politics, invoking Donald Trump’s recent threats toward Iran as a modern echo of the era’s extremist rhetoric. This resonance, the reviewer notes, amplifies the play’s relevance alongside the theatre’s downstairs offering, ROI (Return on Investment), which also interrogates the morality of scientific discovery. Visually, Joanna Scotcher’s set is a striking, non‑realist circle surrounded by water—a subtle nod to the “heavy water” used in Nazi nuclear research and a poignant reminder of the personal tragedy that befell one of Bohr’s sons. The second half’s dense scientific dialogue is rendered accessible, though the reviewer argues it sometimes falls short of fully unpacking the deeper metaphors embedded in the science. Performance-wise, the age gap between Bohr and Heisenberg (Bohr being sixteen years senior) hampers the on‑stage chemistry. Schiff’s portrayal of the seasoned Bohr occasionally stumbles over lines, while Molony’s Heisenberg comes across as a brooding, almost adolescent figure. In contrast, Alex Kingston’s turn as Bohr’s wife and editor, Margrethe, provides the emotional core, shouldering much of the play’s affective weight. Thematically, the drama wrestles with the question of whether scientists bear a moral duty beyond their research. Heisenberg’s famed uncertainty principle is employed as a metaphor for the psychological ambiguity surrounding their historic meeting. Yet the script conspicuously omits any direct reference to the bombings of Hiroshima and Nagasaki, focusing instead on the fear of a Nazi atomic weapon and sidestepping the United States’ own nuclear legacy. While the production boasts compelling aesthetics and a thought‑provoking premise, the reviewer finds moments of sluggish pacing and a missed opportunity to confront the irony of overlooking the U.S. bombings, especially as contemporary concerns about American military assertiveness rise. The show runs at Hampstead Theatre, London until 2 May.

When Kristyna Janku answered a police call, she could not have imagined the revelations that would follow. The defender learned that her former coach, Petr Vlachovsky—once celebrated as the Czech Republic’s top women’s football coach—had been secretly recording Slovacko players in the changing room for four years and was in possession of child‑sexual‑abuse content. Vlachovsky’s arrest in 2023 led to a court ruling last May that handed him a one‑year suspended sentence, a fine and a five‑year ban from all football‑related activity in the Czech Republic. However, the Czech FA has yet to lodge a complaint with FIFA’s ethics committee, leaving the door open for him to coach abroad, a prospect that unsettles Janku, now playing in Poland. According to Alex Phillips, secretary‑general of FIFPRO, this scandal is merely "the tip of the iceberg," noting that many victims remain silent because they lack trusted reporting channels. He stresses the need for an independent, funded international body to investigate and sanction abuse, rather than relying on national federations that often view the issue as low priority. The Czech case mirrors a recent incident in Austria, where a man received a seven‑month suspended prison term and a €1,200 fine for covertly filming the Altach women’s team, also paying €625 compensation to each victim. Both cases underscore a pattern of inadequate safeguarding across European women’s football. For Janku, the trauma extends beyond the courtroom. She describes a lasting hyper‑vigilance in dressing rooms and public spaces, and acknowledges that while she has declined therapy offered by the Czech players’ union, the psychological scars remain. FIFPRO’s women’s football director Alex Culvin warns that the lack of decisive action fuels a culture where abuse is minimized, citing parallels with the Me Too movement and high‑profile scandals such as the Luis Rubiales incident in Spain. Victims of Vlachovsky’s misconduct report a range of consequences—from nausea and the need to change clubs to long‑term body dysmorphia—highlighting how non‑contact sexual abuse can devastate athletes whose bodies are their livelihood. While the Czech federation is reportedly revising its safeguarding policies, critics argue that without a global enforcement mechanism, perpetrators like Vlachovsky can continue coaching elsewhere, perpetuating risk for future generations of female footballers.

Renowned artist and stage designer Es Devlin is pioneering a unique approach to addressing AI ethics through her latest project, which combines ceramics and collaboration. At the AI and Earth conference organized by Devlin, a diverse group of artists, AI researchers, spiritual leaders, academics, and tech experts gathered at Oxford Kilns to discuss AI and create pottery.The conference, held in preparation for the opening ceremony of the Schwarzman Centre for the Humanities at Oxford University, aimed to foster dialogue and understanding among individuals with varying perspectives on AI. Devlin's approach emphasizes the importance of human connection and hands-on engagement in the digital age.Participants, including Alan Turing and Isaac Asimov, discussed the implications of AI on society, while Ethan Mollick introduced his concept of centaurs or cyborgs, describing how humans use AI for specific tasks or close collaboration. The event also featured a performance by the University Chamber Choir and a choral piece by Nico Muhly, inspired by the works of 17th-century theologian and poet Thomas Traherne.Devlin's installation, 360 Vessels, will be showcased at the Schwarzman Centre's opening festival, featuring 360 pots created by participants and the public. The project serves as a platform for exploring the intersection of technology, art, and human values.As Devlin noted, 'I am aware that my art and my words and my every choice, my presence, is being used to train the algorithms that concentrate wealth among a small number of individuals, and, in spite of this – however confusing, however painful – I would like to try to stitch my digital shadow back on to my feet and dance with it myself, and invite others to dance with it too.'

The moon is becoming a focal point for a new era of space exploration and exploitation, with multiple companies and countries racing to harness its resources. Interlune, a Seattle-based company, has raised $18m to fund its efforts to mine the moon for Helium-3, a rare gas that could become vital in quantum computers and nuclear fusion.Helium-3, deposited on the moon's surface over billions of years by the solar wind, is used in medical imaging but is in extremely short supply on Earth. Rob Meyerson, founder of Interlune, believes that extracting this resource could be economically viable due to its high value.Private access to space has become more feasible through companies like Blue Origin and SpaceX, making lunar mining a possibility. Interlune plans to send a multispectral camera to the lunar south pole to assess Helium-3 concentrations and is working towards a future mission called 'Prospect Moon' to gather samples.The lunar mining initiative raises questions about environmental impact and the ethics of extracting resources from the moon. Critics argue that history has shown pioneers rushing into unknown frontiers and causing irreparable damage. There are concerns about preserving the moon's pristine environment and protecting sites of extraordinary scientific importance.Legal aspects of moon mining are also unclear, with the 1967 Outer Space Treaty prohibiting national claims of ownership but making no reference to commercial activities. Despite these challenges, Interlune and other companies are pushing forward, with China also actively exploring the moon's resources, including Helium-3.

Congo-Brazzaville authorities have taken a significant step in their pursuit of Jean-Guy Blaise Mayolas, the embattled president of the country's football federation, Fecofoot. An Interpol arrest warrant has been requested following his conviction for embezzling $1.1m in funds provided by FIFA.Mayolas, along with his wife and son, was sentenced to life imprisonment earlier this month for their roles in the embezzlement. The funds, part of FIFA's COVID-19 relief plan in February 2021, were intended to support the country's football community. However, the trio fled the country weeks before the hearing, with investigators suspecting they may be hiding in Cameroon or the Democratic Republic of the Congo.The embezzlement scandal involves $500,000 earmarked for the Congo women's team. According to allegations, only $20,000 of the allocated funds was actually paid out. Mayolas has denied all allegations, calling them a conspiracy. This is not the first time Mayolas has faced scrutiny; in 2015, he and other officials received six-month bans from FIFA for ethics violations related to gifts and benefits.The situation has led to significant repercussions for Congo's football community. The country was banned from international football due to third-party interference, resulting in the forfeiture of World Cup qualifiers against Tanzania and Zambia. While Congo has since been reinstated, the scandal continues to cast a shadow over the sport in the region.

The UK launch of HBO Max has introduced a distinctly British true-crime docudrama, 'Boom Box: Beats and Betrayal', which tells the astonishing tale of a record shop and recording studio in Edmonton, north London. The studio, known as Boom Box, was initially set up to provide a safe space for teenagers involved in petty crime, but it unbeknownstingly became a hotbed of gang-related activity.The series reveals that the people these teenagers were getting involved with were not criminals, but undercover police officers who had targeted the area after a spate of murders in 2008. As the four episodes unfold, the ethics of the police operation are questioned by those who feel they were ensnared and manipulated to commit serious crimes they would never have thought about otherwise.The documentary uses dramatic reconstructions contrasted with interviews, and even features the actors who play the Boom Box teens talking to the actors who portray them. The studio was equipped with top-of-the-range equipment, which kids could use for just £15 an hour, giving it a 'Dr Dre vibe' according to one of the teens, Junior.The operation, which cost several hundred thousand pounds, raises questions about the fairness and impact of the police actions. While some officers argue they were making the operation look legitimate while pushing for information on existing criminal activity, others, including a lawyer for two of the men, argue that there was an abuse of process by the police.A judge later deemed the police actions lawful, but the series leaves viewers questioning the morality and effectiveness of the operation. The documentary is co-produced by Rogan Productions, known for diverse and ambitious documentaries, and is centered around the kids whose lives were forever altered by their time at Boom Box.The series is now available on HBO Max, offering a thought-provoking look into the complexities of the situation and the lasting impact on the individuals involved.

Palantir, a leading AI and data analytics company, has secured a major contract with the UK's Financial Conduct Authority (FCA) to leverage its AI technology for detecting financial wrongdoing. This deal marks a significant expansion of Palantir's presence in the UK, where it has already embedded its technology in the NHS, police, and military. The contract, valued at over £500m, enables Palantir to access terabytes of data gathered by the FCA, providing it with an unparalleled view of the inner workings of British authorities and the City of London, a global financial hub. Campaign groups have expressed concerns over Palantir's work with public authorities, citing its previous involvement with controversial entities such as the US Department of Homeland Security and the Israel Defense Forces. However, the company continues to secure lucrative contracts in the UK. The FCA aims to utilize Palantir's AI technology to better detect signs of wrongdoing, such as money laundering and fraud, which account for approximately 40% of all crimes in the UK. The regulator's workplan for 2025-26 includes expanding the use of data and intelligence to identify and act on high-risk firms and individuals. However, experts warn that the use of AI in detecting financial wrongdoing may lead to new challenges, such as criminals adapting to evade detection by using techniques like invisible 'white text' in documents to instruct AI systems to ignore incriminating information. Prof Michael Levi, an expert in money laundering at Cardiff University, notes that while there are concerns about data privacy, the use of AI technology can also help target corporate holdings and shell companies used for illicit activities.