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Around 15 years ago, Ashley Markle was introduced to a culinary curiosity that would later become a global phenomenon. While staying at her aunt's house, she encountered a small, plastic-wrapped biscuit that would forever change her perception of cookies. What began as an unknown airline snack evolved into one of the fastest-growing biscuit brands in the US, with Markle becoming an unwitting early adopter of what would become a cultural movement.The spiced caramel biscuit, created in 1932 by Belgian company Lotus, has experienced remarkable peaks in popularity over the past decade. From being described as 'crack in a jar' in 2014 to becoming a staple in freakshakes in 2016, the brand has consistently found new ways to capture consumer interest. The pandemic home-baking boom in 2021 propelled Biscoff into social media stardom, with chef Jon Watts demonstrating multiple Biscoff recipes on daytime television.In January 2026, Biscoff experienced another viral surge, particularly on TikTok and Instagram, where users obsessively shared recipes for a 'Japanese cheesecake' featuring the biscuits. Markle, a social media creator specializing in snack recipes, has seen her Biscoff-related content accumulate millions of views, including a cheesecake recipe that garnered over 4 million views and a two-ingredient cookie recipe with 5.6 million views.The phenomenon extends beyond social media. A teacher named Raj developed such an affinity for Biscoff that he purchased multiple boxes, declaring: 'I'd smoke Biscoff if I could.' At his school, colleagues use the biscuits as incentives for students to attend tutoring sessions, demonstrating the brand's cultural penetration.Food industry experts attribute Biscoff's success to several converging trends. Lisa Harris, co-founder of food consultancy Harris and Hayes, explains: 'Biscoff isn't a single trend in itself, more an expression of various converging trends.' The brand taps into nostalgia, accessible indulgence, and versatility, allowing it to appear in everything from drinks to ice cream to desserts.The brand's partnerships with other companies exemplify modern 'collab culture', with Harris noting that products with distinctive flavors often develop a life of their own among consumers. 'Fans run with it and feel as if they have ownership over the product as much as the brand itself does,' she observes.Lotus Bakeries has responded strategically to the social media buzz. The company is removing the Lotus embossing from biscuits, replacing it with the word Biscoff to better resonate with younger shoppers. Niamh Leonard-Bedwell, fast-moving consumer goods editor at The Grocer, notes: 'In the week to January 17, their volume sales were up 30% on the same time last year.'The business impact has been substantial. In its 2025 annual results, Lotus announced a 10% revenue increase, with more than half coming from the Biscoff brand. The company has expanded internationally with factories in the US and Thailand, with founder's grandson Jan Boone declaring: 'We want to conquer the world.'Despite its sweet reputation, Biscoff is venturing into savory territory with recipes like prawns in Biscoff sauce and creamy Biscoff duck breast. However, chef Jon Watts remains skeptical about these applications, preferring the biscuit's traditional uses in desserts and treats.Industry analysts believe Biscoff's universal appeal will sustain its popularity. Unlike divisive trends like matcha, Biscoff offers a 'quite universally likable flavor' that balances novelty with familiarity. As Kiti Soininen of Mintel notes: 'If it's that sort of safe adventure, where it's got that newness, that freshness, but it's pairing that with familiarity – that hits the mark with a lot of people.'Despite growing concerns about ultra-processed foods, Biscoff's traditional positioning may insulate it from criticism. There's a disconnect between how products are classified and consumer intuition, with Soininen observing: 'If my grandmother can have bought this then it can't be truly ultra-processed.'With retailers developing Biscoff-inspired products including porridge, tea, popcorn, and breakfast cereal, the trend shows no signs of abating. As Markle predicts: 'I don't see anybody deciding that they don't like Biscoff any more.'

Iga Swiatek, the world No 3 tennis player, has spoken candidly about her struggles after a difficult defeat at the Miami Open. The Polish player lost to her compatriot Magda Linette in a messy three-set affair, marking one of her most challenging losses in years. In a post-match media session, Swiatek broke down in tears, highlighting the emotional toll of her recent performances. She described her current situation as 'the worst nightmare a top tennis player can have,' struggling to cope with the pressure and weight of her achievements. Swiatek's issues on the court have been compounded by her mental state. Despite being a six-time grand slam title winner and one of the greatest players of her generation, she has been plagued by chronic overthinking, worrying, and second-guessing her decisions. The problems began in the autumn of 2024 after a positive test for the banned substance trimetazidine, which led to a month-long suspension. Although she proved the substance was in a permitted sleep medication, the incident affected her performance. Swiatek's inactivity in the final months of 2024 meant she couldn't regain her No 1 ranking, which has been held by her rival Aryna Sabalenka. In a bid to address her struggles, Swiatek has parted ways with her coach, Wim Fissette. Her partnership with sports psychologist Daria Abramowicz has been crucial in her career, but Swiatek may need to take more ownership of her decision-making to move forward. Despite her current challenges, Swiatek remains a formidable player, known for her destructive groundstrokes, heavy topspin, and supreme athleticism. Her mental toughness has been a key factor in her success, but it has also become a source of stress in recent months.

Robyn, the self-proclaimed Fembot, has always been known for pushing boundaries with her music. Her latest album, Sexistential, is no exception. The Swedish pop star's ninth album is a collection of songs that explore a new philosophy on love, relationships, and emotions.The album's lead single, Dopamine, sets the tone for the rest of the record. With its glittering, arpeggiated synths and introspective lyrics, the song finds Robyn questioning the nature of love and emotions. “I know it’s just dopamine, but it feels so real to me / I’m tripping on our chemistry,” she muses.Sexistential is a departure from Robyn's previous work, with a focus on electronic sounds and lyrics that challenge traditional notions of romance. The album's title track is a case study in Robyn's new mentality, with Robyn rapping about hooking up while undergoing IVF as a solo parent. The song's counterpart, Blow My Mind, is a revamp of her 2002 single, made psychedelic and faster, with lyrics that focus on loving her young son.The album's themes of love, relationships, and emotions are explored through a variety of songs, each with its own unique sound and style. From the thumping, claustrophobic drum machine of Really Real to the retro vocoder and Ministry of Sound piano of Talk to Me, each song showcases Robyn's ability to craft catchy, thought-provoking pop music.The album's finale, Into the Sun, is a surging electro-ballad with tangled religious imagery that makes it tricky to parse. However, the album's defining moment falls on Dopamine, where Robyn finds a way to hold two truths at the same time: feelings are chemical, and some feelings feel amazing. “When I let go, it’s so easy,” she spins, giddy, before hitting a high note that comes straight from the gut.

Anthropic, a leading artificial intelligence company, has taken the US Department of Defense to court in a bid to overturn a ban on its AI model being used by the military and government contractors. The ban was imposed after Anthropic refused to allow its Claude AI chatbot to be used for domestic mass surveillance and fully autonomous lethal weapons.The dispute centers on the company's concerns about the use of its technology for purposes that could potentially infringe on civil liberties and international humanitarian law. Anthropic's CEO, Dario Amodei, has expressed concerns about AI being used in authoritarian ways, which has led to tensions with the US government and former President Donald Trump, who has labeled the company a "RADICAL LEFT, WOKE COMPANY".In a federal court in northern California, Judge Rita Lin presided over a hearing for a temporary injunction sought by Anthropic. The company's lawsuit claims that the government's actions are unprecedented and unlawful, and that they violate Anthropic's First Amendment rights. The government, on the other hand, argues that its decision to bar the use of Anthropic's technology is a legitimate exercise of its authority.The case has significant implications for the use of AI in military and government operations, and could set a precedent for the regulation of AI technology in the US. Anthropic's technology is deeply intertwined with government operations, including in the military, where it is reportedly being used to select and analyze targets of missile strikes in Iran. The company's AI model has been used by various government agencies over the past year, making it a challenging task to disentangle federal agencies from its use.

The estate of late British tech tycoon Mike Lynch has been ordered to pay £920m to the technology company Hewlett-Packard (HP) two years after he died in a superyacht disaster.The ruling by London’s high court said the estate was liable to pay the sum as compensation, costs, and interest for HP’s acquisition of Lynch’s firm Autonomy, after a UK legal ruling in 2022 that he duped the US firm into paying £8.2bn for his software firm Autonomy.The deceased entrepreneur’s estate has been estimated to be worth about £500m, so the damages could leave it bankrupt.Lynch and six others, including his 18-year-old daughter Hannah, died in August 2024 on a trip with friends and family celebrating his acquittal on US fraud charges relating to HP’s $11bn takeover of Autonomy in 2011.HP accused Lynch and Autonomy’s former chief financial officer, Sushovan Hussain, of inflating the firm’s value before the takeover. HP wrote down Autonomy’s worth by $8.8bn (£6.5bn) within a year of the purchase.The US tech company has sought damages in UK civil proceedings of up to $4.55bn from the estate of the late tycoon, who was once hailed as Britain’s answer to Microsoft founder Bill Gates.However, the level of the claim was ruled last year by the high court to be “always exaggerated”, as it concluded that Lynch’s estate owed £700m in compensation. The £920m figure includes costs and interest.Lawyers for Lynch’s estate sought permission to appeal against Tuesday’s ruling, which was refused. However, the estate can apply directly to the court of appeal.HP welcomed Tuesday’s decision, which it said in a statement “brings us another step closer to resolution of the dispute”.A spokesperson for the Lynch family said: “We are disappointed by the court’s refusal and believe an application to the court of appeal should follow in the interests of justice. HP’s $5bn damages claim has already been shown to be vastly exaggerated.“Today’s judgment describes the exaggeration as ‘without foundation’ and the purposes for which it was ‘calibrated, publicised and pursued’ as objectionable, misleading shareholders and extending the litigation unnecessarily.“Dr Lynch’s acquittal in the US, where witnesses were properly cross-examined, exposed the truth. The damage to Autonomy was the result of HP’s own actions and failures, not wrongdoing at Autonomy.”

More than 60 Labour MPs have called on Ofcom to take action against 'manosphere' influencers who target men and boys with harmful content, including gambling, sextortion, and violent pornography.The MPs argue that men and boys need protection from these influencers, who exploit young men by 'peddling lies, falsehoods and hate'. According to the Gambling Commission, 53% of 11- to 17-year-old boys see gambling adverts online each week, compared with 31% of their female peers.The Online Safety Act has forced Ofcom to give tech platforms guidance on tackling 'harmful content and activity that disproportionately affects women and girls', but MPs argue that men and boys are also targeted in specific ways. 91% of sextortion victims are male, according to the Internet Watch Foundation.Alistair Strathern, the MP for Hitchin and a co-chair of the Labour group for men and boys, said the Louis Theroux documentary Inside the Manosphere was 'another reminder of a particular way some of the worst of the internet can prey on young men and boys'. He emphasized that protecting men and boys is crucial to tackling violence against women and girls.An Ofcom spokesperson said protections in place under the Online Safety Act were designed to benefit anyone experiencing online abuse, and that their guidance encourages tech companies to use educational and preventive approaches to reduce online abuse.

The Museum of Youth Culture in Camden has unveiled an exhibition that delves into the rich history of teenage subcultures through a stunning collection of photographs. Capturing the essence of youthful rebellion and self-expression, the exhibition provides a visual journey through the decades, highlighting the diverse and often provocative styles that have defined generations of young people. From punk to hip-hop, and from mod to goth, the photographs on display offer a poignant look at the ways in which young people have used fashion, music, and art to express themselves and challenge societal norms. The exhibition at Camden's Museum of Youth Culture serves as a celebration of the creativity and resilience of young people, and is a must-visit for anyone interested in the history of youth culture and the power of photography to tell compelling stories.

The world is currently experiencing a severe energy crisis, surpassing the combined impact of the 1970s oil shocks and the Ukraine war, according to Fatih Birol, Executive Director of the International Energy Agency (IEA). Speaking at a media event in Australia, Birol warned that the energy crunch prompted by the US-Israel war on Iran has exceeded the 1973 and 1979 oil shocks and gas shortages stemming from Russia's 2022 invasion of Ukraine.Birol stated that the crisis is equivalent to two oil crises and one gas crash combined. He noted that the effective closure of the Strait of Hormuz and attacks on energy facilities have reduced global oil supplies by about 11 million barrels per day (bpd), more than double the combined shortfalls of the 1970s crises. Additionally, liquefied natural gas (LNG) supplies have been reduced by about 140 billion cubic meters, compared to a shortfall of 75bcm in the aftermath of Ukraine's invasion by Russia.At least 40 energy facilities across nine countries have been severely damaged in the conflict, according to the IEA chief. Birol emphasized that the global economy is facing a major threat and expressed hope that the issue will be resolved soon.Birol also expressed concern that the scale of the crisis had not been fully understood, which prompted him to speak publicly about the situation. The IEA has proposed measures to reduce energy consumption, including facilitating remote working and carpooling, and lowering speed limits on motorways.The IEA chief is in consultation with different countries about releasing more strategic oil reserves if needed. However, he emphasized that the single most important solution to the crisis is to unblock the Strait of Hormuz, which usually carries about one-fifth of global oil and LNG supplies.

The Orange Tree theatre in London is currently hosting a captivating production of Nicholas Wright's 2002 play, Vincent in Brixton. This poignant piece imagines a lesser-known chapter in the life of Vincent van Gogh, who spent a year in south London pursuing a career as an art dealer and possibly had a romantic relationship with his landlady or her daughter.In Georgia Green's tender production, the play blossoms into more than just a footnote in art history. The story revolves around Vincent, portrayed by Jeroen Frank Kales, and his landlady Ursula, played by Niamh Cusack. Their characters share a deep mental perturbation, uncovering a kinship in misery that eventually blossoms into romance.The setting, designed by Charlotte Henery, is a cozy kitchen on the Orange Tree stage, perfect for quiet confidences. The sound design by Donato Wharton adds a sensory layer with birdsong, the sound of pans on the stove, and the rush of Vincent's blood during his first kiss. The chemistry between the leads is palpable, with Cusack's rich-layered voice conveying Ursula's distraught emotions.The play is remarkable for its non-judgmental writing, allowing the characters to express their feelings in personal and poetic ways. The cast delivers full-hearted performances, including Rawaed Asde as the other lodger and Ayesha Ostler as Ursula's vigilant daughter. The relationship between Vincent and Ursula is portrayed as a brief, radiant interlude, offering a glimpse into Van Gogh's life before he found his vocation as an artist.This production of Vincent in Brixton runs at the Orange Tree theatre, London, until 18 April, offering audiences a chance to experience a unique and emotional exploration of restless souls.