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North Korean leader Kim Jong Un and Belarusian President Alexander Lukashenko have signed a friendship treaty aimed at deepening ties between their countries. Both leaders are close allies of Russian President Vladimir Putin.The treaty was signed on Thursday during Lukashenko's two-day trip to Pyongyang. He told Kim that relations between their countries were entering a 'fundamentally new stage', according to the Belarusian state news agency Belta.Lukashenko emphasized the need for independent countries to cooperate closely in today's global transformation, where global powers often ignore and violate international law. Kim expressed opposition to undue pressure on Belarus from the West.The North Korean leader gave Lukashenko a lavish welcome, including a white-horsed cavalry, flag-waving children, and a 21-cannon salute. Both nations have backed Russia's war in Ukraine.Kim has reportedly provided Moscow with ammunition and sent soldiers to help Russia expel Ukrainian forces from its western region of Kursk in 2024. Lukashenko allowed Belarus to be used as a launchpad for Russia's invasion in February 2022 and has agreed to allow Russian tactical nuclear missiles on its territory.The Belarusian leader, in power since 1994, is politically and economically dependent on Putin. North Korea and Belarus conduct a small volume of trade but share long experience of surviving under international sanctions. North Korea has been sanctioned due to its nuclear and ballistic missile programs, and Belarus over its human rights record and backing for Putin in Ukraine.

Israeli Defence Minister Israel Katz confirmed that an Israeli air strike killed Alireza Tangsiri, commander of Iran's Islamic Revolutionary Guard Corps (IRGC) navy, on Wednesday night. Katz stated that the assassination targeted other 'senior officers of the naval command'.Katz described Tangsiri as the man 'directly responsible for the terrorist operation of mining and blocking the Strait of Hormuz to shipping'. He added that Tangsiri was 'blown up and eliminated'. Tangsiri was a 'well-known commander' who shaped Iran's naval doctrine and developed drones for military maritime use. He was also involved in overseeing Iran's efforts to assert control over the Strait of Hormuz by blocking some vessels.Since the start of the US-Israel war on Iran on February 28, Israel has announced the assassination of several top Iranian officials. The civilian toll is significant, with at least 1,937 people killed, including 452 women and children, and 24,800 injured, according to Iran's Deputy Health Minister Ali Jafarian.Admiral Brad Cooper, commander of US Central Command, said the assassination of Tangsiri 'makes the region safer'. US forces have destroyed about 92 percent of Iran's large naval vessels in ongoing operations.

A California jury has ruled that Meta and Google are liable for $3m in damages in a landmark social media addiction lawsuit. The case, which began over a month ago, accused the companies of designing features intended to hook young users, including notifications and autoplay features.The plaintiff, a 20-year-old woman referred to as KGM or Kaley, claimed that she became addicted to social media at a young age, which exacerbated her mental health issues. She began using YouTube at age six and Meta-owned Instagram at age nine.The jury deliberated for over 40 hours across nine days before reaching a verdict. Meta CEO Mark Zuckerberg and Instagram head Adam Mosseri testified in the case, although YouTube chief executive Neal Mohan was not called to testify.The verdict is the latest in a wave of lawsuits targeting social media companies. There is a looming federal social media addiction case slated to begin in June in Oakland, California. On Tuesday in New Mexico, a jury found that Meta violated state law by misleading users about the safety of Facebook, Instagram, and WhatsApp, and by enabling child sexual exploitation on those platforms.Legal experts say the verdict will shape future litigation. 'The fact the jury found Meta and Google liable represents that these cases have real exposure to the social media giants, and are going to frame how future litigation will proceed,' entertainment lawyer Tre Lovell told Al Jazeera.

The recent escalation of conflict in the Middle East has sent shockwaves across South Asia, affecting millions of families who depend on remittances from their loved ones working in the Gulf nations. The war between the US and Israel on Iran has resulted in a significant increase in tensions, with Iranian attacks on Gulf neighbours causing widespread fear and uncertainty.For Jaya Khuntia, a father from India's Odisha state, the conflict has brought unimaginable tragedy. His 25-year-old son, Kuna, a pipe fitter in Qatar's capital Doha, died of a heart attack after hearing the sound of missiles and debris from interceptions falling near their residence. Kuna's death has left the family in debt and despair, with their hopes of paying off a 300,000-rupee ($3200) loan for the marriages of their two daughters shattered.Migrant workers from South Asia, totaling nearly 21 million people in the Gulf nations, are often engaged in blue-collar work, building or supporting the industries and services that drive the Gulf's success and prosperity. However, they are also among the most vulnerable, with many working in areas targeted by Iranian attacks, such as oil refineries, construction areas, airports, and docks.The suspension of work at many of these facilities, coupled with fears of a major economic downturn in the region, has left many workers and their families worried about the future of their jobs. Experts warn that remittances from the Middle East, a crucial economic backbone for South Asian nations, could be significantly affected, especially if Gulf economies contract and layoffs follow.For Hamza, a Pakistani migrant laborer working at an oil storage facility in the UAE, the conflict has brought a sense of fear and uncertainty. He witnessed a drone attack on a storage unit and was shaken by the experience. Despite the dangers, he said leaving is not an option, as his family depends on him.Imran Khan, a faculty member at the New Delhi Institute of Management, said migrant laborers from South Asia are often driven by desperation to take up jobs in the Middle East. He warned that these workers are the worst affected during crises, whether war or natural disasters.As the conflict continues, many South Asian workers are planning to return home. Noor, a migrant worker from Bangladesh employed at an oil facility in Saudi Arabia, said he no longer feels safe and plans to return home once his contract ends. His family, too, is deeply affected, with his children crying every time they call him, scared for his life.

Legendary musician Paul McCartney has unveiled his 18th solo album, titled The Boys of Dungeon Lane. The album's title is a nod to the route from Liverpool to the Speke shoreline, an area where McCartney spent his early childhood. Described as McCartney's most introspective album to date, The Boys of Dungeon Lane offers 'a collection of rare and revealing glimpses into memories never-before shared, along with some newly inspired love songs'. The musical styles on the album span McCartney's entire career, including 'Wings-style rock, Beatles-style harmonies, McCartney-style grooves, understated intimacy, melody-driven storytelling, character songs'. The lead single, Days We Left Behind, references Dungeon Lane and was debuted on BBC Radio Merseyside. McCartney, 83, shared that the song is 'very much a memory song for me', reflecting on his days in Liverpool and his friendship with John Lennon. The album was produced by Andrew Watt and features 14 tracks, including As You Lie There, Lost Horizon, and Ripples in a Pond. McCartney and Watt worked on the album between dates on McCartney's five-year global tour, in studios in Los Angeles and Sussex. The Boys of Dungeon Lane is credited solely to McCartney, following the style of his 1970 solo debut McCartney and its 1980 counterpart McCartney II. The album promises to offer listeners a glimpse into a world that existed before the Beatles, 'offering memories never previously shared and revealing, with extraordinary honesty, the human story behind a global icon'.

A recent jury verdict in California has held Meta and YouTube liable for the harm caused to a young woman, KGM, due to the addictive nature of their platforms. The plaintiff claimed that her social media use, which began at the age of six, led to injuries including body dysmorphia and thoughts of self-harm.The jury's decision marks a significant milestone in the ongoing debate about the impact of social media on young people. The verdict suggests that companies like Meta and YouTube, which have been accused of designing features to keep users engaged, can be held accountable for the harm caused by their platforms.Critics of the judgment argue that it could lead to a flood of lawsuits against social media companies, while others see it as a necessary step to protect young people from the potential dangers of social media. The verdict may also prompt regulatory changes and increased scrutiny of social media companies' practices.According to a report from Brown University, social media can be addictive due to its ability to activate the brain's reward system, releasing feel-good hormones such as dopamine. This can lead to a vicious cycle of use and addiction, particularly among young people who spend many hours a day on social media.In response to growing concerns, some countries have taken action to protect young people. Australia, for example, has banned children under 16 from using social media. In the US, there have been calls for social media companies to be required to put warning labels on their sites, but such proposals have yet to gain traction.The verdict is also significant given the close ties between the tech industry and the US administration. The appointment of Mark Zuckerberg to the president's council of advisers on science and technology has raised concerns about the influence of tech companies on policy decisions.Ultimately, the jury verdict sends a clear message to tech titans that they will be held accountable for the impact of their platforms on young people. As the debate about social media regulation continues, this verdict is likely to have far-reaching implications for the industry and for the protection of young people online.

A landmark verdict in a social media trial has held Meta and YouTube accountable for deliberately designing addictive products that harmed a young user. The jury awarded the plaintiff $6m in damages, with Meta to pay 70% and YouTube the remainder.Human rights groups, including Amnesty International and Human Rights Watch, have praised the decision, calling it a "watershed moment" for corporate accountability in the digital age. They argue that social media companies must change their design features to ensure children's safety.The plaintiff, a 20-year-old who went by the initials KGM, testified that she became addicted to YouTube at age six and Instagram at nine, which led to a long cycle of depression, self-harm, and body dysmorphia. Plaintiffs have taken issue with features such as infinite scroll and autoplay, arguing that they prioritize engagement over users' well-being.However, not all tech freedom and human rights groups agree on the verdict's implications. Fight for the Future, a US-based digital rights group, has expressed skepticism, worrying that the decision could be used to justify legislative solutions that raise free speech concerns.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

The connection between boxing and cinema dates back to the early days of film, with the first sports film being a 1894 short of a six-round match between Mike Leonard and Jack Cushing. Since then, boxing has been a staple of the big screen, captivating audiences with its high-stakes emotion, physical intensity, and personal turbulence.The British Film Institute's new season, The Cinematic Life of Boxing, curated by Clive Chijioke Nwonka, an amateur boxer since his childhood in London, explores this symbiotic relationship. Nwonka believes that an uncompromising hunt for realism is central to the relationship between the sport and artform, with films that interact with human experience, poverty, struggle, triumph, and boxing as a way of life.Boxing films often capture a political zeitgeist, as seen in the 1974 'Rumble in the Jungle' heavyweight championship match between Muhammad Ali and George Foreman, which was not just a fight but a referendum on ideology during the civil rights era. This fight was documented in the 1996 film When We Were Kings, described by Nwonka as 'probably the greatest sports documentary of all time'.The Rocky franchise, which has spanned six films and a spin-off series, Creed, under the direction of Ryan Coogler, is a barometer for all the films captured in its wake. The first film remains the hallmark of sporting cinema, successfully capturing the habitual experience of the sport outside its more glamorous moments.Despite the genre's popularity, boxing films are not immune to clichés, with many relying on stock characters and familiar arcs. However, the best film-makers are able to return to the core of these films: the stakes of signing up for a fight, and the physical, psychological, and real monetary costs of endurance.