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Walking into Scisters Salon & Apothecary in southern California reveals what's immediately absent: no wall of plastic bottles, no chemical tang, and minimal waste. The salon's shelves feature large refill containers of shampoo and conditioner, houseplants adorn the space, and hair clippings are composted. The only trash can is a small basket mostly collecting clients' personal items, creating an environment that co-owner Melissa Parker notes clients immediately comment on: 'It smells good in here.' That never happens in a conventional salon.Opened 15 years ago by Parker and Easton Bajsec in La Mesa near San Diego, Scisters has evolved into one of the region's most prominent low-waste salons, diverting up to 99% of its refuse from landfills. Their business transformation addresses a significant industry problem: the beauty sector generates substantial waste, with North American salons sending an estimated 63,000lbs of hair to landfills daily, plus hundreds of tons of used foil and leftover hair dyes.The turning point came when Bajsec watched a documentary about the zero-waste movement while Parker developed health problems linked to prolonged exposure to salon chemicals. Studies have found that hairdressers' exposure to harmful chemicals such as formaldehyde, ammonia and sulfates puts them at higher risk of asthma, skin conditions, reproductive illnesses and cancer. Rather than leave the industry, they transformed their business.They eliminated perms due to formaldehyde exposure and moved away from big-name products despite green marketing claims. When existing alternatives didn't meet their standards for performance, ingredient transparency and waste reduction, they created their own line. Element, launched in 2019, is made in a California lab and sold in refillable glass and aluminum containers, featuring recognizable ingredients like organic aloe, wheat protein and castor oil.The salon's waste reduction strategies extend beyond product packaging. They implemented hair composting, foil recycling, and replaced waxing with sugaring—a compostable hair-removal technique. They switched to LED lighting, installed water-efficient showerheads, and use washable cloths instead of paper towels. Though they still offer hair bleaching (which releases ammonia), they mitigate risks with industrial air filtration and air-purifying plants.Bajsec acknowledges that 100% zero waste is impossible due to regulatory constraints on reusable gloves and plastic pump tops. The salon ships its minimal plastic waste to Green Circle Salons for specialized processing, paying $200 per box. Despite this cost, Parker notes the overall approach has been financially beneficial: 'Overall, it's actually less expensive. We're not outsourcing to other beauty brands. We're mindful about systems.'Their commitment to sustainability proved critical during the COVID-19 pandemic. When mandatory closures threatened their survival, they pivoted to refill sales, meeting clients in the parking lot. This refill model kept revenue flowing, allowing them to pay full rent while many neighboring tenants struggled. 'Going green has been the greatest thing we've done for our business financially,' Parker says. 'We accidentally created a point of differentiation.'Denise Baden, a professor of sustainable business at the University of Southampton, confirms that eco-friendly practices often reduce costs. 'It's a misunderstanding that to be eco-friendly, you have to spend more money. In fact, usually, it's the reverse,' she notes, adding that hairdressers are uniquely positioned to influence their communities.Now, Parker and Bajsec are helping other salons adopt similar practices through speaking engagements and an online guide. 'We get calls from other salons all the time,' Bajsec says. 'It's not sustainable if we're the only ones doing it.'

US markets witnessed a significant downturn on Thursday, marking their biggest slump since the onset of the US-Israel war with Iran. The Dow closed 450 points down, while the S&P 500 dipped 1.7%. The tech-heavy Nasdaq fell 2.3%, plunging into correction territory, which occurs when an index falls at least 10% below its most recent peak. The conflict has led to a surge in oil prices, reaching levels not seen since Russia's invasion of Ukraine in 2022. At the end of the day on Thursday, Brent crude oil, the global benchmark, was about $107 a barrel, while US crude hit $93 a barrel. Average US gas prices at the pump reached $3.98 a gallon, according to AAA. Despite the soaring prices, Donald Trump said that oil prices “have not gone up as much as I thought” during a cabinet meeting on Thursday. He predicted that prices would “come back down to where it was, and probably lower,” and that the impact on the stock market would reverse once the conflict ends. Markets have been growing weary of Trump's mixed signals on the US's stance in negotiations with Iran. Stocks dipped on Thursday morning after Trump posted a warning to Iranian negotiators that they “better get serious, before it’s too late.” However, later in the morning, Trump said that there were “very substantial talks” happening with Iran and that the country allowed 10 oil tankers to pass the blocked strait of Hormuz. The White House announced it will extend a pause on Iranian energy infrastructure strikes by 10 days, until 6 April. A new report estimates US inflation will average 4.2% this year, compared with an average of about 2.6% in 2025, according to the Organization for Economic and Cooperation and Development (OECD). The increase in inflation reverses what was expected to be strong growth for the global economy before the conflict began.

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.

The House of Lords has backed an Australian-style social media ban for under-16s, with peers voting 266 to 141 against proposals for a public consultation.Conservative former minister Lord Nash said the vote sent an 'unambiguous message' to the government, emphasizing that 'hollow promises and half-measures are not enough.'The vote comes after a jury in Los Angeles found that Meta, the owner of Google and Facebook, designed deliberately addictive products that harmed a 20-year-old's mental health.Nash proposed the age limit as part of the children's wellbeing and schools bill, stating that 'techies' had taken a 'cavalier approach' to content damaging to children.The decision could influence thousands of similar lawsuits in the US accusing social media companies of deliberately causing harm.Lady Cass, a paediatrician and crossbench peer, criticized the government for 'failing to understand the impact of social media on our children.'

Prem Rugby is set to introduce a significant change to its financial structure by implementing a minimum salary floor of £5.4m for each club next season. This move is part of a broader strategy to enhance competitiveness within the league. The decision was made by the Rugby Football Union Council last month, which also included the decision to ringfence the existing 10-team Prem until the 2029-30 season.The introduction of the salary floor is a key component of Prem Rugby's growth plan, which includes expansion windows every four years. This means that up to two new clubs could join the league, provided they meet the required minimum financial and sporting standards. The first tender process for new clubs is slated for 2027, with potential new members possibly joining Champ Rugby the following season and moving up to Prem Rugby in 2028-29 if they reach the playoffs.Prem Rugby's chief executive, Simon Massie-Taylor, emphasized that the league's vision is to become the best league in the world. However, this does not mean exceeding the financial capabilities of other leagues and creating wage inflation. The new salary floor is £1m lower than the current cap, which will remain unchanged for next season. Massie-Taylor highlighted that any future increases to the salary cap will be based on a formula as part of financial control measures.As part of its growth strategy, Prem Rugby also aims to host several 'Big Games' to appeal to a wider fanbase. The ambition is to have 10 Big Games by 2030, including the final and potential neutral playoffs. One example of this initiative is England's game against Fiji at the Hill Dickinson Stadium in Liverpool this summer, which could set a precedent for future events.

In 2025, England's rivers and seas were hit by 291,492 instances of raw sewage discharge from storm overflows, a 35% reduction from the previous year. The discharges lasted for 1.8 million hours, a significant decrease from almost 4 million hours in 2024. The Environment Agency (EA) reported that some water companies achieved reductions of over 60% and 70% compared to the previous year. However, campaigners argue that the discharges, which are only supposed to occur in extreme weather conditions, are still too frequent and harmful to the environment. Richard Benwell, chief executive of Wildlife and Countryside Link, stated, 'When sewage is pouring out even in a dry year, you really know the system is broken.' He emphasized that rivers, lakes, and seas should not be used as pressure valves for pollution. The water industry acknowledged that dry conditions contributed to the reduction in discharges but also cited record levels of investment in the system. Water UK stated that the industry aims to halve spills over the next five years by building bigger storm tanks and expanding capacity at sewage treatment works. Michelle Walker, technical director for the Rivers Trust, highlighted that many discharges occur on dry days and are therefore illegal. She warned that the impact of these discharges will be more concentrated and damaging in already stressed ecosystems. The government and water companies face criticism for the ongoing pollution. Water minister Emma Hardy said there is still an unacceptable amount of sewage entering waterways and a long way to go in cleaning up rivers, lakes, and seas.

UK Prime Minister Keir Starmer has announced plans to address addictive features in social media platforms, signaling a potential regulatory shift following a significant US court ruling that held Meta and YouTube accountable for harms caused by their technology designs.The prime minister emphasized that the recent California court verdict reflects rising public expectations for more aggressive regulation of social media platforms. "I'm absolutely clear that we need to go further," Starmer stated, adding that "the status quo isn't good enough" in terms of protecting children online.Starmer specifically mentioned that the government is consulting about banning social media for under-16s and expressed strong commitment to addressing addictive features within social media platforms. These remarks come amid growing international pressure on tech companies to address the potential harms of their products on young users.In the landmark US case, a California jury found Meta and YouTube negligent for failing to provide adequate warnings about the potential dangers of their platforms. The plaintiff, a 20-year-old woman who claimed she became addicted to social media during her childhood, was awarded $6 million (£4.5 million) in damages, with Meta responsible for 70% of the payment and YouTube covering the remainder.The Duke and Duchess of Sussex welcomed the verdict as "a reckoning" for tech companies, stating in a joint statement: "For too long, families have paid the price for platforms built with total disregard for the children they reach." They emphasized that "today, the truth has been heard and precedent has been set" regarding children's safety versus corporate profits.Both Google, which owns YouTube, and Meta have indicated they will challenge the decision. Google claimed the case "misunderstands YouTube, which is a responsibly built streaming platform, not a social media site," while Meta stated it "respectfully disagrees with the verdict and is evaluating our legal options." The verdict came after nine days of deliberation in the first lawsuit concerning social media's alleged harm to young people to reach trial.The ruling has resonated beyond the courtroom, with European Commission digital chief Henna Virkkunen noting that such cases send "a very clear message" to online platforms about the risks they pose. Campaigners for safer social media have celebrated the decision as a potential watershed moment in regulating platforms like TikTok, Instagram, and X.The Molly Rose Foundation, established after the death of 14-year-old Molly Russell who was exposed to harmful content on Instagram, called for legislation that would make "safety and wellbeing the price for tech firms to pay for doing business in the UK." Thomas Lancaster, a computing expert at Imperial College London, emphasized that policies must be effectively enforced to protect those they're designed to safeguard.Sacha Haworth, executive director of the Tech Oversight Project, declared that "the era of big tech invincibility is over," suggesting that the verdict validates concerns about tech platforms' impact on young people that have been raised for years.

Baz Luhrmann's Romeo+Juliet has stood the test of time, remaining a vibrant and captivating film thirty years after its release. This modern retelling of Shakespeare's timeless tragedy, set in a fictional Verona Beach with Mexico City as its backdrop, was a critical and commercial success upon its debut.The film's irreverent and questioning approach to the classic tale resonated with audiences, offering a fresh take on the star-crossed lovers' story. Luhrmann's vision, co-scripted with Craig Pearce, preserved the original text while infusing it with a sunburst of energy and a unique blend of style and substance.The cast, including Leonardo DiCaprio as Romeo and Claire Danes as Juliet, delivered memorable performances that brought depth and nuance to their characters. The supporting cast, featuring Harold Perrineau as Mercutio and Paul Rudd as Paris, added to the film's richness and complexity.Luhrmann's direction and the film's lurid 90s crime-chic design have aged remarkably well, with the movie's themes of love, transgression, and tragedy remaining as relevant today as they were upon its initial release. Romeo+Juliet is a testament to the enduring power of Shakespeare's work and Luhrmann's innovative vision.The film's re-release in UK cinemas on March 27 offers a new generation of audiences the opportunity to experience this joyful tragedy on the big screen, and it is sure to continue to captivate and inspire viewers for years to come.

The documentary 'Rave Culture: A New Era' is a high-energy testimonial to the UK's dance revolution in the 80s and 90s. Directed by Eduardo Cubillo Blasco, the film features a pantheon of electronic music greats, including Fabio, Orbital's Hartnoll brothers, Slipmatt, Goldie, and Leeroy Thornhill, who provide deep insights into the dancefloor culture.The film explores the logistics of rave parties, including artwork, promotion, and booking, as well as the legal challenges faced by organizers. It also touches on the evolution of rave from a free-for-all to big business, and its subversive power in terms of race and football hooliganism.While the film could be better structured, it effectively captures the creative longevity of rave culture, which has influenced hardcore breakbeats, jungle, speed garage, grime, and dubstep. The documentary serves as a reminder to digital-native generations to keep the live club experience going.The film is set to premiere at the Rio in London on March 27 and will tour thereafter.