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US President Donald Trump has ordered a pause in attacks on Iran's power infrastructure for five days. The move comes after Trump issued a 48-hour ultimatum to Iran to reopen the critical shipping route through the Strait of Hormuz or risk US attacks on its power plants.Iran's Response to US Ultimatum: Iran threatened to attack power plants in Israel and the Gulf if its own power plants were targeted. The Islamic Revolutionary Guard Corps (IRGC) stated that it would hit power plants in Israel as well as any supplying electricity to military bases hosting US troops and assets in the region.Potential Targets: Iran could target Israeli power plants, including Orot Rabin north of Tel Aviv, with a capacity of around 3,900 megawatts, and Rutenberg in Ashkelon, with a capacity of around 2,250 megawatts. Iran also mentioned that it would target financial entities that finance US military assets, including US Treasury bonds.Energy Infrastructure: Iran's attacks on energy infrastructure in the Gulf have already had significant impacts. Qatar's state-run energy firm, QatarEnergy, halted LNG production following Iranian attacks on its operational facilities, causing an estimated $20bn in lost annual revenue. Saudi Arabia also shut down operations at the Ras Tanura plant, its biggest domestic oil refinery.Financial and Corporate Entities: Iran could target large US companies with Israeli links, including Google, Microsoft, Palantir, IBM, Nvidia, and Oracle. Iranian officials also mentioned that they would target US Treasury bonds and entities that finance US military assets.Other Critical Infrastructure: Iran's foreign minister accused the US of striking a desalination plant on Qeshm Island off the coast of Iran, cutting off the water supply to 30 villages. Bahrain also reported that an Iranian drone caused material damage to one of its desalination plants.

The Albanese government is likely to introduce an extra levy on gas producers' high profits in response to the Iran crisis driving up energy costs for Australians. The prime minister's department has requested Treasury modelling of additional levies on gas companies, stating that energy producers 'should not benefit from high international prices at the expense of domestic customers'.Australia's gas industry is reaping extraordinary profits while households and businesses struggle with high fuel prices. This has sparked calls for a fair share levy to ensure gas companies pay their fair share of tax. The levy, based on Norway's taxation model, would see Australia share around 50% of profits, much more in line with world standards.Currently, Australia shares only 27% of fossil fuel profits, with some estimates as low as 18% when profit is defined in cashflow terms. In contrast, other major fossil fuel exporting countries typically share between 75% and 90% of profits.The fair share levy would provide significant and immediate cost-of-living relief if some of the revenue raised was returned to households. Research shows 87% of voters support a fair share levy, with only 3% disagreeing.Despite potential outrage from the gas industry, the levy is designed to not increase gas prices or deter investment, as seen in Norway's successful implementation. A stable, long-term commitment to the fair share levy would provide investment certainty.

Michelle De Swarte's comedy career is a testament to her versatility, having worked as a model, actor, journalist, and now comedian. Her latest touring show, 'The Afters', is a hilarious and mouthy performance that leaves audiences in stitches. While the set may not break new ground in terms of comedy themes, De Swarte's confident and cavalier standup voice makes it a standout.From the outset, De Swarte's ability to turn crowd work into a fine set piece about cultural appropriation and Norfolk seafarers showcases her skill. She follows up with a number about a “poor-off” contest she had with a citizen of Bradford, whose salty tang of truth adds up to something far funnier than the usual comedy of class cliches. Her menopause material is distinguished by her pose of stroppy denial, making it a refreshing take on a commonly tackled topic.De Swarte's say-what-she-sees manner seems wholly unaffected, as she arches eyebrows at various aspects of modernity. Her resistance to touchy-feeliness is evident, and her background – poor, queer, and ruthlessly unsentimental – provides context for her personality and comedic style. The show's later stages feature rough-hewn comic effect as De Swarte recalls her forebears and their attitudes.The show's final section, in which De Swarte recalls her encounters with Jeffrey Epstein and P Diddy, leaves the audience wanting more. Perhaps there's a whole show or book to come from this cheerfully incautious comic voice. For now, 'The Afters' is a must-see for fans of comedy and those looking for a fresh voice in the industry.

Satellite images of Tehran have revealed that toxic fires caused by Israeli bombings on oil depots were still burning days after the strikes, posing serious health risks to millions of residents in the Iranian capital.The bombings, which occurred on March 7, caused clouds of smoke to blanket the city with pollutants ranging from soot to oil particles to sulphur dioxide. A passing storm then showered Tehran with poisonous, oil-filled rain.Residents have reported headaches, eye and skin irritation, and difficulty breathing. Experts have warned that these symptoms could be just the beginning, with long-term risks of cardiovascular disease, cognitive impairment, DNA damage, and cancer.Four fuel facilities in and around the capital were hit, including the Shahran depot in the north-west, the Aqdasieh oil depot in the north-east, the Tehran refinery in the south, and the Shahid Dolati facility in the west.Satellite images taken two days after the strikes showed the Shahran depot and the Tehran refinery were still burning. Another image taken by the European Space Agency satellite on Tuesday – 10 days after the strikes – showed that those two fires had smouldered, but smoke and flames were visible at the Aqdasieh oil depot.Iran has described the attacks as “ecocide”, which is described as wanton acts of environmental destruction.The United Nations Environment Programme (UNEP) has warned that heavy smoke from burning oil was “directly inhaled by people in Iran – including young children – raising serious concerns about long-term impacts on both human and environmental health”.

Have you ever felt like you're racing against the clock, constantly chasing appointments and deadlines? This relentless pursuit of time is a universal experience, but what is time, really? Is it a physical phenomenon or just a tool we use to coordinate our lives? Time is often seen as an independent, physical entity that ticks by relentlessly, but emerging scientific evidence suggests that this isn't the case. Time is more like a mathematical tool, useful for coordinating our interactions, but it doesn't have an independent existence of its own. Just like money, we've become dependent on it, but it's not a physical reality. The pressure to be 'on time' is instilled in us from a young age, and we're constantly surrounded by clocks and digital alerts that divide our day into smaller pieces. This has led to a phenomenon known as 'time famine,' where the more efficient and productive we try to be, the less time we feel we have. Studies have shown that people experiencing time famine are less likely to engage in activities they enjoy, eat healthily, or seek medical attention when needed. Our brains don't have dedicated areas for tracking time, and our experience of it can vary greatly. Time can seem to drag or fly by, depending on our circumstances. For example, people with certain conditions, like akinetopsia, experience time in sudden jumps or frozen moments. The psychedelic drug mescaline can also distort time perception, making it seem like hours or even centuries have passed. Quantum physicists have found that time is not a fixed, physical flow. The famous double-slit experiment shows that a physicist's choice of measurement can influence the behavior of a particle. In a lesser-known variant of this experiment, the physicist's choice at the point of measurement can even influence the particle's past behavior. This suggests that time is not a fixed, linear concept, but rather a flexible and subjective experience. Some indigenous cultures, like the Aymara people of Chile, experience time differently. They see the future as hidden behind them, unseeable and unknowable. The Amondawa people of the Amazon have no clocks or concept of time. Instead, they live in the present, experiencing 'lived time,' which is a personal, malleable experience of change. Lived time is different from clock time, as it's not defined by numerical counters or seconds. Each moment is like a tapestry, woven from changes on multiple timescales. When we focus on lived time, it expands and becomes richer, rather than narrowing or contracting. It's a flow that carries us and connects us with others, rather than something we chase and never catch. To combat time famine, we need to remind ourselves that the clock is a tool, not a master. We should beware of digital alerts and alarms that divide our day into smaller pieces and instead focus on the rich pattern of changing connections that wire us into each moment. By doing so, we can tap into the creative process of lived time and experience a more fulfilling and connected life.

When Resident Evil emerged in the mid-1990s, it stood in stark contrast to the prevailing gaming landscape. The PlayStation and Saturn consoles were dominated by bright, arcade-style games like Daytona and Tekken, while Japanese publisher Capcom was primarily known for Street Fighter and Mega Man sequels. Scary games were rare at the time and mostly confined to the PC, making Capcom's horror title Biohazard (the Japanese name for the series) a radical departure that caught the attention of games journalists.Three decades later, the series has not only survived but flourished, becoming one of gaming's most successful franchises. Resident Evil has sold more than 180 million copies worldwide, with 11 core titles, numerous spinoffs and remakes, plus extensive film, television, and anime tie-ins. Its characters and monsters have become cultural icons, with its design tropes now embedded in gaming practice.The origins of Resident Evil can be traced back to 1989's Sweet Home, a Capcom role-playing game for the Famicom (Japanese NES). The game featured a group of filmmakers searching a haunted mansion for valuable artifacts, and while it was a modest domestic success, it never received an international release. However, senior producer Tokuro Fujiwara couldn't let go of his vision for horror as a distinct game genre."We have Tokuro Fujiwara to thank for the existence of Resident Evil," says Alex Aniel, author of acclaimed Resident Evil history book Itchy, Tasty. "He directed Sweet Home having believed that horror could become its own game genre, but wasn't satisfied with its rudimentary portrayal. He wanted to give horror another try once the technology was there to allow it – that opportunity finally arrived with the release of the original PlayStation."In 1993, young producer Shinji Mikami was brought in to oversee a horror game project inspired by Sweet Home. He expanded the haunted mansion concept, drawing influence from George A Romero's Dead trilogy and Alone in the Dark, creating a world haunted not by ghouls but by zombies, mutants, and monsters. The heroes were an experienced SWAT team investigating disappearances at a rural mansion owned by the sinister scientific organization: Umbrella Corp.The original vision for full real-time 3D visuals proved too ambitious for PlayStation hardware, leading Mikami and programmer Yasuhiro Anpo to develop a compromise: 3D characters combined with prerendered 2D backgrounds viewed from fixed camera angles. This restricted, expressionistic style emphasized the intense claustrophobia of the environment, with information always kept from the player by blind corners and shadowy doorways.This combination of tension, omission, and restriction is fundamental to Resident Evil's success as a horror franchise. Even as the camera evolved to over-the-shoulder views and first-person perspectives, characters remained vulnerable. Ammo, save points, and health items are jealously rationed, with extremely restricted inventories. This approach makes Resident Evil operate more like classic horror literature than a typical power fantasy video game.The series has also expertly referenced horror conventions while paying homage to its inspirations. "Kamiya's biggest source of inspiration came from Alien and especially its sequel, Aliens," says Aniel of Hideki Kamiya, who directed Resident Evil 2 and Resident Evil Zero. "For example, in Resident Evil 2, humans infected with the G-virus grow a parasite that eventually ruptures their host and emerges from within, growing into deadly creatures."Resident Evil has also demonstrated remarkable versatility in exploring different horror genres – gothic horror in its mansions and monstrous enemies, sci-fi horror in its biological experiments, and folk horror in its sinister villages and religious cults. This comprehensive approach allows it to mirror societal fears, a point underscored by the COVID-19 pandemic."The Covid pandemic reminded us just how real our fear of viruses should be," says Bernard Perron, professor of cinema and video games at the University of Montreal. "In that sense, the fear of a corrupt corporation like Umbrella, along with mad scientists who do not necessarily have humanity's best interests at heart, continues to resonate. These anxieties remain deeply embedded in our posthumanist societies."Throughout its evolution, Resident Evil has maintained a balance between familiarity and innovation. Characters like Jill Valentine, Claire Redfield, and Leon Kennedy provide continuity – relatable but cool figures who spout wry jokes like Hollywood heroes. Meanwhile, charismatic antagonists such as Albert Wesker, Lord Osmund Saddler, and Lady Dimitrescu ensure consistent engagement.The series also excels in pacing and structure, carefully delineating between exploration, puzzle-solving, and combat sections. Locations are filled with beautiful details – lavish furniture, eerie oil paintings, ornate gardens – making exploration pleasurable. After intense battles, players can retreat to safe spaces like Save Rooms, creating a rhythm that prevents fatigue."The series offers deep and entertaining gameplay experiences, but with a very low barrier to entry, even for newcomers," says Aniel. "The Resident Evil games are more accessible than ever: since they are often on sale, they are affordable even for customers in emerging global markets, available on every major game platform."Ultimately, Resident Evil's longevity stems from its ability to create uncertainty while maintaining familiarity. "You know what you will get, but you also don't know," the article concludes. "Around every corner there could be a shock or there could be nothing – it's the uncertainty that gets you. It allows us to write in our own fears and anxieties, or to discover new ones we hadn't considered or acknowledged. Like all great horror fiction, Resident Evil has survived because it looks us right in the eye and says, I know what scares you. Come and see."

In 1986, thrash metal reached a critical point with landmark albums from Slayer, Megadeth, and Metallica. However, across the Atlantic, a group of teenagers were forging their own path in the genre. Kreator, Sodom, Destruction, and Tankard, dubbed the 'big four' of German thrash metal, were faster and meaner than their American counterparts.These bands made up for their lack of finesse and professionalism with sheer aggression. Destruction vocalist and bassist Marcel 'Schmier' Schirmer notes that they focused on writing songs that 'punched hard' rather than striving for musical perfection.The German thrash metal scene was marked by its rough and violent approach, with bands drawing inspiration from English heavy metal albums and American thrash metal bands like Slayer. The scene was also influenced by the political climate of the time, with the presence of the Berlin Wall and the Cold War.Bands like Formel 1 from East Germany, who released their live album Live Im Stahlwerk in 1986, were also part of the thriving metal scene. Despite the challenges faced by these bands, including limited resources and censorship, they managed to create a lasting impact on the metal genre.Today, bands like Kreator, Sodom, and Destruction continue to tour and produce new music, with Kreator's 16th album, Krushers of the World, and Destruction's upcoming US tour with Overkill and Testament. The legacy of German thrash metal remains strong, with its unbridled aggression and brutal sound continuing to influence metal musicians to this day.

The WebKit Vulnerability and the New Patching MechanismApple has officially rolled out its first 'background security improvement' update, marking a significant evolution in its software maintenance strategy. This latest release targets a critical vulnerability discovered in WebKit, the browser engine that powers Safari across iPhones, iPads, and Macs.The advisory reveals that the bug, if exploited, could allow a malicious website to potentially access data from another website within the same browser session. To mitigate this risk, Apple introduced a new category of updates designed to be 'lightweight' and pushed between major software releases.Target Version: iOS, iPadOS, and macOS 26.1 and higher.Scope: Fixes for Safari, WebKit, and system libraries.Deployment: Background updates without requiring a full system reinstall.Efficiency in Security Response: The 'Quick Reboot' AdvantageOne of the most notable aspects of this update is the user experience. Unlike traditional major updates that often require lengthy reboots, this background security improvement only necessitates a quick device restart. This suggests a streamlined deployment process that minimizes user friction while maximizing security coverage.Apple has been testing this feature with software testers prior to the public release, indicating a deliberate effort to refine the mechanism before a wider rollout. The decision to withhold a specific reason for the patch from the public advisory highlights the sensitive nature of the vulnerability.Redefining the Security Patching LifecycleThe introduction of this update model fundamentally changes how Apple addresses the threat landscape. By decoupling critical security fixes from major feature updates, Apple can respond to zero-day threats and active exploits much faster.This approach reduces the 'window of exposure' for users, ensuring that security patches are applied as soon as they are available, rather than waiting for the next annual or bi-annual major OS release cycle.The Future of Continuous SecurityAs this is the inaugural release of the background security improvement program, it sets a precedent for future updates. We can expect to see a shift toward a more continuous security model, where minor but critical patches are pushed regularly to keep devices secure against evolving cyber threats.