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Zohran Mamdani celebrated his 100‑day anniversary as New York City’s mayor amid a backdrop of frigid crowds at City Hall and a historic milestone: the city filled 100,000 potholes in just over three months. The 32‑year‑old Democratic socialist, the first Muslim mayor of the United States’ wealthiest city, framed his early tenure as a test of whether a platform built on affordability could be translated into concrete governance. His administration’s headline achievement is the launch of a universal childcare initiative. Partnering with Governor Kathy Hochul, the mayor secured $1.2 billion from the state’s 2026 budget—funds drawn from existing revenue streams rather than new taxes—to add 2,000 daycare seats in low‑income neighborhoods. Sign‑ups for two‑year‑old slots will open in June, with allocations announced by August. “One in four New Yorkers lives in poverty, and after housing, childcare costs are pushing families out of the city,” Mamdani told Al Jazeera, underscoring the program’s role in curbing a citywide affordability crisis. Parallel to the childcare rollout, the mayor’s pothole‑filling campaign has become a symbolic win. By early April, crews had patched the 100,000th pothole, a move Mamdani described as proof that the city can handle “the smallest tasks in New Yorkers’ lives” before tackling larger challenges. However, the administration faces criticism on several fronts. Snowstorm responses earlier in the year exposed gaps in emergency planning, prompting Mamdani to acknowledge the need for better tools to manage “bus stops, sidewalks, and crosswalks.” A newly released cost‑of‑living index revealed that 62 % of New Yorkers cannot afford basic expenses, with families on average falling nearly $40,000 short of a sustainable budget. The burden is especially acute for communities of colour—77 % of Hispanic and 65 % of Black residents are financially strained. Fiscal conservatives, such as Manhattan Institute adjunct EJ Mahon, argue that New York already imposes the highest tax rates on millionaires in four decades, warning that further “tax‑the‑rich” rhetoric could drive wealth out of the city. Local commentator Aria Singer echoed this concern, suggesting that aggressive tax hikes might prompt billionaires to relocate, undermining job creation. Housing remains a central battleground. Rents have risen roughly 25 % since 2019, and while Mamdani’s proposal to freeze rents would affect only about half of the rental stock, his administration is pushing an aggressive construction agenda to increase supply and stimulate competition. Political dynamics add another layer of complexity. The mayor’s ability to raise taxes or fund ambitious projects hinges on Governor Hochul’s approval, as the city lacks autonomous authority over most tax levers. Moreover, initiatives like free city buses require cooperation with the state‑run Metropolitan Transit Authority (MTA). Strategist Adin Lenchner of Carroll Street Campaigns cautioned that sustained grassroots pressure will be essential for Mamdani to translate his agenda into lasting policy, noting that even former President Barack Obama struggled to maintain such momentum. Beyond policy, Mamdani has confronted a surge in xenophobic incidents targeting Jewish and Muslim communities, including a vehicle attack on a Brooklyn Jewish centre and an alleged ISIS‑inspired explosive device outside his Gracie Mansion residence. He condemned the violence, emphasizing that “such acts are antithetical to who we are.” As the 100‑day mark passes, the mayor’s focus has shifted from the symbolic cold of his inauguration to the practical heat of governing a city that demands tangible results. While potholes may seem minor, Mamdani argues they are a litmus test for public trust: “If we can’t fix the pothole you hit every day, how can you trust us with bigger challenges?”

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.

The Trump administration has filed an emergency motion to resume construction on its White House ballroom project, citing national security concerns. The project, which has been temporarily halted by a court decision, is estimated to cost nearly $400m and has sparked controversy over its potential impact on the White House's historic design.Lawyers for the Trump administration and the National Park Service have called the court decision to pause construction 'shocking, unprecedented, and improper'. They argue that the court-ordered suspension has left a 'massive excavation' site next to the executive mansion, threatening grave national-security harms to the White House, the President and his family, and the President's staff.The motion outlines various security measures slated to be incorporated into the ballroom project, including drone-proof roofing materials and glass meant to withstand bullets and blasts. 'Time is of the essence,' the motion reads.The court filing is the latest response from the Trump administration to a March 31 ruling from Judge Richard Leon, an appointee of former Republican President George W Bush. Judge Leon had issued a 35-page ruling ordering construction on the project to stop, citing the need for congressional approval for a project so transformative.The Trump administration has appealed Leon's injunction against the project and has claimed broad authority to make changes to the White House, citing past renovations under earlier presidents. The project has grown from a $200m structure to a nearly $400m one, by current estimates, and is set to span 90,000 square feet.

‘Your Friends & Neighbours’ returns for a second season that doubles down on its deliciously dark satire of the ultra‑rich enclave of Westport, New York – a thinly veiled stand‑in for Westchester’s high‑finance playground. The series remains a “rich dessert” of a show: indulgent, a little unhealthy, but undeniably moreish.Jon Hamm reprises Andrew “Coop” Cooper, a former Manhattan hedge‑fund star who now survives by burgling the opulent homes of his equally extravagant neighbours. Coop’s charisma is built on a blend of oak‑like steadiness and a perpetual tumbler of $500 whisky, allowing him to charm both victims and collaborators. Unlike Don Draper’s secret shame, Coop’s anxiety is a quieter, more comedic driver that fuels the season’s caper.Season two opens with Coop, now approaching fifty, injuring his back while rifling a mansion’s study. The mishap forces him to rely on his longtime lookout Elena (Aimee Carrero) and brings a new, reluctant ally into the fold. Meanwhile, the arrival of the flamboyant billionaire Owen (James Marsden) rattles the delicate Westport ecosystem, adding fresh tension to the criminal enterprise.The narrative also shifts focus to the personal toll of wealth. Coop’s ex‑wife Mel (Amanda Peet) navigates perimenopause and the looming emptiness of her children leaving for college, while their daughter Tori (Isabel Gravitt) deliberately flunks a Princeton interview, railing against the university as a “engine of rigged, corrosive capitalism.” This scene underscores the show’s satirical edge, reminding viewers that the glittering excess is built on fragile foundations.Despite its glossy façade, the series offers unexpected emotional depth. Hamm and Peet convey a wistful sadness that resonates beyond the bank‑balance zeros, suggesting that middle‑aged ex‑lovers remain bound by past mistakes. The season balances heist thrills with moments of genuine heart, positioning the show as a guilty‑pleasure dramedy that “gets away with it.”Your Friends & Neighbours is currently streaming on Apple TV+.

Rising fortunes among the ultra‑rich under the Trump administration have ignited a wave of tax‑reform campaigns across the United States. In California, volunteers like Karen Sanchez are gathering signatures for a one‑time 5% wealth tax targeting the state’s 200‑plus billionaires to offset federal cuts to hospitals, education and food‑assistance programs.At least ten states are exploring similar measures. Washington recently enacted its first income‑tax aimed at roughly 20,000 millionaire households, while Massachusetts and Minnesota already channel wealth‑tax proceeds into preschool, K‑12 meals and transportation infrastructure.On the federal front, Senators Bernie Sanders and Representative Ro Khanna have introduced the “Make Billionaires Pay Their Fair Share Act,” proposing an annual 5% levy on billionaire net worth. Khanna argues that the ultra‑wealthy fund private health insurers, defense contractors and political campaigns, creating a stark fairness gap.Data from Oxfam shows that in the twelve months after Trump’s re‑election, billionaire fortunes grew at a rate three times faster than the average annual growth of the previous five years. Meanwhile, the federal minimum wage has remained stagnant at $7.25 for fifteen years, underscoring the widening economic divide.A Data for Progress poll released last fall found that 70% of Americans believe the economic system favours corporations and the wealthy. “People are angry and want change,” says Amy Hanauer of the Institute on Taxation and Economic Policy (ITEP), noting that activists are leveraging every level of government to seek relief.The movement draws on a two‑decade history of class‑based activism, from the Occupy Wall Street protests to Senator Sanders’ 2016 campaign that foregrounded wealth‑tax proposals. Yet inequality has deepened: CEOs of the five largest U.S. firms now earn, on average, **$52 million** annually—over a thousand times the typical worker’s salary.Political spending by billionaires has also exploded. A recent New York Times analysis reveals that billionaire contributions rose from **0.3% of campaign funds in 2008** to **19% in 2024**, amounting to more than **$3 billion** from roughly 300 ultra‑rich donors, many of whom supported candidates opposing wealth taxes, including former President Donald Trump.The war in Iran has further inflamed resentment, with the United States spending **$11.3 billion** in the first week of bombardment—far exceeding the annual budgets of agencies such as the CDC, EPA and the National Cancer Institute.Local victories are feeding the momentum. New York City’s mayoral race saw Zohran Mamdani win on a platform that includes taxing the rich to fund affordable housing, groceries and transit. Councilmember Chi Ossé led a 1,500‑person march to the state capitol, urging Governor Kathy Hochul to permit a city‑level millionaire tax, a move that now has backing from some state Democrats.Beyond New York, states like Rhode Island, Hawaii, Pennsylvania, Virginia, Illinois and New Mexico are debating various wealth‑tax mechanisms, including the popular “mansion tax” on high‑value home sales. Currently, **17 localities** have adopted such taxes, most passed between 2018 and 2023.California’s gubernatorial race has become a flashpoint. Billionaire‑backed candidates Matt Mahan and Tom Steyer are vying to replace Governor Gavin Newsom, with the tech elite—such as Sergey Brin and Joe Lonsdale—pouring money into campaigns opposing the billionaire tax. Of the 30 billionaires who have contributed to the race, **25 supported Mahan**, who has positioned himself as a staunch anti‑tax candidate.For Sanchez, the stakes are personal. The proposed tax seeks to replace **$100 billion** in federal health‑care funding cut by Trump’s “One Big Beautiful Bill Act,” which threatens hospital closures and layoffs in the nation’s fourth‑largest economy. She aims to collect **875,000 signatures** by late June to secure the initiative on the November ballot.“It’s creating a network of groups all working toward a common good,” Sanchez says, reflecting a broader sentiment that collective action could finally translate the public’s demand for fiscal fairness into concrete policy.

Jonathan, the world's oldest living land animal, a 194-year-old giant tortoise, was recently caught in a viral crypto death scam. A fake social media post claiming his death was shared on X, garnering 2 million views and reported as fact by several news outlets, including the BBC. The post, attributed to an impersonator of Jonathan's vet, Joe Hollins, announced the tortoise's 'passing' and requested crypto donations. However, Hollins confirmed that Jonathan is very much alive and that the impersonator was based in Brazil. Jonathan, a Seychelles giant tortoise, has lived on Saint Helena since 1882. He resides on the grounds of the governor's mansion and has become a local celebrity, even appearing on the reverse of St Helena's 5p coin. Despite being blind from cataracts and having lost his sense of smell, Jonathan remains in good health with a strong appetite for bananas. The governor of Saint Helena, Nigel Phillips, shared a photo of Jonathan with an iPad displaying the BBC homepage as proof of life. The scam has caused concern in the small island community of approximately 4,440 people, highlighting the vulnerability of public figures, even those as long-lived as Jonathan, to crypto scams and misinformation.

Nick Candy, who serves as the honorary treasurer of Reform UK and is among its top financial backers, has completed the sale of his Chelsea residence for an estimated £275 million. The transaction, first reported by Bloomberg, is believed to set a new benchmark for residential sales in London and ranks among the world’s most valuable property deals. Known as Providence House, the Grade II‑listed estate sits within the grounds of the Royal Chelsea Hospital and features a private lake and swimming pool. The identity of the purchaser has not been disclosed. Land Registry records list the current owner as Providence House LLP, a partnership controlled by Candy, with his estranged wife, former pop star Holly Valance, also named as a partner. A mortgage charge from First Abu Dhabi Bank is registered against the title. Candy’s involvement with Reform extends beyond his treasurer role; he contributed roughly £1 million to the party last year and has been instrumental in high‑profile fundraising events, including a 2024 gathering for Donald Trump Jr. at the estate. He has previously been seen alongside Nigel Farage as the party promoted a “billionaires’ bonanza” scheme offering wealthy individuals a £250,000 fee for ten‑year residency and a special tax regime. Candy also attended a meeting between Farage and billionaire Elon Musk at Mar‑a‑Lago in December 2024. Alongside his brother Christian, Candy amassed his fortune through global property ventures. He continues to market other high‑value assets, including a £175 million penthouse at One Hyde Park and a Los Angeles mansion, while maintaining office space in Mayfair that also houses Farage’s company, Thorn in the Side. Originally purchased by Christian Candy in 2012, the Chelsea mansion was later transferred to Nick Candy, underscoring the family’s long‑standing presence in the UK’s luxury property market.

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."