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The Erosion of Digital Anonymity Apple's 'Hide My Email' feature, designed to shield user identities from apps and websites, has been exposed as ineffective against federal subpoenas. The company recently revealed it provided real names and email addresses to the FBI and ICE, undermining the feature's promise of anonymity for paying iCloud+ subscribers. This disclosure highlights a critical vulnerability in the privacy architecture of major tech platforms, where 'anonymity' often depends on the willingness of the provider to withhold data. The 'Hide My Email' Loophole The feature allows iCloud+ subscribers to generate anonymous email aliases that forward messages to their private inbox. While Apple claims it does not read the content of these forwarded messages, the legal mechanism allows authorities to bypass the alias entirely. In a recent affidavit, the FBI revealed that Apple provided the real identity behind an anonymized address used in a threat investigation against Kash Patel's girlfriend. Similarly, ICE agents obtained records linking multiple anonymized accounts to a specific individual involved in an alleged identity fraud scheme. Metadata vs. Content The data shared with law enforcement goes beyond simple forwarding logs; Apple provided the account holder's full name, email address, and billing information. In one instance, Apple disclosed records for 134 anonymized email accounts created via the feature. This indicates that while the content of emails remains private, the ownership of the account is easily accessible to authorities with a valid legal request. The distinction between encrypted content and unencrypted metadata is becoming the primary battleground for digital privacy. End-to-End Encryption Limits This incident underscores a critical distinction in modern cybersecurity: the difference between end-to-end encryption (E2EE) and account metadata. Apple touts its services as E2EE, meaning only the user can access their data. However, this protection does not extend to the account registration details, billing history, and unencrypted routing information that Apple stores. As a result, the demand for alternative privacy tools like Signal, which offer stronger protections against metadata collection, is likely to increase among privacy-conscious users. The Future of Privacy vs. Security As law enforcement agencies increasingly rely on metadata to solve crimes, tech companies will face mounting pressure to balance user privacy with national security obligations. We can expect a rise in legal battles regarding the scope of 'anonymized' services and a potential shift in consumer behavior, where users seek out services that offer true anonymity rather than just obfuscation.

Lonely lives, falling between the gaps, are at the heart of this 1935 psychological thriller by Rodney Ackland, adapted from Hugh Walpole's novel. It's an atmospheric period piece, but isn't entirely a stretch to reflect on our own concerns about solitude in an ageing population.The three ladies in an English cathedral town are without partners, families or much of an income. They eke out their genteel poverty in a rickety boarding house. They weren't raised to work; Miss Beringer, in desperate need of a job, can only imagine becoming a paid companion or, possibly, flower arranging.In Brigid Larmour's finely etched production, irritable passions ferment beneath the frowsty knits and beads. The characters are prey to spite and greed, nerves and night terrors. Voices are tremulous; eyes glance at a fearful future.Beringer is the new lodger: Catherine Cusack, whittled by anxiety, timidly nibbles on a scallop-edged biscuit. She is welcomed by Julia Watson's Mrs Amorest, flustered but keeping up appearances. Down to her last £10, she writes into the void to a long-absent son.The third lady is Agatha. Fruitily overblown in the novel, that's how Edith Evans played her in 1935. Abigail Thaw makes her disconcertingly eccentric: forbidding in jet black, she mocks and snaps at quivering Miss Beringer. She covets Beringer's one cherished possession – a translucent chunk of amber from a beloved female friend.It's a play of cross-hatched conversations and melodramatic plotting. Larmour's design team help turn the screw: the dank-toned house and clothes in tones of moth and cobweb, a bitter wind blowing.Ackland's plays about rackety lives are increasingly revived. He, Walpole and John Gielgud, the play's original director, were all queer artists, and it's tempting to imagine them drawn to these lives on the margins of British society. Though these ladies don't so much rage against the dying of the light as wait, fearfully, to be snuffed out.

Apple’s Lockdown Mode: Four Years of Zero Successful BreachesAfter almost four years since its launch, Apple has confirmed a significant milestone in consumer cybersecurity: no user with Lockdown Mode enabled has been successfully hacked with mercenary spyware. In a statement to TechCrunch, Apple spokesperson Sarah O'Rourke confirmed that the company is not aware of any successful attacks against devices protected by this feature, representing a four-year streak of effectiveness against some of the most sophisticated state-sponsored hacking tools in existence.The Architecture of Resistance: How Lockdown Mode WorksLockdown Mode is an opt-in security feature designed to harden Apple devices against exploits that are typically used by state-sponsored actors. By restricting certain functionalities, the feature effectively shrinks the attack surface available to hackers.Feature Restrictions: It disables most message attachments and restricts WebKit features.Targeted Threats: It specifically counters exploits used by notorious spyware vendors like the NSO Group, Intellexa, and Paragon Solutions.Zero-Click Exploits: It blocks remote attack chains that do not require user interaction, such as zero-click exploits.Security experts, including Patrick Wardle, describe this as one of the most aggressive consumer-facing hardening features ever shipped. By eliminating entire delivery mechanisms, the feature forces spyware developers to use more complex and expensive techniques to bypass the defenses.The Zero-Breach MilestoneDespite Apple sending notifications to users in over 150 countries alerting them to potential hacking attempts, the data remains clear: Lockdown Mode has not been bypassed in any confirmed case. Independent investigations by organizations like Amnesty International and the University of Toronto’s Citizen Lab have corroborated Apple's findings.Independent Verification: Amnesty International's Donncha Ó Cearbhaill confirmed no evidence of successful compromise where Lockdown Mode was active.Active Blocking: Citizen Lab documented instances where Lockdown Mode actively blocked attacks from NSO's Pegasus and Predator spyware.Evasion Tactics: Some spyware variants have been observed to abort attacks entirely if Lockdown Mode is detected, likely to avoid detection by security researchers.Shifting the Burden of Defense to the ConsumerThe success of Lockdown Mode marks a pivotal shift in the cybersecurity landscape. Historically, high-end security was the domain of governments and large corporations. Apple is now effectively forcing the burden of defense onto the individual consumer.While the feature requires users to accept a trade-off in usability—such as extra steps for copying links or occasional confusing notifications—the data suggests the trade-off is worth it for high-risk targets. The feature has successfully neutralized the most common vectors used by mercenary spyware, rendering them ineffective against the vast majority of attackers.The Future of Digital HardeningLooking ahead, the success of Lockdown Mode sets a new standard for consumer device security. As spyware vendors adapt to this new reality, we can expect a cat-and-mouse game where attackers attempt to find new vulnerabilities. However, for the foreseeable future, Lockdown Mode remains the gold standard for protecting individuals from state-sponsored digital intrusion.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

Raoul Peck's documentary about George Orwell and his enduring relevance takes as its keynote the heretical masterpiece Nineteen Eighty-Four and its famous scene about the state compelling people to believe whatever it says is the truth: that two and two make five. This Orwellian anti-arithmetic of tyranny has become a political meme often repeated in social media debates.The simple experience of hearing Orwell's prose, both from his published work and letters and diaries, read aloud by Damian Lewis, is invigorating and refreshing. There's an interesting emphasis on Orwell's physical frailty, with him effectively composing his masterwork in the shadow of death. Peck amusingly juxtaposes Orwell's sickness with Winston Smith being made to do exercises and the infatuation of tyrannical regimes with public displays of physical fitness.Peck cites various movie and TV adaptations of Nineteen Eighty-Four and includes footage of Jura, where Orwell went to live, and archive photo records of Orwell's childhood and early working life as a policeman in Burma. The film also shows how Orwell predicted the rise of AI in propaganda and in soulless bread-and-circuses for the masses.The film falls down in not focusing on actual theocracies of the present day and the Orwellian qualities of Isis and Hamas. The question of how far Orwell renounced his own earlier antisemitic tendencies is not entirely addressed in this film.Orwell was disliked by some on the left for daring to write Nineteen Eighty-Four and disliked still more with the revelation 30 years ago that in 1949 he had handed over to British authorities the names of 38 public figures he considered 'crypto-communists' – a fact from which this film averts its eyes. But Orwell's complications don't compromise his genius for truth-telling.

Egil Johansen, the landlord of the Kenton pub in Hackney, east London, describes recent incidents involving children as "like the wild west." He has now banned children entirely after a three-year-old fell down a cellar hatch while parents sat elsewhere, a five-year-old crashed into staff carrying drinks, and six parents brought 10 hyperactive children after a birthday party while ignoring their behavior."In every case, the parents blame us when something goes wrong or get really angry when we ask them to control their children," says Johansen, who has run the pub for 17 years. "I'm legally obliged to keep children safe on my premises and if the parents let their children run riot, the only answer is to not allow them in at all."Johansen initially tried banning children only after 5pm, but this interim measure failed to address the underlying issues. Despite online criticism framing him as the "baddie," he expresses sadness about the situation: "I'm a publican; I'm a people-person. It gives me no joy to ban anyone, but it's just not safe: parents don't control their children and our other customers were beginning to go elsewhere. I had no choice."The Kenton's decision reflects a growing trend among UK pubs seeking to differentiate themselves from establishments that "resemble soft play centres without the ball pit." While some welcome this shift, others view it as unwelcoming to families, creating a culture war in the pub industry.Lee Jones, landlord of the Brewers Arms in West Malvern, Worcestershire, reversed a previous child ban: "We're dog-friendly, child-friendly, adult-friendly. We're just friendly – we don't distinguish. Pubs are for the community and I don't see bans in the spirit of what we're here for." Jones reports that when children become rowdy, staff can address the issue with parents, though this is rarely needed.Stephen Boyd, who runs the Alma in south London, took a different approach after attempting to attract young families. He found families with children consumed disproportionate time and resources with special requests for diluted drinks, heated beverages, and customized meals, while adult customers waited longer for their orders."You just need a couple screaming, banging on a table or running up and down, and it dictates the whole atmosphere of the pub," Boyd says. "Parents would take massive umbrage if staff asked them to stop their children doing something." After implementing a child ban, he describes the change as "a fucking revelation" with staff retention improving and takings doubling.Despite the positive results, Boyd faced significant backlash: "I got a lot of online hate. Mainly from people who had never been to the pub but felt I was doing something morally hateful."Tom Stainer, chief executive of the Campaign for Real Ale, acknowledges the debate is "very live" but emphasizes: "But you do have to look at the responsibility of the parents in these situations, not just at the pubs. They're the ones responsible for making sure that their children behave."Financial considerations also drive some decisions. Mandy Keefe, landlady of the Wheel Inn in Ashford, banned children partly for behavioral reasons but also financial ones: "If a third of my Sunday customers were children eating from a reduced-rate child's menu and not drinking any alcohol, that wouldn't be financially viable."Across the UK, pubs are making individual decisions based on their specific circumstances, but as Johansen's experience demonstrates, it only takes one serious incident to settle the question for good.

Israeli Finance Minister Bezalel Smotrich has called for the annexation of southern Lebanon, stating that the region's bombardment "needs to end with a different reality entirely", including a "change of Israel's borders".In a radio interview, Smotrich suggested that the new Israeli border should be the Litani River, a critical waterway in southern Lebanon. This comes as Israel continues its military operations in the area, targeting residential buildings and civilian infrastructure.The United Nations has warned that Israeli attacks may amount to war crimes, with over 1,039 people killed, including 118 children, and 2,876 wounded in Lebanon since early March. The conflict has also led to the displacement of over 1.2 million people, with many fleeing under threat of attack.The Israeli military has issued forced displacement orders for southern Lebanon and the southern suburbs of Beirut, prompting hundreds of thousands to flee. The World Health Organization has recorded at least 64 attacks on healthcare facilities, resulting in 51 deaths and 91 injuries.

The film 'Empire of Lies' starts with a promising premise for a low-budget psychological thriller, set entirely in a field in Gloucestershire. The story revolves around Dave, a middle-aged man played by Joseph Millson, who lives in a caravan and keeps a gun in his kitchen cupboard. His life takes a dramatic turn when a young woman, claiming to be a YouTuber, enters his field with a camera.The woman, played by Natalie Spence, uncovers a dark past, revealing that Dave's climate-activist daughter has been murdered, with Dave as the prime suspect. The police lack evidence to charge him, but the media has vilified him. As the story unfolds, it becomes clear that Dave is a far-right conspiracist with extreme views on various topics, including Covid and dinosaurs.The film's tension builds as Dave shares his side of the story with the YouTuber, who initially appears earnest in her pursuit of truth. However, the script and direction struggle to maintain the high-wire act, making the twist ending feel somewhat unsatisfying. Despite solid performances from the actors, the film fails to generate enough genuine emotion or intrigue to keep viewers engaged.'Empire of Lies' is set to release in UK cinemas on March 27 and on digital platforms on April 13.

The USAID agency was a primary financial backer of Liberia's eco-guards, who help protect species from poaching and trafficking. The eco-guards, all of whom live in forest communities, patrol for signs of illegal activity and share their findings with rangers from nearby parks and forests.In late January 2025, the SCNL learned that USAID, the eco-guards' primary financial backer, was being dismantled by the Trump administration and that funding had been abruptly suspended. The SCNL programme manager, Michael E Taire, a Liberian who lives in the capital, Monrovia, spent several days travelling over rough forest roads to break the news to the eco-guards, who were shocked and distraught.Conservation organisations large and small lost tens of millions of dollars, forcing some to function with a fraction of the resources they had expected and others to shut down programmes entirely. Efforts to address the root causes of wildlife trafficking across the globe were axed, as was USAID's forest-protection programme in the Congo basin of central Africa, one of the agency's largest and most enduring endeavours.David Kaimowitz, a longtime advocate of community-led conservation in the Amazon basin and Central America, puts it bluntly: 'We’re talking about an end to a whole era of conservation.'Diane Russell, an American anthropologist who has worked for USAID in the Congo basin since the 1980s, says the agency helped draw international attention and funding to the region’s remarkably rich remaining forests, which are home to mountain gorillas and forest elephants. It also enabled conservation to continue through extraordinarily difficult conditions.'The callous glee with which [the Trump] administration choked off aid is something I will never forgive or forget,' Kevin Starr writes.'We cannot replace USAID, but we can do big things, because we, the locals, were the engine behind what USAID was doing in this region,' Dida Fayo says.