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The United States has long honored past presidents by naming airports, dams and monuments after them, but President Donald Trump is pushing the practice to an extreme, seeking to become the most commemorated leader in American history. Less than a year and a half into his second term, Trump’s brand has proliferated across government buildings, federal agencies and even consumer platforms. In February, the administration unveiled TrumpRx, a prescription‑drug website that listed only 43 medications—most of which are available as cheaper generics elsewhere—yet proudly displayed the former president’s signature and logo. Just weeks later, the White House and the U.S. Navy announced a new "Trump class" of battleships, billed as the "largest ever built." A Pentagon release noted that the Navy has not used battleships in combat for 35 years, suggesting the project is more a vanity exercise than a strategic necessity. Federal institutions have not been spared. In December 2025 the U.S. Institute of Peace was renamed the "Donald J. Trump United States Institute of Peace," a move the White House framed as a reminder of "strong leadership" for global stability—just weeks before the administration launched a military strike on Iran. Trump’s influence extended to the arts when, in February 2025, he appointed a new board to the John F. Kennedy Center for the Performing Arts and installed himself as chair. The board voted in December to rename the venue the "Donald J. Trump and John F. Kennedy Center," a change that immediately faced a legal challenge. Republican lawmakers have largely embraced the naming spree. One congressman introduced legislation to carve Trump’s likeness onto Mount Rushmore, while another proposed naming a major airport after him, underscoring the party’s willingness to reward the president’s personal brand. Political scientist Steven Levitsky of Harvard warned that Trump operates "unconstrained" by advisers or party elders, noting that today’s Republican ambition often hinges on pleasing the president, including attaching his name to public projects. Visual propaganda has also surged. Giant banners bearing Trump’s image now hang from the Department of Justice and the Department of Labor buildings, a rarity for a sitting president and a practice more typical of authoritarian regimes, according to Princeton sociologist Kim L. Scheppele. Beyond buildings, the administration has pursued numismatic honors. A 24‑karat gold coin featuring Trump standing over a desk was approved by a hand‑picked arts commission, and drafts of a new $1 coin displayed an air‑brushed profile of the former president. The Treasury Department announced that Trump’s signature will appear on U.S. paper currency later this year, a move Treasury Secretary Scott Bessent described as a "powerful way to recognize historic achievements" of the nation. Critics argue that the public does not share the president’s enthusiasm. The 2026 National Parks Pass, which traditionally showcases natural scenery, sparked outrage when a draft featured Trump’s stern face with a spectral George Washington behind him. A cottage industry of stickers emerged to cover the image, forcing the National Park Service to warn that such alterations could void the pass. White House spokesperson Davis Ingle defended the branding, claiming it reflects Trump’s “vast accomplishments,” including the largest tax cut in history and border security measures. Yet scholars and opponents contend that the relentless self‑promotion blurs the line between public service and personal aggrandizement. As the branding campaign continues, legal challenges, public pushback, and questions about fiscal priorities suggest that Trump’s quest to name everything after himself may soon encounter more than just decorative resistance.

More than 100 United States‑based international law scholars have signed an open letter denouncing the recent US‑Israeli strikes on Iran as a violation of the United Nations Charter and potentially amounting to war crimes. The letter, released on Thursday, asserts that the campaign – launched on February 28 – proceeded without UN Security Council authorization and without credible evidence of an imminent Iranian threat. According to the scholars, the legal basis for force against another state exists only in self‑defence against an actual or imminent armed attack, or when expressly sanctioned by the Security Council. Iran has not attacked the United States or Israel, and the Security Council did not approve the operation. The experts organize their concerns into four categories: the legality of the war decision, the conduct of hostilities, threatening rhetoric from senior officials, and what they describe as the dismantling of civilian‑protection safeguards within the US defence establishment under Secretary of Defense Pete Hegseth’s “gloves‑off” approach. Among the most alarming incidents highlighted is the strike on a primary school in Minab, Iran on the first day of the conflict, which killed at least 175 people, the majority of them children. The letter also cites attacks on hospitals, water treatment facilities, and energy infrastructure, emphasizing that schools, health facilities, and homes have been targeted. The signatories condemn public statements by senior US officials, including a mid‑March remark by former President Donald Trump that the United States might strike Iran “just for fun,” and early‑March comments from Pentagon chief Pete Hegseth dismissing “stupid rules of engagement.” They argue that such rhetoric reflects an “alarming disrespect” for international humanitarian law, which is designed to protect civilians and combatants alike. Financially, the letter notes that the war is costing US taxpayers up to $2 billion per day, underscoring the broader economic burden of the conflict. The open letter was co‑authored by prominent legal scholars such as Yale Law School’s Oona Hathaway, former State Department legal adviser Harold Koh, NYU’s Philip Alston, and former Human Rights Watch chief Kenneth Roth. While the authors focus on the United States’ conduct, they warn of a heightened risk of atrocities throughout the region. Emphasizing the need for consistent application of international law, the scholars write: “We urge US government officials to uphold the UN Charter, international humanitarian law, and human rights law at all times, and to publicly make clear US commitment to and respect for norms of international law.”

Iranian military units have launched a coordinated search for the two pilots of a United States F‑15 fighter jet that was struck by an Iranian air‑defence system over the country's southwest region. The operation, reported by the state‑run Fars news agency, is the first documented crew‑recovery effort since the US‑Israeli war with Iran began on 28 February. State media released images showing the aircraft's wreckage, including an ejection seat attached to a parachute, underscoring the seriousness of the incident. Reuters cited two U.S. officials confirming that a fighter jet was downed and that a search‑and‑rescue mission is underway for any survivors. Iranian Parliament Speaker Mohammad‑Bagher Ghalibaf used the event to mock President Donald Trump’s repeated claims of victory, posting on social media that the conflict had been reduced from "regime change" to a plea for the location of the pilots. According to Iranian reports, the downed aircraft was an F‑15 likely crewed by two pilots. The Pentagon and U.S. Central Command (CENTCOM) have not issued an immediate comment, a pattern consistent with past Iranian claims that CENTCOM swiftly denied. Local Iranian television broadcast footage of the jet's debris, and officials appealed to civilians to remain vigilant for any survivors. The governor of Kohgiluyeh and Boyer‑Ahmad province announced that anyone who captures the crew would receive special commendation, as relayed by the semi‑official ISNA news agency. U.S. lawmakers responded with statements of support. Senate Minority Leader Chuck Schumer posted on X, "I’m praying for the safe return of the crew aboard the fighter jet and all of those working to rescue them in these dangerous conditions." Since the war's onset, the United States has reported the loss of three F‑15s in a friendly‑fire incident over Kuwait and a refuelling aircraft that crashed in Iraq, killing six crew members. Iran, meanwhile, claims to have downed dozens of U.S. drones and continues to assert that its new air‑defence system, introduced after the 12‑day war, remains operational. While President Trump and his advisers repeatedly assert that the United States has neutralised Iran’s air‑defences, the downing of the jet and the ensuing search highlight the ongoing volatility of the conflict.

Defense Secretary Pete Hegseth instructed Army Chief of Staff General Randy A. George to step down with immediate effect, a move announced on X by Pentagon spokesperson Sean Parnell on Thursday. The statement said George would "retire from his position" but offered no explanation, a notable omission given the ongoing US‑Israel war against Iran.The abrupt removal adds to a string of high‑profile dismissals that have occurred since Hegseth assumed office in January. CBS first reported the decision, citing a source who said Hegseth seeks a leader who will execute his and President Donald Trump's strategic vision for the Army.Appointed in 2023 under former President Joe Biden, the 61‑year‑old General George brought extensive combat experience from Iraq and Afghanistan. During his tenure he was praised for cutting redundancies and championing new technologies such as low‑cost missile‑interceptor drones and artificial‑intelligence‑driven targeting systems.According to The New York Times, the firing may be tied to a dispute over Hegseth’s decision to block the promotion of four officers from a list of 29. While most of the blocked officers were white men, the two remaining were Black and two were women, prompting senior officers to question whether racial or gender bias influenced the action. When General George sought a meeting with Hegseth to discuss the matter, the defense secretary reportedly refused.In addition to George, Hegseth dismissed two other senior officials on Thursday: General David M. Hodne, head of the Army’s Transformation and Training Command responsible for modernization efforts, and Major General William Green Jr., the Army’s chief of chaplains. The Pentagon has not formally confirmed these removals, though the Joint Chiefs of Staff issued a tribute praising George’s decades of service.The personnel shake‑up unfolds against a broader backdrop in which US and Israeli officials have framed the Iran war as a religious undertaking. The Military Religious Freedom Foundation reported receiving complaints that senior commanders described the conflict as aiming to bring about “Armageddon” or the biblical “end times.”Earlier, in October, former Army Vice Chief of Staff General James J. Mingus retired a year ahead of schedule, with no reasons disclosed, adding to speculation about internal turbulence within the Pentagon.

The Life Is Strange series, which debuted in 2015, has been praised for its unique storytelling and character development. The final chapter, Reunion, reunites protagonists Max Caulfield and Chloe Price as adults, concluding their decade-long story. The game follows Max, now a photography professor at Caledon University in Vermont, as she attempts to prevent a deadly fire from destroying the campus. Her time-traveling powers allow her to rewind time and interrogate students and faculty to unmask the future arsonist. This is when Chloe reappears, sparking a rekindled love story between the two characters. The game's narrative explores themes of first love, relationships, and the impossibility of avoiding the pain of loss. While the deduction aspect of the game is light, the plot is simple and free of narrative lacunae. The characters, particularly Chloe, are well-developed and likable, making the game's conclusion emotionally impactful. Reunion zeroes in on the best aspects of the Life Is Strange series, including its focus on character relationships and emotional storytelling. The game's ability to evoke feelings in players is a testament to its success, making it a memorable conclusion to the series.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.

The United States is expanding its military footprint in the Gulf as the US‑Israel war with Iran enters its second month. Since the Feb. 28 launch of Operation Epic Fury, a joint air campaign targeting Iranian military and nuclear sites, more than four weeks of strikes have resulted in thousands of casualties.Defense Secretary Pete Hegseth announced the deployment of a third aircraft carrier, the USS George HW Bush, joining the USS Abraham Lincoln, which is currently conducting daily combat sorties from the Arabian Sea, and the USS Gerald Ford, now under maintenance in Croatia.These carrier groups carry thousands of sailors, Marines and specialised support personnel, forming the core of the US’s power projection in the region.Carrier Strike Group (CSG) refers to an aircraft carrier plus its escort ships and support units that together function as a floating base. A typical CSG includes:An aircraft carrier60‑75 fighter jets and helicopters2‑4 Arleigh Burke‑class destroyersA guided‑missile cruiserA submarine for underwater protectionSupply shipsAs of April 1, the USS Abraham Lincoln remains the only carrier launching daily combat missions against Iranian targets, while the USS George HW Bush is en route and expected to eventually replace the Gerald Ford in the Mediterranean.Amphibious Ready Group (ARG) operates as a mini‑carrier, carrying US Marines and equipment for sea‑to‑land invasions. The USS Tripoli ARG arrived in the Middle East on March 27, and the USS Boxer ARG is expected to join the theater by mid‑April. An ARG typically comprises:Three specialised ships~2,200 Marines (a Marine Expeditionary Unit)Short‑takeoff aircraftLanding craft for beach assaultsThe key distinction: ARGs are built to land troops on shore, whereas CSGs are designed to project air power and conduct major naval warfare.A Marine Expeditionary Unit (MEU) is a rapid‑response, self‑contained force of 2,200‑2,500 Marine Corps personnel capable of combat and humanitarian missions. On Friday, US Central Command confirmed that 2,200 Marines from the 31st MEU arrived in Middle Eastern waters after departing Sasebo, Japan, on March 13. A second unit, the 11th MEU with roughly 2,500 Marines, is inbound after leaving San Diego on March 18.The Pentagon has also ordered about 2,000 soldiers from the 82nd Airborne Division to move to the region, adding to the approximately 50,000 US troops already stationed in the Middle East.An MEU is organized into four elements:Command Element – ~200 personnel for planning and command‑and‑control.Ground Combat Element – ~1,200 troops centered on an infantry battalion with artillery and armoured vehicles.Aviation Combat Element – ~500 personnel operating transport helicopters, attack aircraft and Osprey tilt‑rotors.Logistics Combat Element – ~300 personnel providing up to 15 days of self‑sustainment, including medical, engineering and maintenance support.MEUs are typically deployed aboard a three‑ship ARG, which serves as a floating base. The ships include:Landing Helicopter Assault/Dock – a small carrier carrying short‑takeoff aircraft such as F‑35Bs and attack helicopters.Amphibious Transport Dock – a mid‑size vessel transporting troops and heavy vehicles.Dock Landing Ship – primarily for cargo and heavy equipment.MEUs can execute sea‑to‑land assaults, raids, evacuations, humanitarian aid and disaster‑relief operations, and they are often the first forces on the ground in emerging conflicts.The US Marine Corps maintains seven active MEUs; the 31st (Asia‑Pacific) and 11th (West Coast) are currently assigned to the Iran war. The other units are distributed as follows:East Coast: 22nd, 24th, 26th MEUWest Coast: 11th, 13th, 15th MEUAsia‑Pacific: 31st MEUTypically, three MEUs are forward‑positioned at any time, rotating through deployments in the Mediterranean, Gulf and Asia‑Pacific regions.Historically, MEUs have played pivotal roles in US operations: during the 2001 Afghanistan invasion, the 15th and 26th MEUs conducted one of the longest amphibious vertical insertions; in 2003‑2004 they helped secure Iraqi ports and fought in Fallujah; and in 2024 they provided sea‑based support for the attempted abduction of Venezuelan President Nicolás Maduro.

As Easter approaches, concert halls from London to Leipzig are flooded with performances of Johann Sebastian Bach’s masterpieces, most notably the St Matthew Passion and the St John Passion. Chart data from the Official Classical Chart, Apple Music’s classical rankings and specialist listings show Bach out‑performing every other composer, with releases such as Yunchan Lim’s take on the Goldberg Variations and Raphaël Pichon’s recording of the St John Passion leading the pack.Two vivid descriptors have captured the public’s imagination this week: “Bach the zombie” and “Bach the meat‑grinder.”strong> Violinist James Ehnes coined the former to highlight the music’s ability to survive any arrangement or re‑imagining, while Guardian critic Clive Paget used the latter to describe the relentless, visceral intensity of the opening chorus in Pichon’s St John Passion recording.The “meat‑grinder” metaphor points to Bach’s obsessive repetitions and searing harmonies that convey the raw agony of the Passion narrative. In contrast, the “zombie” image underscores the composer’s uncanny durability: his works thrive whether rendered for saxophone quartet, Wendy Carlos’s synthesizers, Leopold Stokowski’s lush orchestration, or even a mandolin played in a New York park.Bach’s presence on the silver screen further illustrates his cultural elasticity. His slow, stately rendition of the final chorus of the St Matthew Passion underscored Pier Paolo Pasolini’s 1964 film The Gospel According to St Matthew, while the haunting aria from the Goldberg Variations was famously chosen by Hannibal Lecter in The Silence of the Lambs as he prepares a gruesome act. These examples show how Bach can serve as both spiritual solace and chilling inspiration.Modern performers continue to reinvent the canon. Pianist Víkingur Ólafsson, who logged more than ninety performances of the Goldberg Variations in a single year, describes each rendition as a “religious pilgrimage” that reshapes the listener’s experience. Meanwhile, mandolin virtuoso Chris Thile released a second volume of Bach’s Sonatas and Partitas performed on his instrument in Tompkins Square Park. The recording captures ambient city sounds—birds, footsteps, fellow buskers—blending them with Bach’s intricate C‑major fugue to create what Thile calls “the effortless fugue of city life.”These diverse reinterpretations confirm a simple truth: Bach’s music is indestructible. Whether heard in a grand cathedral, a streaming playlist, or a bustling park, his compositions adapt without losing their core emotional impact. This Easter, listeners are invited to embrace Bach not as a relic confined to history, but as a living, breathing force that continues to energise and inspire across genres and generations.

The resurgence of existentialist cinema is marked by François Ozon's adaptation of Albert Camus's 'The Stranger'. This 2026 film breathes new life into the classic novel, exploring themes of absurdity and individual morality. Camus's 'The Stranger' has been adapted before, notably by Luchino Visconti in 1967. However, Ozon's version stands out with its political focus on colonial power relations and a fresh perspective on the protagonist, Meursault. Existentialism, a philosophy that questions life's purpose without divine guidance, influenced 20th-century thought through figures like Jean-Paul Sartre, Simone de Beauvoir, and Camus. The movement briefly influenced cinema, particularly through the French New Wave. The connection between existentialism and film noir is also explored, with the genre reflecting nihilistic undercurrents of the interwar period. Existentialist themes continue to permeate modern cinema, influencing films like 'Taxi Driver', 'Blade Runner', and 'The Truman Show'. Ozon's adaptation shifts the focus to colonialism, making it a more politically charged interpretation. This shift raises questions about whether the film remains strictly existentialist or if it incorporates moralizing overtones. The article concludes by suggesting that existentialism's core ideas remain relevant, especially in today's chaotic world. Films like Olivier Laxe's 'Sirāt' capture the existentialist spirit by portraying characters navigating absurd and precarious situations.