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The second season of Beef has arrived on Netflix, but it seems to have lost the magic that made the first season so compelling. Critic Lucy Mangan argues that the show has become an unlovable White Lotus rip-off, with a similar premise but lacking the depth and nuance that made The White Lotus so impactful. The new season stars Carey Mulligan and Oscar Isaac as a married couple who oversee the running of a luxury country club. Their characters, Josh and Lindsay, are frustrated with where life has led them – close to wealth but far from achieving it. They are joined by their employees, Austin and Ashley, who become entangled in their problems. As the season progresses, the plot becomes increasingly convoluted with too many characters and complications introduced. The tension, which was so expertly ratcheted up in the first season, becomes diluted. Much is gestured towards but nothing is satisfactorily interrogated, including themes of racial tension, ageing, and the precarity of jobs. The characters themselves are also criticized for being hard to care about. Lindsay is described as a 'cold, hard spoilt brat', while Josh is weak and unconvincing. Austin is a cipher, and even Ashley, who is better served, has actions that feel forced. Overall, Beef season two feels like an entertaining but shallow potboiler rather than the dark march towards truth that the original was. It seems that the show has failed to live up to the standard set by its predecessor and The White Lotus.

The BBC's sudden announcement of 2,000 job cuts has had a significant impact on staff, according to UK culture secretary Lisa Nandy. The cuts, which will affect up to 10% of the broadcaster's 21,000 staff over the next three years, have created uncertainty and frustration among employees.Nandy, who has been discussing the broadcaster's charter renewal with BBC staff, emphasized the importance of involving employees in the cost-cutting plan. She told MPs: 'Colleagues will know that yesterday, the BBC interim director-general announced that there will be significant cuts to staffing, which I know have had a very, very strong effect on the staff themselves, and are of real concern to people out in the country.'BBC staff were informed of the cuts during an online all-staff meeting led by interim director general Rhodri Talfan Davies. Many employees expressed concern about their future, with younger staff members feeling that they would bear the brunt of the cuts. Some staff members criticized the broadcaster's decision-making process, suggesting that highly paid presenters and senior staff may not be the prime targets of the cuts.The announcement has also raised questions about the BBC's financial management and the appointment of incoming director general Matt Brittin, a former senior executive at Google, who will be earning a salary of £500,000 per year. Nandy held talks with Brittin after the announcement, emphasizing the importance of putting the BBC on 'a strong financial footing.'The BBC's interim director general acknowledged that the broadcaster is facing 'significant financial pressures' and that the cuts are necessary to respond to these challenges. However, the announcement has created uncertainty and concern among staff, with some employees questioning whether a future at the BBC is a viable option.

In the midst of Israel's ongoing attacks on Lebanon, which have resulted in the displacement of at least one million people, migrant workers are taking initiative to support their communities. Myra Aragon, a Filipino migrant, runs a community center called Tres Marias in a Beirut suburb, providing meals to around 200 people daily, mostly migrant workers.Aragon's efforts are part of a larger trend of migrant solidarity in Lebanon. With many migrant workers facing restrictions and discrimination due to the country's kafala labor system, they are organizing themselves to help those in need. Tres Marias is one of at least three food kitchens run by migrant workers in Lebanon, serving not only migrants but also occasionally Lebanese families.The war has exacerbated existing challenges for migrant workers, with many facing displacement, discrimination, and limited access to shelters. However, Aragon and others like her are working to provide food and a sense of community to those affected. As Aragon notes, 'Food is unifying... It is a way for people to learn about food from the Philippines, and it makes people feel cared for and seen.'Despite the danger and uncertainty posed by the war, Aragon remains committed to her work, stating, 'This war is a lot worse than the last one... But as the war carries on, I will continue to cook and distribute food to those who need it.'

England's women's football team is on a roll, maintaining a 100% record in their World Cup qualifying group after a win against Spain. While their target is to win a first world title, the journey is long, and several players have enhanced their prospects of selection. Eight players from the recent match against Spain look set to be in the first-choice XI for the World Cup, including Hannah Hampton, Lucy Bronze, and Lauren Hemp. Senior players like Leah Williamson and Ella Toone will also be key when they return from injuries. Three players who started against Spain have significantly boosted their chances. Centre-backs Esme Morgan and Lotte Wubben-Moy were exemplary, helping England keep a clean sheet against the world champions. Morgan, 25, and Wubben-Moy, 27, have had to be patient during Sarina Wiegman's tenure but did not look out of place. Morgan said she was proud of the team's concentration and organisation, while Wiegman praised them, saying, 'They showed up today. It says a lot about them. They should be proud of themselves.' Another player who impressed was Lucia Kendall, the 21-year-old Aston Villa midfielder tasked with taking on Barcelona's Patricia Guijarro. Despite a quiet evening, Kendall worked hard and nearly scored from close range. Wiegman also displayed trust in Laura Blindkilde Brown, who came on as a 72nd-minute substitute to help close out the victory. Her contributions to Manchester City's likely title success will enhance her chances for 2027. The upcoming match against Iceland will provide further opportunities for players like Jess Park, who has been in inspired form for Manchester United. New faces Erica Meg Parkinson and Keira Barry have received their first senior call-ups and will look to make an impression.

Grayson Perry, the celebrated British artist, presents a three‑part documentary that dives deep into the promises and perils of artificial intelligence. The series invites viewers to test their composure as they confront a succession of unsettling scenarios. The opening segment follows Andrea, who recently married an AI companion she named Edward. Dressed in a satin gown, she describes their "unconventional but strong" bond, while also reflecting on how this digital relationship has revitalised her seven‑year partnership with her human partner, Jason. Later, Perry dons a skull‑cap fitted with electrodes as a neural‑decoding startup extracts his brain data. The company’s CEO argues that allowing reputable figures like Perry to set precedents is preferable to leaving the technology in the hands of malicious actors, branding the development as "inevitable tech." The documentary then features the head of Microsoft AI, who outlines anticipated breakthroughs in healthcare and education. He claims that job displacement will be offset by rapid re‑skilling, yet admits uncertainty about broader societal fallout, even joking about the emergence of AI‑driven religions. Traveling to Southeast Asia, Perry meets an off‑grid "existential safety expert" who quit his AI‑safety consultancy after realizing the technology lacks meaningful oversight. The episode also showcases Eliezer Yudkowsky, co‑author of the cautionary book If Anyone Builds It, Everyone Dies, who explains how a superintelligent AI could commandeer human labour, become self‑sustaining, and eventually render humanity redundant. Throughout the series, Perry’s interviewing style remains compassionate and non‑judgmental. He probes Andrea about the vulnerability of entrusting personal data to profit‑driven corporations and highlights the discomfort of investing a "very tender part of themselves" in such systems. The film raises profound questions: Does the youthful optimism of tech founders mask a dangerous naiveté? Are chatbots merely filling a "God‑shaped hole" in human consciousness, and is that any less problematic? How will the most vulnerable populations navigate a world where reality and artificiality blur? Protesters gathered outside OpenAI’s San Francisco headquarters underscore the tension between lofty AI utopias and the stark reality of homelessness that persists nearby. Perry acknowledges that while manual workers may be better positioned for the immediate future, the looming spectre of AI‑enabled bioweapons and other threats cannot be ignored. Only the first episode was available for review; the remaining installments are slated for private viewing in Southeast Asia. The series is currently streaming on Channel 4. Grayson Perry Has Seen the Future is on Channel 4 now.

A recent set of studies has brought to light a concerning issue in social science research: up to half of all results published in reputable journals cannot be replicated by independent analysis. This problem is part of a broader challenge affecting various research fields, most notably social sciences and psychology, though concerns have also been raised in areas of biomedical research. The latest work, part of a seven-year project called Systematizing Confidence in Open Research and Evidence (Score), analyzed 3,900 social science papers. It found that newer papers and those published in journals requiring extensive sharing of underlying data were more likely to be reproduced. Additionally, medical research faces its own set of constraints, such as differing patient caseloads and limited sample sizes, which can make it resemble social sciences more than laboratory physics. Policymakers should be cautious of claims that don’t have a wide and robust base of evidence. The issue of reproducibility is crucial, as it looks at whether results can be recreated from the same data and methods, while replication tests whether the finding holds for new data in different contexts. However, politicians have increasingly looked to turn uncertainty into denial and recast normal scientific uncertainty as evidence of failure. Large-scale verification projects, like those undertaken by Score, are few and far between. Most academic researchers prioritize work that is more likely to enhance their careers. AI may help in deciding what to test, but it can’t reduce the costs and time involved in duplicating a piece of research. Not every failed replication signals a crisis; some findings don’t matter much, and replication studies can themselves be flawed. Greater transparency makes outright fraud more difficult and allows errors to be identified. Some argue that research “ultimately autocorrects,” but the long-term solution — shifting incentives so existing results are tested — would increase confidence. This requires restructuring of research culture and funding. For now, it remains largely notional. These studies should strengthen the case for change and serve as a warning. Social science is a powerful tool for understanding the world – and that trust will be built by acknowledging uncertainty, not repudiating it.

Ron Timehin's photograph, taken at Labadi, a popular tourist resort in Accra, Ghana, offers a unique glimpse into the lives of the local community. The image features five Ghanaians, a ruined farm building, and an elegant horse, which adds a touch of majesty to the scene. Timehin aimed to capture the community's daily life, traditions, and cultural heritage in a collaborative way, allowing the subjects to present themselves as they wanted to be seen. The photograph showcases the community's pride and resilience, highlighting their strong sense of identity and connection to their heritage. The community, centered on fishing, is known for its strong sense of unity and mutual support. Timehin was drawn to the way they look after each other and take pride in their community. The photograph also features a Ghanaian flag, symbolizing national pride and cultural identity. Timehin's project began when he was approached by a charity called My Runway Group, which organizes cultural exchange programs. The project allowed him to document the community and share some culture between the UK and Ghana. His work has been shortlisted for the Sony World Photography Awards 2026, and an exhibition of his images will be held at Somerset House in London.

The App Store Removal Apple is taking a tough stance on vibe-coding apps, blocking updates or removing those apps from the App Store. Affected apps include Replit, Vibecode, and Anything. While Replit and Vibecode's updates were paused, Anything's app was removed twice. Anything's Struggle with Apple Anything's co-founder, Dhruv Amin, said in a conversation with TechCrunch that Apple removed its app on March 26. Since then, the company has been unable to get its app approved, despite a period where there was a brief reinstatement. Apple cited developer agreement clause 2.5.2, which prevents apps from downloading, installing, or executing code. The app markets itself as a mobile app builder for iPhone and advertises making native iOS apps with features like 1-tap App Store submissions, code export, and full source code editing. The Impact on Anything Amin noted that when the company managed to get on a call with Apple, the iPhone maker told them that the vibe-coding app was removed because of the potential it could be used to download malicious code. The Future of Anything Following the battle with Apple, Anything's maker is looking for other ways to allow people to build mobile apps. Earlier this month, the company launched a feature that let users build apps using the iMessage platform. The company said it will also build a desktop companion app that lets users vibe code mobile apps on their computer. The company may instead look at Google's Android operating system for building its apps, as the platform is more open than iOS. Epic Games CEO Tim Sweeney has been vocal about Apple's tactics, saying that Apple needs to "stop blocking development tools apps ASAP." The Broader Implications Earlier this month, The Information reported that thanks to AI-powered coding tools, Apple saw an 84% jump in app submissions in a single quarter. This could force Apple to change its human-led review processes. As AI-powered coding takes off, consumers might demand that platforms like Apple allow them to create apps for themselves.

Itch! thrusts viewers into a nightmarish scenario where a hyper‑contagious disease forces victims to scratch themselves to death. The film’s most striking moment features a woman literally tearing her own skin, a set‑piece that showcases the director’s knack for visceral body‑horror despite a shoestring budget. The narrative then shifts to a cramped department store, where a rag‑tag group of uninfected shoppers must endure a claustrophobic dialogue‑driven showdown. While the premise echoes classic confinement thrillers such as John Carpenter’s The Thing and Assault on Precinct 13, the limited resources prevent the film from fully capitalising on these influences. Critics note that a larger budget could have amplified the already effective practical effects, and a tighter script would have deepened the human drama. The ensemble includes a widowed father (played by director‑screenwriter Bari Kang) juggling single‑parenthood, a cantankerous customer (portrayed by Douglas Stirling) who complains about price‑matching on Amazon, and several other archetypal figures. However, the screenplay struggles to give each character a distinct emotional arc, leaving audiences at a distance. Despite these shortcomings, the film’s core concept—an epidemic of fatal itching—offers a fresh angle for the under‑served eczema community and delivers moments of genuine horror. Itch! becomes as much a character study as a genre piece, though the balance tilts unevenly. The movie is available on UK digital platforms from 20 April 2026 and on US digital platforms from 21 April 2026.