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A Guardian investigation has shed light on the dark reality of child sex trafficking on Facebook and Instagram, prompting a landmark lawsuit against Meta. The tech giant has been fined $375m in a New Mexico court case, highlighting its failure to prevent criminal exploitation on its platforms.The investigation, led by reporter Katie McQue, began with a tip-off about surging child sexual abuse trafficking in the US. It uncovered evidence of traffickers using Facebook Messenger and private Instagram accounts to target, groom, and exploit children. Meta was found to be struggling to prevent these crimes, despite warnings from experts and law enforcement.The probe involved extensive research, including analysis of court documents and interviews with former Meta contract workers. These workers reported that their efforts to flag and escalate possible child trafficking often went unaddressed, and harmful content was rarely removed.The investigation's findings were published in April 2023, revealing how Facebook and Instagram had become marketplaces for child sex trafficking. The case was cited in a US supreme court amicus brief, and New Mexico's office of the attorney general filed a lawsuit against Meta for failing to protect children.The lawsuit went to trial, and Meta lost the court battle in March, being ordered to pay $375m in civil penalties. The company has said it will appeal the ruling, maintaining its stance on protecting teens online.This case marks a significant milestone in the ongoing scrutiny of social media platforms' role in combating child exploitation. Meta faces further trials, including one with a coalition of 33 attorneys general alleging the company designed features that 'purposefully addict children and teens.'

German coaches have long joked about “following your opponent into the loo”, a tongue‑in‑cheek reference to the old‑fashioned man‑marking system that once defined their defensive work‑rate. That approach resurfaced after Atalanta’s surprise Europa League triumph in 2024, but the tactic proved disastrous when the Italian side faced Bayern Munich in the Champions League round‑of‑16, suffering a 10‑2 aggregate defeat that highlighted its limitations against superior individual talent.While a few Bundesliga sides have begun to experiment with tighter marking again, the author warns that such a strategy can only serve as a short‑term surprise element – it cannot sustain a full 90‑minute match on a pitch that is simply too large for pure man‑to‑man battles.In contrast, Spanish teams continue to perfect a ball‑oriented defensive structure built on clearly defined positions, coordinated movement and a collective “swarm” that shifts the battle into the opponent’s half. This philosophy demands constant cooperation and tactical intelligence, turning one‑on‑one duels into moments of brilliance rather than the default defensive method.The results speak for themselves: Spanish clubs have captured 24 titles across the Champions League, Europa League and Cup Winners’ Cup since 2000, far outpacing England’s 11, Italy’s five and Germany’s four. Over the past twelve seasons, La Liga has supplied the Champions League winner in seven instances, and this year it again provides the most quarter‑finalists – Real Madrid, Barcelona and Atlético Madrid.Even when Spanish clubs are not the outright favourites, their influence permeates the competition. Managers such as Mikel Arteta and Luis Enrique, both products of the Barcelona coaching lineage, embed the Spanish style into English and French clubs respectively, while still adding their personal nuances.Spanish coaches now dominate the European scene: in the last‑16 stage of the three major tournaments, eleven managers are Spanish, more than double the count from any other nation, and three Spaniards are already represented in the quarter‑finals.Notable figures include Xabi Alonso, who halted Bayern’s dominance with Bayer Leverkusen, Unai Emery, who consistently elevates second‑tier clubs like Aston Villa, and Cesc Fàbregas, who is reshaping Serie A with Como. Even Pep Guardiola, after a rare Champions League exit, is reinventing his Manchester City side with fresh personnel and tactical tweaks, proving that even the most successful systems must evolve.At the national level, Luis de la Fuente has overseen Spain’s rise to European glory, guiding the senior side to the 2024 Euro title and adding two more continental crowns in the past five editions – a dominance unmatched since Germany’s golden era of the 1970s‑80s.By contrast, Italy’s historic football school appears to be in decline. No Italian club has reached this year’s Champions League quarter‑finals, and the national team failed to qualify for the World Cup for the third consecutive time, underscoring a widening gap between the Spanish and Italian models.The resurgence of man‑marking in Germany, even among elite defenders like Vincent Kompany at Bayern, hints at a possible tactical swing, but the author cautions that without a broader strategic framework it may prove as fleeting as the Atalanta experiment.Ultimately, the article posits that the Spanish coaching philosophy – a blend of technical excellence, positional discipline and collective intelligence – has become the benchmark for European success, leaving rivals to either adapt or risk obsolescence.

Inter Miami celebrated the launch of its brand‑new 26,000‑seat Nu Stadium on Saturday, but the opening ceremony quickly turned into a competitive showdown as the MLS champions were held to a 2‑2 draw by Austin FC.Co‑owner David Beckham addressed the crowd before kickoff, describing the stadium’s completion as “a dream come true” after more than a decade of searching for a permanent home.The pre‑match festivities featured a ribbon‑cutting ceremony with Beckham alongside billionaire managing owner Jorge Mas, setting an upbeat tone that Austin soon disrupted.Just six minutes into the game, Austin’s Guilherme Biro capitalised on a pass from Facundo Torres to give the visitors an early lead, shocking the home supporters.Inter Miami responded swiftly when right‑back Ian Fray surged down the flank and delivered a cross that found Lionel Messi, who headed the ball into the net for a rare headed goal and restored parity four minutes later.Miami dominated possession thereafter, creating several chances, including two close attempts by Mateo Silvetti, but Austin’s disciplined defence and quick counter‑attacks kept the score level.The visitors reclaimed the lead in the 53rd minute after Joseph Rosales stole the ball in Miami’s half, set up Myrto Uzuni, whose pass found substitute Jayden Nelson for a clinical finish.Needing a spark, coach Javier Mascherano introduced veteran striker Luis Suarez in the 73rd minute. Suarez seized the moment eight minutes later, tapping in from close range after a Messi corner was flicked on by German Berterame, leveling the match at 2‑2.Suarez appeared to have secured a dramatic winner when his follow‑up struck the woodwork and rebounded, but the goal was ruled out for off‑side, leaving the game dead‑locked as the final whistle blew.

NASA has unveiled a series of photographs documenting the Orion spacecraft as it reaches the four‑day mark of the Artemis II mission.The images, released by the agency, capture key phases of the flight, offering a visual update on the vehicle’s trajectory and system performance as it continues its historic test flight around the Moon.While the photo set provides a rare glimpse into the mission’s progress, NASA has not disclosed additional technical details beyond the visual record at this stage.

In what can only be described as a humiliating exit, Liverpool were beaten 4‑0 by Manchester City in the FA Cup quarter‑final, a result that has thrown the future of manager Arne Slot into further doubt.The Etihad crowd watched City dominate from the first whistle, with Erling Haaland completing a hat‑trick by the 57th minute. The Norwegian’s third came from open play after a series of defensive lapses, sealing a comprehensive victory that left Liverpool supporters emptying the upper tiers of the South Stand.Liverpool’s own chances were squandered. Mohamed Salah missed a late penalty, a rare misfire that underscored his waning influence. Earlier, Virgil van Dijk conceded his fourth penalty of the season – a stark contrast to the single penalty he had given up in his previous 319 Premier League appearances for the club.Mid‑fielder Dominik Szoboszlai offered a blunt self‑assessment after the match, stating, “The fighting spirit wasn’t there enough, the mentality wasn’t there enough. None of us were there to be honest as much as we could.” His words captured the collective lack of resolve that defined Liverpool’s performance.Beyond the immediate disappointment, the defeat raises the stakes for Slot’s upcoming Champions League quarter‑final first leg against Paris Saint‑Germain. With Liverpool still carrying the Premier League’s highest wage bill, the club’s hierarchy and fans will be watching closely to see whether the team can salvage the season or face a deeper crisis.The match exposed systemic issues: a static defense that allowed City’s left‑back Antoine Semenyo and striker Erling Haaland to exploit gaps, a goalkeeper positioning that appeared indecisive, and a general absence of leadership on the pitch. As the season progresses, the spotlight remains firmly on Slot, whose tenure now hinges on a single chance to revive Liverpool’s dwindling fortunes.

American consumers are watching gasoline and airline fares climb, while economists warn that the war in Iran will keep pressure on prices across the U.S. economy.“The good old days are gone,” said Christopher Tang, a professor at UCLA’s Anderson School of Management who studies global supply chains. “We see gasoline prices rising now, but that’s only the tip of the iceberg; everything will become more expensive.”Since the conflict began in late February, crude oil has surged past $110 a barrel. The rally is tied to Iran’s leverage over the Strait of Hormuz, a narrow chokepoint through which roughly 20% of the world’s oil passes.In a recent address, President Donald Trump claimed the United States is “totally independent of the Middle East” and has “plenty of gas.” However, Brookings Institute’s energy‑security director Samantha Gross reminded listeners that oil is a globally traded commodity and the U.S. still imports significant volumes, meaning American consumers will face the same high prices as the rest of the world.Iran has either halted shipments through the strait or imposed a toll of up to $2 million per vessel. Tankers are forced to take longer routes or pay the fee, inflating logistics costs for all downstream users.Major logistics players are already passing those costs on. Amazon announced a 3.5% surcharge for third‑party sellers, while UPS and FedEx have introduced fuel surcharges exceeding 25%. The United States Postal Service will add an 8% surcharge to transportation rates starting 27 April, noting the charge is “less than one‑third of what our competitors charge for fuel alone.”When the prices go up, they rarely come back down— Christopher Tang, UCLACountries have dipped into strategic oil reserves to blunt the shock, but economists such as Virginia Tech’s David Bieri warn that refilling those stockpiles will require buying oil at today’s elevated prices, keeping the upward pressure on the market.Higher oil costs ripple beyond fuel. Crude is a key feedstock for chemicals, pharmaceuticals and fertilizers, meaning the surge could translate into higher prices for prescription drugs and groceries.Cornell University’s agricultural economics professor Christopher Wolf explained that diesel, a major input for farm equipment and fertilizer production, is also climbing, raising the cost of both crop cultivation and livestock raising.Retailers and food processors are already adjusting. “If we anticipate higher costs, we start raising prices early to avoid a sudden shock later,” Wolf said, describing a “rational expectations” approach.The Independent Grocers Alliance warned that a 10‑15% rise in fuel costs could lift food prices by 2‑4% by mid‑summer, underscoring the broader impact on household budgets.Although President Trump expects the United States to exit the Iran conflict within two to three weeks, experts agree that even a swift resolution will not instantly reverse the price spikes.The strait’s strategic importance means the political risk premium on oil will linger. “You never know when this could flare up again,” said Northeastern University’s Ravi Ramamurti, adding that the effect is likely to be persistent.As Tang summed up, “When the prices go up, they rarely come back down.”

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

On a cobbled lane in Belfast’s Cathedral Quarter, the Kindred of Ireland boutique draws shoppers with oversized butter‑yellow linen blouses and Donegal mulberry tweed jackets accented by rose‑pink linen bows, signalling a fresh commercial pulse for a fabric that once defined the city.Linen earned Belfast the nickname “Linenopolis” when, at its height, the industry employed about 40% of Northern Ireland’s workforce. After a post‑war collapse, the trade faded, but today it is re‑emerging as a marker of local identity and sustainable fashion.Designer Amy Anderson, whose grandmother worked as a mill‑hand in Moygashel, says the fibre remains deeply personal for many families. Her modern, Japanese‑inspired silhouettes rely on linen’s natural structure to balance avant‑garde volume with comfort.Reviving a near‑extinct industry is daunting, yet Belfast’s history of turning adversity into opportunity—exemplified by the Titanic Quarter’s tourism boom—has attracted an eclectic coalition of supporters. Among them are former blacksmith Charlie Mallon, who has converted his 150‑year‑old Magherafelt farm into a regenerative flax operation, and fashion heavyweight Sarah Burton, former creative director of Alexander McQueen.Mallon’s restoration of heritage machinery aims to keep flax “field‑to‑fibre” in Ireland, preserving the long fibre length that makes linen less prone to creasing. He contrasts this with most modern linen, which is “cottonised” in China, shortening fibres and increasing wrinkles.Burton’s two‑day field trip to Northern Ireland inspired the spring 2020 Alexander McQueen collection, featuring a beetled linen gown with a pearl‑like sheen that debuted on the Paris runway.In autumn, the Prince and Princess of Wales visited Mallon Farm, expressing a rare interest in sustainable fashion and regenerative agriculture. The Princess, who usually avoids media focus on her wardrobe, asked detailed questions about the Andersons’ brand, underscoring the royal endorsement of Belfast’s textile renaissance.The city’s fashion resurgence is also celebrated at the Ulster Museum’s “Ashes to Fashion” exhibition, which juxtaposes historic silk ballgowns with contemporary pieces by Irish designers, including Kindred of Ireland.Looking ahead, Kindred of Ireland plans a temporary boutique in central London, building on a successful six‑week Mayfair pop‑up that the brand describes as “commercial rocket fuel.” The Andersons note that Northern Irish firms benefit from full access to the UK market while still aligning with certain EU single‑market rules under the Windsor framework, offering a strategic advantage for product‑focused businesses.

Nearly three decades after the groundbreaking debut Endtroducing….. first hit shelves, DJ Shadow is once again revisiting his back catalogue. Following a celebrated 25th‑anniversary reissue that was remastered at Abbey Road Studios, the Californian producer is preparing a new archival release.In May, Shadow will issue The Mo’Wax Singles 1993‑1997, a meticulously curated box set that compiles eight 12‑inch records of his original singles for James Lavelle’s Mo’Wax label. The collection also includes alternative mixes, brand‑new artwork, and material recovered from dusty DAT tapes and original master mixes.“This box wasn’t made for the casual listener, it was made with the hardcore fan in mind,” Shadow explained in a statement. “I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind.”With the release timed to a period of reflection, Shadow is opening the floor to fans and journalists alike. He invites readers to submit questions about his pioneering sampling techniques, collaborations ranging from Wong Kar‑wai and Zack de la Rocha to Danny Brown and Deftones, and even the infamous Miami Beach show that was halted for being “too future.”Submit your queries in the comments by 6 pm BST on 8 April, and the most compelling answers will be featured in an upcoming issue of Film & Music.