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Aryna Sabalenka has successfully defended her Miami Open title, overcoming Coco Gauff in a thrilling final with a score of 6-2, 4-6, 6-3. This triumph marks Sabalenka's second consecutive Miami Open victory and her entry into an exclusive club of players who have achieved the coveted 'Sunshine Double', winning both the Indian Wells and Miami titles in the same year.Sabalenka, the top seed, dominated the match by winning 73 percent of her first-serve points and limiting Gauff to just two break points. This victory also avenged Sabalenka's loss to Gauff in the 2025 French Open final.By completing the 'Sunshine Double', Sabalenka joins an elite group of players, including Iga Swiatek (2022), Victoria Azarenka (2016), Kim Clijsters (2005), and Steffi Graf (1994, 1996). She is also the first player to win back-to-back Miami titles since Ash Barty in 2019 and 2021, with the 2020 edition being cancelled due to the COVID-19 pandemic.Sabalenka's victory brings her record against Gauff to 7-6 in their head-to-head matches. In her post-match remarks, Sabalenka praised Gauff, saying, 'You're a fighter, and you also push me so hard to be a better player, and I like our rivalry.'Gauff, who is from nearby Delray Beach and was playing in her first Miami final, put up a strong fight but ultimately fell short. She acknowledged Sabalenka's skills, stating, 'Aryna, congratulations. We've had many battles, many finals and, yeah, I think you push me to be a better player.'

The ongoing conflict in Iran has caused significant turmoil in the global oil markets, with Brent crude oil prices climbing 51% since the start of March, according to LSEG data. This surge has put Brent crude on track for its biggest monthly gain on record, surpassing the previous record of 46% set in September 1990 during the first Gulf War.On Friday, Brent crude closed at $112.57 a barrel, up from $72.48 a barrel on February 27, the day before the US-Israeli war on Iran began. The price of Brent crude traded as high as $119.50 a barrel during March, its highest level since June 2022, after Iran largely closed the Strait of Hormuz, a critical passage for a fifth of global oil and gas.Despite a coordinated release of 400m barrels of oil from emergency reserves announced on March 11, oil prices continued to climb throughout the month. Analysts at BloombergNEF estimate that 9m barrels of oil per day have been knocked off global oil supply due to the Middle East conflict.The conflict has also had a ripple effect on other assets, with gold prices falling by almost 15% since the start of March, on track for its worst month since 2008. The spot price of gold has been under pressure from the sale of about $3bn of bullion by the Turkish Central Bank last week, which cut its reserves by almost 50 tonnes to 772 tonnes to fund efforts to stabilize the Turkish lira.The Dow Jones industrial average has also been impacted, entering a correction at the end of last week, more than 10% below its record high. Stocks fell despite US President Donald Trump's latest extension on planned strikes against Iran's energy infrastructure, as investors anticipated prolonged disruption to oil from the Gulf.“Markets appear to be placing less weight on White House jawboning and focusing more on the underlying supply risks,” said Fawad Razaqzada, an analyst at City Index. Britain's stock market also had a poor month, with the FTSE 100 index falling more than 8% – on track for its worst month since March 2020, when Covid-19 rocked financial markets.

Walking into Scisters Salon & Apothecary in southern California reveals what's immediately absent: no wall of plastic bottles, no chemical tang, and minimal waste. The salon's shelves feature large refill containers of shampoo and conditioner, houseplants adorn the space, and hair clippings are composted. The only trash can is a small basket mostly collecting clients' personal items, creating an environment that co-owner Melissa Parker notes clients immediately comment on: 'It smells good in here.' That never happens in a conventional salon.Opened 15 years ago by Parker and Easton Bajsec in La Mesa near San Diego, Scisters has evolved into one of the region's most prominent low-waste salons, diverting up to 99% of its refuse from landfills. Their business transformation addresses a significant industry problem: the beauty sector generates substantial waste, with North American salons sending an estimated 63,000lbs of hair to landfills daily, plus hundreds of tons of used foil and leftover hair dyes.The turning point came when Bajsec watched a documentary about the zero-waste movement while Parker developed health problems linked to prolonged exposure to salon chemicals. Studies have found that hairdressers' exposure to harmful chemicals such as formaldehyde, ammonia and sulfates puts them at higher risk of asthma, skin conditions, reproductive illnesses and cancer. Rather than leave the industry, they transformed their business.They eliminated perms due to formaldehyde exposure and moved away from big-name products despite green marketing claims. When existing alternatives didn't meet their standards for performance, ingredient transparency and waste reduction, they created their own line. Element, launched in 2019, is made in a California lab and sold in refillable glass and aluminum containers, featuring recognizable ingredients like organic aloe, wheat protein and castor oil.The salon's waste reduction strategies extend beyond product packaging. They implemented hair composting, foil recycling, and replaced waxing with sugaring—a compostable hair-removal technique. They switched to LED lighting, installed water-efficient showerheads, and use washable cloths instead of paper towels. Though they still offer hair bleaching (which releases ammonia), they mitigate risks with industrial air filtration and air-purifying plants.Bajsec acknowledges that 100% zero waste is impossible due to regulatory constraints on reusable gloves and plastic pump tops. The salon ships its minimal plastic waste to Green Circle Salons for specialized processing, paying $200 per box. Despite this cost, Parker notes the overall approach has been financially beneficial: 'Overall, it's actually less expensive. We're not outsourcing to other beauty brands. We're mindful about systems.'Their commitment to sustainability proved critical during the COVID-19 pandemic. When mandatory closures threatened their survival, they pivoted to refill sales, meeting clients in the parking lot. This refill model kept revenue flowing, allowing them to pay full rent while many neighboring tenants struggled. 'Going green has been the greatest thing we've done for our business financially,' Parker says. 'We accidentally created a point of differentiation.'Denise Baden, a professor of sustainable business at the University of Southampton, confirms that eco-friendly practices often reduce costs. 'It's a misunderstanding that to be eco-friendly, you have to spend more money. In fact, usually, it's the reverse,' she notes, adding that hairdressers are uniquely positioned to influence their communities.Now, Parker and Bajsec are helping other salons adopt similar practices through speaking engagements and an online guide. 'We get calls from other salons all the time,' Bajsec says. 'It's not sustainable if we're the only ones doing it.'

EasyJet's chief executive, Kenton Jarvis, has announced that the ongoing conflict in the Middle East has started to impact flight bookings, with a notable drop in reservations for destinations such as Turkey, Cyprus, and Egypt. Bookings have slowed for summer, with passengers opting for 'usual suspects' like Spain, Greece, and Portugal instead.Jarvis attributed the decline to the Iran war and its effect on consumer confidence. He mentioned that while the airline has hedged much of its fuel into next year, soaring kerosene prices will likely lead to a rise in air fares by the end of the summer.Fuel prices have surged, with easyJet currently paying $700 (£520) a tonne for jet fuel, compared to current spot prices of $1,850. Jarvis noted that while most European airlines are well-hedged, fares will likely increase as the higher costs are passed on to consumers.The airline's hedging strategy means it can still secure a price of $1,000 in six months, but market expectations are that fuel prices will decrease. However, Jarvis warned that the reality is that prices will start feeding into consumer costs over the back end of summer.In related news, easyJet has reopened a base at Newcastle airport, which it closed in 2020 due to Covid-19. The base will bring 140 jobs and support over 1,000 new jobs in the wider north-east region, with plans to fly up to 800,000 holidaymakers out of Newcastle this summer.

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."

Palantir, one of the world's biggest tech companies, has been accused of launching an intimidation campaign against a small Swiss magazine, Republik, after it published an investigative report on the company's activities in Switzerland.The report, which was a collaboration between Republik and the independent Swiss research collective WAV, alleged that Palantir had persistently courted Switzerland but had been rejected. The investigation found that Palantir had pitched itself to Switzerland's chancellor during the Covid-19 pandemic to help with data tracking, approached the Swiss army, and met Switzerland's then finance minister, Ueli Maurer.Palantir was not happy with the report and filed a lawsuit in a Swiss commercial court demanding that Republik print a detailed rebuttal. The company claims that the report paints a false and misleading narrative about Palantir and sets back important discourse on European software modernisation.The journalists behind the report say they had interviewed company executives and sent a full list of questions before publication, but that Palantir demanded they print a detailed rebuttal that went beyond the scope of their investigation. The lawsuit has sparked concerns about Palantir's tactics and the impact on journalism, with the European Federation of Journalists claiming that the legal action is an attempt at intimidation aimed at discouraging critical analysis of Palantir's activities."It does feel like an intimidation campaign," says Marguerite Meyer, a journalist who works with WAV. "However, we adhered to all journalistic standards, and had a thorough factcheck done. They are suing for an absurd list of changes."The investigation, which was published in December, gave an account of Palantir's years-long efforts to try to sell itself to the Swiss government. The journalists found that despite Palantir's efforts, no government contracts had been reported."We tried to find out, is there any kind of government agency that uses this software? I mean, they are in Switzerland, eventually some government official maybe thought they could use this Palantir," says Balz Oertli, who is also with WAV.The lawsuit has raised questions about Palantir's influence and the limits of journalistic scrutiny. Swiss law allows the subjects of a story to request a right of reply, but this has caveats: the right of reply has to be concise and stick to the facts of the story."This lawsuit for a right of reply is not about whether Republik was technically inaccurate or not. It is only about whether Palantir is allowed to place its view of the facts alongside that of Republik and whether Republik must publish it," says Dominique Strebel, an expert in media law and the editor-in-chief of Beobachter, another Swiss magazine.