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Outcome arrives on Apple TV+ on April 10 as Jonah Hill’s most ambitious foray into Hollywood satire. The film casts Keanu Reeves as Reef Hawk, a globally recognized star whose public persona of kindness masks a deep‑seated narcissism and a hidden past of heroin addiction.Reef becomes the target of a mysterious extortionist who claims to possess compromising footage. His crisis lawyer, Ira—portrayed by Hill himself with a shaved head and unnerving veneers—guides him through a frantic quest to locate the blackmailer. The narrative unfolds as a “whodunnit without a body,” prompting Reef to apologize to every person he’s ever wronged while hunting the unseen threat.Supporting roles feature Cameron Diaz and Matt Bomer as Reef’s high‑school friends who reluctantly join the mission. The film also boasts cameo appearances from Laverne Cox as a women’s‑rights attorney, Drew Barrymore playing herself, and a moving turn by Martin Scorsese as a washed‑up talent manager. In a tongue‑in‑cheek detail, Ira’s office wall displays a picture of Kanye West, symbolising the industry’s obsession with redemption narratives.The satire’s core message is that wealth and fame do not guarantee happiness. Reef spends idle moments Googling his own reputation—searching “Reef Hawk bad person”—underscoring a profound loneliness beneath the glittering surface. While the script delivers frequent laughs, its climax lands on a comparatively flat note, offering personal growth rather than the expected murder or public humiliation.Overall, the performances remain consistently entertaining, and Hill’s dialogue, co‑written with Ezra Woods, captures the insider tone of Hollywood’s inner circle. Outcome serves as both a comedic critique and a reflective portrait of celebrity culture, inviting audiences to consider the cost of perpetual public scrutiny.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

A former Meta employee based in London is being investigated by the Metropolitan Police’s cybercrime unit for allegedly downloading roughly 30,000 private Facebook images while employed by the company.According to court documents obtained by the Press Association, the suspect is said to have created a script designed to circumvent Meta’s internal detection systems, allowing him to access and extract the images without triggering security alerts.Meta confirmed that the breach was discovered more than a year ago. The company immediately terminated the employee, notified the affected users, and referred the matter to UK law enforcement. It also announced that its security infrastructure has been enhanced to prevent similar incidents.The individual remains on police bail, with magistrates requiring him to report to officers in May and to disclose any plans for foreign travel.Legal experts note that while the rogue employee could face charges under data‑protection and computer‑misuse laws, Meta’s liability hinges on whether it had “appropriate technical and organisational measures” in place. As senior data‑protection specialist Jon Baines of Mishcon de Reya explains, “If the employer has sufficient safeguards, the law does not punish the organisation for the actions of a rogue employee.” However, a finding that Meta’s safeguards were inadequate could expose the company to substantial fines or damages.The Information Commissioner’s Office (ICO) acknowledged the incident, emphasizing that “social media users should be able to trust that their personal information is handled responsibly.”Meta’s challenges come amid broader scrutiny of major platforms. Last month, a Los Angeles court held both Meta and Google liable for a woman’s childhood social‑media addiction, a ruling that could reshape platform accountability.

Jeffrey Stephen Wigand, a biochemist who helped reveal how tobacco companies targeted children and hid the addictive nature of cigarettes, has been drawing parallels between the tobacco industry and social media companies. Wigand, who played a crucial role in the landmark tobacco trials of the 1990s, believes that social media companies have similarly designed their products to be addictive, particularly targeting children.The recent verdict in a major social media trial, which found Meta and YouTube liable for their role in creating addictive products, has strengthened comparisons to the legal crackdown on big tobacco. Wigand sees it as a similar situation, where companies prioritize profits over people's well-being. He notes that both industries use advertisements to target children, with social media companies using data to create addictive algorithms.Wigand's experience in the tobacco industry informs his perspective on social media. He was hired by Brown & Williamson (B&W;) in 1989 to develop a safer cigarette but was fired after raising concerns about carcinogenic substances in cigarettes. He then publicly declared that the tobacco industry was a 'nicotine delivery business' and helped the federal government in its investigations.Wigand believes that social media companies, like tobacco companies, intentionally addict people, especially children, to generate revenue. He emphasizes that brain development in children makes them vulnerable to addiction, and that social media companies exploit this vulnerability.The tobacco industry faced significant reforms and financial penalties following Wigand's whistleblowing. He hopes that similar actions will be taken against social media companies, including putting guardrails on access for children and holding companies accountable for their role in creating harm. Wigand's message to tech workers considering becoming whistleblowers is to carefully weigh the personal costs and prepare for the challenges that come with speaking out.

Brandy's highly anticipated memoir, Phases, co-written with Gerrick Kennedy, provides an intimate look at the singer's life, detailing her formative years, meteoric rise to fame, and struggles with addiction, bullying, and trauma.Brandy, known as the 'Vocal Bible,' has been in the music industry for over 30 years, with a discography that includes undeniable classics like 'Sittin’ Up in My Room', 'The Boy Is Mine', and 'What About Us?'. Despite her success, she has often been underrated, and her memoir aims to set the record straight.The book delves into Brandy's early life in Mississippi and California, where she developed her singing skills in church choirs and youth groups. It also explores her experiences as a teenage superstar, including her role on the hit sitcom Moesha and her struggles with addiction.Brandy shares stories of bullying, including being targeted by a bully named Shanice, and her complicated relationships with musical idols like Whitney Houston and Michael Jackson. She also opens up about a toxic relationship with Wanya Morris of Boyz II Men and her side of the story about her highly publicized feud with Monica.The memoir also touches on Brandy's involvement in a fatal car accident in 2006, which left her with survivor's guilt and a deep sense of responsibility. Through it all, Brandy's love for music remained a constant, and she reflects on her journey to becoming one of the most respected vocalists in the industry.Phases is now available on HarperCollins in the US and will be released in Australia on April 1 and in the UK on April 23.

Jurors in two separate U.S. courts delivered historic rulings that, for the first time, hold major social‑media platforms financially accountable for designs that allegedly harm young users. In New Mexico, a jury ordered Meta to pay $375 million for claims that its products contributed to child sexual exploitation and other harms. The following day, a California jury found both Meta and YouTube liable, imposing $6 million in damages for deliberately engineering addictive experiences. The verdicts arrive amid a wave of lawsuits filed by more than 2,000 plaintiffs—including families, school districts, and state attorneys general—targeting Meta, YouTube, TikTok and Snap. While both companies have announced intentions to appeal, the judgments signal a shift from public criticism to concrete legal exposure. During the trials, Meta’s defense repeatedly cited the American Psychiatric Association’s position that “social media addiction is not a thing” in the DSM‑5‑TR. The APA countered that the absence of a formal diagnosis does not negate the phenomenon’s existence, emphasizing growing research on the mental‑health impacts of compulsive platform use. Internal communications presented as evidence painted a starkly different picture. A 2020 Meta email exchange described Instagram as “a drug” and likened the company’s role to that of “pushers,” while another message warned that targeting 11‑year‑olds resembled tactics once used by tobacco firms. Similar concerns emerged from YouTube, where an internal document explicitly stated the goal was “not viewership, it’s viewer addiction.” TikTok’s own research echoed these findings, concluding that users could become addicted in under 35 minutes and that compulsive usage correlates with a range of negative mental‑health outcomes. Moody’s, a risk‑assessment firm, warned that the dual verdicts establish a precedent whereby design‑driven user harm can trigger liability. In an analysis, analysts Adam Grossman and Taro Ramberg noted that insurers should focus on the emerging “design‑centered liability theory,” which links engagement‑driven features—such as infinite scrolling and autoplay—to compensable injuries. They cautioned that the current cases are merely the first data points in a broader legal trend. Beyond social media, the same design principles appear in video games, sports‑betting platforms, AI chatbots and online retail. Moody’s tracker lists over 1,100 pending cases in Los Angeles alone and estimates roughly 4,000 lawsuits targeting 166 U.S. companies for allegedly addictive software design. Both Meta and YouTube maintain that they disagree with the verdicts. YouTube’s spokesperson called the California decision a “misunderstanding” of the platform’s nature, while Meta emphasized the complexity of teen mental health and the non‑unanimous nature of the California jury’s finding. Nevertheless, the courts have signaled that even without a settled clinical definition of “social‑media addiction,” companies can be held responsible for the foreseeable harms of their product designs.

The tragic case of Oliver Robinson, a 34-year-old who took his own life in November 2023, has sparked a campaign for stricter controls on private cannabis clinics in the UK. An inquest concluded that Robinson's prescription for medicinal cannabis, issued by Curaleaf Clinic, probably contributed to his death and acted as an obstacle to him receiving proper psychiatric and addiction care. Robinson had been struggling with depression and addiction, and had been treated at the Priory, a private mental health facility. He was initially prescribed medicinal cannabis in May 2022, which initially provided relief but ultimately worsened his condition. The coroner's report highlighted several failings in his care, including the use of an out-of-date GP summary care record and incomplete information in prescribing decisions. Alexander Robinson, Oliver's brother, is now advocating for tighter regulation of private cannabis clinics, including a ban on prescribing to patients with serious mental illness and greater oversight of the rapidly expanding industry. He believes that the current safeguards are not strong enough to protect vulnerable psychiatric patients. The UK government reported about 5,000 NHS prescriptions for licensed cannabis-based medicinal products in 2023, while freedom of information data showed that 659,293 unlicensed cannabis products were privately prescribed in 2024, more than double the number issued in 2023. Critics argue that there is limited evidence that cannabis is an effective treatment for depression and other common mental health conditions. Dr. Pavan Chahl, an expert psychiatrist, told Oliver's inquest that medicinal cannabis should not have been prescribed to someone with a history of severe psychiatric disorder, citing a lack of evidence for efficacy in depression and the risk of worsening symptoms. In response to the campaign, Curaleaf Clinic stated that it would engage constructively with any review or consultation aimed at strengthening patient safety across the sector.

The latest film from Chloé Robichaud, 'Two Women', is a remake of the 1970 French-Canadian sex comedy of the same name. Unfortunately, it hasn't aged well, coming across as silly, clumsy, and dated in its modern retelling.The story follows two unsatisfied women, Florence (Karine Gonthier-Hyndman) and Violette (Laurence Leboeuf), who live next door to each other in a suburban condo development. Both are unhappy in their marriages – Violette's husband Benoît (Félix Moati) is often away, supposedly on business, but actually having affairs, while Florence has a bland, sexless relationship with David (Mani Soleymanlou). The two women form a friendship and, without explicitly planning it, begin having sex with men they invite into their homes for repairs or odd jobs while their partners are away.The film's sex scenes feel both cynical and naive, lacking the eroticism of softcore erotica and the plausibility of drama. The movie attempts to draw comparisons to the 'Confessions of a Window Cleaner' series but falls short. One notable moment includes a discussion on how Tinder promotes addiction rather than love, but such insightful moments are few and far between.Overall, 'Two Women' is a tiring and mediocre film that fails to deliver on its promise of a modern take on female desire and infidelity. It is set to release in UK cinemas from 3 April.

The United Kingdom's prohibition on single-use vapes, implemented last June as part of efforts to address environmental concerns and curb youth vaping, is showing mixed results. 5.4 million adults in Great Britain now vape daily or occasionally, according to official figures, making these devices an inescapable part of modern British life.The ban, which carries penalties including fines up to £200 for initial violations and potential jail time for repeat offenders, was designed to tackle two significant issues: the environmental impact of millions of plastic devices with lithium-ion batteries ending up in landfills, and the rising popularity of vaping among young people.Recent data from the recycling campaign group Material Focus indicates that 6.3 million vapes and pods are still being discarded weekly, representing a nearly 25% decrease since the ban's implementation. While this suggests some impact, waste management companies report that the devices remain a major problem, with their batteries frequently causing fires in disposal facilities."It is quite a small reduction, really," said Sarah Marsh, the Guardian's consumer affairs correspondent and former vaper. "What we are hearing from Biffa and other waste companies is that they still have a massive problem with the waste, and that has not really changed. There are still fires and people still dump rechargeable vapes and the pods."Waste companies emphasize that the ban has not adequately addressed their concerns, noting that rechargeable vapes remain too inexpensive and appear disposable to many users. The lack of sufficient effort toward changing consumer behavior has limited the ban's effectiveness."If you introduce a ban like this but you don't put the support in place to achieve your goals, like making it easy for people to recycle, the ban isn't necessarily going to work," Marsh explained. "A ban in isolation is ineffective."The environmental challenges persist alongside concerns about youth vaping. The World Health Organization has warned that e-cigarettes are driving a new wave of nicotine use among children, who are nine times more likely than adults to vape. At least 15 million children vape globally according to WHO figures.While the UK government is conducting a large-scale study on vaping's impact on children, with a quarter of 11 to 15-year-olds having tried vaping, there is not yet clear evidence on whether the disposable vape ban has affected youth usage patterns."In short, disposables have driven the surge in youth vaping, and banning them should bring numbers down, but it won't fix everything," Marsh noted. "Big tobacco companies are already set up to adapt fast and keep the next generation using nicotine. It won't be easy."Waste management companies are calling for more comprehensive solutions, including potential deposit reward schemes and changes to vape design and pricing that would discourage disposal. The UK government maintains that the ban was necessary to address the environmental blight and youth nicotine addiction caused by single-use vapes.