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Linguist George Lakoff warned that metaphors can kill, noting how euphemistic language in the Gulf War concealed harsh realities. He argued that framing conflict with business‑like cost‑benefit analogies or heroic narratives masks civilian suffering. Historically, the U.S. military has preferred sanitized terms such as “collateral damage” and “surgical strikes” to describe civilian casualties. In stark contrast, President Donald Trump has resorted to overtly hostile language, issuing a series of threats that culminated this week with the claim that “a whole civilisation will die tonight” unless Iran accepts a deal. The threat emerged amid a fragile two‑week ceasefire that the United States helped broker after the conflict it ignited six weeks earlier. While the ceasefire offered a brief respite, its stability was immediately questioned, and upcoming talks in Islamabad faced similar uncertainty. At the same time, Israel intensified its campaign in Lebanon, launching a ten‑minute strike—dubbed “Operation Eternal Darkness”—that killed dozens of civilians, including children, a poet, and journalists. In Gaza, despite a ceasefire declared six months ago, Israeli forces have continued to kill hundreds of Palestinians, accompanied by rhetoric that borders on annihilation. Legal experts stress that Trump’s ultimatum would compel the U.S. military to carry out clearly illegal acts. Although soldiers are obligated to obey only lawful orders, the administration’s erosion of institutional checks has left them with few avenues to refuse. Political philosopher Mathias Risse observed that the language of civilizational destruction is not merely a symptom of atrocity but a tool of it, effectively making the threat itself a war crime. Scholars note that such an explicit declaration of intent is rare, and pursuing accountability through international law may seem futile. Nevertheless, the editorial argues that any attempt to hold Trump accountable is essential; allowing the threat to go unchecked would further undermine the rules‑based international order. The Pope and a prominent Hollywood actor have publicly condemned the president’s statements, underscoring the moral urgency of the issue. Failure to challenge this rhetoric, the piece warns, could erode legal and normative standards worldwide, leaving Iran and other populations exposed to heightened peril.

Starbucks's UK retail arm secured a significant £13.7m corporation tax credit last year, even as it reported a 6% increase in sales to £556.3m and added over 90 new stores, bringing its total to 1,304. The tax credit, which can be used to offset future tax bills, follows losses widening to £41.3m in the 12 months to September.The company's financial performance was impacted by £40m in royalty and licence fees paid to its parent company, Starbucks Emea. These fees, which are paid to a UK-based entity that collects similar fees from across Europe, the Middle East, and Africa, significantly contributed to the losses.Despite the losses, Starbucks UK's sales growth was driven by price increases, new loyalty schemes, and the introduction of “freshly baked in-store food”. The company also shifted its workforce towards full-time staff, reducing overall staff numbers by 244 to 5,352.Critics, such as the Fair Tax Foundation, argue that this situation highlights a recurring issue where large corporations like Starbucks use complex financial structures to minimize their tax liabilities. “This all feels so very Groundhog Day,” said Paul Monaghan, chief executive of the Fair Tax Foundation. “As per a decade ago, Starbucks UK reports annual growth in income and store numbers, whilst at the same time declaring a loss due to the payment of hefty royalty fees to other Starbucks subsidiaries. The end result, no corporation tax is paid.”In response, a Starbucks spokesperson emphasized the company's commitment to paying all taxes due, stating that it “manages its global tax responsibilities in keeping with its mission and values.”The company's financial challenges are expected to continue, with Starbucks UK citing a “challenging consumer environment” characterized by inflationary pressures, reduced discretionary spending, and increased competition. The company has received financial support from its parent group, including £30m in cash to keep the business afloat and a further £60m in February.

The latest offering from writer Theo Jamieson and director Adam Lenson is a boldly conceived musical that thrusts a turbulent romance into a sci‑fi framework. The story follows a young astronaut, Daniel, who vanishes from his shuttle with barely enough fuel, prompting a quest to uncover the motives behind his reckless flight.Stuart Thompson (as Daniel) and Poppy Gilbert (as Emily) anchor the piece with performances that are both visceral and nuanced. Their chemistry captures the push‑pull of a relationship scarred by childhood bullying, parental betrayal, and a shared history of trauma, delivering songs that soar and hit hard.Visually, the production leans heavily on interstellar projections that transform the stage into a shifting cosmos, while the score oscillates between Sondheim‑style wit and full‑blown symphonic passages. This combination creates an epic sense of strangeness that distinguishes Flyby from more conventional West End fare.However, the narrative’s fragmented structure hampers its emotional payoff. The non‑chronological storytelling leaves critical gaps, and the metaphor of being "stranded in space" feels over‑extended—especially with the protagonist’s surname, Defoe, a thin nod to Robinson Crusoe. The three narrators, played by Simbi Akande, Gina Beck, and Rupert Young, often drift into digressive asides that dilute the central arc.Despite these flaws, moments of brilliance emerge, particularly in the musical’s treatment of mental‑health themes. The show hints at the potential to join the ranks of modern theatre successes like Next to Normal and Dear Evan Hansen, should its structural rough edges be smoothed.The production is currently staged at Southwark Playhouse, Borough, London and will run through 16 May. Audiences seeking a daring blend of emotional intensity and cosmic spectacle will find Flyby a compelling, if imperfect, experience.

Some American cities shortlisted to host the 2031 Women's World Cup are contemplating withdrawal due to concerns related to Fifa's management of this summer's World Cup. The cities are exploring alternative options, such as focusing on hosting the 2031 Rugby World Cup instead.There are 40 stadiums on the US Soccer Federation's longlist for potential 2031 Women's World Cup venues, while World Rugby has received expressions of interest from 27 cities featuring 33 stadiums, with 20 stadiums appearing on both lists. Cities like Chicago and Pittsburgh have already declined to enter the running for Women's World Cup hosting rights, reportedly due to concerns about Fifa's financial demands.A source working with one of the cities in question noted that World Rugby is offering greater commercial freedom and has fewer demands regarding access to stadiums. Another source indicated that the Rugby World Cup is likely to be more profitable due to the demographic profile of rugby supporters and their expected spending on match attendance.Fifa delayed confirmation of the 2031 World Cup hosts from the end of this month to an unspecified date this year. The joint proposal from the US, Mexico, Costa Rica, and Jamaica is currently the only bid on the table. Additionally, there are concerns about the US government not providing Fifa with mandatory guarantees regarding obligations on visas, tax, safety, and security.The experience of dealing with Fifa for the upcoming men's World Cup has not been uniformly positive for all cities, with issues such as safety and security costs and public transport problems. World Rugby has announced that it will finance its event and share profits or losses with USA Rugby, rather than requiring hosts to underwrite the tournament.

Tori Amos has taken to the stage, delivering a dramatic deep dive into her vast and sprawling back catalogue. Her 18th studio album, In Times of Dragons, and first tour in three years have generated significant excitement among fans. The allegorical tales that make up her forthcoming record – a metaphorical story about the fight for democracy over tyranny – are evident in her live performances.The concert featured a range of tracks from Amos's extensive discography, including the delicate deep cut Ruby Through the Looking-Glass and the atmospheric, slow-burn jazzy grooves of Little Amsterdam. The love in the room for Amos is palpable, with her songs, voice, and masterful piano playing bringing out an almost devotional following.Amos's musicianship was on full display, accompanied by a drummer, bass player, and three backing singers, whom she refers to as 'angels.' While their presence occasionally detracted from the raw intimacy expected from Amos, it mostly elevated the performance to new levels. Tracks such as Pandora's Aquarium and Witness were lifted to stirring new heights by the vocal back and forth.The setlist may not have been hit-stuffed, but Crucify was a beautiful closer, delivered in a way that felt both tight and loose, detailed yet expansive, tender and rousing. The encore of early career favourite Cornflake Girl had the whole venue on its feet and in dizzy awe. As Amos navigates the brutal state of the world, she has an audience that will gladly follow her deep into the heart of any dragon's den.

Nottingham Forest secured a crucial draw against Porto in the Europa League quarterfinal, with a comical own goal by Porto defender Martim Fernandes giving Forest a vital equalizer. The match ended 1-1, with Forest's Chris Wood returning from a six-month injury layoff and registering 48 minutes on the pitch.The New Zealand striker was withdrawn at halftime, with manager Vitor Pereira mindful of the bigger picture and Sunday's Premier League match against Aston Villa. Pereira handed Wood a starting berth, and although he had a quiet game with just 11 touches in the first half, his presence on the pitch was a boost for Forest.Porto took the lead through William Gomes, who converted Gabriel Veiga's diagonal pass into the box. However, Fernandes's comical own goal leveled the score, with the Porto defender beating Diogo Costa with a blind back pass from close to halfway.Forest began sloppily, but Pereira's substitutions and tactical changes helped the team regain control. The draw sets up a tense second leg at the City Ground next Thursday, with Forest seeking to advance to their first continental semi-final since 1984.

It's been 20 years since the passing of Muriel Spark, a celebrated Scottish novelist, short story writer, poet, and essayist. With a career spanning over two decades, Spark left an indelible mark on literature with her 22 novels, which are characterized by their uncanny, astute, and witty storytelling. James Bailey, author of the biography Like a Cat Loves a Bird: The Nine Lives of Muriel Spark, provides a guide to Spark's oeuvre, highlighting her unique narrative style. A typical Spark novel begins by introducing an enclosed community, such as nuns, schoolgirls, or desert island castaways, filled with gossip, deceptions, and conflicts. This setup is then disrupted by a dramatic event, like a murder or scandal, allowing Spark to explore the consequences. For readers new to Spark's work, Memento Mori (1959) is a great starting point. This darkly comic novel follows a cast of bickering pensioners who receive anonymous phone calls with the ominous message: 'Remember you must die.' The novel raises questions about mortality, fear, and the human condition. Spark's debut novel, The Comforters (1957), is a remarkable example of her innovative storytelling. The protagonist, Caroline Rose, believes she can hear the clanking typewriter keys of an entity she calls the Typing Ghost, which dictates the events of her life. This novel showcases Spark's ability to blend diabolism, diamond-smuggling, and supernatural elements. One of Spark's most famous novels, The Prime of Miss Jean Brodie, is known for its quotable lines, such as 'Give me a girl at an impressionable age and she is mine for life.' This novel explores themes of favouritism, fascism, and the seductive power of belonging. Spark considered The Driver's Seat (1970) her finest achievement, describing it as her creepiest work. This novel follows Lise, a protagonist whose holiday romance takes a dark and unexpected turn. Spark's works often explored the contrast between public personas and private lives. Her 1968 novel, The Public Image, is a prime example, delving into the world of a film star struggling to maintain her reputation amidst paparazzi and self-absorbed relationships. Spark's short stories, collected in her Complete Short Stories, offer a glimpse into her versatility as a writer. These tales often feature unquiet spirits and explore themes of mortality, guilt, and redemption.

Emil Michael, the Pentagon's under secretary for research and engineering, declared a position in xAI valued between $500,000 and $1 million in March 2025. He sold these holdings on January 9 for between $5 million and $25 million, according to government ethics records. The value of his stake increased by 400% to 4,800% during the period he owned it. xAI, which is behind Musk's Grok chatbot, is not publicly traded, making it unclear how Michael obtained his position, how it was priced, or to whom he sold it. During Michael's ownership, the Pentagon announced two separate agreements with xAI. In July 2025, the Pentagon chose Grok as one of four commercial providers to help the department utilize artificial intelligence. On December 22, the defense department announced a new agreement with xAI, paving the way for the deployment of its advanced capabilities. Richard Painter, a former ethics lawyer at the White House, said that in general, it was a criminal violation for government officials to participate in actions that benefit their own financial interests. "It sounds pretty weird," he said of the transactions. The Pentagon stated that Michael was "in full compliance with all ethics laws and regulations. Any claims otherwise are false."

In a stark address delivered as the cease‑fire in the Iran conflict teetered, IMF Managing Director Kristalina Georgieva warned that the war will leave a permanent scar on the global economy, slowing growth beyond the IMF’s original projections for 2026. Georgieva noted that, had the hostilities not erupted six weeks ago, the Fund would have been poised to raise its 2026 growth outlook. Instead, even the most optimistic scenario now entails a downgrade, and a swift return to pre‑war conditions appears unlikely. The uncertainty surrounding the cease‑fire—exacerbated by divergent positions of Washington and Tehran—has already pushed oil prices higher, reflecting fears of continued disruptions to shipments through the Strait of Hormuz, a vital conduit for world energy supplies. According to the IMF’s upcoming World Economic Outlook, the conflict’s “scarring effects” will translate into lower living standards worldwide. The Fund had previously forecast global growth of 3.1% in 2026, a modest slowdown from 3.2% in 2025, buoyed by a tech‑driven investment surge. Georgieva emphasized that the war arrived when the economy was riding “considerable momentum” from technology investment and supportive financial markets. She outlined the mechanisms of damage: damaged infrastructure, supply‑chain interruptions, eroded confidence, and prolonged uncertainty over oil and gas production in the region. These factors will depress growth regardless of whether a peace agreement is ultimately reached. Georgieva highlighted that the most vulnerable will be net oil‑importing nations, poorer economies and small island states, which stand to feel the brunt of higher energy costs and reduced trade flows. She urged governments to avoid unilateral measures such as export bans or price controls, warning that such actions could "pour gasoline on the fire" and further destabilise markets. With many countries already carrying elevated debt levels and higher borrowing costs, the IMF chief called for targeted, temporary assistance to protect the most at‑risk households. She cautioned against broad tax cuts or blanket energy subsidies, which could stoke inflation and strain fragile public finances. Central banks, she added, should keep policy rates steady while remaining ready to act against inflationary pressures. Bank of England Governor Andrew Bailey, who also chairs the Financial Stability Board, echoed the IMF’s concerns, describing the conflict as a "very big shock" that has heightened market volatility. He stressed that the situation remains fluid and that policymakers must stay vigilant. Overall, the IMF’s message is clear: the Iran war will reshape the global growth trajectory for the foreseeable future, and coordinated, prudent policy responses are essential to mitigate its lasting impact.