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Amid an already dire humanitarian situation, Gaza is now confronting a cascade of infrastructure failures caused by acute shortages of fuel, engine oil and critical spare parts. The lack of these basic supplies is halting hospital generators, crippling water desalination, and grounding emergency vehicles, deepening the crisis for millions of residents. Humanitarian Crisis Deepens: Critical Shortages of Fuel, Oil and Parts in Gaza Dr Raed Hussein, director of the al‑Aqsa Martyrs Hospital, warned that a small generator supporting the main 400 kVA unit failed, forcing the shutdown of surgical operating rooms. Similar failures are reported across civil defence, where fire‑rescue vehicles and ambulances are out of service due to lack of fuel and engine oil. Cost Surge and Resource Scarcity: Numbers Behind the Shortage Engine oil price: ≈2,200 shekels per litre (up from ~25 shekels pre‑war). Seal component price: from 7‑12 shekels to hundreds of shekels. Cylinder head gasket: from 120 shekels to ≈2,000 shekels. Desalination output: 16,000 m³/day (down from 20,000 m³/day in March). Three firefighting vehicles and two ambulances have already broken down. Ripple Effects on Health, Water and Mobility The generator failures at al‑Aqsa Martyrs Hospital have forced the closure of operating rooms, raising the risk of a health disaster. Water and sanitation systems, already strained by energy restrictions, are producing less clean water, exacerbating disease risk. Transportation has collapsed: many cars sit abandoned, and residents like Heba Qahman must push wheelchairs for hours to reach distant hospitals. What Lies Ahead: Prospects for Relief and Systemic Recovery Humanitarian agencies warn that without a steady flow of fuel, oil and spare parts, essential services will continue to deteriorate. UNICEf highlights the need for immediate access to energy supplies and replacement components to restore water treatment capacity. Long‑term recovery will depend on lifting restrictions on imports and establishing reliable supply chains, otherwise Gaza’s infrastructure may face irreversible damage.

The Threat to Ocean Monitoring The Trump administration's plan to dismantle an ocean observation system vital to understanding the climate crisis and marine ecosystems would “severely degrade” the accuracy of weather predictions and El Niño forecasts, with economic consequences for the US, European and American scientists have warned. The Ocean Observatories Initiative The Ocean Observatories Initiative (OOI), run by the US National Science Foundation, is a vast network of seafloor systems, underwater gliders and moored surface platforms that feeds data to researchers, policymakers, educators and mariners worldwide. The initiative, which covers both US coastlines and extends into the North Atlantic and Southern Ocean, has been used to study marine heatwaves, harmful algal blooms, subduction zone earthquakes, ocean acidification and fisheries variability. The Data Analysis Decommissioning the US system, which plays a major part in a global ocean observation network, would lead to a massive increase in error in the annual estimates of ocean heating rates, according to research published last month. Removing US observations alone would produce a 163% increase in error for annual ocean heating rates. The Impact Analysis The loss of US observations, in a year predicted to be an El Niño year, with “supercharged” weather extremes, could also “lose the ability to see it coming clearly to act in time”. The stakes are concrete: farmers in the US and across South America use El Niño forecasts to decide what to plant and when – whether to expect drought or flooding shapes every agricultural decision months in advance. The Prediction “The US government wants to save less than a billion in sensors, which are the eyes and ears of the ocean” said Abrahams. “We have hundreds of billions in climate costs per year. The cost of the observation system is a fraction of the climate costs from hurricanes and storms that hit the US. ” The system, is, Abraham said is “quite an inexpensive way to reduce climate-related costs”.

The United States’ executive order halting visas for Iran, coupled with a near‑century‑long war launched by the US and Israel, is keeping Iranian fans and other travelers away from the 2026 FIFA World Cup, raising questions about the event’s accessibility and inclusivity.Visa Restrictions Put Iran’s World Cup Plans in JeopardyWhen Iran qualified for the tournament in March 2026, the team did not anticipate needing U.S. visas at the last minute. President Donald Trump signed an executive order in June 2025 that halted visa issuance to a handful of countries, including Iran, which the U.S. labels a “state sponsor of terrorism.” The order forces the Iranian squad to seek entry through Mexico, adding uncertainty to their participation.Financial and Logistical Burdens on FansNearly 150 Ghanaian fans had their visa applications rejected last month.Fans from 27 of the 48 qualified nations must obtain a U.S. visa, costing between $185 and $435 per applicant.Ghanaian applicants pay a $185 U.S. visa fee plus 100 Canadian dollars for a Canadian visa, an amount comparable to the average monthly per‑capita income in Ghana.The FIFA Priority Appointment Scheduling System (PASS) expedites interviews for ticket‑holding fans but does not guarantee approval.Geopolitical Tensions Undermine Tournament InclusivityThe war has already claimed thousands of Iranian lives, including a missile strike on a school in Minab that the national team commemorated with tiny backpacks. Political reprisals within Iran have led to arrests and executions of individuals accused of spying for the U.S. or Israel, further discouraging travel.Human Rights Watch reported the detention and deportation of an asylum seeker who attended the Club World Cup final in New Jersey, heightening safety concerns for prospective World Cup visitors.Future of Fan Mobility and FIFA PolicyInternational sports lawyer Khayran Noor argues that future FIFA host agreements should address accessibility and mobility obligations before awarding rights. She notes that structural barriers—visa costs, security checks, and war‑related travel bans—risk eroding the “inclusive ideals” the tournament claims to uphold.While Mexico remains the most visa‑friendly host nation and South Africa successfully secured visas for a small supporters group, the broader pattern suggests that without coordinated policy reforms, large segments of the global fan base may remain excluded from the world’s biggest football event.

The Connection Between Ebola and Deforestation For decades after the discovery of Ebolavirus in 1976, outbreaks of the disease were relatively small and contained, affecting a few hundred people at most. However, in recent years, outbreaks of Ebola have been much larger, affecting thousands and even tens of thousands of people across multiple countries. The Role of Mineral Extraction in Deforestation The conventional explanation for the increased spread of Ebola has to do with larger and more interconnected human populations. However, a more fundamental driver is the transformation of the underlying ecology of Ebola, which is being re-made, in part, by the rising global hunger for minerals to power the hi-tech economy. The increasing demand for minerals such as cobalt and gold, essential for smartphone production, is driving deforestation in the Congo basin. The Data Analysis: Deforestation and Ebola Incidence With each per cent increase in deforestation in Central Africa, the incidence of malaria and Ebola spikes by 20% to 40%. The 2014 Ebola epidemic was preceded by the loss of 85% of the forest cover in the south-west corner of Guinea, where the outbreak began. The current outbreak of Bundibugyo Ebola fits the pattern, too, being preceded by a record loss of 1.5m acres of Congo basin rainforest in 2024. The Impact Analysis: Broken Ecologies and Pandemics The hunt for minerals alters the ecology of Ebola in peculiar ways that juice the pathogen's ability to spread among us. When people expand their farms, they generally push into forests from the edges. Those who seek minerals, in contrast, plunge deep into the core of the forest. The rising price of minerals attracts people from all over, including those who don't enjoy the acquired immunity of regular forest-dwelling people. The Prediction: Preventing Future Pandemics It's only the third and relatively ignored pillar of policymaking around pandemics that can: preventing the broken ecologies that drive novel pathogens into human populations in the first place. That will mean more attention to the health of ecosystems such as the forests of the Congo basin, and how its minerals might be inside the smartphone tingling in your pocket.

The Guardian's 2025-26 Premiership Team of the Season The final round of the regular Premiership season is approaching, with playoffs yet to come. The Guardian has unveiled their team of the season for 2025-26, with players required to have appeared in at least nine league fixtures to be eligible for selection. The XV features a mix of established stars and emerging talents, with Northampton Saints particularly well-represented in the lineup. Backline Brilliance: Standout Performers in the Three-Quarters The backline showcases some of the league's most exciting talents. At fullback, George Furbank of Northampton has overcome an injury-disrupted start to re-emerge as a key cog in Saints' slick backline and is positioned to regain the England No. 15 jersey. On the wing, 19-year-old Noah Caluori of Saracens has impressed with his aerial ability, contributing 14 tries in just three games against Sale (twice) and Newcastle, and finishing the season with 18 tries in 12 Premiership matches. Midfield Mastery: Tactical Versatility and Strike Power The midfield features players who have demonstrated both tactical intelligence and finishing ability. Tommy Freeman shifts to outside center to accommodate Caluori on the wing, boasting an impressive 16 tries in 13 league matches. At inside center, Rory narrowly edges out competitors like Len Ikitau and Max Ojomoh with his ability to cut smart angles and inject vital pace at crucial moments. On the left wing, Immanuel Feyi-Waboso's return after injury has highlighted his dangerous ability when given space, with five tries in the opening two rounds and consistent ability to leave defenders behind. Halfback Excellence: Vision and Control The halfback pairing features two players who control the tempo of their respective teams. At fly-half, Billy Searle of Leicester has been a revelation this season, with his confidence and skillset underpinned by a competitive edge that has put him on England's radar. At scrum-half, Ben Spencer of Bath edges out Northampton's Archie McParland with his exceptional kicking out of hand and expert game management, though potentially feeling the effects of a long campaign after 27 matches for club and country. Forward Dominance: Power and Versatility in the Pack The forward pack features players who have consistently delivered throughout the season. At loosehead prop, Nicky Smith of Leicester has started every regular season game, earning him a long-term deal with Sale Sharks. At hooker, Gabriel Oghre of Bristol stands out for his multi-dimensional skills, including a remarkable 45-meter kick to touch from a lineout throw. In the second row, Thomas du Toit of Bath provides the power and stability that has been crucial to Bath's success. At blindside flanker, the stat-topping No. 8 has been instrumental in driving his team forward with consistent performances. Statistical Standouts and Impact Analysis The selection is backed by impressive statistics that highlight the players' contributions. Caluori's 18 tries in 12 games places him at the top of the scoring charts, while Freeman's 16 tries in 13 matches demonstrates his exceptional strike rate. Northampton's dominance is evident with four players selected, reflecting their consistent performances throughout the season. The selection also recognizes the impact of returning from injury, with Feyi-Waboso's comeback proving particularly influential for Exeter's resurgence. Future Implications for England and Club Rugby This team of the season provides insight into potential England selections for upcoming international fixtures. Furbank's return to form strengthens the fullback position, while Searle's emergence at fly-half offers an alternative to established internationals. The selection of young talents like Caluori and Feyi-Waboso suggests a bright future for English rugby, with these players expected to develop further. For clubs, the recognition of players like Smith, who has been consistently selected despite modern rotation trends, highlights the value of reliability and durability in the modern game. Looking Ahead: Playoffs and International Rugby As the playoffs approach, this team of the season provides a benchmark against which performances will be measured. Several selected players will be crucial to their teams' playoff hopes, particularly Spencer for Bath and Hutchinson for Northampton. Looking further ahead, the Six Nations and Rugby World Cup preparations will benefit from the form shown by these players, with England likely to draw heavily from this pool of in-form performers. The balance of experience and youth in this selection suggests England will be competitive on multiple fronts in the coming season.

The Lead American pianist Simone Dinnerstein presents two works by Philip Glass, performing alongside her own string ensemble Baroklyn. The album, titled 'Hourglass', offers a refreshing interpretation of Glass's minimalist compositions. The Event Details The album features Suite from The Hours, arranged by Michael Riesman, which splices Glass's score for Stephen Daldry's film into an almost symphonic three-movement work. The other work, Tirol Concerto from 2000, is the first concerto Glass wrote for piano. The central elegy of the concerto is particularly noteworthy, showcasing Dinnerstein's insightful approach. The Data Analysis No specific data was provided in the article. The Impact Analysis Dinnerstein's approach to Glass's compositions allows for a more organic and breathing interpretation, diverging from the typical mechanical rendering of minimalist music. This fresh perspective makes the album a compelling listen for fans of classical music. The Prediction Given the positive reception of this album, it is likely that Simone Dinnerstein and Baroklyn will continue to explore and interpret the works of Philip Glass and other classical composers, potentially leading to more innovative and soothing musical experiences.

The Punk Revolution That Changed Music ForeverFifty years ago this week, the Sex Pistols played their first Manchester gig at the city's Lesser Free Trade Hall. This relatively small event, attended by only a few dozen people, marked the beginning of a summer that would forever change British rock music. By the end of 1976, the music landscape had been completely transformed with the live debuts of the Clash, the Damned, and Buzzcocks, the arrival of fanzine Sniffin' Glue, and the first British gig by the Ramones. This punk explosion would ultimately obliterate everything that came immediately before it from the collective memory.The Forgotten Music Landscape of Pre-Punk BritainThe musical world that punk entered into has been largely forgotten in the shadow of its revolutionary impact. Reading the weekly music papers from 1976 reveals a deeply different landscape than what we imagine today. While familiar names like Elton John, Paul McCartney, Queen, the Who, and the Rolling Stones dominated, they were discussed in terms that now seem alien. An NME cover asked "Is Your Fave Rave Rock Star Old Enough To Be Your Father?" beneath the headline "All The People On This Page Will Be 30 Or Over During The Next Year - How Will They Live With It?" - a question that seems quaint given these artists' continued relevance decades later.The Economics of a Pre-Punk Music IndustryThe financial aspects of the pre-punk music industry present striking contrasts to today's market. The Rolling Stones' spring tour tickets that caused public hand-wringing in 1976 cost £3, equivalent to approximately £30 in today's money. This stands in stark contrast to the Stones' 2022 Hyde Park performance, where getting close to the stage would have cost £186. The industry was also experiencing different economic pressures, with Bruce Springsteen's UK promotion attempts being dismissed as "desperate hype around underwhelming music," while Nils Lofgren was being hyped as "one of the biggest stars in the world" based on his second solo album.The Cultural Shift That Punk RepresentedPunk's emergence represented a profound cultural shift in music and society. The movement wasn't just musical but ideological, challenging the perceived irrelevance of mainstream rock. As Mick Farren wrote in NME, rock had "lost its guts" and was "on an unalterable course to a neo-Las Vegas" because artists were "totally insulated from the real world." Punk's raw energy, DIY ethos, and anti-establishment stance provided a direct counterpoint to this perceived artistic complacency. The movement's impact extended beyond music, influencing fashion, politics, and youth culture in ways that continue to resonate.The Legacy of Punk and Its Forgotten VictimsAs we look back on punk's legacy, it's important to acknowledge the artists and bands who were effectively erased by its meteoric rise. The music press of 1976 was filled with names now largely forgotten: the Jess Roden Band, Nasty Pop, the Cate Brothers, and Elephunt. There was also a peculiar vogue for bands mixing music and comedy, such as Alberto y Lost Trios Paranoias and Supercharge, who apparently reduced audiences to stitches with their impersonations of popular acts. These artists and countless others represent the rich, diverse musical ecosystem that punk's revolution temporarily obscured, though some have since been rediscovered by music historians and crate diggers.

Breathing Earth's Ancient PastMore than 2bn years ago, during the Paleoproterozoic era, the Earth's atmosphere began to fill with free oxygen, enabling the rise of aerobic life and, ultimately, humans. This Great Oxidation Event is now being experienced firsthand by visitors to the Museum of Old and New Art (Mona) in Tasmania, where French-Swiss conceptual artist Julian Charrière has created an extraordinary installation that allows people to inhale oxygen that has been trapped in iron ore since that ancient time.When Charrière came up with the concept for what would become 'Breathe,' Mona's owner David Walsh not only approved the project but created a bespoke space for it, recognizing the unique intersection of science, art, and human experience that the installation represents.The Science Behind the Ancient OxygenThe installation is a marvel of scientific ingenuity and artistic vision. Charrière has sourced ancient iron ore from Australia's Pilbara region, which is processed daily in an on-site laboratory. The water is extracted from the ore using specialized machinery, then put through a Hofmann apparatus—a piece of scientific equipment that electrolyzes water—to liberate the trapped oxygen molecules.This pure, ancient oxygen is then released into a specially designed room where visitors can breathe it in, creating a direct connection to the beginning of life on Earth. As Charrière explains: 'I want people to get all the way back to the beginning of the earth. It's like a time machine.' The installation is designed as a solitary experience, with visitors accessing a vault-like corridor reminiscent of a mining drift, flanked by raw sandstone and lined with deep red rocks from the Pilbara.The Immense Timescale of the InstallationThe timescale involved in 'Breathe' is almost incomprehensible. The oxygen visitors inhale has been trapped in iron ore for over 2.4 billion years—since the Great Oxidation Event that transformed Earth's atmosphere and enabled the development of complex life forms. This installation literally connects each visitor to the primordial beginnings of our planet's atmosphere.As visitors walk through the tunnel, the temperature drops as they approach a high-ceilinged cylindrical room, an underground windowless tower where lighting depends on the amount of sun that can be reflected through a small opening above. Walking over tiles made of polished ancient tiger ore, they circle a floor-to-ceiling clear glass tube that houses the Hofmann apparatus. It is here, at a small opening, that visitors have their closest access to Charrière's pure, ancient oxygen.Redefining the Art-Science Experience'Breathe' represents a groundbreaking fusion of scientific methodology and artistic expression, challenging traditional boundaries between disciplines. The installation creates a profound personal experience that connects visitors not just to art, but to the very essence of life on Earth.What makes this installation particularly powerful is its claim that each visitor is the first human being to ever inhale that specific oxygen. As Charrière explains: 'You are breathing something which is so pure and has not been touched by any being before you... And the beauty of the piece is you will carry it until you die. You're going to become a small part of this installation and you become a big part of the great oxygen cycle, and you will only finally free this oxygen once... once you're going in the other world.'This installation is part of a broader trend in contemporary art that incorporates scientific processes and concepts, creating works that are both intellectually stimulating and viscerally impactful.The Future of Scientific Art Installations'Breathe' is opening alongside Charrière's major new exhibition 'Hard Core,' which showcases both the ambition and scientific curiosity of the Berlin-based artist. Individual elements of 'Hard Core' have been exhibited elsewhere in the world, including at the Venice Biennale, but the full exhibition finds its perfect home at Mona, with its exposed rock, industrial aesthetic, and fusion of science with art.As museums and galleries continue to seek innovative ways to engage audiences, installations like 'Breathe' point to a future where art and science are not just displayed together but are fundamentally intertwined in the creative process. This approach has the potential to create more immersive, educational, and thought-provoking experiences that challenge visitors to see the world—and their place in it—in new ways.Charrière's work demonstrates how art can make abstract scientific concepts tangible and personal, creating connections across vast stretches of time and space. As our understanding of the universe expands, art installations like 'Breathe' will play an increasingly important role in helping us process and relate to these profound concepts.

The Comeback That Never MaterializedJust over a year ago, Lizzo appeared on Saturday Night Live, announcing a new album called Love in Real Life in grandstanding style. Wielding an electric guitar, clad in a Trump-baiting T-shirt that read Tariffied, she performed its title track and two other new songs, Still Bad and Don't Make Me Love U. As with her appearance earlier the same week on a late night talkshow – during which she ran into the audience to high-five fans who were yelling "we love you Lizzo!" – it looked very much like a defiant comeback, fit to drag her out of the controversy that erupted at the end of her hugely successful 2023 world tour. Three former backing dancers and a costume designer filed lawsuits against the singer alleging harassment and discrimination: damaging claims given how Lizzo's songs have preached a message of inclusivity, body positivity and self-confidence. Some of the allegations were dismissed by a judge but others are ongoing; Lizzo has refused to settle out of court, saying: "I'm fighting the case because I know that it's not true."The Album That Never WasBut the Love in Real Life single, a pivot towards rock that owed a little to Tom Petty's American Girls – or the Strokes' American Girls-indebted Last Nite if you prefer – failed to make the charts, a far cry from the period between 2018 and 2022 when Lizzo's singles seemed to go multi-platinum as a matter of course. The same fate befell Still Bad, a track much more in the vein of her big hits, prompting a rethink. The album was pulled, Lizzo apparently taking control of her own destiny – "I need to do shit my way". A mixtape that returned her more-or-less to where she started, before pop stardom came calling – punchy hip-hop, albeit tricked out with guest appearances from Doja Cat and SZA – appeared in its place: My Face Hurts from Smiling received mixed reviews and underwhelming streaming figures.A Career at a CrossroadsAll of which means that Bitch, her fifth album proper, lands at a deeply peculiar juncture in Lizzo's career. Given that the public apparently don't want her going rock, nor rapping in the style of her 2013 debut Lizzobangers, nor indeed making the kind of music they were buying in their millions three years ago, the question of what they actually do want has presumably hung heavy over its making.Musical Identity CrisisLizzo hasn't come up with a definitive answer. Bitch tries a bit of everything, from pastiching Tame Impala on Happy 2 Be to making clipped new-wave rock decorated with Cure-like guitars on She Stole My Man; Sexy Ladies is a girls-night-out-soundtracking reiteration of the old body positivity message. This scatter-gun approach makes Bitch a disjointed listen.The Subdued ToneMoreover, there's something oddly subdued about its tone, whether it's dabbling in 80s retro – Don't Make Me Love U brings to mind the arena-rousing keyboard hook from Tina Turner's The Best, but renders it into a distant, affectless backing vocal – or delving into jazzy R&B; on Too Nice. The vibraphone-heavy beat on the latter is fantastic, rich in small-hours atmosphere, but the actual song feels nondescript: it only really comes to life in its dying moments, when Lizzo stops singing and starts playing a flute solo. The title track interpolates the chorus from Meredith Brooks' 1997 pop-grunge hit of the same name, but somehow flattens it in the process. Crooned over smooth, G-funky R&B;, it feels stripped of its fiery power, less of a snarl and more of a shrug.Equivocal LyricsThe lyrics often seem similarly equivocal. You don't want for apparent references to Lizzo's recent woes – "I hope it makes you happy to hurt somebody else", "the thing about depression, you think your life is over", "you'd still be working at the mall if it wasn't for me" – but they ultimately feel neither pugilistic nor racked, just confused and sore: "I have feelings too," she sings on piano ballad A Toast.Highlights Amidst the StruggleNot everything here is underwhelming: Whose Hair Is This is a great southern soul pastiche, home to an impressively raw vocal and a snappy plot twist at the end of the lyrics; That Grrrl employs an old-school Chicago house bassline to energising effect. But what's definitely lacking is an unequivocal pop smash, the kind of thing that Lizzo once seemed to be able to write to order.A Changing Cultural LandscapePerhaps that's inevitable. One of the reasons Lizzo hit so big in the first place was that she made pop music that perfectly captured a zeitgeist, and that zeitgeist has moved on: the era of body positivity has been displaced by the era of Ozempic and Mounjaro; the kind of post-pandemic, post-Trump optimism embodied on 2022's About Damn Time now sounds like a transmission from a distant lost age. We're living in a different world now, and Bitch suggests Lizzo has yet to work out how to respond to it: "I'm doing my best," she sings on A Toast, which feels like the most telling lyric of all.