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A rapid expansion of data‑centres around Santiago’s Quilicura wetland is siphoning billions of litres of water, turning one of Chile’s largest swamps into a dry plain and intensifying a 15‑year mega‑drought. The Wetland’s Vanishing: On‑the‑Ground Observations in Quilicura Rodrigo Vallejos, a final‑year law student, first noticed the change five years ago when the once‑lush Quilicura wetland – spanning 468.4 hectares (about 1,200 acres) – began to dry out. He now works with the activist group Resistencia Socioambiental de Quilicura, documenting how the area, once a key urban biodiversity zone, is turning into “a wetland without water.” Water Consumption Numbers: Billions of Litres Drained Annually Experts estimate that the largest data‑centres in the district – operated by Google, Microsoft, Brazilian Ascenty and Chilean Sonda – consume roughly 1.5 bn litres of water each year. The scale is illustrated by the following figures: 33 data‑centres are currently operating, with 34 more planned. Google’s water rights allow extraction of up to 50 litres per second, equivalent to the annual use of 8,500 Chilean households. Water‑based cooling systems dominate, using far more water than air‑cooled alternatives. Ecological and Social Fallout: Why Chile’s Tech Push Risks a Mega‑Drought Crisis The water draw aggravates a national mega‑drought that has persisted for over 15 years. Climate scientist Pablo Sarricolea warns that by 2070 precipitation could fall sharply while average temperatures rise from 15.6 °C to 17.4 °C, increasing evaporation and further stressing water supplies. Residents also point to limited job creation and the lack of transparent reporting on water extraction. Company statements differ: Microsoft claims its Chilean sites rely on air‑based cooling, reducing water use, while Ascenty argues its water consumption equals that of only 16 households. Nonetheless, activists argue that prioritising water for tech firms over local communities raises ethical concerns. Looking Ahead: Relocation, Regulation, and the Future of Chile’s Data‑Centre Strategy Chile’s national data‑centre plan, launched under former President Gabriel Boric, aims to position the country as Latin America’s tech hub. Experts suggest a shift to water‑rich southern regions to balance growth with ecological limits. Stronger industry regulation, transparent water‑use reporting, and investment in air‑cooled or renewable‑energy‑based cooling could mitigate the crisis. Without such measures, the Quilicura wetland may become a stark symbol of how unchecked digital infrastructure can deepen climate vulnerability in already water‑scarce regions.

The Mischief Theatre Company's Thespians Review The Mischief theatre company has been making fun of actors' foibles for years, especially in their deliriously amusing Goes Wrong series. Their first musical, Thespians, asks if the rampaging egos, heated rivalries, creative differences, and hammy activities of actors can be dated back to the world's very first acting troupe. The World of Thespians Little is known about the real Thespis, father of tragedy in the sixth century BC. Co-writers and lyricists Jonathan Sayer and Ed Zanders introduce him on the drought-plighted island of Ikaria and chart his odyssey to Athens, where he competes in a Eurovision-style prayer competition at the whim of a merciless tyrant and ends up founding the art of acting with his pals. The Musical Elements The musical elements of Thespians are a highlight, with songs that grow stronger over the evening. The show includes a Kander and Ebb spoofing Old Man Tango, with a geriatric chorus line prone to back pain. The sound, from Ben Smith's band, is more Sondheim than Rydell High in a show subtitled Greece the Musical (But Not That One). The Performances The cast, including James Spence as Thespis, Luke Latchman as Atlas, and Marc Pickering as Adonis, deliver strong performances. The show is directed by Robyn Grant and features a panto-esque adventure with a mix of physical comedy and witty wordplay. The Verdict While the show could benefit from zippier physical set pieces and a faster-paced ending, it distinguishes itself with an abundance of heart and soul. Thespians is a sweetly affecting paean to keeping good company – in life as much as in theatre.

Lead: AI‑driven earbuds aim to transform how we sleep Boston startup SOND announced its debut product, Dreambuds, a sensor‑rich earbud that streams twelve physiological signals to a cloud‑based AI sleep coach. The launch coincides with a $7 million seed round led by MIT‑affiliated investors, positioning the company to move from prototype to mass production by mid‑2026. SOND unveils Dreambuds, a closed‑loop AI sleep earbud system Dreambuds combine high‑fidelity audio drivers with an array of sensors that monitor respiration, heart‑rate variability, cardiorespiratory coupling, sleep staging, body position, snoring, and seismocardiography (SCG). The data is processed in real time, allowing the AI coach to select or generate personalized audio programs, respond to voice commands, and adjust sleep plans without a phone. 12 physiological signals captured in‑ear Cloud AI coach with a library of 500+ audio programs Charging case includes Wi‑Fi, Bluetooth, OLED display, speaker, and physical buttons End‑to‑end operation; no smartphone required for core functions $7 million seed round backed by MIT‑linked investors The funding round was led by E14 Fund and included Crosslink Capital, Ubiquity Ventures, Alumni Ventures, Meach Cove Capital, and Boston Scientific co‑founder John Abele. The capital will finance final engineering, regulatory clearance, and a crowdfunding campaign slated for later this year. Potential shift in sleep‑tech market away from passive noise‑cancellation Traditional sleep earbuds, such as Bose’s Sleepbuds 2, focused on masking ambient noise. Dreambuds’ active, data‑driven approach could redefine consumer expectations, prompting competitors to embed richer sensor suites and AI coaching. By eliminating the need for a phone, SOND also addresses privacy concerns and user‑experience friction that have limited adoption of earlier wearables. Roadmap to mass production and market adoption by 2026‑2027 SOND plans to begin mass manufacturing in Q2 2026, following a crowdfunding round intended to raise additional runway. Early reservations are already open on the company website. If production scales as projected, Dreambuds could capture a notable share of the growing sleep‑tech market, which analysts estimate will exceed $5 billion by 2028.

Zambia announced on 5 May 2026 that the RightsCon summit, the world’s largest conference on human rights and technology, would be cancelled just days before its scheduled start, citing a need to align the event with “national values”.Government’s Last-Minute Cancellation of RightsCon 2026Permanent Secretary Thabo Kawana of the Ministry of Information & Media said the decision was taken to ensure the gathering “aligns with Zambia’s national values, policy priorities, and broader public interest considerations”. The summit was to run from 5‑8 May in Lusaka, attracting over 2,600 activists, technologists, academics and policymakers.Financial and Logistical Fallout for DelegatesMore than 2,600 participants had already booked travel and accommodation.Individual delegates, such as Karna Kone from Côte d’Ivoire, reported losses of several hundred dollars in airfare and visa fees.Organiser Access Now had invested months of liaison and incurred undisclosed costs.Implications for Zambia’s International Reputation and Civil Society SpaceHuman‑rights lawyers like Linda Kasonde argue the move signals a “slow degradation of rights” and damages Zambia’s image, especially as the country was set to host the first RightsCon in southern Africa. Reports suggest pressure from China—including the use of a venue donated by Beijing and concerns over Taiwanese delegates—may have influenced the decision.The cancellation arrives ahead of the August 2026 general election, raising fears that the government is tightening control over public discourse and limiting civil‑society convening.What This Means for Future Digital‑Rights Conferences in AfricaStakeholders warn that the incident could deter future international events, as sponsors and participants may view African venues as politically volatile. Advocacy groups are calling for stronger guarantees of independence for such summits, and for regional bodies to develop protocols that protect civil‑society gatherings from abrupt governmental interference.

The Lead: Another Cabinet Departure US Secretary of Labour Lori Chavez-DeRemer will be leaving her post in the administration of President Donald Trump, marking the third female cabinet member to depart since March. The White House announced her departure on Monday, stating she has done a "phenomenal job" protecting American workers and is set to "take a position in the private sector." The Personnel Shift: Trump's Evolving Cabinet Chavez-DeRemer's departure comes amid a series of high-profile exits from the Trump administration. She follows Homeland Security Secretary Kristi Noem, who was fired in March following federal immigration raids in Minnesota that led to the deaths of two protesters, and Attorney General Pam Bondi, who was ousted earlier this month. These departures signal a significant personnel shakeup in the administration's early months of its second term. The Investigation Context: Controversy Surrounding the Secretary While White House Director of Communications Steven Cheung did not specify a reason for Chavez-DeRemer's departure, the New York Post reported in January that she was under investigation for "pursuing an 'inappropriate' relationship with a subordinate" and drinking in her office during the work day. Al Jazeera was unable to independently verify these allegations, which have not been officially confirmed by the administration. The Policy Contradictions: Union Support vs. Anti-Regulatory Stance From the beginning of her tenure, Chavez-DeRemer had notable differences with other members of Trump's inner circle. She had voiced support for the pro-union Protecting the Right to Organize Act (PRO Act), earning support for her nomination from some Democrats. Her appointment was also seen as favored by Sean O'Brien, the president of the International Brotherhood of Teamsters, who spoke in support of Trump's re-election campaign at the Republican National Convention in July 2024. However, as labor secretary, her positions more closely aligned with the Trump administration's overall anti-regulatory policies. The Regulatory Rollback: Environmental and Worker Protections During her tenure as secretary, the Labor Department stalled on responding to calls for limits on silica exposure from Appalachian coal miners suffering from the occupational black lung disease. This approach aligned with the administration's broader moves to roll back environmental and workplace regulations, reflecting a tension between Chavez-DeRemer's apparent personal views on labor issues and the administration's policy direction. The Precedent Set: Firing of BLS Director Chavez-DeRemer is not the first top official to leave the Labor Department during Trump's second term. In August 2025, Trump fired the director of the Bureau of Labor Statistics (BLS), Erika McEntarfer, who was appointed by previous President Joe Biden, after a report showed that hiring had slowed. Chavez-DeRemer had supported the president's move at the time, stating in a post on X that she backed "the President's decision to replace Biden's Commissioner and ensure the American People can trust the important and influential data coming from BLS." The Future Outlook: Implications for Labor Policy With Keith Sonderling taking on the role of Acting Secretary of Labor, the department's direction remains uncertain. The departure of Chavez-DeRemer, who had some bipartisan support due to her union-friendly positions, suggests that the administration may continue to prioritize anti-regulatory approaches in labor policy. This could have significant implications for worker protections, union rights, and occupational safety standards in the coming months.

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.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.