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04/08/2026

A mother dolphin in Western Australia’s Leschenault Estuary has spent days carrying her dead calf through the water, in what researchers describe as a period of mourning.

The calf was around two weeks old when it died. According to researchers at the Geographe Marine Research Ltd, the Australian conservation organisation that monitors the estuary, the mother, named Fraggle, has now lost her last four calves.

“Knowing that having a calf in winter was going to be a challenge for survival, we still had hope she had a chance to be a mum again,” they wrote on Instagram.

“Late last week we found dolphin Fraggle mourning the loss of her calf,” they said. The group had been monitoring the calf’s health closely and said they “knew this day was coming” after noticing a high respiratory rate in the days before.

Scientists have long noticed that dolphins don’t let go easily. A mother will often keep her dead calf close for days, sometimes over a week, even as the body begins to decompose. Marine biologist Giovanni Bearzi, who has studied this behaviour across dozens of recorded cases, says it’s most likely tied to how strong the mother-calf bond is, and possibly to grief itself, though scientists are still working out whether it’s genuine mourning or an inability to accept the loss. What is clear is that this response is far more common in dolphins than in most other whales, and researchers have linked it to their unusually large, socially wired brains.

“With only a handful of dolphins that call the estuary home we don’t get to witness newborns most years and even then the survival rate is low,” the researchers said. “This day it seems some of her ocean going friends joined the locals to mourn alongside her showing the tight family bond they have.”

Video credit: Geographe Marine Research

In the span of a few weeks this summer, two of the most powerful tech companies on earth launched AI features only to sw...
04/08/2026

In the span of a few weeks this summer, two of the most powerful tech companies on earth launched AI features only to swiftly retract them when the public demonstrated how easily they could be abused.

Meta’s Muse Image tool allowed anyone to generate AI imagery based on any public Instagram account, unless you opted out. It only lasted three days.

Google added a generative image tool inside Google Earth – one of the world’s most widely used sources of visual evidence – and pulled it after journalists and researchers demonstrated how easily it could fabricate a nuclear facility in Iran, or a refugee crisis at a border.

Plenty of AI products and features have failed in the past few years, but these two stand out because the harm wasn’t difficult to foresee. In both cases, regular people pointed out the potential to do great harm within hours of launch.

This seems like part of a broader identity crisis during the AI boom, where, in the race to get ahead, many platforms have forgotten what they are.

Read the editor's note by Carla Sertin , Head of Editorial Content at Wired Middle East: https://www.wired.me/story/big-tech-is-hitting-ctrlz-the-rest-of-us-are-looking-for-the-esc-key?utm_source=facebook&utm_medium=social&utm_campaign=dhfacebook&utm_content=app.dashsocial.com%2Fwired-me%2Flibrary%2Fmedia%2F705245982

Google added a generative image tool inside Google Earth – one of the world's most widely-used sources of visual evidenc...
03/08/2026

Google added a generative image tool inside Google Earth – one of the world's most widely-used sources of visual evidence – and pulled it after journalists and researchers demonstrated how easily it could fabricate a nuclear facility in Iran, or a refugee crisis at a border.

The tech giant said its AI feature was released with guardrails. Images are watermarked as AI-generated and weren't visible to other users in the main Google Earth experience. There were limits to what users could prompt. But all these limitations assume that content would stay on Google Earth – and they are all easily defeated by a simple screenshot.

Humanity is currently burning through the Earth’s resources 73% faster than our ecosystems can regenerate, according to ...
31/07/2026

Humanity is currently burning through the Earth’s resources 73% faster than our ecosystems can regenerate, according to Global Footprint Network. That’s roughly the equivalent of needing 1.73 Earths to keep up with how much we consume, says the international research organisation that calculates Earth Overshoot Day each year.

Yesterday, 30 July, was that day for this year. It marks the point when humanity’s demand on nature exceeds what our planet can regenerate within the year. From here until December, we’re living off of resources the planet hasn't yet replaced.

This means more CO₂ released than the biosphere can absorb, more freshwater used than is replenished, more trees cut than can regrow and more fish caught than stocks can recover.

A joint report by Global Footprint Network and Greenings, a Swiss non-profit member association founded in 2010, observes that overshoot is a driver of food and energy insecurity, health crises and conflict, arguing that resource security should be treated as an economic risk, not just an environmental one.

The report also found something concerning. No country’s national economic strategy fully accounts for these resource limits.

“Overshoot is not a distant environmental concern. It is already producing economic impacts,” says Dr David Lin, one of the report’s authors and chief scientist at Global Footprint Network. “Countries that plan for a resource-constrained future will be the ones best positioned to withstand it. Right now, almost none are.”

Source: footprintnetwork.org

For decades, Europe was the Gulf’s summer refuge. Now record-breaking heatwaves are forcing travellers to rethink where ...
31/07/2026

For decades, Europe was the Gulf’s summer refuge. Now record-breaking heatwaves are forcing travellers to rethink where they go to cool off.

For decades, Europe was the Gulf's summer refuge. Now record-breaking heatwaves are forcing travellers to rethink where they go to cool off.

29/07/2026

YouTube star AboFlah has spent most of his life streaming. Known as Hassan Suleiman in the few hours he spends offline, the streamer has collected 50 million subscribers, but the streamer knows the value of switching off.

"Short content is cheap dopamine. Short content is engineered to take a person’s focus," says AboFlah, even as he rakes in millions of views on his short-form content.

"It’s just like the family’s responsibility toward the child... entertainment should have a set time. Half an hour, an hour – Salam Alaykum [Goodbye]. Not 24 hours. Not the first thing when I wake up...", he adds.

🔗 in bio to read the full interview.

Have you ever used AI in reply to your partner?AI isn’t replacing relationships. But it is quietly becoming a participan...
28/07/2026

Have you ever used AI in reply to your partner?

AI isn’t replacing relationships. But it is quietly becoming a participant in them.

For some people, relying on AI can gradually replace the conversations they were trying to have in the first place.

In our July digital package, The Escape Issue, we explore what that’s doing to modern relationships.

🔗 in bio for the full article.

Words: Ellie Zolfagharifard
Illustration: Juan Vallecillos

27/07/2026

Social media has transformed not only how Palestine is documented, but how it is consumed. Palestinians can now broadcast their own experiences directly from their phones rather than through traditional media gatekeepers.

But the same platforms carrying that testimony also condition audiences to consume everything in increasingly brief fragments. Songs compete with dance trends. War footage appears between recipes and comedy sketches. Everything fights for the same attention.

That tension also shaped “Comfortably Numb Re-Imagined”, leading Roger Waters and Mona Miari to eventually release three versions of the song, including a three-minute edit and a 40-second cut.

Waters sees the shift through the lens of experience. “Back in the '60s and '70s, there wasn't any social media,” he says. Vinyl imposed its own constraints, but they were measured in album sides rather than seconds, giving musicians room to tell a story and develop themes across a full concept album.

Read the full interview with Mona Miari and Roger Waters for our July digital cover, The Escape Issue: https://www.wired.me/story/roger-waters-and-mona-miari-refuse-to-become-comfortably-numb?utm_source=facebook&utm_medium=social&utm_campaign=dhfacebook&utm_content=app.dashsocial.com%2Fwired-me%2Flibrary%2Fmedia%2F701994662

Words: Digital Editor, Dana Alomar

Head of Editorial Content: Carla Sertin
DP: David Barron
Producer: Brandon White
Video Producer: Tamanna Sajeed
Audio: Sean Paulsen

27/07/2026

Since October 2023, social media has become a living archive of Gaza, with ordinary people forced to document bombings, displacement and loss because of the Israeli ban on international media.

Millions upon millions of views on videos of atrocities committed in Gaza – where Israel killed more than more than 72,000 Palestinians between 7 October 2023 and 6 May 2026 – have resulted in very little measurable action.

For Mona Miari, the surge in attention after 7 October produced two conflicting outcomes. It encouraged people to question long-held narratives around Palestine. It also gave others an opportunity to treat the cause as another online trend. But she also watched others use Palestine as a route to online relevance, capitalising on what she describes as the “online wave”.

Her concern isn’t that people discover Palestine through social media. It is what happens when online attention becomes confused with meaningful action.

Read the full interview with Mona Miari and Roger Waters for our July digital cover, The Escape Issue: https://www.wired.me/story/roger-waters-and-mona-miari-refuse-to-become-comfortably-numb?utm_source=facebook&utm_medium=social&utm_campaign=dhfacebook&utm_content=app.dashsocial.com%2Fwired-me%2Flibrary%2Fmedia%2F701985948

Words: Digital Editor, Dana Alomar

Head of Editorial Content: Carla Sertin
DP: David Barron
Producer: Brandon White
Video Producer: Tamanna Sajeed
Audio: Sean Paulsen

27/07/2026

Nearly half a century after first released "Comfortably Numb", believes the mechanisms have changed, but the outcome hasn’t. Social media, he argues, is turning distraction into a form of emotional anaesthesia. “They numb us out with TikTok,” he says.

Read the full interview with Mona Miari and Roger Waters for our July digital cover, The Escape Issue: https://www.wired.me/story/roger-waters-and-mona-miari-refuse-to-become-comfortably-numb?utm_source=facebook&utm_medium=social&utm_campaign=dhfacebook&utm_content=app.dashsocial.com%2Fwired-me%2Flibrary%2Fmedia%2F701978155

Words: Digital Editor, Dana Alomar

Head of Editorial Content: Carla Sertin
DP: David Barron
Producer: Brandon White
Video Producer: Tamanna Sajeed
Audio: Sean Paulsen

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