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There is an inherent problem with the design of shower heads. Not some of them, all of them. The problem is that their very design creates the ideal circumstances for mold to thrive within them, internally, in areas that you cannot access for cleaning.A bathtub faucet or kitchen sink tap is simply just a shaped pipe that allows water to flow through them. When you turn the water off, the pipe mouths quickly dry, thanks to their relatively wide shape and local airflow.Showerheads, however, are complex workings of intricate inner channels and nozzles, designed to break the water flow into spray patterns that end users find desirable. These channels are all inside the showerhead and get little airflow. The channels can never really dry out completely, and over time, that interal dampness allows bacteria and mold—including the dreaded black mold--to thrive. In this shot of a showerhead that has been cut open by a saw, a lot of what you see is the detritus of the cut plastic, but you can also see the brown stuff. And deeper inside the head, you find this: The mother of Steve Sunshine, an inventor, was suffering from respiratory issues. Sunshine disassembled her showerhead and found it was filled with mold. He subsequently designed this ShowerClear: This ingenious design pops open, so that after a shower you can let the shower head's innards dry out. It also makes it easy to clean, so you can eliminate mineral build-up. (This eliminates the mild hassle that many of us undertake to clean our showerheads, which is soaking them in a vessel filled with vinegar for a few hours.) The ShowerClear heads come in a variety of finishes and run $140.

Already suffering from steep declines in sales and profit, the carmaker could now face the president’s wrath.

Ahead of the TechEx North America event on June 4-5, we’ve been lucky enough to speak to Kieran Norton, Deloitte’s US Cyber AI & Automation leader, who will be one of the speakers at the conference on June 4th. Kieran’s 25+ years in the sector mean that as well as speaking authoritatively on all matters cybersecurity, his most recent roles include advising Deloitte clients on many issues around cybersecurity when using AI in business applications.The majority of organisations have in place at least the bare minimum of cybersecurity, and thankfully, in most cases, operate a decently comprehensive raft of cybersecurity measures that cover off communications, data storage, and perimeter defences.However, in the last couple of years, AI has changed the picture, both in terms of how companies can leverage the technology internally, and in how AI is used in cybersecurity – in advanced detection, and in the new ways the tech is used by bad actors.As a Considered a relatively new area, AI, smart automation, data governance and security all inhabit a niche at present. But given the growing presence of AI in the enterprise, those niches are set to become mainstream issues: problems, solutions, and advice that will need to be observed in every organisation, sooner rather than later.Governance and riskIntegrating AI into business processes isn’t solely about the technology and methods for its deployment. Internal processes will need to change to make best use of AI, and to better protect the business that’s using AI daily. Kieran draws a parallel to earlier changes made necessary by new technologies: “I would correlate [AI] with cloud adoption where it was a fairly significant shift. People understood the advantages of it and were moving in that direction, although sometimes it took them more time than others to get there.”Those changes mean casting the net wide, to encompass the update of governance frameworks, establishing secure architectures, even leveraging a new generation of specialists to ensure AI and the data associated with it are used safely and responsibly. Companies actively using AI have to detect and correct bias, test for hallucinations, impose guardrails, manage where, and by whom AI is used, and more. As Kieran puts it: “You probably weren’t doing a lot of testing for hallucination, bias, toxicity, data poisoning, model vulnerabilities, etc. That now has to be part of your process.”These are big subjects, and for the fuller picture, we advocate that readers attend the two talks at TechEx North America that Kieran’s to give. He’ll be exploring both sides of the AI coin – issues around AI deployment for the business, and the methods that companies can implement to deter and detect the new breed of AI-powered malware and attack vectors.The right use-casesKieran advocates that companies start with smaller, lower-risk AI implementations. While some of the first sightings of AI ‘in the wild’ have been chatbots, he was quick to differentiate between a chatbot that can intelligently answer questions from customers, and agents, which can take action by means of triggering interactions with the apps and services the business operates. “So there’s a delineation […] chatbots have been one of the primary starting places […] As we get into agents and agentic, that changes the picture. It also changes the complexity and risk profile.”Customer-facing agentic AI instances are indubitably higher risk, as a misstep can have  significant effects on a brand. “That’s a higher risk scenario. Particularly if the agent is executing financial transactions or making determinations based on healthcare coverage […] that’s not the first use case you want to try.”“If you plug 5, 6, 10, 50, a hundred agents together, you’re getting into a network of agency […] the interactions become quite complex and present different issues,” he said.In some ways, the issues around automation and system-to-system interfaces have been around for close on a decade. Data silos and RPA (robotic process automation) challenges are the hurdles enterprises have been trying to jump for several years. “You still have to know where your data is, know what data you have, have access to it […] The fundamentals are still true.”In the AI era, fundamental questions about infrastructure, data visibility, security, and sovereignty are arguably more relevant. Any discussions about AI tend to circle around the same issues, which throws into relief Kieran’s statements that a conversation about AI in the enterprise has to be wide-reaching and concern many of the operational and infrastructural underpinnings of the enterprise.Kieran therefore emphasises the importance of practicality, and a grounded assessment of need and ability as needing careful examination before AI can gain a foothold. “If you understand the use case […] you should have a pretty good idea of the ROI […] and therefore whether or not it’s worth the pain and suffering to go through building it.”At Deloitte, AI is being put to use where there is a clear use case with a measurable return: in the initial triage-ing of SOC tickets. Here the AI acts as a Level I incident analysis engine. “We know how many tickets get generated a day […] if we can take 60 to 80% of the time out of the triage process, then that has a significant impact.” Given the technology’s nascence, demarcating a specific area of operations where AI can be used acts as both prototype and proof of effectiveness. The AI is not customer-facing, and there are highly-qualified experts in their fields who can check and oversee the AI’s deliberations.ConclusionKieran’s message for business professionals investigating AI uses for their organisations was not to build an AI risk assessment and management programme from scratch. Instead, companies should evolve existing systems, have a clear understanding of each use-case, and avoid the trap of building for theoretical value.“You shouldn’t create another programme just for AI security on top of what you’re already doing […] you should be modernising your programme to address the nuances associated with AI workloads.” Success in AI starts with clear, realistic goals built on solid foundations.You can read more about TechEx North America here and sign up to attend. Visit the Deloitte team at booth #153 and drop in on its sessions on June 4: ‘Securing the AI Stack’ on the AI & Big Data stage from 9:20am-9:50am, and ‘Leveraging AI in Cybersecurity for business transformation’ on the Cybersecurity stage, 10:20am – 10:50am.Learn more about Deloitte’s solutions and service offerings for AI in business and cybersecurity or email the team at uscyberai@deloitte.com.(Image source: “Symposium Cisco Ecole Polytechnique 9-10 April 2018 Artificial Intelligence & Cybersecurity” by Ecole polytechnique / Paris / France is licensed under CC BY-SA 2.0.)

A New Museum Dedicated to Frida Kahlo’s Early Years and Family Life Is Coming to Mexico City The Museo Casa Kahlo will be located beside the popular Museo Frida Kahlo. It will display letters, artworks and mementos that shed light on the Mexican artist’s childhood Frida Kahlo in 1944 Bettmann via Getty Images A new museum dedicated to the early life of the Mexican painter Frida Kahlo is opening in Mexico City. Located in the city’s historic Coyoacán district, the Museo Casa Kahlo will tell the Mexican painter’s story through letters, toys, artworks and other personal items. “This museum isn’t just about her work—it’s about her world,” Frida Hentschel Romeo, Kahlo’s great-grand-niece, tells Vogue’s Chloe Schama. “It’s about how the people closest to her shaped who she became. And it’s also about the living family—those of us who carry her legacy forward.” The museum will occupy a building known as Casa Roja, a home belonging to the Kahlo family. It’s next door to the already famous Casa Azul, the family home built by Kahlo’s father in 1904. The Museo Frida Kahlo, which occupies Casa Azul, has been open since 1958. Andrew Hasson / Getty Images Born in 1907, Kahlo grew up in Casa Azul and later shared it with her husband, fellow artist Diego Rivera. She purchased the neighboring red house (also owned by her parents) for her sister Cristina’s family. Four years after Kahlo’s death in 1954, Casa Azul was converted into the popular Museo Frida Kahlo, which displays art and objects from Kahlo’s adult life alongside rotating exhibitions. Casa Roja has remained in the Kahlo family, passed down by Cristina’s descendants. “Cristina was by her side through so much,” Hentschel Romeo tells Vogue. “Traveling with her to New York for her first major exhibition, supporting her through surgeries and recovery.” Frida Kahlo photographed by her father in 1932 Public domain via Wikimedia Commons Pain was a constant throughout Kahlo’s life. After sustaining serious injuries from a bus accident at 18, she endured chronic symptoms for the rest of her life. Despite these challenges, Kahlo thrived as an artist, garnering international acclaim for her vibrant, wrenching self-portraits. Some of Kahlo’s most famous paintings are painful depictions of women’s suffering, her own injuries and her turbulent marriage to Rivera, who had countless affairs (including one with Cristina). Casa Roja was eventually passed down to Cristina’s granddaughter, Mara Romeo Kahlo, who is Kahlo’s closest living relative, reports the New York Times’ Robin Pogrebin. Romeo Kahlo volunteered the red house to host the new Museo Casa Kahlo, which will open in late September. Its development is being overseen by Fundación Kahlo, a nonprofit recently established by the Kahlo family, which aims to “preserve Frida’s legacy and promote Mexican, Indigenous and Latin American art and culture on a global scale,” according to its website. “For the first time, the voice of the family will be at the heart of how Frida’s story is told,” Hentschel Romeo tells Vogue. As Romeo Kahlo explains to the Times, “The family was very important for Frida because it was her support.” While Casa Azul focuses on Kahlo’s adult life, the new museum will focus on her early development. Visitors will examine never-before-seen personal artifacts, such as childhood photographs, dolls, letters, jewelry, clothes and a piece of embroidery Kahlo sewed when she was 5. Other highlights include the artist’s only known mural and her first oil painting.Hentschel Romeo tells Vogue that Kahlo showed this painting to her husband, asking him to judge whether she had the talent to be a painter. “It is incredibly moving to see up close,” she adds. “This is a dream long held by our family,” Romeo Kahlo says in a statement. “Frida’s legacy belongs to the world, but it begins here—on this land, in these homes and in the culture that shaped her. Museo Casa Kahlo will allow us to tell new stories, share family secrets, host new voices and build a future that honors her spirit.” Get the latest stories in your inbox every weekday.

In the centre of the building, a ceremonial room is a calming space that invites community meetings and healing.   TEXT Elsa Lam PHOTOS doublespace photography Fifty years ago, four grandmothers founded the organization Anduhyaun—Ojibwe for “Our Home”—to respond to the needs of the city’s Indigenous women. The organization used a city-owned heritage house in the Annex to offer shelter to women and children suffering from the traumas of violence and homelessness. Last year, they moved to a building designed by LGA Architectural Partners.  The architects took the organization’s name to heart, aiming to provide not just basic shelter, but a place of nurture and grounding. The organization’s long-time executive director, Blanche Meawassige, told the designers that the building needed to feel like it was alive. “From Blanche, we understood that a shelter is a place where rehabilitation—growth and healing—begins,” says architect Brock James, partner at LGA. “Yes, it’s a roof over your head and safety, but it’s also where that spiritual part starts; it has to be about growth and life.” A curved ceiling-to-wall transition brings a unique quality to the bedrooms This thinking shows in the bedrooms, 16 of which are compact, single-occupancy rooms and two of which are designed for families with up to three kids. (Some rooms can also be interconnected, to accommodate larger families or to provide a physical link between friends.) Each room has its own bathroom, a wooden desk, adjustable lighting, and a curved ceiling-to-wall transition that reflects daylight through the space. The curve, says James, “makes the room very ‘here’. It’s only here. It’s not generic.” Curved, tiled walls define the circulation areas on the ground floor Curves recur on the main floor, where seafoam-coloured tiles sweep along flowing walls, adding to the building’s sense of aliveness and alluding to Indigenous teachings about water. The curves lead to a large communal kitchen and a central ceremonial space, currently known as Nookomis, or “grandmother.” The interior of Nookomis, the building’s main ceremonial space Many details illustrate LGA’s commitment to creating specialness with economical means. Nookomis, for instance, is clad with cedar shingles that came in pre-cut profiles. (“It’s just a matter of coming up with a pattern, which I did in my living room during the pandemic,” says James.) The burgundy walls of Nookomis’s interior are made, in part, with a simple foam in a custom colour. (“It’s a straightforward product that’s not good if you were touching it—but up high, controlling the sound, it works.”) A skylight caps the space, like a full moon casting a soft glow from above. Meawassige originally asked for the outside of the building to be anonymous, but later decided that the Indigeneity of the interior should be expressed outside, too. The architects created a design with a similarly elevated attention to detail. They achieved a high level of airtightness in the envelope, and composed a façade made out of standard Vicwest metal, applied in a pattern that ensures that the 300-mm width of the panels would stay intact, with no cuts.   “Good design, an elevated section, beautiful tiles: it’s things like that that makes it feel like somebody cares,” says James. “When I think about aesthetics, we can have lots of stories about them, but I know that it’s communicating that Anduhyaun cares. This is their building, and it’s emoting that they care.”  As appeared in the June 2025 issue of Canadian Architect magazine  The post Our Home, Toronto, Ontario appeared first on Canadian Architect.

Cosmology of Kyoto is a first-person horror exploration game where players navigate a deeply haunted yet surprisingly educational terrain. Originally released in 1993, Cosmology of Kyoto and its disturbing depictions of suffering have since become a cult classic. Roger Ebert, known hater, loved the game so much that he spent weeks playing it. Despite its acclaim, though, the game was a commercial failure and never got a sequel. At least, that’s what many people believed until now. In 2023, a game called TRIPITAKA 玄奘三蔵求法の旅 was listed on Yahoo Japan. The game was sold for $300 to an unknown party who, despite embarking on a bidding war that culminated in hundreds of dollars, didn’t really share anything publicly about it. The transaction was originally noticed by Mark Buckner, who brought it up in a discussion between fans about the original eerie Japanese game. Though diehard aficionados had a suspicion that the Cosmology developers had considered a follow-up, concrete evidence of it was scant. The only apparent mention of a sequel lied in the resumes of two Cosmology producers, Hiroshi Ōnishi and Mori Kōichi. Fans also spotted mention of it in an old website for a 1999 museum exhibition on the Silk Road. Though it was a work of fiction, Cosmology was rooted in the history of 10th century Japan and provided players with an in-game encyclopedia. It would make sense for a potential sequel to have enough an educational focus worthy of a museum exhibition. Despite these rumblings, it was unclear if the game had ever been published, or how far into production it got. Knowledge of the auction prompted video game academic Bruno de Figueiredo to track down the auction winner. The hope was that whoever bought it might share a copy of the game online. After all, up until this point, few knew what this game was and its mere existence lay in doubt. But if it did exist, then it was obviously significant from a historical perspective. Fans would be eager to play it. But getting collectors to share copies of rare games is tricky. If a game is widely accessible, then it’s no longer rare. Holding on to a copy ensures that it retains its aura as a prized possession. Hoarding also means that the value of a game won’t drop — in fact, it might rise. Not all collectors see their possessions as commodities, though. Holding on to a culturally significant game might be motivated by the desire to preserve it for future generations, which is relevant in instances where a copy of a game is still sealed. Uploading a game that you did not develop is also likely to be legally dubious. In this case, the owner declined to share the game in a form that others could play. The collector did however upload an hour’s worth of footage on YouTube. The game was called TRIPITAKA, and though it did not outright classify itself as a sequel, the art style, historical focus, and slightly unnerving vibe placed TRIPITAKA in a similar realm as Cosmology of Kyoto. Fans considered it a spiritual successor. Cosmology itself had been developed with the help of Japanese museums. For some, it was enough to get more of a game they loved. Even if they couldn’t personally control the gameplay, the TRIPITAKA video was lengthy enough to give a sense of what the experience would be like. Others were enraged: Couldn’t the collector see how important this game was? “I cannot understate just how disgusted I am that this piece of culture and art (that I am a huge fan of) isn’t being preserved and spread for the enjoyment of others,” one commenter on YouTube wrote. “Shame on you.” Undeterred by this roadblock, Bruno de Figueiredo continued his pursuit of TRIPITAKA. In 2025, his efforts bore fruit. On X, the expert on obscure Japanese games revealed that he had finally convinced the collector to share the game online after “years of appeals.” Figueiredo has since uploaded a playable ISO of the game online alongside a full three-hour playthrough of a game that had once been considered lost media. Figuerido did not respond to a request for comment. In a blog post, he emphasized the significance of this find by stating that “the importance of this footage could hardly be overstated.” He continued: I am delighted to have played a minor role in the unraveling of this thirty year old mystery, and can hardly contain my enthusiasm, as I now find myself equipped with sufficient information to produce a full post concerning a game about which I could not have written more than a sentence, just last year. Figuerido refers to TRIPITAKA as one of the rarest games ever made, and it’s true inasmuch as there appears to be only one known copy of it. Value and rarity are also fluid concepts that are ultimately determined by interested audiences. At the same time, TRIPITAKA’s fate and availability is shockingly ordinary when you consider how poorly the gaming industry preserves its own history. If the lack of care is evident with significant games that have arguable merit, it’s doubly true for average games. This is how a game with mixed reviews from twenty years ago suddenly starts commanding hundreds of dollars on resale sites; the scarcity happens because nobody felt a game was worth holding on to. “There are many extremely rare (and even lost) games for personal computers which, unlike consoles, don’t have any central control over who can publish a game, or what the minimum number of manufactured units needs to be,” says Frank Cifaldi, founder of the Video Game History foundation, a nonprofit dedicated to preserving video games. Cifaldi notes that games in the 80s and 90s in particular, some of which were self-published and never got widespread circulation to begin with, are particularly prone to the type of obscurity that can lead to only a single copy of a game. “I would further suspect that there were many games and multimedia objects from Japan during this era that are just as rare, but we don’t hear about them because of their lack of historical significance in the West,” Cifaldi says. “I would bet good money that if you surveyed the collection at the Game Preservation Society in Japan, you’d come up with dozens of ‘only known copies’ of 1980s microcomputer games.”

Tumor Has ItJun 1, 10:00 AM EDT / by Noor Al-Sibai400 Women Are Suing Pfizer Over Birth Control Shot That Allegedly Gave Them Brain TumorsThe pharmaceutical giant allegedly knew about the risks... but didn't warn patients.Jun 1, 10:00 AM EDT / Noor Al-SibaiImage by Beata Zawrzel / NurPhoto via Getty / FuturismRx/MedicinesRecent research has linked Pfizer's widely-used Depo-Provera birth control shot to massively increased risk of developing brain tumors — and hundreds of women are suing the pharmaceutical giant over it.According to a press release filed on behalf of the roughly 400 plaintiffs in the class action suit, the lawsuit claims that Pfizer and other companies that made generic versions of the injectable contraceptive knew of the link between the shot and the dangerous tumors, but didn't properly warn users.The suit follows a study published by the British Medical Journal last year that found that people who took the progestin-based shot for a year or more were up to 5.6 times more likely to develop meningioma, a slow-building brain tumor that forms, per the Cleveland Clinic, on the meninges, or layers of tissue that covers the brain and spinal cord.Though Pfizer attached warning labels about meningioma to Depo-Provera sold in Canada in 2015 and the UK, Europe, and South Africa after the 2024 study was published, no such label was deployed in the United States — a failure which according to the lawsuit is "inconsistent [with] global safety standards."In an interview with the website DrugWatch, one of the suit's plaintiffs, who was identified by the initials TC, said that she had been "told how great Depo-Provera was" and decided to start it after an unplanned pregnancy that occurred when she'd taken the since-discontinued birth control pill Ortho Tri-Cyclen Lo."I thought it would be more reliable and convenient since I wouldn’t have to take it daily," TC told the site, referencing the four annual injections Depo-Provera requires. "I had no idea it would lead to such serious health problems."After being on the contraceptive shot for three years — and experiencing intense headaches, months-long uterine bleeding, and weight gain — the woman finally consulted her doctor and was diagnosed with meningioma. She's since been undergoing treatment and experienced some relief, but even that experience has been "physically and emotionally draining" because she has to get regular MRIs to monitor the tumor, which likely isn't fatal but still greatly affects her quality of life."It’s a constant worry that the tumor might grow," TC said, "and the appointments feel never-ending."That fear was echoed by others who spoke to the Daily Mail about their meningioma diagnoses after taking Depo-Provera. Unlike TC, Andrea Faulks of Alabama hadn't been on the shots for years when she learned of her brain tumors, which caused her years of anguish.Faulks told the British website that she'd begun taking the medication back in 1993, the year after it was approved by the FDA in the United States. She stopped taking it only a few years later, but spent decades having splitting headaches and experiencing dizziness and tremors. After being dismissed by no fewer than six doctors, the woman finally got an MRI last summer and learned that she had a brain tumor — and is now undergoing radiation to shrink it after all this time."I know this is something I'm going to have to live with for the rest of my life, as long as I live," Faulks told the Daily Mail.Currently, the class action case against Pfizer on behalf of women like Faulks and TC is in its earliest stages as attorneys representing those hundreds of women with brain tumors start working to make them whole.Even if they receive adequate payouts, however, that money won't take away their suffering, or give them back the years of their life lost to tumors they should have been warned about.Share This ArticleImage by Beata Zawrzel / NurPhoto via Getty / FuturismRead This Next