Cyberattacks have brought firms like Jaguar Land Rover and Asahi to a standstill. Our correspondent asks what companies and governments should do about a rising problem. Why it is getting harder to count deaths in Africa. And is eating dark chocolate actually good for you?

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Donald Trump arrived in the Middle East for a victory tour as Israeli captives were finally freed. But the path to peace does not run smooth: Gaza is devastated, Hamas remains armed and tricky negotiations continue. Why luxury travel is thriving, with a little help from social media. And celebrating Claudia Cardinale, the accidental film star.

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In May 2024, Yevgenia Berkovich and Svetlana Petrichuk, the director and writer of an experimental play, became the first Russian artists since Soviet times to be put on trial for the content of their work. It was a show trial. Like all show trials its outcome was preordained. But when professional actors took the stand, it turned it into a different kind of show—one that put the spotlight on a radical ideology that has gripped the Russian state.

In a bonus episode of our Next Year in Moscow series, The Economist’s Russia editor Arkady Ostrovsky presents a dramatisation of that trial to find out why the Russian state needed to make an example of a fringe production and, more importantly, its director.

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