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Part of many one-and-done parents' contentment is the impact their decision has on other parts of their lives, such as careers, hobbies and interests. "There's the question of what you want an adulthood to look like," says Sandler. "Like, what does it take to go to the movies? What does it take to go out to dinner? What does it take to have adult friendships where you actually get to have an uninterrupted conversation?"

It is also, of course, potentially easier to maintain one's health. Pregnancy, labour and the postpartum period all carry risks, including for fathers. Particularly for women older than 35, those giving birth to a second or later child, rather than their first, are at increased risk of pregnancy complications like eclampsia, gestational hypertension and preterm labour.

the Canadian filmmaker has been celebrated so much for raising the bar for cinematic endeavours – as with The Terminator, The Abyss and Titanic – that South Park parodied him in a 2012 episode. "James Cameron doesn't do what James Cameron does for James Cameron," a fictionalised, cartoon version of the director says after completing a deep-sea mission that sees him literally raise the bar for society. "James Cameron does what James Cameron does because James Cameron is… James Cameron."

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Demonstration against illegal immigration, Iquique, Chile, January 2022

A man sits on a lawn chair holding a pretty pastel parasol against the blazing sun, seemingly oblivious of the apocalyptic plumes of smoke billowing up from the burning tyres, a few feet away, that are scattered across the highway on which he is surreally perched. Impeding access to Iquique, a city in north Chile near the border with Bolivia, where groups agitating against illegal immigration have organised protests, he is an implausible paragon of imperturbable calm. The incongruity of his relaxed posture (which rhymes with the idyllic beach, sparkling sea, and poetic palm tree pattern repeated on his parasol) and the chaos raging around him is reminiscent of several Surrealist paintings from the 20th Century – such as Salvador Dalí's Sewing machine with Umbrella (1941) – that portray the ostensibly innocuous object as absurdly foretokening doom.

Part of the secret of the Sheridan universe's success is that the natural landscape is vast and pretty, and the family's loyalties, betrayals and infighting can be absorbing even when the plot turns are ludicrous. In 1883, the Duttons headed West and Jacob's brother, James, created the Yellowstone ranch on the site where his daughter, Elsa, was buried. In over-the-top Western fashion, she staggered around with a poisoned arrow through her abdomen and even rode a horse before the arrow killed her. Elsa's excruciatingly overwritten narration ran through the series: "The river doesn't care if you can swim. The snake doesn't care if you love your children." Unfortunately, her voiceover turns up again in 1923, but at least she offers useful information, telling us that Jacob and Cora arrived in 1894 and raised James' two orphaned sons. And she follows Cora's lethal first scene with a voiceover that goes to the heart of the Sheridan world. "Violence has always haunted this family," she says. "We hunt it down, we seek it."

In Mao II, a reclusive novelist, Bill Gray, who has become famous for two books written decades earlier, is struggling with whether to publish his third. He's also aware that writers no longer change things. "The future belongs to crowds." Rather than words, DeLillo argues, we are driven by the power of the image, usually of great and horrifying spectacles: the book is structured around televised images of, among other things, the Hillsborough Stadium disaster and the Ayatollah Khomeini's funeral. Do we share in the grief of those suffering when we witness such events, one character wonders, or are we voyeurs?

DeLillo's vision never flinches, never looks away, which may be why his work can seem cold in its unsentimental approach to human horror. We see it in The Names, filming terrorist murders; in White Noise, separating Hi**er from his actions through the academic fe**sh of Hi**er studies; in Falling Man, where the book is centred on the iconography of one of the men who jumped from the twin towers. His books riff on cults and death and mass murder, which are a part of life. "Life must become more anxious, more surreal, more image-bound," says a character in Mao II; once again, DeLillo saw what was coming.

Yoghurt, meanwhile, is surprisingly low-carbon, 2.7kg of CO2e per 100g of protein, as not much milk is needed to produce it (much less than in the case of cheese) and there are a number of by-products, such as cream and butter, which means the GHG footprint is distributed across numerous food items,says Marbach.

Plants

Animal products are responsible for 57% of global food-related emissions, compared to plant-based foods which contribute 29% of the total.

The UK's Climate Change Committee (CCC) has recommended a 20% reduction in meat and dairy consumption by 2030, rising to 35% by 2050 for meat, to meet the country's climate goals.

The lowest emissions option would be to adopt a vegan diet and cut out meat and dairy altogether. If the whole world went vegan, global food-related emissions would fall by up to 70% by 2050, according to a study by the Oxford Martin School at the University of Oxford.

Trompe l'oeil reached its height in 17th-Century Europe, in paintings so realistic that the objects in them seem to be projecting forward from the canvas into the viewer's space, close enough to touch. In a common motif, straps seem to be physically holding up various objects – such as sheet music or letters – on a display board, when the entire image, wooden frame included, is actually a painted illusion. The Cubists, of course, did the opposite, fracturing images to grasp an object's essence. In her memoir Life With Picasso, Francoise Gilot quotes the artist as saying, "We tried to get rid of trompe l'oeil to find a trompe l'esprit. We didn't any longer want to fool the eye; we wanted to fool the mind." But a major point of the exhibition is that mind games questioning the nature of reality and of art itself were already there in the most ambitious 17th-Century trompe l'oeil paintings. "Any mimesis is not real, despite how real it might look," Braun tells BBC Culture. Trompe l'oeil, she says, offered a "sophisticated and philosophical discourse in the Baroque period, and then again when the Americans took it up in the 1890s," a pattern the Cubists were heir to.

And yet, ley lines continue to weave their allure. Perhaps it's not surprising. "Humans have always searched for inner and outer maps or frameworks to help them navigate the world," reflects Jake Farr, coaching psychologist, psychotherapist, and co-founder of Leading Through Storms, a community-interest company supporting meaningful adaptation into the future. "The need to belong is also a primary human driver," she tells BBC Culture. "Where do we belong, who do we belong with, what's our place? Contrary to this, the modern western world pivots towards individualism, capitalism's bed fellow, leaving many feeling lonely and lacking connection to place and community. Ley lines may provide people with a way to map felt connections to place and, on a deeper level, may speak to the interconnectedness of all life; reaching for harmony and balance which, of course, buying the latest product simply can't touch."

Ley lines? Energy lines? Surely the preserve of myth makers and fairy followers? Not to start with. The term was originally posited, just three years after the end of World War One, by Alfred Watkins, a councillor in rural Herefordshire in the UK. Born in 1855 into a well-to-do farming family, Watkins was also an amateur archaeologist; it was while out riding in 1921 that he looked out over the landscape and noticed what he later described as a grid of straight lines that stood out like "glowing wires all over the surface of the county", in which churches and standing stones, crossroads and burial mounds, moats and beacon hills, holy wells and old stone crosses, appeared to fall into perfect alignment.

For Muente, fakes can play a valuable role in art history. "They can tell us about the art market at different periods," she says. "When you have objects that are in such high demand, of course, you're going to have people who are trying to cash in on that – not only artists mimicking other eras of art, but also dealers willing to do shady things to pass off something as something that it's not. I also think understanding what isn't real can help you learn more about the real thing."

It might seem brave for a gallery to admit they've been duped, but the proliferation of fakes throughout history means most museums have items that aren't what they first thought. "It creates a kind of patina of humanity," says Gareth Fletcher, lecturer and seminar tutor in Art Business at Sotheby's Institute of Art, who leads a course on Art Crime. "Not only do the people that acquire things get it wrong sometimes, but they're owning up to it and reflecting on what they've learnt in the process. I think we might see more exhibitions opening up the skeletons in the closet."

It was my fourth day walking the Island Walk, a new 700km route that circles Canada's smallest province. Starting on PEI's rural west end, I had walked past vinyl-clad farmhouses with ocean vistas, along a boardwalk beneath whirling wind turbines, and above red clay cliffs that plunged sharply into the sea. I had stopped for a midday country music hour at the Stompin' Tom Centre, honouring Canadian singer-songwriter Tom Connors. I'd tromped through the rain along a secluded, wooded trail where swarms of canny mosquitos tried to shelter under my umbrella. And after learning about PEI's major crop at the Canadian Potato Museum, I had fuelled my day's walk with an extra-large cheese-topped baked potato served with freshly made potato chips. You know that a place is serious about its spuds when your potato comes with a side of potatoes.

Tiankeng means the "The Heavenly Pit", and its sheer sides plummet to a veritable netherworld that's home to a thriving ecosystem of some 1,285 plant and animal species – including the rare gingko and clouded leopard. Aside from its vast size, the formation is also unique in that it's a double-nested sinkhole holding two craters joined by a sloping edge. In the rainy season, a waterfall cascades from the mouth of the pit, feeding an underground river and cave network at its base.

While locals have known about the sinkholes for centuries, it was only "discovered" by the outside world in 1994, when British explorers attempted to survey its maze-like underground cave system. Despite attempting to map the underground river five times in a 10-year period, speleologists found the gushing torrent too difficult to navigate and the team never succeeded. As a result, this deep, dark underworld remains one of China's great geological mysteries.

Pessoa's bacalhau dish is just one of the latest evolutions of a long culinary legacy, one that's wrapped up in centuries of history little-known to those outside the country. It started towards the end of the 14th Century, when the Portuguese navy found that the dried and salted fish could be stored for years in holds, making it the perfect food for long ocean voyages.

In the mid-1500s, during Portugal's maritime explorations and hunt to find the coast of India, they stumbled across waters rich with cod around Canada and Greenland; a major discovery that kickstarted Portuguese cod fishing. But by the 16th Century, Portuguese fishermen were pushed out by the French and English.

Open borders do not have to mean no borders or the abolition of nation states, though. It may be necessary to explore different types of nation states, with different governance options. Will states that are most affected by climate change buy or rent territory in safer places? Or will we see charter cities that operate under different jurisdictions and rules to the territory surrounding them, or floating states that build new territory on the waves?

It will take work to reinvent the concept of the nation state so it becomes more inclusive so that it strengthens local connections while forging greater and more equitable global networks. There are multiple benefits in encouraging commonality, a kinship with our fellows, based on our shared societal project, language and cultural works. These traits matter to people enough to make patriotism a powerful source of identity.

With such close ties between wild and captive honey bees, it might seem like they're not really domesticated at all. However, Lecocq believes this is not the case. There are some populations for which humans control the majority of the life cycle, he explains – and others, such as the Buckfast breed, have been selectively bred into existence. "So yes in my mind, we can say that honey bees are currently undergoing the domestication process," he says.

But if wild populations are still influencing domestic ones to this day, this raises the question – is the opposite happening, too?

Under it all, Bakshi tells BBC Culture, was a 1960s underground liberal sensibility inherited from his parents, who emigrated from Haifa, then the British mandate of Palestine, to Brownsville, Brooklyn, via the USSR. Bakshi grew up in poor neighbourhoods and saw US racial segregation first-hand. So when the US Air Force bombs Harlem in Fritz the Cat, preceding the Philadelphia police bombing of black liberation group Move in 1982 by a decade, Bakshi wasn't only lampooning race relations in the US at the time – he was foreshadowing real atrocities.

Some routine, of course, is unavoidable. But if you can create a life which feels both novel and entertaining in the present, the weeks and years will feel long in retrospect. Even varying your route to work can make a difference. The more memories you can create for yourself in everyday life, the longer your life will feel when you look back.

The way we experience time in our minds is never going to match up with the latest discoveries in physics. We all know what the passing of time feels like. Although we can’t change the way our brains perceive time, there are better ways we can start to think about it. But even then, the way it warps in certain situations will continue to surprise and unsettle us. In the end, perhaps, St Augustine put it best when he asked: “What then is time? If no one asks me, then I know. If I wish to explain it to someone who asks, I know it not.”

Tempelhof is so immense that its 10 entrances fall within three neighbourhoods in southern Berlin. To soak in the full scale of a space that's twice the size of Monaco, follow Herrfurthstrasse's cobblestones down a bustling stretch of graffiti-tagged cafes and bars to the park's eastern entrance in the district of Neukölln. At the end of the dead-end street, the former airport's vast, open expanse suddenly appears before you, unfurling towards the horizon. But instead of planes, it's kite-surfers and in-line skaters flying down the runway, the mammoth terminal building shrunken in the distance.

It was August 1902 and Barnum Brown had taken a team of palaeontologists deep into the strange, undulating landscape of banded hills in the Badlands of Montana. Amid soaring temperatures and caking dust, they searched for fossils – hacking away at the golden-brown earth with chisels and pickaxes, carving out mini quarries at scattered locations, sometimes uncovering half-decent finds only to abandon them. They urgently needed something good to send back to the American Museum of Natural History.

Forced to pay reparations to Russia, the country was desperately short of resources, and Marimekko's use of low-cost, utilitarian cotton reflected this. In 1953, Ratia hired young designer Vuokko Eskolin-Nurmesniemi, who created the charmingly hand-drawn, pinstripe-like Piccolo print. This found its way onto the Jokapoika shirt – the brand's first men's garment, based on Finnish farmers' shirts, but soon co-opted by women – and loose-fitting dresses also designed by Eskolin-Nurmesniemi. These offered an appealingly comfortable alternative to the restrictive, wasp-waisted silhouette of the 1950s.

In October, an exhibition will open at the British Museum in London to mark the bicentenary of Champollion's breakthrough, which anticipated his complete decipherment of hieroglyphs. As the accompanying catalogue explains, the Figeac-born scholar "was certainly the first to grasp the structural logic of the ancient Egyptian language in its varied forms", and consequently enjoyed an enduring reputation as the man who won the intellectual race. But was Champollion really the trailblazer he was believed to be?