The four were among five Italian divers who went missing while exploring caves at a depth of about 50 meters in Vaavu Atoll on Thursday, according to Italian authorities. The Maldives sets a recreational diving limit of 30 meters.

The body of a fifth Italian diver, identified as a diving instructor, was recovered earlier outside the cave system, Maldivian authorities said.

Search operations resumed Monday after being temporarily suspended following the death of Mohamed Mahudhee, a diver with the Maldives National Defence Force who died from decompression illness during the recovery mission on Saturday.

The Maldives National Defence Force said the first recovered Italian diver was found about 60 meters deep inside a cave estimated to extend roughly 200 feet in length. Officials believed the remaining divers were also trapped within the same underwater structure.

Three Finnish cave divers Sami Paakkarinen, Jenni Westerlund and Patrik Grönqvist joined the operation on Sunday, according to the diving safety organization DAN Europe.

The Finnish team coordinated with Maldivian military personnel and local officials in difficult sea conditions that complicated recovery efforts in the Indian Ocean archipelago, authorities said.

The incident has drawn attention to the risks associated with deep cave diving in the Maldives, a major global destination for recreational scuba tourism known for its coral reefs and underwater cave systems.

As the Eurovision Song Contest 2026 marks its 70th anniversary, performers, broadcasters and former contestants have described the competition as a platform capable of delivering international recognition, domestic backlash and enduring cultural influence.

Interviews with several figures associated with the contest illustrate how Eurovision has evolved from a regional music competition into one of the world’s most closely watched live television events.Finnish hard rock performer Lordi, which won the contest in 2006 with “Hard Rock Hallelujah,” said the group originally viewed participation in Finland’s national selection process as a promotional opportunity rather than a serious attempt to compete internationally.

Frontman Mr Lordi said the band expected little success and entered primarily to gain television exposure for a new album.The group’s unconventional stage presentation, featuring elaborate monster costumes and heavy metal theatrics, drew extensive international media attention during the contest in Athens.

According to Mr Lordi, some delegations and participants reacted negatively to the disproportionate media focus surrounding the band, leading to formal complaints during the event.Despite eventually winning the competition, Mr Lordi described the final performance as personally disappointing because he was ill with a fever during the broadcast.

He said the latex costumes created extreme heat conditions on stage, making vocal performance difficult. Finland’s victory marked the country’s first Eurovision win and triggered significant domestic celebration, including the naming of a public square after the singer in his hometown.

However, Mr Lordi said the aftermath also revealed divisions within Finland’s music community. He stated that sections of the country’s rock and metal audience viewed the band’s Eurovision participation as commercial compromise rather than artistic achievement.

According to him, the backlash intensified to the point where the band reportedly struggled to secure live performances in Finland for several years after the victory, even as its international profile continued to grow.The contest has also played a role in shaping internet culture.

Moldovan saxophonist SunStroke Project member Sergey Stepanov became internationally known as “Epic Sax Guy” after footage from the group’s 2010 Eurovision performance circulated widely online. The viral clip became one of the contest’s earliest major internet memes, helping introduce Eurovision performances to audiences outside Europe through social media and video-sharing platforms.

British singer James Newman, who represented the United Kingdom in 2021 and received zero points from both juries and public voters, described the immediate aftermath of the result as difficult but manageable. Newman said the atmosphere inside the venue remained supportive despite the outcome and that fellow attendees responded positively after the voting concluded.

He recalled returning to Britain to widespread encouragement from radio stations, music industry figures and members of the public. Newman also said Chris Martin contacted him after the contest to offer support and discuss the pressures associated with public performance setbacks.

According to Newman, the conversation reinforced the distinction between competitive results and professional recognition within the music industry.Ireland’s Eddie Friel, who represented the country in 1995, described Eurovision during the mid-1990s as both culturally significant and financially controversial for Irish broadcaster RTÉ.

Ireland had hosted and won the contest multiple times during that period, generating domestic debate about the cost of repeatedly staging the event.Friel said speculation circulated in Ireland suggesting the broadcaster could not afford another victory because of hosting obligations.

He rejected those claims as exaggerated but acknowledged a degree of public fatigue surrounding the contest at the time. Ireland’s repeated successes during the 1990s coincided with growing scrutiny over Eurovision’s production costs and commercial viability for smaller broadcasters.

Friel also noted that his Eurovision appearance later became associated with a popular parody storyline in the Irish sitcom Father Ted. The programme’s “My Lovely Horse” episode depicted fictional Eurovision participants and included references resembling public debates surrounding Ireland’s contest history and allegations of musical similarity involving songs from earlier decades.

For broadcasters, Eurovision has become an increasingly complex production as the scale of the event has expanded. Graham Norton, who has provided BBC commentary for the contest since 2009, described the event as comparable in operational scale to a major international sporting competition.

Norton said first-time attendees are often surprised by the size of Eurovision’s infrastructure and the extent to which it dominates host cities during preparation periods.

He noted that while audiences often associate his commentary with satire and criticism, his approach differs from that of former BBC commentator Terry Wogan, whose broadcasts became known for sharper humour directed at performances and organisers.

According to Norton, Eurovision productions have become increasingly professional and technically polished, reducing opportunities for the type of spontaneous mishaps that once shaped the contest’s reputation. He said earlier editions often featured inexperienced hosts and production inconsistencies, whereas contemporary contests operate with significantly higher technical standards.

Norton also described the contrast between Eurovision’s global television reach and the practical realities of live broadcasting. He said commentators often work from confined production booths with limited space and difficult working conditions despite the event’s large-scale public image.

The broadcaster added that one of the more difficult aspects of the role involves travelling home with unsuccessful national contestants following disappointing results.The contest, launched in 1956 by the European Broadcasting Union, has grown into one of the world’s largest non-sporting live television events.

Recent editions have attracted audiences exceeding 160 million viewers across Europe and international streaming markets, according to organisers and participating broadcasters.Eurovision’s transformation has mirrored wider shifts in media consumption, particularly the influence of online audiences and social platforms in amplifying performances beyond the contest itself.

Viral moments, meme culture and international fan communities have helped Eurovision expand beyond its traditional European base, while also increasing scrutiny of performers and broadcasters.

Addressing troops and military hardware assembled on Moscow’s Red Square for commemorations marking the Soviet Union’s victory over Nazi Germany in World War Two, Putin linked Russia’s ongoing military campaign in Ukraine to what the Kremlin has repeatedly described as a struggle against Western influence and military expansion.

“The great feat of the generation of victors inspires the soldiers carrying out the goals of the special military operation today,” Putin said, using Moscow’s official terminology for the war in Ukraine.“They are confronting an aggressive force armed and supported by the entire NATO bloc.

And despite this, our heroes move forward,” he added.Putin also said he believed Russia’s military campaign was justified, declaring: “I firmly believe that our cause is just.”The remarks came during Russia’s annual Victory Day celebrations, one of the country’s most important patriotic events, which the Kremlin has increasingly used to rally domestic support for the war in Ukraine since the conflict began in February 2022.

Russia has repeatedly accused NATO and Western governments of escalating the conflict through military assistance, intelligence sharing and weapons deliveries to Ukraine. NATO members have said their support is aimed at helping Ukraine defend its sovereignty and territorial integrity against Russia’s invasion.

The war has reshaped European security dynamics, prompting increased defense spending across NATO states and the expansion of the alliance with the accession of Finland and Sweden.

Victory Day ceremonies in Moscow have taken on heightened political significance since the start of the conflict, with Russian authorities portraying the war as part of a historic struggle against external threats and Western pressure.

Finland has been ranked the world’s happiest country in the latest World Happiness Report, which also highlighted concerns over the impact of heavy social media use on youth well-being, particularly on platforms driven by algorithmic content and influencer culture.

The 2026 report found that increased time spent on social media is associated with declining well-being among young people in several regions, with researchers pointing to structural features of platforms as a key factor shaping user experience and mental health outcomes.

Researchers involved in the report said that while social media remains a central mode of interaction for younger populations, its effects vary significantly depending on how platforms are designed and used. Jan-Emmanuel De Neve, one of the contributors to the report, said there is a need to restore the original purpose of online interaction.

“It is clear that we should look as much as possible to put the ‘social’ back into social media,” De Neve said, underscoring concerns that current platform dynamics may be undermining meaningful engagement.

The report identified heavy social media use as an important contributing factor to declining youth well-being in some countries, although it stopped short of presenting it as the sole cause. Researchers noted that broader social, cultural and economic factors also play a role in shaping outcomes.

According to the findings, platforms that rely heavily on algorithmic feeds, promote influencers and prioritize visual content tend to have more negative associations with well-being. These features, the report said, encourage social comparison, which can adversely affect users’ perceptions of themselves and their lives.

By contrast, platforms that primarily facilitate direct communication between users were associated with relatively better outcomes. The distinction highlights how platform architecture, rather than mere usage levels, can influence the psychological effects of digital interaction.

Researchers emphasized that these patterns are not uniform across regions. In parts of the Middle East and South America, the relationship between social media use and well-being appears to be more positive, and youth well-being has not shown the same levels of decline despite high usage rates.

The report attributed these differences to a range of factors that vary by region, including social norms, patterns of use and broader societal conditions.

Finland retained its position at the top of the global happiness rankings, continuing a trend seen in recent years. The report’s broader findings also pointed to a shift in the geographic distribution of high-ranking countries.

For the second consecutive year, none of the English-speaking countries featured in the top 10. The United States ranked 23rd, Canada 25th and Britain 29th, reflecting a relative decline compared to other regions.

The rankings are based on a range of indicators that assess quality of life and subjective well-being, though the report highlighted that digital behavior is emerging as an increasingly relevant factor in shaping these outcomes.

The report’s focus on social media comes amid growing policy attention worldwide, as governments assess the potential risks posed by digital platforms to younger users. Several countries have already introduced restrictions or are considering bans on social media use for minors.

Researchers said the findings could inform ongoing regulatory discussions by highlighting how specific design features of platforms may influence user well-being. The emphasis on algorithm-driven content and visual engagement aligns with broader concerns raised by policymakers and public health experts.

While the report does not prescribe specific policy measures, it points to the need for a more nuanced understanding of how digital environments interact with social and psychological factors.

“It is clear that we should look as much as possible to put the ‘social’ back into social media.”