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Director Luca Guadagnino has come to the defense of actor Timothée Chalamet after Chalamet faced backlash for suggesting that ballet and opera are art forms that "no one cares about" anymore.Guadagnino, who cast Chalamet in his breakthrough role in Call Me By Your Name, stated that the reaction to Chalamet's comments was disproportionate. "I am not on social media and don’t understand how one [single] comment can become a planetary polemic," Guadagnino said in an interview with Italian newspaper La Stampa.Guadagnino, who made his opera debut in 2011 with a production of Verdi’s Falstaff, noted that Chalamet "could have spared himself … but he’s young, smart, sensitive, and he fears that cinema could become marginal." He emphasized the importance of nurturing all forms of imagination and uniting the arts, rather than separating them.Chalamet's remarks sparked significant backlash from the ballet and opera communities, including Jamie Lee Curtis and Whoopi Goldberg, who publicly criticized him. The Maggio Musicale Fiorentino invited Chalamet to attend Guadagnino's production of The Death of Klinghoffer, saying, "Come and see for yourself that opera is alive, kicking and actually matters to people."

The world of teen text abbreviations can be confusing, especially for adults trying to keep up. SYBAU, WYLL, and PMO are just a few examples of the latest abbreviations that have left many grownups scratching their heads.Research by the anagram website Unscramblerer.com has revealed the most confusing examples of teen text abbreviations. SYBAU, for instance, is often mistakenly believed to mean 'stay young, beautiful and unique.' However, its actual meaning is far more explicit: 'shut your bitch ass up.'WYLL is another abbreviation that has sparked curiosity. While some might think it means 'would you levitate lightly,' it actually stands for 'what you look like.' PMO, on the other hand, has two possible meanings: 'put me on' or 'pisses me off.'The list also includes other popular abbreviations like WFH (work from home) and TBH (to be honest). However, not all abbreviations are as straightforward. ASL, for example, is often believed to mean 'age, sex, location,' but research suggests it actually means 'as hell.'The use of text abbreviations has become such an entrenched cultural norm that their use has now ossified, meaning parents no longer have to fear the worst about what their children are communicating. As one commenter joked, 'I will stay young, beautiful and unique. Thank you.'

Acclaimed director Ken Loach revisits his 2016 film I, Daniel Blake, a poignant portrayal of poverty and the struggles faced by those in need. The film, which sparked controversy upon its release, shed light on the cruel realities of a system that vilifies the vulnerable.Loach reveals that the film was born out of a time of 'mean-spiritedness,' where those who needed support were met with punishment. The story follows Daniel Blake, a character who desperately wants to work but is thwarted by a system designed to fail him.The film's screenwriter, Paul Laverty, conducted extensive research, including a visit to a Glasgow food bank, where he encountered a young man who had not eaten in two to three days. This harrowing experience inspired a pivotal scene in the film, where Katie, played by Hayley Squires, is forced to eat cold baked beans from a tin.Loach notes that at the time of the film's release, the notion of food banks as an institution was unimaginable. However, food banks are now a normalized part of society, with many people relying on them to survive. The film's portrayal of poverty and hunger was met with resistance from some, including Damian Green, who claimed it was a work of fiction. Loach counters that while the characters are fictional, the stories are rooted in truth.Hayley Squires, who played Katie, shares her experience working on the film. She was drawn to the project after meeting Loach and was impressed by his authenticity and warmth. The film's shooting process was unique, with Squires and her co-star Dave Johns working chronologically and improvising scenes.Squires also recounts her preparation for the food bank scene, which included visiting a real food bank and cutting back on food to better understand the experience of hunger. The scene was shot only once, with Loach and the cinematographer Robbie Ryan working to create a sense of empathy and realism.

Ghanaian winger Dominic Frimpong was tragically killed at the age of 20 in an armed robbery attack on his team's bus. The incident occurred on Sunday as Berekum Chelsea was returning from a Ghana Premier League match against Samartex.The club reported that six masked men, armed with guns and assault rifles, blocked the road. As the bus attempted to reverse away from danger, the robbers opened fire. Staff and players fled the vehicle, but Frimpong was struck in the head. He was taken to hospital but succumbed to his wounds, becoming the only reported casualty. The bus was carrying 30 players and officials.The Ghana Football Association (GFA) expressed profound shock and deep sorrow over Frimpong's passing. In a statement, the GFA described him as a promising young talent whose dedication and passion embodied the spirit of the league. This season, Frimpong had scored two goals in 13 appearances.This incident is not isolated; several teams in Ghana, including FC Savannah, Wa All Stars, Legon Cities, and AshantiGold, have reported similar attacks in recent years. Local police have deployed additional personnel and crime scene experts, vowing to arrest the perpetrators within the shortest possible time.

Chala Chala Nav Bala (Maze Baal, 1943) marks the debut of Asha Bhosle, who entered the film world at ten years old. Paired with her sister Lata Mangeshkar, her bright falsetto captures the youthful innocence of the Marathi romance, foreshadowing the emotive style that would define her career. Aaiye Meherbaan (Howrah Bridge, 1958) showcases Bhosle’s rise during Hindi cinema’s golden age, thanks to her partnership with composer O.P. Nayyar. The song’s sultry vibrato and lush orchestration set the tone for the film’s noir atmosphere, establishing her as a leading‑lady playback voice. Aao Huzoor Tumko (Kismat, 1968) became a chart‑topping hit, featuring intricate vocal runs over a flamenco‑style guitar. Bhosle’s lower‑register chorus broke the conventional shrillness of female playback, while her nuanced phrasing added depth to the on‑screen heroine’s drunken allure. Dum Maro Dum (Hare Rama, Hare Krishna, 1971) stands out as her most successful crossover, later sampled by Western rappers. The track, produced with R.D. Burman—her future husband—blends psychedelic Beatles‑inspired grooves with Hindi lyrics, demonstrating her ability to bridge Eastern and Western pop sensibilities. Piya Tu Ab To Aaja (Caravan, 1971) pushes the fusion further into jazz‑cabaret territory, with bold horn sections and cinematic guitar reverb. Bhosle’s breathy, suggestive delivery sparked controversy, yet the performance remains a masterclass in balancing sensuality with technical agility. Chura Liya Hai Tumne Jo Dil Ko (Yaadon Ki Baaraat, 1973) epitomises the “masala” film soundtrack, merging drama, romance, and crime. Over a gentle guitar backdrop, Bhosle’s tender humming conveys quiet longing, contrasting with the film’s high‑octane narrative. In Ankhon Ki Masti (Umrao Jaan, 1981) sees Bhoske venture into Urdu ghazals with composer Khayyam. Her lower, huskier timbre—adjusted a half‑step down—highlights her continued artistic experimentation even as she approached fifty. Bow Down Mister (1991) illustrates her early 1990s foray into international collaborations, lending wordless, soaring vocals to Boy George’s post‑Culture Club project. The track transforms into a rave‑infused anthem, underscoring Bhosle’s versatility across genres. Radha Kaise Na Jale (Lagaan, 2001) pairs Bhosle with a young A.R. Rahman, reaffirming her status as an elder stateswoman of Indian music. The duet with Udit Narayan blends tabla and flute with powerful vocal runs, marrying traditional Hindustani scales to contemporary film scoring. The Way You Dream (2002) features an unexpected partnership with REM frontman Michael Stipe on the 1 Giant Leap project. The eight‑minute piece weaves tabla rhythms, subtle guitar, and a dramatic breakbeat, proving that Bhosle’s voice can seamlessly inhabit New Age and electronic soundscapes.

Rachel Zegler has hailed the accessibility of Evita's free balcony scene, which became a landmark moment for London sightseers during the show's run last summer. The scene, which featured Zegler performing 'Don't Cry for Me Argentina' from the balcony of the London Palladium to crowds gathered on the street below, was a groundbreaking moment in theatre. At the Olivier awards on Sunday night, Zegler delivered the song again – this time on the stage of the Royal Albert Hall – and took home the award for best actress in a musical. Host Nick Mohammed noted that Zegler had become 'a new landmark for London sightseers' during Evita's run, allowing people who hadn't bought a ticket to watch the performance live for free on a giant screen. Zegler described Evita's director, Jamie Lloyd, as a 'genius' for staging the scene in such a way, giving 'a piece of theatre, just in the street' to young people who may not be able to afford West End ticket prices. 'It's so beautiful that Jamie Lloyd made such an accessible moment of theatre for people to walk by and witness something really, really cool,' she said. The actor, whose musical films include West Side Story and Snow White, praised Londoners for making her feel welcome and described those who had waited outside to watch the balcony scene as being 'so giving with their energy and love'. Zegler also acknowledged the difficulty of replicating the balcony scene, but she and Andrew Lloyd Webber have spoken of their hope that Evita will transfer to Broadway. Evita picked up two awards from five nominations at the Olivier awards, with choreographer Fabian Aloise also recognised for his work. The show was beaten to the prize for best musical revival by Into the Woods at the Bridge theatre.

Mid Wales Opera's OpenStages productions are undertaken with a missionary zeal, nurturing both local communities and up-and-coming singing talent. Their recent staging of Purcell's Dido and Aeneas, realized remarkably over a single intensive week of work, is a testament to this commitment.The opera, tailored by Purcell for the ladies of Josias Priest's boarding school in Chelsea in 1689, features a motley crew of amateurs forming a chorus portraying Carthaginian courtiers, followers of a witches' coven, and sailors. The young cast, some already launched on singing careers, delivered polished performances under the care of conductor Jonathan Lyness, particularly in their recitatives.Director Richard Studer's simple yet effective set design, featuring a central high pavilion on a raised dais against a cathedral backdrop, elegantly framed the action. The chorus, dressed in black with pale golden patches on their cheekbones, contrasted with the titular pair, Queen Dido and Aeneas, in standout white with elaborate golden facial adornments.Kathy Macaulay's portrayal of Dido conveyed vulnerability from the outset, while Alaw Grug Evans' expressive performance as Belinda added depth to the narrative. The production's inexorable progress towards Dido's final aria, When I am lain in earth, brought the tragedy full circle, underscored by the MWO string ensemble's lamenting mood.

Scientists at London's Institute of Cancer Research and the RCSI University of Medicine and Health Sciences in Dublin have announced a new AI-driven approach to identify how patients with advanced bowel cancer will respond to bevacizumab, a drug recently introduced by the NHS. The method uses PhenMap, an AI tool that integrates complex data on the genetic makeup of tumors, allowing researchers to track patterns of how different patients react to the drug. This development aims to spare potentially thousands of patients from being given drugs that would be ineffective in fighting their cancers. In the UK alone, nearly 10,000 cases of advanced bowel cancer are identified every year, with young adults seeing a particular rise in diagnoses. Bowel cancer has the second-highest mortality rate of any cancer, behind only lung cancer. While survival rates can be as high as 98% when caught early, the five-year survival rate for advanced bowel cancer can be as low as 10%. The study tracked 117 European bowel cancer patients who had been treated with chemotherapy and bevacizumab. Researchers identified a group of patients who all had the same gene mutation and were at a high risk of having negative reactions. The scientists behind the tests now hope to expand the number of patient samples and see if the results can be used in treatments for other types of cancer. Anguraj Sadanandam, a professor in stratification and precision medicine at the ICR, said: “Once bowel cancer spreads to other parts of the body, there are very few treatment options available for patients. It is therefore positive that patients can now access the targeted drug bevacizumab on the NHS. However, we know that the majority of patients won’t benefit from the drug, meaning thousands of people in England could be facing unpleasant side effects unnecessarily.” Sadanandam added that while the findings were encouraging, the tool would need to be tested on a larger cohort to be validated. “In future, I hope this approach will lead to a test that can be used by clinicians, to ensure patients receive personalised care that has the highest chance of working against their cancer.”

Rory McIlroy clinched a second Masters victory on Sunday, edging out the field by a single stroke at 12‑under‑par to become only the fourth player in history to successfully defend the green jacket, joining Jack Nicklaus, Nick Faldo and Tiger Woods.The 36‑year‑old Northern Irishman entered Augusta National after ending his own “Masters hoodoo” in 2025, a win that completed his career Grand Slam and placed him among the elite six‑time major champions, surpassing Seve Ballesteros in the process.In a final round that tested his nerves, McIlroy recovered from a six‑shot lead that vanished after 54 holes. A double‑bogey on the 4th and a further slip on the 6th sparked talk of a potential collapse, but the champion rallied, birdieing the 7th and 8th before delivering a decisive birdie on the 13th after a 350‑yard drive on the par‑five 12th.McIlroy’s composure under the blazing Georgia sun and gusty winds was evident as he navigated the closing holes, posting pars on 15, 16 and 17 and securing the win even if he had finished with a bogey on the 18th.Scottie Scheffler, the world No 1, finished runner‑up at 11‑under‑par. Despite an early birdie on the 3rd and a stretch of 11 consecutive pars, Scheffler’s putter faltered on the final holes, leaving him unable to challenge McIlroy’s lead.The third‑place tie at 10‑under‑par featured Tyrrell Hatton, Justin Rose, Russell Henley and Cameron Young, highlighting the depth of the field.During the prize ceremony, an emotional McIlroy thanked his parents, stating, “I wanted to come back here and prove last year wasn’t a fluke. The Masters continues to be the shining light of the majors, and I am honoured to win it again.”Analysts note that defending a Masters title is notoriously difficult; McIlroy’s triumph not only cements his status among the sport’s greats but also demonstrates the mental resilience required to dominate at Augusta, a venue often described as a “psychological torture chamber.”Looking ahead, McIlroy hinted that Augusta may become his “playground,” suggesting that his focus will now shift to maintaining this momentum across the remaining majors of the season.