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Summit Set to Deepen Russia‑China Strategic TiesVladimir Putin will make an official two‑day visit to China from May 19 to 20, 2026, the Kremlin announced. The agenda includes meetings with President Xi Jinping and Premier Li Qiang to “further strengthen the comprehensive partnership and strategic cooperation” between Moscow and Beijing.Putin’s Two‑Day State Visit Scheduled for May 19‑20Dates: May 19‑20, 2026Key participants: Vladimir Putin, Xi Jinping, Li Qiang, Russian Foreign Minister Sergey Lavrov (expected)Commemorative focus: 25th anniversary of the 2001 Treaty of Good‑Neighbourliness and Friendly CooperationDiscussion topics: strategic coordination, economic and trade cooperation, regional security issuesTrade Numbers Highlight Growing Economic InterdependenceChina has become Russia’s largest trading partner by volume, with most transactions settled in Russian roubles and Chinese yuan. While exact 2026 figures are not released, 2025 data showed Chinese imports of Russian energy and commodities accounted for over 30% of Russia’s total export revenue.Geopolitical Ripple Effects Across the US‑China‑Russia TriangleThe timing follows President Donald Trump’s departure from Beijing after a rare US‑China summit, where little progress was made on Taiwan or the Iran‑related tensions. By reinforcing the “no‑limits” alliance announced in 2022, Moscow and Beijing signal a coordinated front that could further isolate Western diplomatic efforts, especially concerning the Russia‑Ukraine war.What the Visit Signals for Future Global AlignmentsAnalysts anticipate that the visit will:Accelerate joint economic projects, potentially expanding Russian oil sales to China despite Western sanctions.Deepen political coordination, with China likely to continue its neutral‑but‑supportive stance on the Ukraine conflict.Prompt the United States to reassess its Indo‑Pacific strategy, possibly increasing diplomatic outreach to regional allies.In the coming months, the durability of the partnership will depend on how both nations navigate external pressure from sanctions, US‑led technology restrictions, and the evolving security landscape in Eastern Europe and the Indo‑Pacific.

The Lead: A Haunted Return to a Venezuelan Plantation Asia Argento plays Caro, an Italian‑Venezuelan who returns to an inherited plantation fraught with personal and historical trauma. The film, Death Has No Master, opens the Director’s Fortnight at Cannes, promising a blend of psychological horror and political allegory. The Film’s Narrative and Historical Context Director Jorge Thielen Armand frames the story as a “surrealist psychological thriller” that layers personal inheritance with Venezuela’s “eternal” tensions. The plot follows Caro’s legal claim against caretaker Sonia (Dogreika Tovar) and her son, while flashbacks invoke colonial exploitation symbolised by cacao beans and oil refineries. The Director’s Commentary on Venezuelan Turmoil Armand links the film to recent U.S. actions in Venezuela – the 2025 warship deployment and the 2026 arrest of President Nicolás Maduro. He suggests that these events amplify the film’s themes of betrayal by domestic and international systems. Cultural Resonance and Argento’s Personal Inheritance Argento describes immersing herself in the location, confronting “my own blood, my inheritance.” She draws parallels between Caro’s abusive father and her own parents, horror maestro Dario Argento and screenwriter Daria Nicolodi. The film’s visual style, reminiscent of 1970s Italian psychological thrillers, underscores this personal‑historical overlap. Looking Ahead: Cannes Reception and the Future of Venezuelan Cinema Armand aims to avoid clear‑cut victims, presenting legal, moral, and historical conflicts as intertwined. The premiere will test whether the film’s abstract dream‑logic resonates with international audiences and whether it revitalises interest in Venezuelan stories on the global stage.

The Call for Emergency Declaration The climate crisis should be declared a global public health emergency by the World Health Organization (WHO), or millions more people will die unnecessarily, leading international experts have said. The independent pan-European commission on climate and health, which was convened by the WHO, concluded the climate crisis was such a worldwide threat to health that the WHO should declare it “a public health emergency of international concern” (Pheic). The Health Impacts of Climate Change The international spread of vector-borne disease, such as dengue and chikungunya, as well as the health impacts of extreme weather events, global heating, food insecurity, and air pollution make a Pheic necessary. Previous declarations include infectious diseases such as Covid and Mpox. While declaring one would not on its own reverse climate change, it would trigger the kind of coordinated international response that the scale of the health crisis demands but has not yet materialized. The Economic and Environmental Implications The 11-strong independent commission, which includes former health and climate ministers, said: “Far from being a fading priority or fake news, climate change poses an immediate and long-term threat to health, economic, food, water, environmental, personal, community, and national security.” The commission also urged governments to stop subsidizing fossil fuels, which are directly responsible for 600,000 premature deaths a year in Europe alone. The Path Forward The report also called for measures to tackle disinformation, greater use of national climate health impact assessments, as well as recognition that climate change was also a mental health crisis. The healthcare sector accounts for 5% of global emissions worldwide, so needs to prioritize adaptation to become more resilient. The report concluded that countries' healthcare systems needed to become more resilient to the rapidly changing environment in order to try to adapt as much as possible.

The LeadFalling seriously ill, like falling in love, can happen all of a sudden – although this film is not exactly about either. Ryusuke Hamaguchi's new movie, co-scripted with the Franco-Japanese screenwriter Léa Le Dimna and his first not set entirely in Japan, is a bold and high-minded if rather pedagogic work that spreads itself over three hours. It's tender and sometimes beautifully made, but also contrived and occasionally features some too-good-to-be-true caring characters. Frankly, it's rather precious.The Film's International VisionHamaguchi and Le Dimna have taken as their starting point the nonfiction book "You and I: The Illness Suddenly Get Worse" by Makiko Miyano and Maho Isono, a meditative correspondence between a philosopher and medical professional on the subjects of love and mortality. Hamaguchi has opened this out to create a drama set in Paris and Kyoto, and it's incidentally hard not to suspect that Hamaguchi, like many a celebrated movie director spending so much time on the international festival circuit, has been led to create an uneasy international mixture.Care Home Dynamics and CharactersMarie-Lou (Virginie Efira) is the director of a private care home in Paris called the Garden of Freedom, where they practise a care technique called "humanitude," a time-consuming patient-centred approach that exasperates old-fashioned nurse Sophie (Marie Bunel). It needs more staffing facilities than the home is prepared to provide and, in any case, Marie-Lou has a bad habit of being patronising to those who question her. For all that, there are some lovely scenes with caregivers and patients, and these observant, unfussily compassionate moments are where the film works best.Cross-Cultural ConnectionsMarie-Lou is stressed and overworked, and her life is upended when she encounters an autistic Japanese teen called Tomoki (Kodai Kurosaki) in the street, apparently lost; he is being looked after by his grandfather, Gorô (Kyōzō Nagatsuka), an actor in town performing in an experimental piece about psychiatric care in which Tomoki is encouraged to take part if he feels like it. The show is directed by Mari (Tao Okamoto), and her stylish calm and intelligence entrances Marie-Lou; they are clearly on the verge of an intense friendship and perhaps more, although the film is reticent on this last point.Philosophical Exchanges and Narrative ConcernsMarie-Lou comes to a performance, stays for the Q&A; afterwards and reveals herself to be fluent in Japanese, asking questions of Mari in that language which touch on Mari's very serious illness. Some in the audience rather plaintively – and understandably – call for the conversation to be in French, though this film comes close to being insufferable when Gorô solemnly tells everyone that their exchange was so intimate and meaningful that the audience should be content with simply sensing that.The Film's Strengths and WeaknessesAll of a Sudden works best entirely outside the exotically overwritten, overthought bond between Mari and Marie-Lou. The realist set pieces are very moving, showing us patients with dementia surrounded by their families, and also showing us, often with photos of their younger selves in demanding jobs, how these patients have changed. The film's high concept is a little self conscious.All of a Sudden screened at the Cannes film festival.

Executive Summary: Farhadi Condemns Civilian Deaths in IranAt a press conference on the Cannes Croisette, Oscar‑winning Iranian filmmaker Asghar Farhadi described the recent loss of civilian lives in Iran as “extremely cruel and tragic”. He stressed that condemning state violence and war‑related bombings are not mutually exclusive positions.Farhadi’s Cannes Press Conference Highlights Dual TragediesSpeaking after the premiere of his new Paris‑set drama Parallel Tales, Farhadi was asked about artistic freedom in France, the ongoing Iran‑US‑Israel conflict, and the repression of protesters at home. He recounted two recent events that have haunted him:The killing of innocent civilians, including children, in the war.The death of demonstrators shot during protests in Tehran.“Both events are extremely painful and will never be forgotten,” he said.Quantitative Context: Lack of Reported Casualty FiguresThe Guardian article provides no specific casualty numbers, making it impossible to quantify the scale of the tragedies. Farhadi’s remarks therefore rely on moral weight rather than statistical evidence.Implications for Iranian Cultural Dissent and International PerceptionFarhadi’s statements reinforce a growing chorus of Iranian artists speaking out against state repression and the humanitarian toll of the war. By linking artistic expression with political condemnation, he:Highlights the moral responsibility of filmmakers in exile.Adds pressure on the Iranian regime, which has already forced several directors, including Jafar Panahi and Mohammad Rasoulof, into exile.Signals to the international community that cultural platforms like Cannes can serve as stages for human‑rights advocacy.Future Outlook: Potential Escalation of Artistic ProtestFarhadi has vowed not to work in Iran while censorship persists and has urged fellow filmmakers to denounce the war as a “war crime”. If his stance resonates, we may see:Increased participation of exiled Iranian artists in high‑profile festivals.Greater scrutiny of Iran’s human‑rights record by global media and policy makers.Potential backlash from Iranian authorities aimed at silencing dissenting voices abroad.

The Giant Pickle Parade Kicks Off the UK's First Jewish Culture MonthLondoners spotted a towering green pickle strolling past the Tate Modern, Southbank Centre and other iconic sites, delivering a simple message: the nation’s inaugural Jewish Culture Month has begun.150+ Events Across Museums, Libraries and Community HubsStarting on 16 May, the festival curated by the Board of Deputies of British Jews will feature more than 150 programmes covering food, music, comedy, architecture, fashion, film and literature.V&A MuseumNational Portrait GalleryJW3 (London’s Jewish community centre)British LibraryNational Holocaust MuseumScale of the Festival: Over 150 Programs and Nationwide ReachThe sheer volume of events underscores a coordinated effort to make Jewish culture visible across the UK, from London to Nottinghamshire. Highlights include a traditional Friday night dinner hosted by east‑London pickling firm Shedletsky, a punk‑themed exhibition at JW3, and walking tours by the Association of Jewish Refugees exploring historic Jewish sites outside the capital.Why the Celebration Matters Amid Rising AntisemitismLiat Rosenthal, director of culture, education and communities at the Board, explained that the month emerged from conversations with artists who felt Jewish life had become defined by hostility since the 7 October 2023 attacks in Israel. The initiative aims to replace “oy” with “joy”, inviting people of all backgrounds to learn, eat and engage.By foregrounding contributions in science, technology, psychotherapy, medicine and politics, organisers hope to shift public perception from victimhood to pride.Looking Ahead: Building Long‑Term Visibility for British JewryBeyond the month, the Board plans to leverage the momentum for sustained cultural programming and education. Success will be measured by increased attendance at Jewish‑focused events, broader media coverage and, ultimately, a measurable decline in antisemitic incidents reported during the festival period.

The LeadThis week's entertainment landscape is dominated by standout performances and productions that have critics raving. From Ian McKellen's latest role in 'The Christophers' to the bonkbuster revival of 'Rivals' on Disney+, viewers are spoilt for choice with exceptional content across both television and film.TV Highlights: Rivals Takes Center StageDisney+'s 'Rivals' stands out as a preposterous adaptation of Jilly Cooper's 80s bonkbuster that has everyone involved clearly having the time of their life. Critics describe it as 'beyond earthly praise' with 'naked audacity' that deserves to be celebrated with a glass of Cinzano.Documentary Impact: Children of the BlitzBBC iPlayer's 'Children of the Blitz' offers a moving and important film featuring the last survivors of the blitz sharing their shattering stories. The documentary provides priceless access to the inner lives of children in wartime, with reviewers noting how these insights can be transposed to understand the emotional dislocation of modern children in conflict zones like Gaza, Ukraine, and Sudan.Political Satire: Wrestling With TrumpChannel 4's 'Wrestling With Trump' sees comedian and satirist Munya Chawawa deliver what reviewers describe as a 'punchy, passionate and weirdly uplifting documentary' that offers a much-needed smackdown to the US president. The film explores how Trump's political style is inspired by WWE wrestling, providing a fascinating look at the intersection of entertainment and politics.Film Spotlight: The ChristophersSteven Soderbergh's 'The Christophers' leads this week's film recommendations, featuring Ian McKellen as an irascible painter and Michaela Coel as his assistant. The London-set movie is described as 'terrifically exhilarating and funny, as bracing as a large vodka and tonic before lunch: fast, literate and funny.' The plot revolves around potentially valuable lost paintings of the artist's former lover.Emerging Talent: ObsessionWriter-director Curry Barker follows up his $800 YouTube hit 'Milk & Serial' with 'Obsession,' an effective and gory cautionary tale that reviewers call 'satisfyingly slick proof that Barker knows just what to do when levelling up to a different platform.' The film demonstrates promising talent in the horror/thriller genre.

Superfans Grapple with Eurovision’s Growing Political BurdenThe 2026 edition of the Eurovision Song Contest, staged in Vienna, has become a source of collective sadness for longtime fans. While the show traditionally unites Europe through music, recent geopolitical tensions have turned it into a flashpoint for protest and debate.Boycotts and Withdrawals Signal a Crisis in ViennaFive broadcasters—Spain, Ireland, Slovenia, Iceland and the Netherlands—have pulled out, citing the mishandling of the Israel controversy by the European Broadcasting Union (EBU). Their absence underscores a broader crisis of confidence in the contest’s governance.Withdrawals announced weeks before the live show.EBU’s response described as “disastrously mismanaged.”Fans report a shift from celebration to shared sadness.Financial and Voting Mechanics Amplify Israel’s InfluenceInvestigations reveal that the Israeli government has funded a voting push costing at least $1 million over the past three contests. The campaign employed high‑visibility ads—such as Times Square billboards—and direct messaging encouraging supporters to cast the maximum 20 votes per person. In 2025, Israel topped the public vote, accounting for a record share of points despite modest jury scores.How Politicisation Threatens Eurovision’s Cultural AppealThe contest’s original charm lay in its apolitical celebration of music across borders. The current environment, however, risks turning Eurovision into a proxy battleground for national soft power. With global voting still open and multiple votes per person allowed, a coordinated political effort can disproportionately sway results, eroding trust among viewers and broadcasters alike.Future Outlook: Reform or Decline for Europe’s Song Contest?Analysts warn that without substantive changes—such as limiting the number of votes per individual and tightening eligibility criteria—the contest may see further boycotts and a dwindling audience. The EBU faces a pivotal decision: implement voting reforms to restore credibility or risk a gradual decline of Europe’s flagship cultural export.

The Transformative Night in Blackpool Bronzed, with winged tips and doused in Le Male, I clamped the baby pink GHDs to my hair until they sizzled and singed it. Emerging from a cloud of cheap hairspray, I was ready for the dancefloor. I was 18 and had grown up in Blackpool, a place synonymous with hedonism and fun. I came out in high school at the age of 14 and from 16 I studied performing arts at a local college. Underage, I was smuggled into clubs and in my spare time I watched shows in our many beautiful theatres. The bright lights of the illuminations, the showgirls, the feathers, sequins and rhinestones were intoxicating. Blackpool really was – and still is – extraordinary. When the bar closed, a new adventure would begin. One night, as the sun was coming up (and as was I), a drag queen took me back to her place. I didn't know the significance of what I was about to experience, but I was to receive an education no university course could ever match. The drag queen was a Liza Minnelli tribute act. She knew every beat of every Liza film, every concert, every move of choreography. She performed as Liza in all the bars around town. Now I was ordained by being welcomed into her home. This moment could be the plot of a movie with Blackpool as a beautiful backdrop to my coming out/coming-of-age fantasy The Muppet Show That Changed Everything Was I ready to be indoctrinated? Very. She led me to the living room for a VHS screening of what I was told was one of Liza's finest performances. I was expecting Cabaret, the winner of eight Academy Awards, but not on this occasion. She sat me on the sofa and played Episode 414 of The Muppet Show from 1979, with special guest the one and only Liza Minnelli. The premise works so beautifully for exactly the same reason that The Muppet Christmas Carol is so beloved. In that film, Michael Caine gives the performance of his life in a movie almost entirely populated by felt characters, and in her guest episode Liza matches him in commitment. Take the musical number Copacabana she performs: the curtain goes up and Liza is smoking. She is the narrator, the storyteller, in a Funny Face-esque black polo neck that gives a real sense of gravitas to those Barry Manilow lyrics. Moments later, she is Lola, dancing with human-sized muppets. Or in another scene Liza holds Kermit while they sing A Quiet Thing together. Their connection is pure and tender, a thing of simplicity and gentleness. A Career Born from Inspiration As I reflect on this story nearly 20 years later, I am now 10 years sober and while life might well be a cabaret, the decadence of my early youth is firmly in the past. But I think back to this moment, which could be the plot of a movie with Blackpool as a beautiful cinematic backdrop to my coming out/coming-of-age Technicolor fantasy. I didn't know at the time, but this incident set me on the path to my current profession. Four years later, in 2011, I started making cabaret performances in south London at the famed Royal Vauxhall Tavern at nights such as Duckie, where my turns were packed full of wigs and jockstraps, fake blood and mascot costumes. In 2015, I joined the international circuit when I became part of big touring pieces of variety and circus spectacle, showing off in the US, Australia, New Zealand and London's glittering West End. I once performed a 107-hour durational piece in drag at Glastonbury and at the Adelaide fringe, as a teenage girl who wouldn't leave her bedroom. A Lifelong Dedication to Liza's Legacy Ever since that fateful night back in Blackpool in the 2000s, Liza has been a hero of mine. I saw her live in concert at the Royal Festival Hall in London in 2013. I have a Liza tattoo on my right thigh. Back in 2019, I did an eight-hour performance in an old deconsecrated church in Brighton, dressed as Liza Minnelli, performing her album Results in full, emulating through endurance art Liza's beautiful commitment to performance. Pet Shop Boys, who produced Liza's Results album, even heard about what I was up to and said my performance sounded great. The Enduring Impact of a Single Performance And if you ever see one of my shows, please understand that the technical foundation of my performances isn't drama school training or Stanislavski; it's Liza on The Muppets. Truth be told, I don't know where the drag queen in the story is now. I hope she's OK, but if I did see her I'd say: "Thank you for changing my life." Harry Clayton-Wright's show Mr Blackpool is at the Grand theatre, Blackpool, 20 May.