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The Norwegian Nobel Committee, which awards the Nobel Peace Prize, has publicly condemned Moscow’s latest effort to label the human‑rights organisation Memorial as an "extremist organisation". Chairman Jørgen Watne Frydnes said the committee is "deeply alarmed" by the Russian authorities’ attempt to dismantle a co‑recipient of the 2022 Peace Prize. According to the statement released on Wednesday, Russia’s Supreme Court is set to review a petition from the Ministry of Justice that seeks to add Memorial to the nation’s list of “undesirable” entities. If approved, the designation would ban the group from operating within Russia and expose anyone associated with it to up to four years in prison and substantial fines. Memorial, already branded a “foreign agent” and ordered dissolved by the Supreme Court at the end of 2021, would see all of its activities criminalised under the new petition, Frydnes warned. He added that even sharing the organisation’s published material could lead to imprisonment. “To designate such an organisation as extremist is an affront to the fundamental values of human dignity and freedom of expression,” Frydnes asserted, urging Russian officials to withdraw the claim immediately and cease all harassment of Memorial and its members. Memorial shared the 2022 Nobel Peace Prize with Ukraine’s Centre for Civil Liberties and Belarusian activist Ales Bialiatski. Founded in 1987, Memorial specialises in documenting human‑rights violations across Russia and once operated a network of roughly 50 affiliated groups both inside and outside the country. Several of these affiliates continue their work from bases in Germany, France and Italy. Key figures from Memorial have faced criminal proceedings in Russia. Notably, activist Oleg Orlov, who was sentenced for speaking out against the war in Ukraine, was released in a 2024 prisoner exchange and now works abroad to continue documenting abuses. The committee’s statement concludes with a direct appeal: Russian authorities should immediately rescind the extremist label and halt any further intimidation of the organisation and its supporters.

BBC Two’s three‑part series ‘Michael Jackson: An American Tragedy’ attempts to map the arc of the King of Pop from a Midwestern child prodigy to a global phenomenon whose legacy is still contested. Released ahead of the family‑approved biopic Michael, the documentary does not promise fresh revelations; instead, it seeks to place the singer’s meteoric fame, legal controversies and post‑mortem financial empire within a single narrative. The first episode, titled Fame, foregrounds Jackson’s musical genius while also exposing the fraught dynamics of his family life. Interviews with siblings and childhood acquaintances depict a household where “six bunk beds in one room” were the norm, and where fear of their father, Joe Jackson, loomed large. La Toyia Jackson’s recollection that “Michael had a fear of my father – we all did” underscores the pressure that shaped his early years. In The Reckoning, the series shifts to the period of criminal investigations and media scrutiny. Former spiritual adviser Rabbi Shmuley Boteach describes the tragedy as a man who, despite unparalleled attention, remained “utterly lonely.” Prosecutor Ron Zonen argues that the sheer scale of the Jackson enterprise eclipsed the pursuit of justice, noting the obviousness of the abuse allegations in his view. The episode also revisits the 2003 Martin Bashir documentary, which Boteach recalls as a “shock” that contributed to the star’s eventual downfall. The final installment, The Resurrection, examines the attempts to revive Jackson’s career, his sudden death, and the ripple effects of the 2019 Leaving Neverland documentary. The review notes that the allegations have reshaped public perception to the point where many, including the reviewer, find it difficult to engage with his music. The series concludes that the ongoing legal battles—seven alleged victims are currently suing the estate—represent “the most extraordinary effort to uncancel someone in history.” While the documentary assembles an extensive roster of interviewees—family members, former managers, record executives, and even Donald Trump—it occasionally suffers from an overly broad brushstroke that blurs moral clarity. The reviewer acknowledges the valiant effort to strike a middle ground but questions whether such balance is sufficient for a story marked by “wild extremes.” Overall, the series provides a comprehensive, if not groundbreaking, overview of Jackson’s complex narrative, serving as a timely companion piece to the upcoming biopic and a reminder that the conversation around his legacy remains far from settled. Michael Jackson: An American Tragedy is currently streaming on iPlayer.

British novelist Gwendoline Riley has been recognized with a $175,000 Windham-Campbell prize, one of eight writers to receive the prestigious award. Riley is celebrated for her short novels that delve into complex relationships, family tensions, and the inner lives of women. Her notable works include First Love, which was shortlisted for the Women’s prize for fiction, and My Phantoms.Riley expressed her gratitude, stating, “This is very hard for me to take in. I am more grateful than I can say. This unimagined vote of confidence will not go wasted on me.” Her work has been praised for recasting ordinary lives into something remarkable and new. Clare Clark noted in a review of her latest novel, The Palm House, that Riley is “the laureate of disconnection, her bone-dry humour edged with the vertiginous lurch of despair.”The Windham-Campbell prizes, which award $1.4 million annually, aim to support writers by providing financial security, allowing them to focus on their work without financial pressures. Michael Kelleher, director of the Windham-Campbell prizes, emphasized that the arts face significant challenges, and this grant offers writers “the time, space and creative freedom to think, write and nurture their talent.”Other recipients of the prize include S Shakthidharan, an Australian playwright known for his multigenerational epic Counting and Cracking; Adam Ehrlich Sachs, an American writer recognized for his exploration of the history of knowledge; and Lucy Sante, a Belgian-born American writer celebrated for her memoir I Heard Her Call My Name: A Memoir of Transition.

Cornish film-maker Mark Jenkin has brought his latest film, Rose of Nevada, to his hometown of Newlyn in Cornwall. The film, a ghostly time travel tale, has received excellent early reviews and features Jenkin's signature authentic storytelling.Jenkin, who is from Newlyn, expressed his pride in Cornwall, stating, “This is the greatest town in the world. I see Cornwall as being at the centre of the world.” He emphasized the importance of showcasing Cornwall's culture and community in his films.The film was shot entirely in Cornwall, using a clockwork Bolex camera and featuring a working fishing boat. Jenkin's vision for his homeland is central to the film, rather than using it as a backdrop.Jenkin's success has put a spotlight on Cornwall, with other filmmakers, such as Brett Harvey and Dan Simpkins, highlighting the growing recognition of regional film-making. Laura Giles of Screen Cornwall noted that Jenkin is a “talisman for Cornish film-making” and that there are other emerging filmmakers in the region.The film's producer, Denzil Monk, emphasized the importance of sustainability and inclusivity in the production, stating, “We try to step very lightly” in terms of impact on the environment and community.

Copenhagen returns to the London stage under Michael Longhurst’s direction at Hampstead Theatre, a timing the reviewer calls “terrifyingly timely.” The three‑hander dramatizes the 1941 encounter between Danish physicist Niels Bohr (played by Richard Schiff) and German scientist Werner Heisenberg (Damien Molony), set against the looming threat of Hitler’s nuclear ambitions. The production draws unsettling parallels to contemporary politics, invoking Donald Trump’s recent threats toward Iran as a modern echo of the era’s extremist rhetoric. This resonance, the reviewer notes, amplifies the play’s relevance alongside the theatre’s downstairs offering, ROI (Return on Investment), which also interrogates the morality of scientific discovery. Visually, Joanna Scotcher’s set is a striking, non‑realist circle surrounded by water—a subtle nod to the “heavy water” used in Nazi nuclear research and a poignant reminder of the personal tragedy that befell one of Bohr’s sons. The second half’s dense scientific dialogue is rendered accessible, though the reviewer argues it sometimes falls short of fully unpacking the deeper metaphors embedded in the science. Performance-wise, the age gap between Bohr and Heisenberg (Bohr being sixteen years senior) hampers the on‑stage chemistry. Schiff’s portrayal of the seasoned Bohr occasionally stumbles over lines, while Molony’s Heisenberg comes across as a brooding, almost adolescent figure. In contrast, Alex Kingston’s turn as Bohr’s wife and editor, Margrethe, provides the emotional core, shouldering much of the play’s affective weight. Thematically, the drama wrestles with the question of whether scientists bear a moral duty beyond their research. Heisenberg’s famed uncertainty principle is employed as a metaphor for the psychological ambiguity surrounding their historic meeting. Yet the script conspicuously omits any direct reference to the bombings of Hiroshima and Nagasaki, focusing instead on the fear of a Nazi atomic weapon and sidestepping the United States’ own nuclear legacy. While the production boasts compelling aesthetics and a thought‑provoking premise, the reviewer finds moments of sluggish pacing and a missed opportunity to confront the irony of overlooking the U.S. bombings, especially as contemporary concerns about American military assertiveness rise. The show runs at Hampstead Theatre, London until 2 May.

When Nike unveiled its official 2026 World Cup kit range in March, the designs were widely praised, with the United States' home shirt hailed as the most distinctive in years and other nations such as France, England, Canada and Uruguay receiving positive feedback.However, during the recent international break, a growing chorus of supporters highlighted a recurring problem: a pronounced bulge along the shoulder seam of many of the new jerseys. While the effect was subtle on some kits, it was stark on others – notably the sleek France shirt worn by Kylian Mbappé and the Uruguay jerseys that resembled a cartoon villain’s armor.Fans took to social media to share photos and complaints, with some claiming that steaming or pre‑washing the garments temporarily eased the issue, while others expressed outright frustration, describing the design as “stupid” and unsuitable for broader shoulder widths.Given that the jerseys retail for between $100 and $200, the defect poses a significant concern for both consumers and the national federations that expect their players to look immaculate on football’s biggest stage.In a statement to The Guardian, Nike acknowledged the flaw, noting that the problem was most evident during the recent break and that “performance is unaffected, but the overall aesthetic is not where it needs to be.” The company added that it is reviewing possible solutions in collaboration with partner federations and suppliers.The kits are built around Nike’s Aero‑FIT system, a computational‑design and stitch‑specific knitting process marketed as a way to keep athletes cool in what could be the hottest World Cup ever, hosted across the United States, Canada and Mexico. A source familiar with the technology confirmed that AI‑driven design data underpins the process.Nevertheless, the shoulder‑seam issue raises questions about the feasibility of a redesign with the tournament less than two months away and millions of jerseys already sold. Nike officials indicated that any corrective action would require a massive logistical effort.“We are a global team of best‑in‑class designers, creators and dreamers who spend every day thinking about how to innovate, challenge ourselves, and take risks that push the beautiful game,” the company said. “We always hold ourselves and our products to the highest standards and this fell short. We’re working quickly to make this right for players and fans, because every kit should reflect the care, precision and pride that the game deserves.”Nike’s partnership with the United States runs until 2033, while England’s agreement with the FA extends to 2030, meaning the brand will continue to supply kits for future tournaments despite this setback.

Health‑service workers have voiced strong unease after it emerged that engineers from the controversial US tech firm Palantir were issued NHS.net email accounts. Those accounts unlock a directory containing contact details for as many as 1.5 million NHS staff members, as well as access to SharePoint file‑sharing and Microsoft Teams groups used by the service. Palantir’s engineers are supporting the rollout of the Federated Data Platform (FDP), a £300 million contract awarded in 2023 to link patient records across disparate NHS systems. The government touts FDP as a cornerstone of its plan to "reinvent the NHS" by moving from analogue to digital, promising faster diagnoses, better appointment allocation and more personalised treatment. While the use of NHS email accounts by external suppliers is not unprecedented, Palantir’s reputation for AI‑driven surveillance and military‑grade technology has amplified staff, patient and human‑rights concerns. Rory Gibson, a resident doctor, warned that his personal contact details should not be accessible to a company that also works on drone‑strike systems. The Guardian has identified at least six Palantir engineers who have been given NHS.net credentials. In response, a Palantir spokesperson argued that such access is "normal practice for government suppliers" and cited official guidance that government systems are more secure than external alternatives. Palantir claims its software has already yielded measurable benefits: 110,000 additional operations, a 15.3% reduction in discharge delays and a 6.8% rise in cancer diagnoses within 28 days of referral. The company stresses that it merely provides software, with data usage remaining under NHS control and subject to strict contractual confidentiality. David Rowland, director of the Centre for Health and the Public Interest, acknowledged that granting NHS email addresses may not breach rules but highlighted the "deep ethical concerns" that Palantir’s profit‑driven model clashes with NHS values. He called for a comprehensive review of which private firms receive public‑sector funding. Some NHS staff reported being placed in virtual Teams meetings with Palantir personnel who joined using NHS credentials, without any disclosure of their employer – a practice that further eroded trust. Under the NHSmail access policy, "independent sector organisations" delivering health and social‑care services nationally may use NHSmail. An unrestricted NHS.net account can reveal staff roles, locations, workplace details and even grant access to commercial "Blue Light" discounts. Palantir’s technology is already deployed by UK police forces and the Ministry of Defence, prompting critics to warn that its "drag‑and‑drop" interoperability could facilitate state overreach, including a potential British analogue of the US Immigration and Customs Enforcement agency. The firm’s founders include US businessman and former Trump supporter Peter Thiel and CEO Alex Karp, both known for advocating aggressive surveillance tools. Its UK arm is led by Louis Mosley, grandson of historic British fascist leader Oswald Mosley. An NHS spokesperson reiterated that all suppliers, including Palantir, operate strictly under NHS instruction, with data access governed by robust contractual confidentiality obligations.

At 75, Suzi Quatro is still rocking with the same energy and passion that defined her glam era. Her signature scream, which has been thrilling audiences since she was a kid playing dance halls around Detroit, was on full display during her recent concert at Glasgow. The Suzi Q scream is a defining sound of the glam era, a holler of swallow-the-world desire that leaves the audience galvanized.While the opening hour of the concert was entertaining and well-paced, the second set was a bit of a mess, with tedious solos and drawn-out introductions of her eight-piece band. The highlight of the evening came when Quatro played Can the Can and Devil Gate Drive back to back, delivering a pure pop rush. However, the concert could have benefited from a few cuts, as Quatro seemed to struggle with pacing.Despite some minor issues, Quatro's performance was still thrilling, and her infectious energy was palpable throughout the evening. As she told the Glasgow crowd, 'I can still scream just as loud,' and she proved it with her powerful vocals.

Wayne Koestenbaum's latest novel, 'My Lover, the Rabbi', defies expectations with its unapologetically obsessive prose and exploration of desire. The story centers around a man who works as an antique furniture restorer and his overwhelming desire for a man who works in a synagogue. This central fact is accepted by all characters, and the writing treats realist conventions with a kind of exalted scorn.The book's 188 chapters are short and plunge the reader into a world of carnality, confusion, and bizarrely specific detail. The title of the book is reiterated throughout, becoming almost a mantra. This insistent and anxious formality is at the heart of the book's uncanny life, matching style to subject in a brilliant and unconventional way.As the plot emerges, it seems almost 19th century in its storyline, with themes of infidelity, illegitimacy, madness, shopping, coincidences, and death. The narrator's need to discover the secret of his rabbi's attractiveness drives the plot, much like Proust's Swann. The mystery of the rabbi's allure and the death of his three-year-old son become central to the narrative, revealing vistas of unknowability.The book's whirlwind invention culminates in a final, fugue-like recapitulation, where the narrator's obsessive desire morphs into a vision of the unknowability of any object of desire. This gloriously original evocation explores what it might feel like to admit to the inability of love to triumph over death. Koestenbaum's writing is like that of the best kind of angel, unafraid to come down to earth and explore the complexities of human desire.