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The Rise of Sam Campbell Sam Campbell's journey from Australian standup comedian to Britain's most distinctive comedic voice represents a fascinating evolution in modern comedy. Since moving to the UK in the early 2020s, the 34-year-old has carved out a unique space in the British comedy circuit with his irreverent style that swings between hammy overacting and childish belligerence. His approach forces observational comedy through an absurdist filter, with contrarian takes covering everything from hand sanitiser and dragonflies to Ferrero Rocher and Bratz dolls. This distinctive voice earned him the prestigious Edinburgh comedy award in 2022, followed by an arrogant victory lap the next year with his single 10-minute performance titled Bulletproof Ten. The Unconventional World of "Make That Movie" Channel 4's new series "Make That Movie" represents Campbell's boldest creative venture yet. The show-within-a-show format stars Campbell as an alternative version of himself: a pompous director whose creative well has run dry. He invites the public to share their bizarre movie ideas, which he and his dysfunctional crew then develop into actual feature films within the framework of a shoddy reality program. Each episode concludes with the film's premiere, creating a viewing experience that's equal parts hilarious and bewildering. The production process was remarkably hands-off, with Campbell noting that the production company was busy working on an animated Ricky Gervais series about cats, "so we sort of got left to our own devices." This creative freedom was bolstered by Channel 4's head of comedy, Charlie Perkins, a longtime champion and collaborator of Campbell's who was described as "very trusting" despite initially not fully understanding the concept. Campbell's Comedy Philosophy What sets Campbell apart in the comedy landscape is his instinctive approach to humor. As director Joe Pelling observes, "Sam doesn't really seem like someone who's prone to super analysing his stuff too much. He's just led instinctively by what's funny." This gut-driven creativity manifests in his standup material, which subverts and simultaneously adheres to observational comedy tropes. In "Make That Movie," this translates to embracing obviously "dumb" ideas with deadpan seriousness, finding humor in taking film-making too seriously, especially when disaster strikes. The series features an ensemble cast largely drawn from Campbell's friendship circle, including fellow Australian comic Aaron Chen as the nerdy yet incompetent Sebastian, whose parents fund the entire enterprise. Exuberant standup Helen Bauer plays against type as grumpy sound engineer Pat, while 86-year-old actor David Hargreaves completes the gang as cinematographer Winnie. Dressed in matching purple jumpsuits, the team's aesthetic blends Ghostbusters with Scooby-Doo, creating what Pelling describes as a "real-life cartoon feel" to prevent the show from feeling bleak and strange. Campbell's Impact on British Comedy Campbell's influence extends beyond his own series to reshape the British comedy landscape. His triumphant stint on Taskmaster led to numerous appearances as the resident oddball on panel shows like Would I Lie to You?, 8 Out of 10 Cats Does Countdown, and QI. His most high-profile gig to date was this year's series of Last One Laughing UK, where he battled established comedians like Alan Carr, David Mitchell, and Bob Mortimer with unconventional material including duck impressions and claims of dining next to "mole people" during Eat Out to Help Out. What makes Campbell particularly distinctive is his deadpan delivery that proved more than just a mask during Last One Laughing UK. His composure was so unshakable that producers eventually had to implement a rule change, with Campbell ultimately losing to David Mitchell by virtue of having made marginally fewer contestants crack up. This ability to maintain his comedic vision despite external pressures has solidified his reputation as a uniquely uncompromising comedic voice. The Future of Alternative Comedy As Campbell continues to gain prominence, his success signals a promising future for alternative comedy within mainstream media. His willingness to embrace absurdity while maintaining underlying comedic logic suggests that there's significant appetite for comedy that challenges conventional formats and expectations. The fact that Channel 4 has given him such creative freedom indicates that broadcasters are increasingly recognizing the value of distinctive voices over formulaic approaches. Looking ahead, Campbell's career trajectory suggests he'll continue to push boundaries while maintaining his unique comedic identity. Whether through more television projects, standup specials, or other creative ventures, his instinctive approach to humor and refusal to second-guess himself positions him as a comedian who will likely continue to surprise and delight audiences while expanding the possibilities of what comedy can be.

The Lead007 First Light successfully revitalizes the James Bond video game franchise after years of absence, offering fans an immersive experience that captures both the action and sophistication of the iconic spy. Developer IO Interactive demonstrates their passion for the Bond universe through meticulous attention to detail and creative gameplay mechanics that honor the franchise's legacy.Gameplay Mechanics and DesignGiven how open-ended Hitman is, it's surprising how well IO has taken to linear storytelling. There are still moments of the "social stealth" that defines the studio's other games, but it's been repurposed for cinematic forward thrust, and blended together with plenty of action. It seems lazy to pigeonhole First Light as Hitman meets Uncharted, but when you see Bond leap on to a cliff edge and scurry along rocky handholds, your mind can't help but go there.You are often playing through moments that would be cutscenes in another game. Sometimes that's as simple as a dramatic approach to a level; driving round a bend to reveal a sprawling Slovakian castle, say. More ambitiously, one whole chapter is given over to a glorified training montage that whips you back and forth between getaway driving, stealth and gunplay, all while charting thawing relations between our fledgling 00 candidates. This is on-rails storytelling done right.Character Development and StorytellingWe join young Bond in his pre-00 days, as a petulant, belligerent rule-breaking trainee. Actor Patrick Gibson begins as a cookie-cutter insubordinate, but warms to the role once he's bouncing off M (herself a green leader looking to make her mark), and an enjoyably urbane Q who drops the frustrated quartermaster routine and introduces Bond to the wonders of vinyl. A scene where he teaches our agent to tie a bow tie is a perfect bit of prequelcraft: arriving at an iconic look through a lovely character touch.In contrast to previous Bond games, First Light understands that action is only a part of the Bond fantasy. He's as much schmoozer as bruiser, and there's plenty of the former here, with socialising setpieces at a chess tournament or swanky product launch. The staging and atmosphere of these rooms is exemplary, but the work mostly boils down to eavesdropping on guests to discover a keycard's location, before shooting its keeper with a toxic dart.Technical Execution and VisualsAs Bond himself is learning the ropes, it sometimes feels as if the developers are feeling their way towards something. Guns are enjoyably punchy, but scripted fights always emphasise explosive theatrics over strategy. Gas tanks erupt, walkways tumble, cranes collapse: you enter fights looking for the red barrel that will trigger a chain of collateral damage. Fail to quell numbers this way and you're quickly overwhelmed.Fist fights are more enjoyable – not because they are any more sophisticated, but because of the commitment of their virtual stuntmen. Bond is a barroom brawler, barging bodies into clattering bookshelves and battering enemies with mugs and keyboards lying around. In the same way that waist-high cover always alerts you to an incoming fight in Gears of War, you learn to eye crockery or wine bottles with suspicion here. If it's not stuck down, you'll be smashing it into a mercenary's face within the next two minutes.Fists and guns are what happen when sneaking goes wrong. On this front, IO finds a punchy take on its classic lurking. A hacking watch introduces some Home Alone hijinks as you lure guards towards misbehaving photocopiers, before electrocuting the device with a laser beam. Gadgets let you run circles around enemies – though you have to accept some silliness as you refuel those toys with batteries stolen from TV remotes, or globs of hand sanitiser. It's hard to picture Daniel Craig scavenging for Carex.Legacy and Future of Bond GamesOn a visit to a Mauritanian market and a luxury hotel getaway, however, there is space to roam, and you're reminded how few developers can tap into that aspirational tourist fantasy. Plenty of games have let us be a gun-toting version of Bond, but this is the first opportunity we've had to be a Bond relaxing beside a glittering infinity pool in Vietnam, or a Bond trying to get one over on a shell game hustler. Games are now much more capable of taking us to specific places than they were in the time of GoldenEye on the N64.It's that full Bond immersion that 007 First Light will ultimately be remembered for, more so than the odd wonky setpiece scene. I have no doubt that this was made by excitable Bond geeks throwing "what if" moments at a whiteboard. What if you got to explore Q Lab watching underlings test malfunctioning prototypes? What if you were tied to a torturer's table and had to talk your way out? What if you found yourself at 15,000ft with no parachute? And what if you had access to John Barry's classic scores and could deploy a staggering needle drop out of nowhere?Very few fans get to play in the sandbox of their obsession like IO has here. As far as Bond video games go, nobody has done it better.

La Voix's Journey to Stardom La Voix, the stage persona of Chris Dennis, has been entertaining audiences for years with her sharp wit, show tunes, and bright crimson coiffure. With over 130 cruises under her belt, La Voix has performed for thousands of people, but few know her real name. From Drag to Musical Theater La Voix's first drag appearance was at a primary school talent show as Karen Carpenter, singing Top of the World. This early start in drag led to a career in performance, including working as a stage makeup artist and singing at Soho's Madame JoJo's club. La Voix's Big Break La Voix gained popularity after appearing on TV shows such as RuPaul's Drag Race and Strictly. Her wit and charm on these shows made her a fan favorite, and she has since become a household name. Musical Debut in Annie La Voix is now set to make her musical debut as Miss Hannigan in Annie. This role is a full-circle moment for Dennis, who used to see Paul O'Grady performing in musicals when he first moved to London. La Voix's performance in Annie marks a new chapter in her career, bringing her drag persona to the musical theater stage. The Impact of La Voix's Performance La Voix's performance in Annie is expected to bring a fresh take to the classic musical. Her experience in drag and performance will likely bring a unique energy to the role of Miss Hannigan. With her popularity and charm, La Voix is sure to delight audiences and bring a new level of excitement to the musical. The Future of La Voix La Voix's future in musical theater looks bright. With her debut in Annie, she is poised to become a star in the musical theater world. Her experience in drag and performance has prepared her for this moment, and she is sure to bring her signature wit and charm to the stage.

The Supernatural Musical Romance The origins of this supernatural musical are in ancient British folklore but it plays out as a teen love story in small-town America. Young, spirited – and human – Barbara Allen (Lauren Jones) falls in love with John the Witch Boy (Glenn Adamson), from a community of Witches and Conjur People. The Plot and Its Roots She is willing to incur the wrath of parents and neighbours in her Appalachian town to be with this mysterious man who has drifted in from the Smoky Mountains and is rumoured to have diabolical powers. He is willing to abjure his immortality to spend the rest of his life with her. Both are rebels, determined to be together despite social censure. The Musical Elements The generation that grew up with Twilight would be forgiven for thinking the setup rather derivative but, in fact, Dark of the Moon got there first. Originally written by Howard Richardson and William Berney as a play, it was first performed in 1942 and then turned into a musical. The themes are all there, from the fierceness of a young love that crosses all social – and mortal – boundaries, to the undertones around the fear of sex and importance of fidelity. The Performances and Production Jones brings an edge of punk with a look not far removed from Kristen Stewart’s while Adamson seems to be channelling emo pop star energy (jeans, plaited hair and eyeliner). It’s all rather weird, but proves its own eternal life through the power and personality of the songs by Lindy Robbins, Dave Bassett and Steve Robson. There are vocally pure performances across the cast, however amped up and cheesy the production as a whole. The Verdict The production is rather too ridiculous to become the tear-jerker it could be but it’s enjoyable nevertheless. At Charing Cross theatre, London, until 8 August.

The Guardian’s latest review of Beetlejuice: The Musical notes that the production has turned Tim Burton’s cult‑film into a Halloween‑like, shock‑jock musical extravaganza now playing at the Prince Edward Theatre until 17 April. The show mixes grotesque humor, topical references and high‑octane staging, delivering a wild but uneven theatrical experience.Beetlejuice Musical Reanimates Tim Burton’s Cult Classic on the West EndOriginally staged on Broadway in 2019, the London version abandons the film’s “less‑is‑more” restraint. The titular character, played by David Fynn, bursts onto the stage with a self‑aware ballad, immediately setting a tone of anarchic satire. The production leans heavily into contemporary jokes—hip‑ster vaping, six‑seven slang, and even a jab at Andrew Lloyd Webber—while preserving the film’s macabre spirit.Creative Team’s Off‑kilter Vision Drives the Show’s AestheticDirector Alex Timbers orchestrates a chaotic visual palette: Kenneth Posner’s lighting creates an uncanny glow, Peter Nigrini supplies trippy projections, and set designer David Korins transforms the theatre into a haunted house complete with a sandworm that slithers through the auditorium. Costume designer William Ivey Long delivers “toxic yet sparkly” outfits, from Miss Argentina’s glittering ensemble to Lydia Deetz’s spidery black lace. The special‑effects team—Jeremy Chernick, Michael Weber and puppeteer Michael Curry—adds a layer of tactile wonder, most memorably a roast pig that stands upright during a possession scene set to “Day‑O.”Critical Reception Highlights Strengths and WeaknessesThe review praises standout performances: Hannah Nordberg brings “drop‑dead energy” to Lydia, while David Hunter and Chelsea Halfpenny convincingly portray the newly deceased Maitlands. However, the script’s rapid swing between the Netherworld and the living world can feel “tiresome,” and the musical numbers, though varied, are described as “oddly unmemorable.” The show’s relentless gag‑fest is likened to a “Netflix megastar stand‑up desperate to cause outrage,” suggesting that the novelty may wear thin over a full run.What Lies Ahead for Beetlejuice on the London StageDespite its unevenness, the production’s bold visual identity and strong cast give it a solid footing in the competitive West End market. If the show can harness its cult‑film fanbase and attract audiences seeking a high‑energy, Halloween‑style experience, it may enjoy a sustained run beyond the current booking. Conversely, word‑of‑mouth about the “scattershot dialogue” could limit its appeal to repeat‑viewers, making the next few weeks critical for box‑office momentum.

A Subtle, Anti-Musical Triumph in the Scottish Highlands Guardian's latest review praises Once for its stripped-down, 'anti-musical' approach that favors intimacy over spectacle, delivering a slick romance that sidesteps traditional showstoppers. John Tiffany's Minimalist Revival at Pitlochry Festival Theatre Directed by John Tiffany and designed by Bob Crowley, the production returns to its original creative team, featuring actor-musicians who 'muck in without fanfare'. The set of scuffed mirrors and wooden paneling creates a bar-room ambience, while choreography by Steven Hoggett leans on physical-theatre angularity. Box-Office Snapshot and Scheduling Venue: Pitlochry Festival Theatre Run: until 27 June 2026 Original Broadway debut: 2012 West End transfer: 2013 Why 'Once' Challenges Conventional Musical Expectations Music by Glen Hansard and Markéta Irglová is arranged by Martin Lowe, emphasizing rhythmic complexity over bombast. The narrative centers on a Dublin busker (Dylan Wood) and a Czech visitor (Lydia White), offering a low-stakes, emotionally true ending. Absence of typical 'high-kicking' numbers positions the show as an 'autumnal' opening for a summer season. Outlook: Minimalist Musicals Gaining Ground in Regional Theatres With its economical production values and focus on authentic storytelling, Once may inspire other regional venues to program similar 'anti-musicals', expanding the genre beyond Broadway-style extravagance.

Translated Fiction Review Roundup A collection of recent translated fiction has been reviewed, showcasing the diversity and complexity of global literature. The reviews include: 'Sisters in Yellow' by Mieko Kawakami Sisters in Yellow by Mieko Kawakami, translated by Laurel Taylor and Hitomi Yoshio (Picador, £16.99) Kawakami’s latest opens with a bang, as narrator Hana learns that her old friend Kimiko has been charged with abduction. This MacGuffin takes us to their friendship in late-1990s Tokyo, when teen Hana and the older woman open a bar called Lemon: “Yellow attracts money.” But it’s a turbulent ride and soon Hana is in a world of organised crime. “The world is crazy. I feel like I’m living in a manga.” She’s not the only one, and you need an appetite for Kawakami’s style, which prefers to explore rather than explain – people come and go, buildings burn down, cancer is diagnosed, almost at random – but the relentless rush means there’s no time to get bored. At its best – as in a scene where Hana’s unreliable mother wants to borrow 2m yen for investment in lingerie that helps “your spine and organs move back to where they’re supposed to be” – this is a story both absurd and horrifying. 'All Flesh' by Ananda Devi All Flesh by Ananda Devi, translated by Jeffrey Zuckerman (Pushkin, £12.99) “Forgive me for starting this story with bodily, unpalatable origins.” You may as well – it’s all like that. In an unnamed European country, a schoolgirl “born with no urge but to consume” is getting bigger and bigger. “My gut, my ass, my thighs – they were all set on reaching the farthest corners of the world.” She blames her gluttony on the need to silence the voice of her dead twin sister, who was “absorbed into my tissues” in the womb. She hates school, where other kids mock her, as though her own self-disgust weren’t enough. After a blackly comic scene where she gets stuck in her bedroom doorframe like “an uncooperative cork”, she falls in love with the lonely carpenter who arrives to widen the door – but there are more twists to come. This powerful story is deeply physical, but driven by a compelling voice describing the torment of a girl who is “the psychical mirror of our time … immoderation made manifest”. 'The White Desert' by Luis López Carrasco The White Desert by Luis López Carrasco, translated by Rosalind Harvey (Granta, £14.99) This unpredictable book, comprising five linked stories about a Spanish couple, opens with the end of the world and gets weirder from there. A balloon debate about a post-apocalyptic scenario turns nasty when one participant pulls a knife, or thinks he does. A plane crash-lands on an island. “Can [we] go and get our luggage … Lots of people have, you know, soiled themselves.” What links the scenes is a sense of disconnection in our connected world, but the book subverts expectations: when a group of people celebrating New Year’s Eve go missing, it turns out to be a game of hide and seek. Footnotes peppered throughout suggest we’re viewing all this from the future (“Emirates was a well-known passenger airline …”), and discovering what the white desert is turns everything on its head. For readers who like to do their own joining up, and who want a playful, original take on our precarious lives, this is a thought-provoking treat. 'The Home of the Drowned' by Elin Anna Labba The Home of the Drowned by Elin Anna Labba, translated by Elizabeth Clark Wessel (Harvill, £16.99) “You could have waited, you bastards.” In 1942 Lapland, a village occupied by the semi-nomadic Sámi people is flooded by a new hydroelectric plant’s dam. One family watch as their goahti (peat-covered hut) disappears under the water. “It wasn’t the nicest goahti,” says Ánne. “No, but it was mine,” says her sister Rávdná. When Rávdná wants to build a house to replace it, the authorities refuse permission: the Sámi way of life has been rejected but alternatives are not permitted. A local newspaper half-heartedly offers to publicise their case, but “we receive a lot of angry letters if we use any foreign words”. When the government tells local people the new dam “will lift us out of poverty and injustice”, the words reek with irony. This intimate story of infuriating discrimination is, Labba says, based on real events in Sweden.

The Dark Side of the Space Race 'Star City' is a gripping space race thriller that serves as a counterpoint to 'For All Mankind', exploring what if the Russians had been the first to land on the moon. The series, created by Ronald D Moore, Ben Nedivi, and Matt Wolpert, shifts its focus to the USSR, delving into the lives of characters behind the iron curtain. Alternate History and Character Development The show is set in 'Star City', a Soviet equivalent of Cape Canaveral, where the characters celebrate the success of Alexei Leonov walking on the moon. The story follows Lyudmilla, a terrifying colonel in the Great Patriotic War and head of KGB surveillance, played by Anna Maxwell Martin. The series weaves together the daily compromises, doubts, stresses, and accidental indiscretions of characters living under a strict regime. The Impact of a Strict Regime The show masterfully layers the tension and fear of living in a regime where every word must be considered, and every decision is carefully calibrated to minimize risk. The characters' lives are marked by the constant threat of repercussions, making even the smallest actions potentially fatal missteps. A Deep Dive into Human Nature 'Star City' offers space history fans a deep dive into the 'what if?' possibilities surrounding the space race, while also exploring broader themes of human nature. The show examines how people survive intolerable stress, and what they will do to be free, making it a fascinating watch for a broad audience. Conclusion and Availability 'Star City' is now available on Apple TV, offering a unique perspective on the space race and the human experience. With its gripping storyline and exceptional performances, including Anna Maxwell Martin's portrayal of Lyudmilla, this series is a must-watch for fans of historical dramas and space thrillers.

The Rumors Surrounding Tom Hardy's Departure Rumors are swirling that Tom Hardy has been fired from the Paramount+ series MobLand due to clashes with cast and crew. The news comes after reports of Hardy's difficult behavior on set, including late arrivals and demands for creative control. Hardy's History of Difficult Behavior This isn't the first time Tom Hardy has been accused of being difficult on set. During the filming of Mad Max: Fury Road, there were reports of blowups between Hardy and his co-star Charlize Theron. Similar incidents have been reported during the making of Star Trek: Nemesis, Lawless, and The Revenant. The Impact on MobLand Hardy is currently the center of gravity in MobLand, providing the series with charm and forward momentum. Without him, the show risks drifting off into nothingness. Production insiders claim that Hardy hasn't been fired and that 'things are being worked through creatively.' The Future of MobLand The choices now available to the MobLand producers are limited and painful. Assuming that the show will be recommissioned, MobLand will have to toy with the idea of letting Hardy go and recalibrating without him. However, this would be a difficult task, as Hardy is the show's main attraction.