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What a “Scientology speedrun” actually isThe term describes a viral TikTok challenge where participants rush into Church of Scientology buildings to see how far they can get inside, often wearing masks or costumes. The stunt blends prank culture with a curiosity about a controversial organization.From a viral LA raid to nationwide TikTok challengesThe phenomenon began in March 2026 when creator Swhileyy filmed himself storming the Los Angeles Scientology headquarters on Hollywood Boulevard. The clip amassed 90 million views before being removed, inspiring copycats across the globe.2026‑03: Original LA video posted, 90 m views.2026‑04‑30: Trend spreads to the UK, with teenagers targeting multiple Scientology sites.2026‑05‑07: Groups gather at Sydney’s Castlereagh Street and Brisbane’s George Street.View counts, arrests and police responses: the numbers behind the crazeTikTok videos of the raids have collectively drawn several hundred million views. Law‑enforcement actions in Australia included:Two arrests in Sydney (19‑year‑old woman, 17‑year‑old girl) for non‑compliance.Two teenagers (15 and 18) charged in Brisbane after a driver‑side car jump and a BMX stunt.Police deployed riot squads to disperse crowds of roughly 100 people in each city.Why the stunt is rattling the Church and sparking wider cultural debateThe Church of Scientology condemned the raids as “dangerous mobs” and announced heightened security. Former members such as Leah Remini criticized the trend for trivialising serious concerns about the organization, while activists like Alexander Barnes Ross warned it could undermine legitimate protest.Beyond the church, the craze highlights TikTok’s power to turn absurd pranks into flashpoints that attract police attention and fuel discussions about religious freedom, public safety, and digital‑era activism.Will the trend fade or evolve into a new form of digital protest?Analysts expect the “speedrun” format to mutate as platforms tighten moderation and law‑enforcement responses increase. The next phase may involve coordinated “virtual protests” that avoid physical trespass while still leveraging the viral mechanics that made the original craze so compelling.

The Dominance of Adolescence The Netflix drama Adolescence, which won universal acclaim for its chilling portrayal of violence by disaffected teenage boys, has dominated the Bafta TV awards. The four-part series, where each episode was filmed in a single take, won the award for best limited drama, while Stephen Graham, who co-created the show, took the best leading actor prize. The Winners' Circle Graham, who had been nominated eight times before, talked about being inspired by the TV show Scully as a child. “For any other young kid, no matter where you’re from, anything is possible.” “We’re not saving lives,” he said. “But we have the opportunity to tell the human condition. And we have the obligation to tell beautiful stories.” Owen Cooper, who became a household name for his performance as 13-year-old Jamie Miller, who is arrested for murdering a girl at his school, also bagged the best supporting actor award. Other Notable Wins Other winners on the night included the crime series Code of Silence for best drama and Narges Rashidi for best leading actress in Prisoner 951, the true story of Nazanin Zaghari-Ratcliffe, the Briton imprisoned for six years in Iran. The documentary Gaza: Doctors Under Attack took the spoils in the current affairs category. The Impact of the Awards The Bafta TV awards have once again highlighted the best in British television, with a range of genres and shows being recognized. The dominance of Adolescence and the wins by other notable shows and actors demonstrate the high quality of television being produced in the UK. The Future of British Television As the television industry continues to evolve, the Bafta TV awards will remain a key event in showcasing the best of British television. With shows like Adolescence and Code of Silence pushing the boundaries of storytelling and performance, the future of British television looks bright.

The Lead: A Tale of Repression and Hidden DesiresThere's a common greeting in the Outer Hebrides: the lineage-establishing "Who do you belong to?" By the time this question is posed to 22-year-old gay Harris islander John-Calum Macleod, or Cal, in Douglas Stuart's new novel, there is a sense that Cal is his father John's beyond the ordinary claims of blood – the latter's sway containing undercurrents of domineering ownership.The Novel's Core Themes: Repression and Self-Denial in a Conservative CommunityThe book opens with the two conducting a strange ritual over the phone, performed regularly ever since Cal moved to Edinburgh to study textiles: John, a precentor, reads to Cal in Gaelic from the New Testament and has him sing back "with the full power of his belief". The verse John recites – which prefigures the novel's themes of repression and self-denial – urges the faithful to guide the errant and to stay vigilant against temptation. After receiving Cal's assent, John orders him to return home, ostensibly because Cal's maternal grandmother, Ella, is sick. Though John lives with Ella in her croft house, she is his ex-wife's mother and thus not his responsibility.Set within a tight-knit Free Presbyterian community of farmers, weavers and fishers in what appears to be the 1990s, John of John tells the story of Cal's uneasy homecoming. It's a reprise of the parable of the prodigal son and an ardent exploration of the half-lives of queer men condemned to love, pine and suffer in silence. Intimate yet epic in scale, it contains equal parts pastoral drama, tale of familial fracture, love story and inquiry into various forms of loneliness: the loneliness that can reside between fathers and sons, between lovers, between man and God, and between a small place and the big world.Character Analysis: Complex Relationships and Hidden TruthsJohn disapproves of Cal's appearance, his sartorial choices and his long, "flame-coloured" hair, disturbed "by the confused signal they were sending, the strange tension between the masculine and the feminine". Cal's disinclination to be "saved" creates a rift between them that later erupts in violence. Meanwhile, childhood friend and hookup partner Doll gives Cal the brush-off, cross that he's been away for so long. Wearied by his ultraconservative environment, where connection feels out of reach, Cal takes a fancy to his dad's sole friend, confirmed bachelor Innes MacInnes. Cal is struck by Innes's "gentleness, his benevolence – which Cal had never appreciated before, which, if he were honest, he would have said he found boring, unsexy in younger men".This, however, can never be the merry May-December romance Cal wishes it to be. Innes and John are lovers, we learn fairly early on, and it is this pair's tortured relationship since their teenage years – kept secret from everyone, including Cal – that forms the novel's centre of gravity. Masters of discretion, John and Innes are, to townsfolk, neighbouring sheep farmers. The first time we see them alone together, at Innes's, they go through the motions of a long-established routine, allowing themselves to draw close only after John has made sure each room is empty and they are really alone. Later, as John prepares to leave, Innes loudly seeks his assistance over an unspecified "two-man job", "all in case someone should find out and ask what exactly John Macleod was doing upstairs in the MacInnes house at such an ungodly hour".Literary Context: Stuart's Evolution as a StorytellerThe novel tries their bond in ways small and big. Aside from the difficulty of Cal, there is the matter of John's other liaison with a married man, and the tenancy of Ella's house soon to be transferred to Cal's mother. Innes floats the idea of John moving in with him but intuits "how, even under the threat of homelessness, a life together with him seemed no consolation at all". John is a man tormented by the idea of his own depravity: "He loved God. He loved Innes. He loved God and God hated how he loved Innes." At one point he entertains the possibility of Innes, Cal and himself being a family, but even in fantasy, the thought of Cal being gay, like him, remains unimaginable: "They would live like this every day, be useful, peaceful, happy on their land, looking forward to the day Cal married a local girl and filled their croft with grandchildren."The novel is outstandingly canny and wrenching on self-contempt, on the toilsome art of deceit, and on the contradictions we all contain, as well as the friction that can exist between the personal and the collective. As secular values gain ground, there is the suggestion that John and Innes living together could deal a death blow to their local congregation, leaving us wondering whether John and Cal will – or can – come out to one another. Amid all this, Stuart finds the space to touch on crofter subservience to absentee landowners, the scorn and prejudice of mainlanders, and the place of the Western Isles within the English imagination.Critical Reception: A Complex but Ultimately Rewarding ReadJohn of John is certainly enthralling, but the ambient Weltschmerz and the characters' frequent self-pity can be draining. Stuart's first two novels, the Booker-winning Shuggie Bain and its follow-up, Young Mungo, were feats of heartfelt, operatic storytelling, composed as though in defiant response to our age of irony and subtlety. Despite their occasionally miserabilist tenor, the emotions felt guileless and real, whether Shuggie's love for his doomed, alcoholic mother, Agnes; Jodie's for her brother Mungo; Mungo's for his birdkeeping neighbour James or his own doomed, alcoholic mother, Maureen. The impoverished Glaswegian milieus where they were set – marked by Thatcherite ruination, homophobia, sexual predation and sectarian strife – made for sobering reading; but these were novels so lavishly and graciously imagined, so very moving, that you gladly faced up to their gloom.Here Stuart leans heavily on melodrama and sensationalism as a shortcut to tragedy. Towards the end, the novel is eventful to a fault and surfeited with pathos: we have a pregnancy; an attempted shotgun wedding ("What in the world of Thomas Hardy?" says Cal); a death and a momentous departure from the island. While this book will not appeal to those with a low tolerance for excess, diehard romantics will find much to love; I see Cal, John and Innes – knottily entangled and imperfectly endearing – being cherished with readerly devotion. And that is no small feat.

The Lead: Football as Survival in War-Torn GazaSixteen-year-old Mohammed Eyad Azzam was a "pampered" child before an Israeli air attack in Gaza killed his immediate family, leaving him as the sole provider for his elderly grandmother. On October 11, 2024, Mohammed was at home with his parents and siblings in the Jabalia refugee camp when an Israeli warplane struck, bringing their multistorey building down on top of them. Buried under the rubble for about 10 minutes, Mohammed survived by a miracle when his grandmother dug him out. Overnight, the teenager was thrust into adulthood, and amid all the challenges, he has found one escape from his daily turmoil: football.The Event Details: From Tragedy to the PitchBefore the war, Mohammed was a promising player for the Khadamat Jabalia football club. However, following Israel's war on Gaza, the club no longer functioned, pitches were destroyed, and many of his former teammates were killed. Against all odds, the Palestinian Football Association recently organised a tournament for players born in 2009 at one of the last remaining patches of land in Gaza suitable for hosting a football match. For Mohammed, lacing up his boots is one of the few ways he can fend off the despair of life without his parents and siblings."It removes the boredom and releases our negative energy," he explained. "Most of my teammates have their brothers and fathers there to motivate and encourage them. I have no one to cheer for me now, I miss them so much – as much as the sea and its fish."The Data Analysis: Devastation of Palestinian SportsMohammed's heartbreak is emblematic of Israel's systematic destruction of sports infrastructure in Gaza. The statistics are staggering. According to the Palestinian Football Association, the Israeli offensive has killed 1,113 people affiliated with the sports sector, including more than 560 football players, coaches and administrators. Additionally, 265 sports facilities have been destroyed or damaged over the past two-and-a-half years, while all 56 football clubs in Gaza – from Beit Hanoon in the north to Rafah in the south – have been severely affected.Mohammed's club, Khadamat Jabalia, was also destroyed, and the space was temporarily turned into a detention and interrogation centre by Israeli forces during the invasion of Gaza.The Impact Analysis: Navigating Danger to PlayWith main stadiums either bombed into ruins or converted into shelters for displaced families, the Palestinian Football Association is now organising youth tournaments on just three small pitches that remain – Palestine Stadium in Gaza City, Khadamat Nuseirat and Ittihad Shabab Deir al-Balah. However, getting to these games is still a life-threatening ordeal for young footballers."We walk 3-4km through tents and rubble to reach the pitch," Mohammed said. "It drains you psychologically before you even step onto the field."The security situation remains extremely dangerous. A player walking from his tent to the pitch is exposed to the risk of sudden air strikes, but the determination of the players and the association pushes them to resume activities. "It sends a message to the world that Palestinian youth are capable of rising from the rubble," said Mustafa Siyam, head of the media department at the Palestinian Football Association.The Prediction: Seeking Justice and Continuing DreamsWhile the football community in Gaza is struggling to survive, Palestinian sports officials have expressed deep frustration with the international community, particularly FIFA, over a lack of support or solidarity. Siyam highlighted glaring double standards when FIFA moved swiftly to suspend Russia and ban its clubs following Moscow's 2022 invasion of Ukraine, but took no action against Israel."When it comes to Palestine, unfortunately, there are no decisions; FIFA's position is very weak," he said. Despite the targeted killing of prominent athletes, such as national team player Suleiman Obaid, and Israeli settlement clubs competing on occupied Palestinian land, FIFA has failed to impose any sanctions on the Israeli Football Association.With a lack of action from FIFA, the Palestinian Football Association is now seeking justice via international sports tribunals. While they wait for a permanent ceasefire to rebuild Gaza's battered sporting infrastructure and for Israel to open the enclave's borders to allow local talent to join Palestine's national teams, young players such as Mohammed are clinging to the game to keep their loved ones' memories alive."My dream now is to become a famous, professional football player," the 16-year-old said softly. "Because that was my dream, and it was the dream of my mother and my father, may God have mercy on them. My dad is the one who registered me in the club, and my mom was the one who always cheered me on."

The Concept of Mixtape Mixtape, the second game from Melbourne-based studio Beethoven and Dinosaur, is a narrative adventure game about Stacy Rockford, a teenage girl in the fictional 90s American suburban town of Blue Moon Lagoon. The Gameplay Experience The game's soundtrack is Stacy's mixtape, which she explains and dissects with direct-to-camera addresses throughout the game. This is a work of magical realism, mixing together disparate gameplay elements and storytelling devices to explore a night of youthful excess as Stacy and her friends try to craft a perfect celebration. The Soundtrack The soundtrack features Roxy Music, Siouxsie and the Banshees, Portishead, the Jesus and Mary Chain and more than 20 other bands. Galvatron was inspired by the soundtrack to the 2001 cult classic Donnie Darko: “It’s not all these bands’ No 1 songs, it’s their deeper cuts.” The Nostalgia Mixtape is deeply rooted in a nostalgia for 80s and 90s US pop culture, despite being made by a 12-person team in Australia. The biggest touchpoints are the movies and music Galvatron enjoyed in his youth: Dazed and Confused, Ferris Bueller’s Day Off, High Fidelity, Wayne’s World. The Future “I think one day we’ll make a game set in Australia,” Galvatron says. “But sometimes the game just tells you what it needs to be. The story drags you in one direction, and that’s where it took us.”

The Lead Mixtape is a new game that takes players on a nostalgic trip back to the 90s, with a focus on teenage misadventures and classic music tracks. The game's visually stunning world and inventive gameplay mechanics make it a joy to play, but its lack of emotional depth holds it back from being truly memorable. The Game's Unique Blend of Music and Memory Mixtape's gameplay revolves around a carefully curated mixtape, with each song triggering a flashback to a shared memory among the game's trio of protagonists. The game's world is consistently visually stunning, combining warm hues with stop-motion animation. The game's use of real-world footage and mixed media elements adds to its unique charm. The Data Behind the Game's Music Selection The game's soundtrack features a range of 90s bangers, from Portishead to Devo. The game's use of music is a nod to films like High Fidelity and Juno, but feels impersonal and pretentious at times. The Impact of Mixtape on the Gaming Industry Mixtape's focus on nostalgia and classic music tracks is a bold move, but one that pays off in terms of gameplay and visuals. However, the game's lack of emotional depth and conflict holds it back from being truly memorable. The Future of Mixtape and Similar Games While Mixtape may not be a standout title in terms of storytelling or emotional depth, its unique blend of music and gameplay mechanics makes it a joy to play. Fans of nostalgic games and 90s music may find plenty to enjoy in Mixtape, and it will be interesting to see how similar games approach the concept of music-driven gameplay in the future.

The Genesis of a Masterpiece This week we mark two extraordinary centenaries. Sir David Attenborough's, of course, but only four days after the birth of the bona fide national treasure, Dmitri Shostakovich's First Symphony also first saw the light of day – premiered in Leningrad on 12 May 1926. The 19-year-old's composition was played by the Leningrad Philharmonic, conducted by Nicolai Malko. The Revolutionary Sound The symphony's four-movement structure is just about the only conventional feature it has. The teenage Shostakovich had imbibed all the lessons he could about what orchestral music should sound like and how it should behave, and was bold enough to subvert all those ideas and send them up. There is no forelock-tugging to earlier generations of Russian symphonists and orchestral pioneers; instead, Shostakovich's First resounds with a self-confidence that's both optimistic and deliciously sardonic. A Circus of Sound From the distorted trumpet call that opens the work – a fanfare that thumbs its nose at your expectations of how a symphony should start; not an affirmative flourish, but a snakingly dissonant question mark – Shostakovich sets out on a first movement that's like a circus: a cavalcade of characters who take the stage and exit, more often than not pursued by a cartoon bear, clown or bassoon. The momentum that Shostakovich generates from the way he juxtaposes ideas – cutting from one to the other as if the symphony were a reel of film – continues deliriously in the second movement. Here, a piano part is added to the orchestral texture, and that's where one of the secrets of this music's compositional energy is revealed. As a teenager, Shostakovich played the piano for Soviet silent cinema screenings, and in the symphony's piano solos, he turns his work into a knockabout farce that Buster Keaton would be proud of. A Masterpiece of Unbridled Creativity The movement builds to a climax that is both terrifying – a sudden fanfare that consumes the whole orchestra – and bathetic, in the form of the solo piano's chords, as if the pianist couldn't keep up with the music's pace. There is no hint anywhere in this piece of the bombast and poster-paint ideology of Shostakovich's later symphonies, but there is real feeling here, hinted at in that climax of the scherzo, as the cartoon suddenly shudders into real life. The slow movement that comes next is one of the most unironically passionate that Shostakovich ever wrote, as a solo oboe and solo cello inspire the whole orchestra to a melodic outpouring that feels more Shakespearean drama than circus hijinks. A Legacy of Creative Freedom The final movement somehow brings all of these worlds together, and the symphony ends in a torrent of irresistible energy, a culmination of pure sentiment as well as sheer excitement. This is, surely, the most creatively confident First Symphony by any teenager in musical history (and there is plenty of competition, from Mendelssohn to Knussen, from Rihm to Schubert). It announces a world of possibility in which musical conventions are gleefully turned upside down in a frenzy of modernist creativity that's both funny and profound. It's the sound of a unique symphonic avant garde that might have heralded an era of unfettered creative freedom for Shostakovich and generations of composers. A What-If of History Instead, these are the sounds of what might have been, for Shostakovich and for Russia. In Shostakovich's later symphonies, especially from the mid-1930s onwards, you hear the chilling of that freedom and the daily terror of living in Stalin's Soviet Union. The confidence and joy in his own brilliance that you hear in every page of the First Symphony is a miracle that Shostakovich never quite repeated and which is still strikingly new, a century on.

The Revival of Amandaland In a north London TV studio, there's a sense of unpredictability in the air. A gaggle of singing teenagers are on set; there's a dog traipsing around; and – just down the hall in the canteen – Joanna Lumley has paused an interview to politely ask a catering lady not to pack up her tangerine. The Chemistry Between Stars Lumley and her co-star Lucy Punch have a long history, having first worked together on the 2004 film Ella Enchanted. Punch describes Lumley as the 'special sauce' of the show, while Lumley praises Punch's commitment and energy. The Character Dynamics The show revolves around the complex relationship between Amanda, played by Punch, and her mother Felicity, played by Lumley. Punch notes that seeing this dynamic generates sympathy for an unlikable character, while Lumley appreciates the humor in their interactions. The New Season The second series of Amandaland marks a shift for Amanda's kids, who are now teenagers dealing with exams, relationships, and a high-school prom. Amanda has also declared herself a 'v-cel' (voluntary celibate) and Felicity joins a dating app, leading to new challenges and comedic situations. The Importance of Representation Lumley emphasizes the importance of showing an older woman dating, highlighting the need to combat loneliness and encourage social engagement. The show continues to explore themes of family, relationships, and growing up, making it a highly anticipated return for fans.

The Director's Supernatural EncountersMulti-Oscar-winning director Guillermo del Toro has revealed his lifelong fascination with the supernatural, from childhood ghost sightings to a UFO encounter at age 14. The filmmaker, currently in the UK to receive a BFI fellowship, shared his belief that these experiences 'cause a crack' in our perception, allowing 'the mystery of the universe' to rush toward us.From Family Hauntings to Hammer HorrorDel Toro's supernatural journey began at age 11 when he first sensed a spectral presence at his family home in Guadalajara, Mexico – which he believes was his late uncle keeping a promise. This experience inspired Santi, the sighing ghost-boy in his 2001 film The Devil's Backbone. The director has since encountered numerous paranormal phenomena, including surround-sound ghostly disturbances in a New Zealand hotel while scouting locations for The Hobbit.'There are certain magical lands for me,' del Toro explains, 'and the land of ghosts is England.' He is currently looking to purchase a haunted house in the UK to house his extensive collection of silicone figures and memorabilia.The Influence of British CinemaThe BFI fellowship holds special significance for del Toro, who cites British cinema as a major influence on his work. He particularly reveres the 'reveries of Powell and Pressburger or Ken Russell' and the entire Hammer horror legacy, including Terence Fisher's Frankenstein films which partly informed his own 2025 adaptation of Mary Shelley's novel.'The 1974 Hammer film Frankenstein and the Monster from Hell had the worst makeup but the most delicate Creature,' del Toro notes. 'As the movie progressed, the Creature became more of an innocent and the Baron more of a pure villain.' This approach shaped his interpretation featuring Jacob Elordi as the Creature.A Legacy of Monsters and Misunderstood BeingsDel Toro has always portrayed monsters as complex beings capable of tenderness alongside violence, reflecting his belief that 'precisely like us.' This philosophy has resonated with fellow artists, including Taylor Swift, who has cited his films as inspiration. After becoming a fan of The Shape of Water, Swift explored his back catalogue during the pandemic, declaring herself 'dazzled' by The Devil's Backbone and Pan's Labyrinth.The influence is mutual, with Swift later invoking Del Toro-esque imagery in her hit single Anti-hero, picturing herself as 'a monster on the hill … slowly lurching toward your favourite city.' This artistic connection demonstrates how del Toro's vision has permeated popular culture beyond cinema.The Future of Fantastic CinemaAs a BFI fellow – joining the ranks of Martin Scorsese, David Lean, Akira Kurosawa, and Orson Welles – del Toro continues to champion the potential of horror and fantasy genres. His teenage years saw him running a film society in Guadalajara, sourcing controversial works like Powell's 1960 serial-killer classic Peeping Tom from the BFI itself.With his upcoming projects and continued exploration of the supernatural, del Toro remains committed to expanding our understanding of the unknown, both on screen and in his personal life. As he puts it, these experiences 'dislocate your sense of self,' revealing the mysteries that exist just beyond our everyday reality.