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The play 'My Uncle Is Not Pablo Escobar' showcases creative ambition in its exploration of the experiences of Latinx women in modern London. The production features striking visuals, blending elements of a pop concert with techno beats and census data, highlighting the absence of Latinx representation in official categories.The narrative takes a fictional turn, loosely inspired by the 2012 HSBC scandal, centering on Ale, a young woman juggling her A-levels with shifts as a bank cleaner, and her investigative journalist sister Cata. Together, they recruit Lucia to go undercover and investigate the bank's exploitative practices.Despite inventive uses of props and moments of tension, the play feels like a mesh of ideas rather than a fluid narrative. The involvement of five writers and occasional voiceovers may contribute to this disjointedness. The play touches on themes of sibling tension, identity crisis, and immigration, but these elements seem somewhat disconnected.The production at Brixton House in London until May 3rd, serves as a reminder of the importance of Latinx stories on stage, particularly given the growing Latinx population in the UK. However, 'My Uncle Is Not Pablo Escobar' ultimately lacks a unifying focus, causing its message to get lost in the narrative.

Jon McClure, the Sheffield‑born frontman of Reverend and the Makers, has taken a seat on the board of Sheffield FC – the world’s oldest football club – after joining a new minority‑ownership group with David Bianchi. The move marks the first time the musician has taken on a formal role in a football institution.McClure, a lifelong Wednesday supporter, first approached the club eight years ago but felt he wasn’t yet “in a mature enough position” to steward a cultural landmark. Since last month he has been actively reviewing the club’s operations and seeking ways to modernise a team that currently competes in the ninth tier of English football.The appointment comes as Sheffield FC enjoys a surge in interest, having recorded a club‑record league attendance of 1,172 spectators for a recent defeat to Tadcaster. The side will host the same opponents again in a Northern Counties East League playoff semi‑final after finishing third in the division.Unlike the high‑profile takeovers at Dagenham & Redbridge or Wrexham, McClure insists his approach will be “more considered”. He acknowledges the club’s history of “years of dysfunction” and warns against “putting rocket boosters on a three‑wheeler”, emphasizing a need for steady stabilisation before growth.Founded in 1857, Sheffield FC’s claim to fame is its role in codifying the modern game – a narrative McClure says is “still under‑told”. The club boasts the first football kit, the first recorded derby and a unique FIFA order of merit shared only with Real Madrid, offering “global IP opportunities”, according to the chair.To translate heritage into footfall, McClure has introduced free entry for children, hoping to lift typical matchday crowds from 300‑400 to larger numbers. He also highlights a logistical hurdle: the club’s “Home of Football” ground sits in Dronfield, Derbyshire, outside Sheffield’s city limits, prompting a long‑term ambition to relocate to a multi‑purpose venue in the city centre.McClure’s celebrity connections are already bearing fruit. He invited Sheffield music legend Richard Hawley to a recent fixture and maintains a friendly rapport with Sheffield United manager Chris Wilder, despite the historic rivalry between the city’s clubs.In a nod to modern digital culture, McClure’s brother Chris created the viral persona “Steve Bracknall”, the fictional assistant manager of the Royal Oak. When the Royal Oak played a real match at Sheffield FC, the event drew over 2,000 fans on the ground and half a million online viewers, including Robbie Williams, branding it “the biggest game in Sunday league history”.Looking ahead, McClure is keen to expand the club’s junior and women’s programmes, envisioning an “1857 Academy” that could scale globally if built on the right foundations. While a leap to the Northern Premier League is the realistic target, the broader goal is to cement Sheffield FC as a thriving community hub that honors its status as the birthplace of football.

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.

Evelyn Araluen has been named among the six finalists for the 2026 Stella Prize with her second poetry collection, The Rot. This marks her second appearance on the shortlist, four years after becoming the first poet to win the award as an Australian woman and non‑binary writer. The $60,000 prize will be contested alongside five diverse titles: Geraldine Brooks’ memoir Memorial Days, Miranda Darling’s novel Fireweather, Lee Lai’s graphic novel Cannon, Marika Sosnowski’s hybrid nonfiction 58 Facets: On Violence and the Law, and Tasma Walton’s novel I Am Nannertgarrook. Each shortlisted author receives a $5,000 advance. Earlier this year, Araluen’s The Rot captured the top prize and a $125,000 award at the Victorian Premier’s Literary Awards, praised for its exploration of grief and collective anxiety amid the global coverage of the Gaza conflict. The collection was sparked by an incident at Adelaide Writers’ Week in 2024, where Araluen was heckled for describing the Israeli bombardment of Gaza as genocide. She told Guardian Australia that the poems aim to document a "panicked, distressed window of time" that future readers might view with horror and regret. "I wanted the book to clearly record what we knew and did not stop," Araluen said. "If it reads as naive, let it still serve as a record of an uncomfortable truth we all must face." Araluen, a Goorie and Koori poet, first won the Stella Prize in 2022 for her debut collection Dropbear. This year’s shortlist was selected from 212 submissions, underscoring the depth of contemporary Australian women’s and non‑binary writing. Chair of judges Sophie Gee praised the list, noting that the books “move us to the core through language, the truth of their emotion, and the honesty of what it means to be human, across time and space.” The winner will be announced on 13 May 2026. Last year’s prize went to Michelle de Kretser for her novel Theory and Practice.

Bruce Miller returns as showrunner to bring Margaret Atwood’s 2019 novel The Testaments to the screen, positioning it as a direct sequel to the acclaimed series The Handmaid’s Tale. The new eight‑part drama, now streaming on Disney+, shifts the narrative focus to the next generation of women living under Gilead’s regime. While the series adopts a lighter, almost YA‑ish tone compared with its predecessor, the underlying brutality remains unmistakable. Viewers are confronted with “bloody punishments, rotting corpses on gibbets and relentless indoctrination,” now filtered through the eyes of teenage protagonists. The visual palette expands beyond the iconic red, white and green of the original. Young girls of privileged status appear in pink dresses and cloaks, older students—dubbed “Plums”—wear purple headpieces that are more stylish than the oppressive bonnets of the handmaids, and menstruating women are marked by a teal hue, signaling a grim rite of passage. Central to the story is Agnes (Chase Infiniti), the adopted daughter of Commander MacKenzie and the secret first child of June/Offred. Her journey intertwines with that of Daisy (Lucy Halliday), a “Pearl Girl” recruited from outside Gilead, whose mysterious background fuels the series’ central mystery. Ann Dowd reprises Aunt Lydia, now presiding over an elite preparatory school where she tasks Agnes with mentoring Daisy. Their evolving relationship, alongside flashbacks that flesh out Aunt Lydia’s own history, anchors the ten‑episode arc. Beyond the personal dramas, the series continues to examine groupthink, systemic corruption and the subjugation of women. Scenes such as Agnes kneeling before her father in newly‑colored robes starkly echo real‑world teenage experiences of power dynamics, albeit in a far more visceral setting. Occasional moments of dark humour provide brief relief, but the overarching message remains clear: the mechanisms of oppression are timeless, and the fight for autonomy persists across generations. The Testaments is now available on Disney+, offering both fans of the original series and newcomers a stark reminder of how dystopian fiction mirrors historical and contemporary tyrannies.

Rob Reiner’s 1986 film ‘Stand by Me’ transforms Stephen King’s novella The Body into a quintessential American coming‑of‑age story, echoing the timeless tone of Mark Twain’s tales. The movie, now entering its 40th anniversary, has acquired a fresh layer of melancholy following the 2025 homicide of Reiner and his spouse, Michele Singer Reiner. The narrative follows four twelve‑year‑old boys in a fictional Oregon town during the late 1950s, embarking on a secret trek to locate the body of a missing peer rumored to lie beside a railway line. Their perilous journey—marked by near‑misses with a train, a drowning episode, and a hostile junkyard dog—serves as a conduit for exploring the fragility of youth and the inevitable confrontation with mortality. At the heart of the quartet are Chris (River Phoenix), the tough leader; Teddy (Corey Feldman), scarred by an abusive father; Vern (Jerry O’Connell), the clumsy sidekick; and the introspective Gordie (Wil Wheaton), an aspiring writer haunted by his older brother’s accidental death. As an adult, Gordie is portrayed by Richard Dreyfuss, who reflects on his past while typing the story that has defined his life. The film’s moral undercurrent emphasizes that, despite the boys’ rough edges, an innate decency persists—perhaps reinforced by the looming presence of the dead boy whose fate they seek. A standout meta‑scene features Gordie’s fictional tale The Revenge of Lard‑Ass Hogan, a miniature film‑within‑a‑film that mirrors the real‑world cruelty, voyeurism, and fear the characters experience. Reiner’s direction is complemented by a soundtrack that weaves in period hits by the Chordettes and Buddy Holly, reinforcing the nostalgic atmosphere. While the story glosses over certain darker possibilities—such as the anticipated retribution from the local bully Ace (Kiefer Sutherland)—its portrayal of childhood innocence remains remarkably resonant. ‘Stand by Me’ returns to UK cinemas on 10 April 2026, offering both longtime fans and new audiences a chance to revisit a film that continues to grip hearts, now underscored by the real‑world sorrow surrounding its creator.

James Gunn's early feature film Slither, initially released in 2006, is being re-released in cinemas ahead of its 20th anniversary. The film, a comedy horror with a heavy focus on body horror, was Gunn's first feature-length project. At the time, it was met with commercial disappointment but has since garnered attention due to Gunn's subsequent success with major franchises such as Guardians of the Galaxy and Superman.The film's plot revolves around an alien lifeform that crash-lands on Earth and takes over a small town in South Carolina. The alien larvae, resembling flaccid phallic worms, infect the townspeople through various orifices, turning them into evil minions or hideously swollen incubators. The movie features Michael Rooker, Elizabeth Banks, and Nathan Fillion in key roles.Despite its thinly conceived science fiction elements and reliance on rubbery practical effects and lame jokes, which align more closely with the style of Troma, a production company where Gunn got his start, the film does showcase Gunn's early experimentation with comic timing and musical cues. A notable scene features a killing spree set to Air Supply's 'Every Woman in the World', a technique Gunn would later refine in his Guardians of the Galaxy films.The cast, including Michael Rooker and Elizabeth Banks, appears to be enjoying the film's humor, bringing some bright spots of wit and amusement to the movie. Slither is set to re-release in UK cinemas on April 10 and will be available on digital platforms from May 1.

Leeds United travel to West Ham for an FA Cup quarter‑final that both clubs would prefer to avoid, yet manager Daniel Farke is clear about his priorities. With an MA in economics and a diploma in sporting directorship, he stresses that Premier League survival is the club’s "bread and butter" and must come first.Off the pitch, the German‑born coach unwinds by immersing himself in literary fiction, counting Gabriel García Márquez’s One Hundred Years of Solitude among his favourites.Farke’s dual role as a tactician and a storyteller raises the question of whether he can engineer a season that delivers both survival and cup glory. A successful double could make it hard for the Elland Road hierarchy to deny him the new contract he desires."I’m a big believer in cup competitions," Farke said, emphasizing that Leeds will approach the West Ham tie "very, very seriously". He added that the squad will start strong unless a player shows a physical issue, in which case they will be protected.The risk of fielding a first‑choice XI against a relegation rival mirrors the 2013 Wigan experience, when the club won the FA Cup but suffered relegation three days later – a bittersweet double that highlighted the fine line between triumph and disaster.Leeds have failed to win any of their last six Premier League matches, drawing four, a run that has stalled momentum. A victory could act as a catalyst to change the narrative as the season draws to a close.Injury concerns loom over striker Dominic Calvert‑Lewin, who is undergoing a hamstring scan. The England international, who netted seven goals in six games at the end of 2025, has managed only two league goals this season. A fit Calvert‑Lewin could revive Leeds’ hopes of reaching their first FA Cup semi‑final since 1987 and keep his World Cup aspirations alive.The goalkeeping position also remains unsettled. After losing his starting spot to Karl Darlow, Lucas Perri has featured solely in the FA Cup this year, leaving the decision on who starts for the West Ham tie open.Financial pressures add urgency to Farke’s decisions. Leeds’ latest accounts reveal a £49.2 million pre‑tax loss for the year ending June 2025, and a costly stadium expansion project that would be jeopardised by relegation. This backdrop explains the psychological blow of a 1‑0 loss to an under‑strength Sunderland side earlier in the month.Farke believes a deep FA Cup run could erase lingering self‑doubt. "If we secure Premier League survival and go further in the FA Cup, we can write a special chapter for this club," he said, urging his squad to seize the chance to make history.

Alan Cumming’s latest theatrical venture – The High Life: The Musical, Still Living It! – bursts onto the stage as a gleeful, pantomime‑style extension of the cult 1994 TV sitcom. Co‑written by series creator Johnny McKnight alongside Alan Cumming and Forbes Masson, the production is deliberately overloaded with jokes, ranging from references to Andrew Mountbatten‑Windsor to a tongue‑in‑cheek nod to Sheena Easton. The show’s panto DNA runs deep. Audiences are addressed directly, invited to sing along, and treated to an underwater neon‑tube dance. The set, a whimsical take on a Brigadoon‑style hotel, features tartan wallpaper designed by Colin Richmond, a life‑size dog, and multiple costume changes that heighten the spectacle. Returning to the stage, Cumming reprises the role of flight attendant Sebastian Flight, while Masson appears as his counterpart Steve McCracken. They are joined by a “legacy cast” that includes Siobhan Redmond as the exacting supervisor Shona Spurtle and Patrick Ryecart delivering a delightfully unhinged performance as Captain Hilary Duff. Supporting them are high‑energy performers Rachael Kendall Brown, Louise McCarthy and Kyle Gardiner, who navigate Masson’s clever, rhyming songs that swing from Broadway flair to Eurovision sparkle. Beyond the slapstick plot – a cartoonish battle over the fictional airline Air Scotia and a detour to the “Lower Largo Triangle” – the musical hints at deeper questions about ageing, national identity and the need for cultural renewal, echoing themes raised in earlier Scottish adaptations. Directed by Andrew Panton, the production is a joint effort between Dundee Rep and the National Theatre of Scotland. It runs at Dundee Rep until 4 April before embarking on a UK tour that concludes on 23 May. In the end, the show is less a philosophical treatise and more a big, joyous laugh‑fest that celebrates the spirit of pantomime.