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The musical adaptation of Heathers, based on the 1989 black comedy film, has premiered in Melbourne. The show features a young cast, including Emma Caporaso as Veronica Sawyer, and Conor Beaumont as Jason 'JD' Dean. The musical tackles serious issues like suicide, bullying, and rape culture, but its approach has been updated for modern audiences.The show's aesthetic and tone are more akin to its millennial successors, with a high-octane blast of colour and a bombastic pop-rock score by Laurence O'Keefe and Kevin Murphy. The cast shines, particularly Emma Caporaso, who brings a warmer and more likable take on Veronica Sawyer.The musical covers serious issues, from suicide and bullying to eating disorders, rape culture and homophobia. However, some changes, such as the removal of the controversial song 'Blue', have been made to update the approach to these topics. The show's tonal chaos is the embodiment of the whiplash in one of Slater's chilling lines from the film: 'Our love is God. Let's go get a slushie.'Despite some missteps, including unsubtle moralising in newer songs, the show is good, hammy fun, and the cast and audience alike are clearly having a ball. The show will tour to various cities in Australia, including Melbourne, Adelaide, Gold Coast, Canberra, Sydney, and Perth.

American Classic is a heartwarming comedy that celebrates the power of art and human connection. The show follows Richard Bean, played by Kevin Kline, a former theatre star who returns to his small hometown of Millersburg after his mother's death. Richard's journey is filled with humor, wit, and tenderness, as he helps restore the local theatre's fortunes and comes to terms with his past.The show features a talented ensemble cast, including Laura Linney as Kristen, Richard's sister-in-law and the mayor of Millersburg. The series explores themes of grief, love, and the importance of community, making it a delightful watch. American Classic is now available on MGM+ and consists of eight episodes.The show's combination of charm, wit, and tenderness is reminiscent of popular comedies like Ted Lasso and Schitt's Creek. Its retro-tropes and nostalgic feel make it a comforting watch, perfect for audiences looking for a lighthearted and uplifting series.American Classic is a testament to the power of art to bring people together and provide comfort in times of need. The show's authentic belief in the power of art is evident throughout, making it a sweet and moving watch.

Pakistan is set to host high-level talks between the United States and Iran in Islamabad, with a modest goal of getting the two nations to find common ground to continue negotiations. The talks, which will be held in a 'proximity format' with Pakistani officials shuttling messages between the two teams, follow a Pakistan-mediated two-week ceasefire agreed upon by the US and Iran.The US delegation, led by Vice President JD Vance, and the Iranian team, expected to be led by Foreign Minister Abbas Araghchi and Parliament Speaker Mohammad Bagher Ghalibaf, will meet at the Serena Hotel in Islamabad. Despite the significant differences between the two nations, experts and sources close to the mediation effort have expressed little expectation of a major breakthrough.Pakistan's goal is to secure an agreement for the US and Iran to continue dialogue, with the aim of building on the truce that led to a collective sigh of relief globally. The talks will focus on finding a lasting peace deal, with key issues including verifiable restrictions on Iran's nuclear programme and full sanctions relief.The talks are taking place against a backdrop of escalating tensions in Lebanon, with Iran framing Israeli strikes on Lebanon as a direct challenge to the ceasefire. Iranian President Masoud Pezeshkian warned that continued attacks would render negotiations meaningless.Despite these challenges, there are tentative signs of easing tensions ahead of the talks, with US Vice President JD Vance expressing optimism about the negotiations and Saudi Arabia's foreign minister speaking with his Iranian counterpart for the first time since the war started.

Ukrainian President Volodymyr Zelenskyy has confirmed that his country's technology played a crucial role in shooting down Iranian drones in the Middle East. This development comes after Zelenskyy announced last month that expert teams had been deployed to the region following the outbreak of the United States-Israeli war on Iran.In a recent statement, Zelenskyy revealed that Ukrainian forces participated in operations using domestically produced interceptor drones against 'Shahed' drones, which are similar to those used by Russia during its ongoing conflict with Ukraine.Key highlights of Zelenskyy's statement include:Ukrainian forces successfully destroyed Iranian 'shaheds' in several countries.The operations were not limited to training missions but involved actual support in building modern air defence systems.Ukrainian experts provided crucial advice on strengthening air defence systems in countries that collaborated with them.Zelenskyy expressed optimism about the future, stating that it is only a matter of time before mass production of interceptors capable of destroying drones with jet engines commences.Kyiv has effectively utilized cheap drone interceptors to neutralize Russian drones before they reach their targets. As part of the agreement, Ukraine is receiving weapons to protect its energy infrastructure and, in some cases, financial arrangements.During his recent visits to Gulf nations, including Qatar, Saudi Arabia, Jordan, and the United Arab Emirates, Zelenskyy signed defence agreements with the UAE, Qatar, and Saudi Arabia.

Jim Jarmusch, the 73-year-old director known for his offbeat Americana films, has spent seven years crafting his latest project, 'Father Mother Sister Brother'. The film, which won the prestigious Golden Lion at the Venice film festival, is an anthology drama that explores the complexities of family relationships through three distinct stories set in New Jersey, Dublin, and Paris.Jarmusch's approach to filmmaking is characterized by his unique ability to elicit low-key performances from big stars and his focus on the quotidian aspects of life. He cites influences from filmmakers like John Cassavetes and David Lynch, but emphasizes his own humanist approach. 'I make films out of the things other people would leave out,' he notes, highlighting his attention to detail and ability to find beauty in everyday moments.The film features a star-studded cast, including Cate Blanchett, Adam Driver, Mayim Bialik, and Tom Waits. Jarmusch's process involves casting first and then writing the script quickly, often in a matter of days. 'I cast first then write fast,' he explains, showcasing his collaborative approach with actors.Jarmusch reflects on his career, mentioning the challenges of getting films made without compromising his artistic vision. 'It's harder every time to get a film made,' he acknowledges, but remains committed to his unique approach. The director also touches on themes of mortality and the cyclical nature of life, emphasizing the importance of living in the present.The film 'Father Mother Sister Brother' is set to release in UK cinemas on April 10, offering audiences a glimpse into Jarmusch's distinctive filmmaking style and thematic explorations.

Roberto De Zerbi has vowed to bring back the attacking style of football known as 'Ange-ball' to Tottenham Hotspur in a bid to prevent the club's first relegation in 49 years. The Italian manager has only seven games to impart his complex football philosophy to his players. De Zerbi wants to replicate the rampant, marauding style of his predecessor Ange Postecoglou, who won Tottenham's first trophy in 17 years but was dismissed after finishing 17th in the Premier League last season. “I want to keep the ball,” De Zerbi said. “I want to see again the Tottenham I watched with Postecoglou because, in my second season in Brighton, there was Postecoglou here with a lot of these players and it was one of the best teams in terms of quality of play.” De Zerbi has kept things simple in his early days at Tottenham, with individual meetings and training sessions on the pitch. The first test of what has been absorbed will be away to Sunderland on Sunday. De Zerbi has often been criticised for short stays at previous clubs, but he insists he is committed to Spurs “for a long time” after signing a contract to 2031, which does not include a break clause if they are relegated. Spurs have lost seven of their past nine games but De Zerbi has analysed their recent matches and taken encouragement from the 1-1 draw at Liverpool and 3-2 Champions League win against Atlético Madrid. “We have to show this for 90 minutes and we have to believe in ourselves,” he said. “The most important part in football is the mental part. You are used to speaking too much about the style of play, the tactical disposition, blah, blah, blah. But in the end, the mental part is crucial in every work, especially in football, especially in this moment in Tottenham.”

The play Good Golly Miss Molly! is a joyous tribute to community spirit, set in the 1970s in Tunstall, where residents resisted a council plan to demolish their houses. The show, written by Bob Eaton, uses rock'n'roll standards to tell the story of a community coming together.Eaton's show has taken a hold of the audience, with its insinuatingly woven narrative of social history, pop, and politics. The story revolves around the residents of Hawes Street, who fought against the council's slum clearance programme and successfully argued for home improvements instead.The director cleverly uses music as the glue that binds the community together, telling the story through a band reuniting for a nostalgic knees-up in a social club. The play's protagonist, Molly, played by Shirley Darroch, evolves from a belligerent schoolgirl to a lead singer, NUM staffer, and residents' association chair, finding self-fulfilment along the way.The company's performance is tremendous, with doo-wopping, harmonising, and swapping instruments, making the angst and yearning of the songs a perfect expression of the working-class struggle.While the conflict could be more fully explored, the play gives a joyful sense of the music pulling the audience into the action, providing an exuberant lift to the company's 40th anniversary season.The play is showing at the New Vic theatre, Newcastle-under-Lyme, until 2 May.

The latest offering from writer Theo Jamieson and director Adam Lenson is a boldly conceived musical that thrusts a turbulent romance into a sci‑fi framework. The story follows a young astronaut, Daniel, who vanishes from his shuttle with barely enough fuel, prompting a quest to uncover the motives behind his reckless flight.Stuart Thompson (as Daniel) and Poppy Gilbert (as Emily) anchor the piece with performances that are both visceral and nuanced. Their chemistry captures the push‑pull of a relationship scarred by childhood bullying, parental betrayal, and a shared history of trauma, delivering songs that soar and hit hard.Visually, the production leans heavily on interstellar projections that transform the stage into a shifting cosmos, while the score oscillates between Sondheim‑style wit and full‑blown symphonic passages. This combination creates an epic sense of strangeness that distinguishes Flyby from more conventional West End fare.However, the narrative’s fragmented structure hampers its emotional payoff. The non‑chronological storytelling leaves critical gaps, and the metaphor of being "stranded in space" feels over‑extended—especially with the protagonist’s surname, Defoe, a thin nod to Robinson Crusoe. The three narrators, played by Simbi Akande, Gina Beck, and Rupert Young, often drift into digressive asides that dilute the central arc.Despite these flaws, moments of brilliance emerge, particularly in the musical’s treatment of mental‑health themes. The show hints at the potential to join the ranks of modern theatre successes like Next to Normal and Dear Evan Hansen, should its structural rough edges be smoothed.The production is currently staged at Southwark Playhouse, Borough, London and will run through 16 May. Audiences seeking a daring blend of emotional intensity and cosmic spectacle will find Flyby a compelling, if imperfect, experience.

Compiling a definitive Top 10 of superhero movies proves as elusive as “herding thunder through a spreadsheet.” Critics must decide whether to prioritize cinematic craftsmanship, cultural influence, or the raw emotional resonance that these films generate.Over the past two decades the genre has diversified dramatically, spanning crime‑driven Batman sagas, family‑friendly adventures like The Incredibles and Guardians of the Galaxy, political allegories such as Captain America: The Winter Soldier and Black Panther, and experimental visual feats exemplified by Spider‑Man: Into the Spider‑Verse. This breadth makes any hierarchical ranking inherently subjective.Influence remains a key metric. Richard Donner’s Superman (1978) demonstrated that audiences would pay to see a man fly, paving the way for half a century of cape‑wearing blockbusters. Similarly, Iron Man reshaped the modern blockbuster formula, launching the Marvel Cinematic Universe and redefining franchise economics.Emotional impact also matters. Logan stands out as a bruised, mournful western that subverts the genre’s usual invincibility myth, presenting a weary Wolverine confronting mortality. Its rawness offers a rare catharsis rarely found in superhero narratives.Event status cannot be ignored. Avengers: Endgame turned its opening weekend into a cultural ritual, with multiplexes resembling revival tents where audiences collectively cheered, gasped, and celebrated. Even a “colder” analysis must acknowledge that the film transformed anticipation into a generational sacrament.Visual innovation is another hallmark. The Oscar‑winning animation Spider‑Man: Into the Spider‑Verse made comic‑book ink feel alive, delivering a sensory overload that redefined what animated superhero storytelling could achieve.Cultural relevance caps the discussion. Black Panther emerged as a modern myth that forced critics to confront race, identity, and heritage within blockbuster fantasy, expanding the perceived centre of the superhero universe beyond the traditional Batman, Superman and Spider‑Man triad.While outliers like Alex Garland’s Dredd and Guillermo del Toro’s Hellboy II: The Golden Army deserve mention, the critic’s final Top 10 list reflects a balance of influence, artistry, and cultural weight:1. The Dark Knight2. Spider‑Man: Into the Spider‑Verse3. Superman (1978)4. The Incredibles5. Spider‑Man 26. Dredd7. Spider‑Man: No Way Home8. Avengers: Endgame9. Spider‑Man10. Logan