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Taiwan's 'Sunshine Women's Choir' has taken the local box office by storm, but its success has been met with criticism over its emotionally manipulative tactics and lack of depth. The film, adapted from the 2010 Korean movie 'Harmony,' tells the story of Hui-Zhen, a woman who forms a choir with her fellow inmates to raise her infant daughter behind bars.The movie's director, Gavin Lin, has been accused of resorting to manipulative tactics to elicit emotions from the audience, including excessive crying and contrived plot twists. Despite its feel-good/feel-bad tone, the film's relentlessly peppy approach undermines any potential for foundational grit, critics argue.The story follows Hui-Zhen's journey as she navigates life in prison and forms a choir with her fellow inmates. However, the film's sanitized portrayal of prison life and its lack of meaningful character development have been criticized. The movie's use of showstoppers and flashbacks has also been seen as a way to avoid addressing the characters' deeper issues.Despite its criticisms, 'Sunshine Women's Choir' is set to hit UK cinemas on April 17. The film's success has sparked a debate about the role of emotion in filmmaking and the importance of depth in storytelling.

Chala Chala Nav Bala (Maze Baal, 1943) marks the debut of Asha Bhosle, who entered the film world at ten years old. Paired with her sister Lata Mangeshkar, her bright falsetto captures the youthful innocence of the Marathi romance, foreshadowing the emotive style that would define her career. Aaiye Meherbaan (Howrah Bridge, 1958) showcases Bhosle’s rise during Hindi cinema’s golden age, thanks to her partnership with composer O.P. Nayyar. The song’s sultry vibrato and lush orchestration set the tone for the film’s noir atmosphere, establishing her as a leading‑lady playback voice. Aao Huzoor Tumko (Kismat, 1968) became a chart‑topping hit, featuring intricate vocal runs over a flamenco‑style guitar. Bhosle’s lower‑register chorus broke the conventional shrillness of female playback, while her nuanced phrasing added depth to the on‑screen heroine’s drunken allure. Dum Maro Dum (Hare Rama, Hare Krishna, 1971) stands out as her most successful crossover, later sampled by Western rappers. The track, produced with R.D. Burman—her future husband—blends psychedelic Beatles‑inspired grooves with Hindi lyrics, demonstrating her ability to bridge Eastern and Western pop sensibilities. Piya Tu Ab To Aaja (Caravan, 1971) pushes the fusion further into jazz‑cabaret territory, with bold horn sections and cinematic guitar reverb. Bhosle’s breathy, suggestive delivery sparked controversy, yet the performance remains a masterclass in balancing sensuality with technical agility. Chura Liya Hai Tumne Jo Dil Ko (Yaadon Ki Baaraat, 1973) epitomises the “masala” film soundtrack, merging drama, romance, and crime. Over a gentle guitar backdrop, Bhosle’s tender humming conveys quiet longing, contrasting with the film’s high‑octane narrative. In Ankhon Ki Masti (Umrao Jaan, 1981) sees Bhoske venture into Urdu ghazals with composer Khayyam. Her lower, huskier timbre—adjusted a half‑step down—highlights her continued artistic experimentation even as she approached fifty. Bow Down Mister (1991) illustrates her early 1990s foray into international collaborations, lending wordless, soaring vocals to Boy George’s post‑Culture Club project. The track transforms into a rave‑infused anthem, underscoring Bhosle’s versatility across genres. Radha Kaise Na Jale (Lagaan, 2001) pairs Bhosle with a young A.R. Rahman, reaffirming her status as an elder stateswoman of Indian music. The duet with Udit Narayan blends tabla and flute with powerful vocal runs, marrying traditional Hindustani scales to contemporary film scoring. The Way You Dream (2002) features an unexpected partnership with REM frontman Michael Stipe on the 1 Giant Leap project. The eight‑minute piece weaves tabla rhythms, subtle guitar, and a dramatic breakbeat, proving that Bhosle’s voice can seamlessly inhabit New Age and electronic soundscapes.

Rachel Zegler has hailed the accessibility of Evita's free balcony scene, which became a landmark moment for London sightseers during the show's run last summer. The scene, which featured Zegler performing 'Don't Cry for Me Argentina' from the balcony of the London Palladium to crowds gathered on the street below, was a groundbreaking moment in theatre. At the Olivier awards on Sunday night, Zegler delivered the song again – this time on the stage of the Royal Albert Hall – and took home the award for best actress in a musical. Host Nick Mohammed noted that Zegler had become 'a new landmark for London sightseers' during Evita's run, allowing people who hadn't bought a ticket to watch the performance live for free on a giant screen. Zegler described Evita's director, Jamie Lloyd, as a 'genius' for staging the scene in such a way, giving 'a piece of theatre, just in the street' to young people who may not be able to afford West End ticket prices. 'It's so beautiful that Jamie Lloyd made such an accessible moment of theatre for people to walk by and witness something really, really cool,' she said. The actor, whose musical films include West Side Story and Snow White, praised Londoners for making her feel welcome and described those who had waited outside to watch the balcony scene as being 'so giving with their energy and love'. Zegler also acknowledged the difficulty of replicating the balcony scene, but she and Andrew Lloyd Webber have spoken of their hope that Evita will transfer to Broadway. Evita picked up two awards from five nominations at the Olivier awards, with choreographer Fabian Aloise also recognised for his work. The show was beaten to the prize for best musical revival by Into the Woods at the Bridge theatre.

Mid Wales Opera's OpenStages productions are undertaken with a missionary zeal, nurturing both local communities and up-and-coming singing talent. Their recent staging of Purcell's Dido and Aeneas, realized remarkably over a single intensive week of work, is a testament to this commitment.The opera, tailored by Purcell for the ladies of Josias Priest's boarding school in Chelsea in 1689, features a motley crew of amateurs forming a chorus portraying Carthaginian courtiers, followers of a witches' coven, and sailors. The young cast, some already launched on singing careers, delivered polished performances under the care of conductor Jonathan Lyness, particularly in their recitatives.Director Richard Studer's simple yet effective set design, featuring a central high pavilion on a raised dais against a cathedral backdrop, elegantly framed the action. The chorus, dressed in black with pale golden patches on their cheekbones, contrasted with the titular pair, Queen Dido and Aeneas, in standout white with elaborate golden facial adornments.Kathy Macaulay's portrayal of Dido conveyed vulnerability from the outset, while Alaw Grug Evans' expressive performance as Belinda added depth to the narrative. The production's inexorable progress towards Dido's final aria, When I am lain in earth, brought the tragedy full circle, underscored by the MWO string ensemble's lamenting mood.

Experts are closely monitoring climate patterns in the Pacific Ocean, which indicate a high chance of El Niño developing this summer. A strong El Niño event could lead to severe weather conditions, including super-charged rainstorms and droughts, depending on the region. A 'super El Niño' could push 2027 to break global heat records, according to climate scientists. This phenomenon occurs when ocean surface temperatures in the central and eastern tropical Pacific Ocean warm up, leading to significant impacts on global weather patterns. El Niño is characterized by warming of the ocean surface in the central and eastern tropical Pacific Ocean. It's one of three states scientists observe: La Niña, conversely, happens when sea surface temperatures are below average, and neutral conditions are defined when neither El Niño or La Niña are present and surface temperatures are about average. The 'El Niño-southern oscillation' (Enso) tends to develop during spring in the northern hemisphere and shifts every three to seven years. Warming and cooling at sea surface during El Niño and La Niña can range from 1C to 3C, and have enormous effects on precipitation, drought, heat, and climate disasters in different regions. Conditions are currently shifting from La Niña to a neutral pattern, according to the latest outlook from the US Climate Prediction Center. Models show a 62% chance El Niño will emerge this summer and linger until at least the end of the year. A super El Niño that occurred in 2015 brought severe drought in Ethiopia, water supply shortages in Puerto Rico, and smashed records after unleashing a vicious hurricane season in the central North Pacific. A 'super' El Niño means one that is stronger, typically defined by sea surface temperatures spiking up to at least 2C. Noaa scientists have given a 1 in 4 chance that this could happen by fall or winter, with the caveat that spring forecasts are sometimes muddled. Transitions in conditions that happen in the spring can make outcomes a bit harder to predict. Experts warn that a strong or super El Niño could lead to drought and heat across Australia, southern and central Africa, India, and parts of South America. Heavy precipitation, meanwhile, could hit the southern tier of the US, parts of the Middle East, and south-central Asia.

Rising energy costs stemming from the Iran war are set to deliver a sharp blow to British living standards, with the Resolution Foundation estimating that the average working‑age household could lose about £480 in income this year. Before the conflict began, the think‑tank projected a modest 0.9% rise in household earnings. Market‑driven energy price spikes have now pushed that forecast into a -0.6% decline, effectively turning a gain into a loss. Oil and gas markets have reacted dramatically: Brent crude has surged back above $100 per barrel (£74), while analysts such as JPMorgan Chase expect prices to stay elevated through the current quarter, with Goldman Sachs revising its Brent outlook to an average of $90 per barrel in Q2. For the poorest fifth of households, the outlook is equally grim. Expected income growth has been trimmed from 2.8% to 1.2%, despite a long‑overdue real‑terms increase in benefits for some low‑income families. Families with three or more children stand out as a relative bright spot. The abolition of the two‑child limit is projected to generate a 7.7% income boost for this group, contrasting with zero growth for poorer families with fewer children. Energy bills are also poised to climb this summer, erasing the £117 average savings households enjoyed after the regulator lowered the energy price cap in April, according to Jonathan Marshall, the foundation’s principal economist. In response, the Resolution Foundation is urging the UK government to fast‑track a social tariff before winter, aiming to shield the most vulnerable households from the worst of the price shock. James Smith, chief economist at the foundation, warned that “while hopes for sustained peace persist, the path of this conflict remains uncertain and energy prices stay well above pre‑war levels, meaning many households face a decline in purchasing power this year.” He added that “de‑escalation is welcome, but the damage to household finances is already largely done; the government should act now to prepare a social tariff that reaches households falling through the cracks this winter.”

Rolls-Royce has secured a significant investment of up to £599m from the UK's national wealth fund to develop the country's first small modular nuclear reactors (SMRs). The funding will support Rolls-Royce's design of SMRs at Wylfa on the island of Anglesey, Wales. The investment is expected to create around 1,000 jobs at Rolls-Royce and contribute to the UK's goal of generating electricity without carbon dioxide emissions. The project also offers the potential for a large new export industry in SMRs. The UK government has embraced nuclear energy as a key component of its clean energy strategy, and this investment marks a significant milestone in the development of SMR technology. SMRs aim to produce nuclear power stations in factories, driving down costs and speeding up installation. The Wylfa site has a history of nuclear power generation, having operated from 1971 until 2015. Hitachi had previously attempted to build a new nuclear power station at the site but abandoned its plans in 2020 due to funding issues. The site was later acquired by the state-owned Great British Energy – Nuclear (GBE-N) in 2024. The chancellor, Rachel Reeves, highlighted the importance of the investment, stating that it will strengthen energy security, create skilled jobs, and help build a new generation of homegrown nuclear technology that will power the UK's economy for decades to come. Tufan Erginbilgiç, chief executive of Rolls-Royce, described the investment as a critical milestone for the business and for the UK, marking the beginning of a golden age of new nuclear. The company owns the majority of Rolls-Royce SMR, alongside Qatar's sovereign wealth fund, France's BNF Resources, and the Czech utility CEZ.

Australian sprint prodigy Gout Gout stunned the athletics community on Sunday at the national championships in Sydney, clocking a legal 19.67 seconds over 200 m. The performance not only smashed his own previous national record of 20.02 seconds but also made him the first Australian to dip below the coveted 20‑second barrier. Gout’s coach and mentor, Di Sheppard, summed up the achievement with a wry grin: “How long’s a piece of string?” – a nod to the seemingly limitless potential the teenager now displays. The run placed Gout ahead of his compatriot Aidan Murphy, who finished a close second, and sparked immediate comparisons with Jamaican legend Usain Bolt. While Bolt’s all‑time best stands at 19.19 seconds (set in 2009), Gout’s 19.67 at the age of 18 already eclipses the Jamaican great’s performance at the same age, according to his camp. Only one other under‑20 athlete has ever posted a faster time – Erriyon Knighton – whose 2022 effort remains unratified after a subsequent ban. James Templeton, the 18‑year‑old’s manager, said the result was “thrilling but not shocking”, recalling that Gout ran 19.84 seconds the previous year with a marginal wind assistance, a time the team always considered his realistic benchmark. Gout himself has been fixated on breaking the sub‑20 mark ever since an illegal run earlier in his career. “I wrote down 19.75 and kept telling myself I’d hit it,” he explained. “Then I hit 19.67 – gotta love it.” Despite the historic run, the teenager shows no intention of slowing down. “I’ve just turned 18, so I definitely think I can go faster,” he said. “It’s about building consistency and there’s no pressure – I’m the only one out there.” Looking ahead, Gout will compete in the under‑20 junior championships this week, opting to skip the 200 m in Queensland and focus on the 100 m. He will then travel overseas for a high‑profile showdown with Olympic champion Noah Lyles over 150 m at the Golden Spike meet in Ostrava, scheduled for June. Should Gout continue his upward trajectory, the athletics world may soon witness a new challenger to Bolt’s long‑standing age‑group record, reshaping expectations for the next generation of sprint talent.

At the break of day in Keswick, the air still carries a chill despite it being April. From a drystone wall on St John’s Vale, I watched the sky race past Helvellyn, while bright daffodils bowed on a nearby farm as if shivering in the breeze. The surrounding trees stood still, and a shaft of sunlight ignited the bracken below the crags, turning it a vivid colour that starkly contrasted with the dead grass and dark scree. This scene illustrates a place where change has settled gently, with farms preserving their protective belts of trees that nestle comfortably against the fell’s edge.The low fields echoed with the call of curlews, and although some farmers elsewhere lament a lack of moisture, the land here was saturated; the river ran brown with flood‑water and the becks churned white. Many ewes were gathered for lambing, yet one independent ewe chose to give birth alone on a small green shelf in a ghyll above a stream. The newborn lamb was still damp and trembling when a farmhand arrived in his tractor, loading the pair onto a hay‑lined trailer to bring them back to the safety of the farm, fearing the lamb might tumble into the beck as its mother went to drink.