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For the first time in Hollywood history, an authorized generative‑AI version of a major star headlines a feature film. The western As Deep As the Grave showcases a digitally recreated Val Kilmer, whose voice was synthesized by UK‑based firm Sonantic using archival recordings. The project, delayed by Kilmer’s death in April 2025, received full cooperation from his estate and his daughter Mercedes, who helped craft the visual deep‑fake of the actor. Mercedes Kilmer confirmed that her father embraced emerging technologies as a storytelling tool, a sentiment the filmmakers say they honored throughout production. At Wednesday’s CinemaCon trade show in Las Vegas, the trailer revealed that Kilmer’s character, Father Fintan—a Catholic priest and Native American spiritualist—appears for roughly one hour of screen time. The footage shows the priest at different ages, including a spectral elder who advises a child, “Don’t fear the dead and don’t fear me.” Writer‑director Coerte Voorhees explained that the narrative was built around Kilmer’s heritage and his love of the Southwest. He added that the production adhered to SAG‑AFTRA guidelines and that the estate was financially compensated for the use of archival material. The film also stars Tom Felton, Abigail Breslin and Abigail Lawrie. In a March interview with Variety, Voorhees noted that Kilmer’s family repeatedly emphasized the project’s importance to the late actor. The Kilmer case follows a growing trend of AI‑generated performances. In 2022, Bruce Willis consented to a digital twin after a dementia diagnosis, while actors such as Matthew McConaughey and Michael Caine have licensed their voices to AI firms for approved uses. Estates of legends like Laurence Olivier, Judy Garland and James Dean have similarly partnered with the marketplace ElevenLabs. Beyond film, celebrities are exploring AI for digital meet‑and‑greets; Paris Hilton and Kendall Jenner have reportedly signed deals with Meta for AI‑powered appearances on Instagram, and users can even query an AI version of Deepak Chopra for advice on a range of topics. Nevertheless, some stars remain cautious. Morgan Freeman, Tom Hanks and Scarlett Johansson have publicly expressed skepticism about deep‑fake replicas of their likenesses.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.

The heads of Amazon MGM Studios used Wednesday’s CinemaCon trade show to temper expectations surrounding the next James Bond film. Executives confirmed that the iconic spy has not yet been cast, citing a deliberate, respectful approach to the decision.Courtenay Valenti, Amazon MGM’s head of film, addressed the crowd with a measured tone: “We know you’re eager to learn who will embody James Bond, but we’re taking the time to do this with care and deep respect.” She stressed that the role is “a lifetime dream” and a responsibility the studio does not take lightly.Valenti highlighted the caliber of talent attached to the project, noting that the franchise will be paired with renowned director Denis Villeneuve, acclaimed producers Amy Pascal and David Heyman, executive producer Tanya Lapointe, and screenwriter Steven Knight. This combination, she argued, sets the stage for a film worthy of the Bond legacy.The upcoming installment is slated for a 2028 release, implying that principal photography is likely to commence in late 2026. The timeline follows earlier announcements in June 2025 (Villeneuve as director) and August 2025 (Knight as writer).Speculation about potential leads has centered on three actors: Callum Turner, Aaron Taylor‑Johnson, and Jacob Elordi. If Elordi were chosen, he would become the youngest, tallest, and second Australian to portray the famed spy.Despite his recent Oscar‑nominated turn in Frankenstein and a high‑profile role in Wuthering Heights, Elordi’s schedule appears unusually open, fueling further conjecture.Valenti concluded with confidence: “The film is coming, and when the time is right, we’ll have much more to share.”

For the first time, a detailed map identifies the UK’s most severe ammonia pollution hotspots in regions where intensive pig and poultry farms are most concentrated.The analysis, produced by Compassion in World Farming (CiWF) and the environmental group Sustain, shows the highest emission densities in Lincolnshire, Herefordshire and Norfolk. These counties host a large number of confined‑livestock units that drive dangerous levels of ammonia, a nitrogen‑based gas primarily released from animal manure.In the United Kingdom, agriculture accounts for 89% of national ammonia emissions. When released into the atmosphere, ammonia reacts with other pollutants to form fine particulate matter (PM2.5), a leading cause of premature death. The Committee on the Medical Effects of Air Pollutants (COMEAP) estimated that PM2.5 exposure caused between 28,861 and 29,000 early deaths in 2010.The timing of the report is notable: the government is currently reviewing planning regulations that would make it easier to approve new intensive livestock facilities, despite growing concerns over air quality, water contamination and local opposition.Health professionals warn that ammonia‑derived PM2.5 fuels heart disease, stroke, asthma and chronic lung conditions. Dr Amir Khan, a GP and CiWF patron, said, “As a GP, I see first‑hand the toll that air pollution takes on people’s health – and ammonia from intensive farming is a major, yet often overlooked, part of that problem.”Beyond human health, excess nitrogen from ammonia deposition acidifies soils and pollutes rivers. Recent activism in Shropshire halted a proposed poultry megafarm of 230,000 chickens after campaigners argued the council failed to assess the full environmental impact.Rising numbers of industrial poultry units—known as IPUs—along the River Wye and River Severn valleys are identified as a key driver of river pollution. Chicken manure is especially rich in phosphates, which deplete oxygen in waterways and threaten aquatic life.Calculations for the map were based on permitted stocking numbers and average ammonia production factors for different livestock categories, including broiler chickens, indoor egg layers and pigs.Local residents are already feeling the impact. Michele Franks, who lives near a Lincolnshire poultry megafarm, described how shed clean‑outs force her to stay indoors, causing “chest tightness, eye irritation and breathing difficulties” that can last for days.CiWF and Sustain are calling for an end to the expansion of factory farming. Anthony Field, head of Compassion in World Farming UK, warned, “Factory farming sits at the heart of the UK’s ammonia crisis. By cramming large numbers of animals into confined spaces and relying heavily on fertilisers, these intensive systems release far more ammonia than the environment or our bodies can cope with.”

Prime Minister Keir Starmer convened senior leaders from Meta, TikTok, Google and X at No 10 on Thursday to discuss the escalating child‑safety crisis on social platforms. He told the executives that "things can’t go on like this" and that immediate reforms are essential to protect minors. The meeting comes as the UK government launches a formal consultation on imposing a firm age limit for social‑media users, echoing Australia’s recent ban for under‑16s. The proposal also examines curbing design features such as infinite scrolling that encourage prolonged use. Starmer emphasized that restricting access for younger users is preferable to allowing ongoing harm, stating that a future where children are shielded—even at the cost of reduced participation—is the goal. He added that the challenge lies not in the decision to act, but in determining the most effective implementation strategy. While the prime minister has previously cautioned that a blanket ban could push teenagers toward the dark web, pressure from within his own party has intensified. More than 60 Labour backbenchers recently signed a letter urging a ban, and many expect Starmer to endorse the measure once the consultation concludes this summer. Parliament’s recent actions illustrate the split view: MPs rejected a House of Lords amendment that would have introduced an automatic age gate, preferring to await the government’s response to the consultation. A separate Conservative‑led amendment proposing a twelve‑month trial of platform bans was also defeated in the Commons. Early education minister Olivia Bailey defended the consultation approach, arguing it allows a broader assessment of services and features than the narrow amendment proposed in the Lords. The government is also pressing Ofcom, the communications regulator tasked with enforcing the Online Safety Act, to act decisively. Last year, technology secretary Liz Kendall warned that Ofcom risked losing public trust if it failed to curb online harms. This month she appointed former Channel 4 chair Ian Cheshire as the new Ofcom chair to steer the regulator through this critical period. Google declined to comment on the No 10 meeting, while Meta, TikTok and X have been approached for responses.

Budget airline easyJet has issued a profit warning, citing the impact of the Iran conflict on fuel prices and bookings. The airline has seen fuel costs rise by £25m in the last month alone, driven by the escalating tensions in the Middle East.EasyJet expects to report an increased pre-tax loss of £540-£560m for the six months to March, up from £394m in the first half of 2024-25. The carrier typically generates most of its revenue in the second half of the year, which includes the peak summer period.The airline has hedged 70% of its fuel needs for the rest of the financial year to September, but each $100 movement in the spot price of jet fuel per metric tonne adds £40m in costs for its unhedged supply. Currently, the price is about $800 higher than before the conflict started.Chief executive Kenton Jarvis said demand remained strong in the short term, but customers were leaving it later to book due to economic uncertainty. However, he assured that fuel supplies remained normal and that any talk of having to cancel flights was pure speculation.Jarvis added that there was continued positive demand, but easyJet's financial performance had worsened year on year, impacted by the conflict in the Middle East and the competitive environment in some markets. Shares fell 3% in early trading.

Jessie Ware's latest album, Superbloom, marks a return to her disco-pop roots, building on the success of her previous albums What's Your Pleasure? and That! Feels Good!. The album features a more straightforwardly retro sound, with lush orchestration and a focus on grownup pop.The album's sound is influenced by Table Manners, Ware's popular podcast co-hosted with her mother Lennie, which has attracted A-list guests like Margot Robbie and Paul McCartney. This crossover appeal is evident in tracks like Automatic, featuring a spoken-word appearance from Colman Domingo.Ware's songwriting and production are notable for their classiness and taste, with Superbloom showcasing her ability to craft great melodies and choruses. While the album may lack a standout hit like Free Yourself from her previous album, it is well-written and well-made, with a focus on disco-infused pop.The album's string arrangements are particularly noteworthy, avoiding glitterball cliches and instead evoking the ghost of Charles Stepney's psychedelic soul. Overall, Superbloom is a confident and well-crafted album that solidifies Ware's position as a leading figure in the disco-pop genre.

The Australian federal court has taken a strong stance on the use of generative artificial intelligence (AI) in legal proceedings, warning lawyers about the potential dangers and issuing new rules for its use. The court's chief justice, Debra Mortimer, emphasized that the presentation of false or inaccurate information to the court is “unacceptable” and can lead to serious consequences.The warning comes amid a surge in court filings in Australia and globally that have included false citations generated by AI. The court has noted that AI can generate fictitious cases, citations, quotes, and factual errors, which can frustrate the just resolution of proceedings and lead to financial or legal consequences.Under the new rules, lawyers and solicitors are required to confirm if AI has been used in the preparation of documents and ensure that any legal authorities cited exist and support the proposition made. They must also disclose the use of AI in documents, including where and how it has been used.Mortimer cautioned that caution should be taken when putting confidential, suppressed, or private information into AI tools, as there may be serious consequences for entering information into generative AI tools, even if sharing that information was not intended.The court “embraces” the use of technology in proceedings and recognizes that generative AI has the potential to increase efficiency in the conduct of litigation. However, Mortimer stressed that AI “must be used appropriately and with due care” to avoid risks to the proper administration of justice and public confidence in the legal system.Those who use generative AI in ways that go against the new rules can expect consequences such as adverse costs orders and issues with compliance with legal and professional obligations. There have been at least 73 identified cases in Australia where courts have discovered the use of generative AI had resulted in false citations, made-up quotes, or other errors.

The UK is bracing for possible gaps on supermarket shelves this summer as the ongoing conflict in Iran threatens to disrupt carbon dioxide (CO2) supplies, a critical component in the food industry. CO2 is essential for the humane slaughter of livestock, packaging of fresh meats and produce, and production of fizzy drinks and beer.Government ministers are reportedly drawing up contingency plans for a 'reasonable worst-case scenario' if the Strait of Hormuz, a key shipping lane, remains closed. This could lead to shortages of CO2, impacting supplies of chicken, pork, and fizzy drinks.The business secretary, Peter Kyle, has reassured the public that ministers are making contingency plans to deal with possible consequences of the Iran war. The government has invested £100m to reopen the mothballed Ensus bioethanol plant on Teesside to mitigate potential CO2 shortages.The CEO of Tesco, Ken Murphy, has expressed confidence in the company's ability to manage supply chains, stating that they have 'seen nothing at this point' in terms of problems within their supply chain caused by CO2 availability issues. However, the UK is one of Europe's largest users of CO2, and any disruption could have significant impacts on the food industry and beyond.