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François Ozon's The Stranger is a lustrously beautiful and superbly realised modern take on Albert Camus's classic novella L'Etranger. Set in 1940s French Algeria, the film follows the story of Meursault, a sensitive white European who commits a racist act under the unbearable noonday sun.The film, shot in Morocco, boasts an almost supernaturally detailed sense of period and place. Ozon's adaptation brings a contemporary perspective to the book's themes of empire and race, making changes that include a critique of the original text. This approach perhaps loses some of the source material's brutal, heartless power and arguably some of the title's meaning.Meursault, played by Benjamin Voisin, is portrayed as a character with an unreadable expression of listless unconcern. His story unfolds through flashbacks, showing his dull office job in Algiers, his blank reaction to his mother's death, and his relationship with Marie, played by Rebecca Marder.The film's climax features Meursault's fatal encounter with the vengeful brother of Raymond's girlfriend, Djemila. When asked for a motive, Meursault simply says: “C’était à cause du soleil” – “It was because of the sun”. This response highlights the absurdity of the situation and the racist undertones of the act.Ozon's adaptation softens the argument presented in Camus's original work, and Meursault is ultimately condemned to death. The film emerges as a passionate act of ancestor worship in honour of a renowned French artwork, while also critiquing the original text and its representation of imperialism.

Will Sherman, a 22‑year‑old second‑row forward for Anthem Rugby Carolina, is quickly being labelled the next cornerstone of US rugby. The Charlotte‑based player combines a deep family legacy with a modern development pathway that could shape the national team ahead of the 2031 Rugby World Cup. Sherman’s rugby pedigree begins with his father, Wade Sherman, a member of the 1990s Cal Berkeley champion side that featured Mark Bingham – one of the heroic passengers on Flight 93. Wade’s own introduction to the sport came after a teenage trip to Australia’s Bondi Beach, where he and friends first saw the game and later founded a high‑school team in northern California before playing for Cal and BYU. He now serves as Will’s first coach. Raised in Utah’s vibrant Pacific Islander community, Sherman attended East High School, a hub for the state’s long‑standing rugby culture. Standing 6 ft 4 in and capable of playing both lock and flanker, he attributes his physicality and work ethic to the “hard‑knock” lessons learned on Utah pitches. After a stint at UCLA—where the club side operates with varsity‑level commitment but without the same resources—Sherman caught the eye of Australian coach Harry Bennett. Bennett’s mentorship helped Sherman earn a place on the US under‑23 tour of South Africa, a tour overseen by Argentine coach Agustín Cavalieri, now head coach at Anthem. In his MLR debut against the California Legion, Sherman logged roughly 50 minutes, received a yellow card for repeated infringements, and recorded 19 tackles. While impressive, it was eclipsed by the 36 tackles he made in a single match for Australia’s storied Randwick club last season, underscoring his rapid adaptation to elite competition. Anthem, backed by World Rugby as a development vehicle for the 2031 World Cup, endured a winless first two seasons (0‑32). The team finally broke the streak with a 39‑26 victory over the Legion, a game in which Sherman’s performance earned him the nickname “Wreck‑It Will” from college friends. Reflecting on the win, Sherman said the moment was “an amazing honor” and highlighted the broader significance: “Every game now feels like a first—our first win at home, our first win against Chicago—so the motivation keeps building.” He also praised the experience of matching up against veteran lock and Eagles captain Jason Damm, calling it “an honor to play against someone I’ve looked up to for so long.” Looking ahead, Anthem’s schedule includes a clash with the Chicago Hounds on ESPN+, a key step in the club’s quest to become a consistent pipeline for American talent ahead of the 2031 World Cup.

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.

The Easter bunny has been a staple in many films, often depicted as cute and harmless, but sometimes also menacing and deadly. The Guardian has ranked Easter bunny movies, providing a list of 20 films that showcase the versatility of the Easter bunny character. The list includes Who Framed Roger Rabbit (1988) at number one, a film that combines live-action and animation, featuring a character with characteristics of many cartoon critters. Other notable mentions include Wallace & Gromit: The Curse of the Were-Rabbit (2005) at number three, a stop-motion animated film by Aardman, and Watership Down (1978) at number two, an animated adaptation of Richard Adams's novel. The list also features films like Monty Python and the Holy Grail (1975), which includes a scene with the holy hand grenade of Antioch, and Donnie Darko (2001), which features a sinister figure in a metal-faced bunny suit. Other films, such as No Surrender (1985), Fatal Attraction (1987), and The Favourite (2018), also make the list. The ranking showcases a wide range of Easter bunny depictions, from cute and harmless to menacing and deadly, demonstrating the versatility of the character in cinema.

The Unicorn Theatre's production of 'A Midsummer Night's Dream' is a playful and punchy adaptation of Shakespeare's romantic comedy, made accessible to a young audience. Co-directors Rachel Bagshaw and Robin Belfield have trimmed down the original language while incorporating slapstick comedy and playful captions.The production feels like the start of a brilliant venture, still finding its feet. The editing is smart, but could have been more radical. The framing story in Athens has been cut down but not excised, making it harder to understand.The magical elements are kept low-key and gently engaging, with Titania's fairies conjured up using childlike voiceovers, Holly Khan's delicate soundscape, and Will Monks' entrancing word projections. Joséphine-Fransilja Brookman's Puck is an impish schoolkid who climbs up balconies, jumps on tyre swings, and causes mischief.The standout star is Emmy Stonelake as Bottom, a natural comic and talented Shakespearean who raises big laughs without compromising the language. When Bottom is turned into a donkey, Stonelake cries out: “This is to make an ass of me!” and is met with big laughs and heavy sighs.The most lucid and enjoyable scenes are those with the rude mechanicals as they rehearse their (terrible) play. There's a whiff of the CBeebies panto to these encounters, with the actors dressed in neon costumes and delivering their gags with gusto. The hard-working ensemble jump from playing heartsick lovers to hammy actors with real aplomb.At the Unicorn theatre, London, until 10 May.

The resurgence of existentialist cinema is marked by François Ozon's adaptation of Albert Camus's 'The Stranger'. This 2026 film breathes new life into the classic novel, exploring themes of absurdity and individual morality. Camus's 'The Stranger' has been adapted before, notably by Luchino Visconti in 1967. However, Ozon's version stands out with its political focus on colonial power relations and a fresh perspective on the protagonist, Meursault. Existentialism, a philosophy that questions life's purpose without divine guidance, influenced 20th-century thought through figures like Jean-Paul Sartre, Simone de Beauvoir, and Camus. The movement briefly influenced cinema, particularly through the French New Wave. The connection between existentialism and film noir is also explored, with the genre reflecting nihilistic undercurrents of the interwar period. Existentialist themes continue to permeate modern cinema, influencing films like 'Taxi Driver', 'Blade Runner', and 'The Truman Show'. Ozon's adaptation shifts the focus to colonialism, making it a more politically charged interpretation. This shift raises questions about whether the film remains strictly existentialist or if it incorporates moralizing overtones. The article concludes by suggesting that existentialism's core ideas remain relevant, especially in today's chaotic world. Films like Olivier Laxe's 'Sirāt' capture the existentialist spirit by portraying characters navigating absurd and precarious situations.

The latest production of Romeo and Juliet brings a modern twist to Shakespeare's timeless tale, with Sadie Sink and Noah Jupe stepping into the iconic roles of Juliet and Romeo, respectively. This adaptation, directed by Robert Icke, presents a hipsterishly modern-dress interpretation that sometimes feels overburdened by its directorial flourishes. Sink, known for her role as Max Mayfield in Stranger Things, makes her West End debut as Juliet, bringing an intense and quirky neurotic energy to the character. Her performance is complemented by Jupe's portrayal of Romeo, showcasing a sweet and pure chemistry that captures the essence of first love. Their on-stage presence is undeniable, making their characters' tragic fate all the more poignant. The production features a range of inventive elements, including a digital clock that ticks down the hours leading to the tragic conclusion and alternative scenes that explore a universe where the couple's fate is averted. While these choices are ambitious, they sometimes feel like overthinking. Nonetheless, the central performances by Sink and Jupe anchor the production, elevating it above its directorial excesses. Supporting performances, including Clare Perkins as the cocky and endearing Nurse and Kasper Hilton-Hille as the mischievous Mercutio, add depth and humor to the production. The stage design, featuring a central bed and minimalist set, effectively underscores the themes of passion and tragedy. Despite some missteps, the production ultimately succeeds due to the compelling performances of its leads. With its blend of traditional and modern elements, this Romeo and Juliet offers a fresh perspective on a classic tale, making it a must-see for both Shakespeare enthusiasts and newcomers alike.

For theatre enthusiasts, April brings a range of exciting productions and performances. Patrick Stewart is set to read all 154 of Shakespeare's sonnets on Audible, a project that began as a pandemic hobby where he recited one sonnet each day on social media. This comprehensive collection, which includes his personal commentaries, will be available from April 7 and lasts almost four hours. In another notable production, Complicité presents 'I Don't Do Innocents', a radio play by Anne Carson directed by Simon McBurney, featuring a cast that includes Emma Corrin and Carson herself reading the stage directions. On the BBC, Sam Ryder gives a sneak preview of his Jesus Christ Superstar, which is set to appear at the London Palladium this summer, as part of the musical-theatre jamboree on iPlayer. Hosted by Jason Manford in Manchester, the event also features Victoria Hamilton-Barritt singing from Paddington: The Musical. Additionally, James Ijames' historical satire 'The Most Spectacularly Lamentable Trial of Miz Martha Washington' is set to run from April 9 to May 3. This play, which explores the life of the inaugural first lady of the US, could pair interestingly with 'Oh, Mary!' in the West End. The BBC is also celebrating the 120th anniversary of Henrik Ibsen's death with a comprehensive iPlayer season featuring various adaptations of his works, including two renditions of 'Hedda Gabler' and 'The Master Builder'. Other highlights include Rosie Sheehy's performance in 'King John' on Marquee TV and 'End' at the National Theatre, part of a trilogy by David Eldridge, which makes a compelling double bill with Stephen Poliakoff's 'Close My Eyes'. Finally, 'Back to the Future: The Musical' is set to embark on a UK tour after its run in London, with an Amazon Prime documentary offering a 'making of' insight into the show.

The barnacle geese of Norfolk continue to fascinate and surprise. What was once a rare winter sight, with only a few individuals from the Siberian population visiting, has turned into a spectacle with 700 birds now calling Holkham Park home. Their presence is a testament to their adaptability and the changing climate.The author's fond history with these geese dates back to 2021 when they helped ring 400 of the birds as part of an ornithologist's study. The process involved herding the flightless, moulting flock onto a lake and guiding them into a corral. Each bird received a numbered Darvic ring, allowing for monitoring in the wild.The geese's journey to their wintering grounds is remarkable. After leaving Holkham in August, they flew 70 miles to Southwold, where they joined a breeding flock from Pensthorpe. This flock consists of descendants from deliberate releases in the 1980s.The author expresses a deep affection for these birds, admiring their chalk-faced, velvet-hooded appearance and their quiet defiance in the face of their transplanted ancestry. From the Arctic tundra to Norfolk, they have made a new home, demonstrating their resilience and adaptability.The presence of barnacle geese in Norfolk is not just a local phenomenon but also a reflection of broader environmental changes. Their story serves as a reminder of the complex relationships between species, climate, and human activity.