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The Psychosexual Horror SensationAddison Heimann's second feature, Touch Me, is a bold and unconventional film that wears its heart – and other appendages – on its sleeve. It's the queer, disaffected millennial live-action hentai psychosexual horror-drama-comedy that a specific slice of the viewing public has been waiting for. The film explores complex relationships and human (and alien) behavior with a unique blend of horror and sensuality.A Complex Living SituationAt the center of Touch Me is the friendship between Joey (Olivia Taylor Dudley) and Craig (Jordan Gavaris), which begins as clearly affectionate but becomes increasingly problematic. Craig pays the rent while Joey doesn't, creating an imbalance that allows Craig to get away with questionable behavior, like asking Joey to stay in her room with the lights out when his Grindr date comes over because he's told the guy he lives alone.The Alien IntruderInto this dynamic struts Joey's former lover, Brian (Lou Taylor Pucci), who is more than a little bit problematic himself. He possesses charm, choreographed dance routines, and is an almost literal demon in the sack. Brian is a sometimes-tentacled alien – and a narcissist. As a character, Brian feels somewhat modeled on Frank-N-Furter from Rocky Horror, with a hedonistic outlook, pansexual orientation, and ear for a toe-tapping tune, though his aesthetic is less fishnets, more Jesus in a hip-hop tracksuit.Horror Meets ComedyHeimann has so much to say about difficult friendship dynamics, relationship challenges, and general millennial malaise that it's a relief that the tone and pace is mostly light and zippy, though it occasionally meanders. There are several genuinely hilarious moments once the film kicks into horror mode, as the manipulative, self-pitying and narcissistic alien defends himself in much the same way as a manipulative, self-pitying and narcissistic human might, with the hollowness of his words made gleefully transparent by the horror context.A Unique Sensual ApproachThe cherry on top of this admittedly weird cocktail is a strong streak of genuine sensuality. If it's your first encounter with tentacle sex on screen, you might be surprised how appealing Heimann and his cast have managed to make it seem. The film balances its shocking elements with genuine emotional depth, creating a viewing experience that is both provocative and thought-provoking.Release InformationTouch Me is set to be released on digital platforms from May 4th, offering audiences a chance to experience this unique blend of psychosexual horror and millennial comedy for themselves.

The Lead: From Sheffield Pub to Hollywood Film ScoreLast year, Jim Ghedi was having a chicken dinner at his mother's house in Sheffield when he checked his phone. A director had started following him on Instagram, and as a joke, Ghedi messaged him saying he wanted to do his next film score. To his surprise, the director, Michael Sarnoski, responded immediately, offering him the job to score the forthcoming A24 production "The Death of Robin Hood," starring Hugh Jackman and Jodie Comer.The Breakthrough: A Working-Class Folk Musician's Unexpected Hollywood OpportunityDespite having never scored a film before, Ghedi was given the gig. He bonded instantly with Sarnoski through video calls and a shared love of Steeleye Span, and ended up writing the songs and score. He describes the finished material as "quite doomy, earthy and dark" but also "quite light and orchestrated." Ghedi was invited out to LA to work on the project there, but instead chose to stay rooted in Sheffield. Even so, he had moments of impostor syndrome, acknowledging that "it's very rare for someone like me, and where I'm from, to get those kinds of opportunities."The Musical Journey: From Hip-Hop to Folk with Working-Class RootsGhedi, 35, was given a guitar when he was eight and quickly became a skilled player, but his teenage years were lit up by hip-hop and punk. The lyrical output of hip-hop proved formative for him. "Hearing people talk about being raised by a single mum was like, whoa," he recalls. "Here's someone artistically talking about something that I'm also experiencing in my life." Then came the revelatory discovery of Bert Jansch. "It was the first time I'd heard someone who played an acoustic guitar and it was not pretty," he says. "It was really heavy and aggressive."The Class Divide: Folk Music's Middle-Class DominanceWhile Ghedi favours metaphor and nuance rather than state-of-the-nation-style delivery, class is central to his music and ethos. "When I was younger, I was really naive and I tried to assimilate," he recalls. "But I realised: I need to own where I'm from. I'm not trying to be a spokesperson, but the folk scene is very middle class. The divide and the drop-off is huge, and in some ways, the disparity is worse now than when I started."The Future Outlook: Authenticity Over Commercial SuccessGhedi's trajectory to landing a huge project such as "The Death of Robin Hood" is a rare but heartening one. Despite having a memorable time working on the film, with a team on whom he heaps praise, he appears resolutely unmoved by the idea that he now needs to play any kind of game. "As long as I stick to focusing on creativity, nothing else matters," he says. "Whether I'm playing to 10 people in a room or 1,000, it's the same for me."

Renowned musician DJ Shadow recently shared his thoughts on his career, influences, and creative process in an interview with The Guardian. When asked about regrets or missed opportunities, he mentioned turning down a collaboration with Deftones on their album White Pony in 1999 due to concerns about straying from his hip-hop image. DJ Shadow also discussed his shift towards sample-free production on recent albums, citing both the headache and costliness of sample clearance and a desire to keep his creative process fresh. He emphasized that his approach to music production has been measured and at a genuine pace, allowing him to explore different creative avenues. When discussing his favorite scratch DJs from the UK, DJ Shadow praised the group Hijack, specifically DJ Supreme and DJ Undercover, as highly influential. He also shared his thoughts on AI and its potential impact on human creativity, expressing concerns about the implications of this technology. The artist emphasized the importance of digging for records and discovering neglected music to give it a new audience. He reflected on his early recording setups, stating that he doesn't revisit them because he believes in continuing to push forward as a creator. Kraftwerk remains a significant influence on DJ Shadow's work, and he expressed his admiration for their innovative approach to music.

Fab 5 Freddy, born Fred Brathwaite, has penned a memoir that serves as an 'all-access pass' to the creative explosion of New York in the 1970s and 80s. The book, 'Everybody's Fly: A Life of Art, Music, and Changing the Culture,' chronicles Brathwaite's journey from a young man in Bed-Stuy, Brooklyn, to becoming a pivotal figure in connecting Black art forms like graffiti and hip-hop with the predominantly white downtown art world.Brathwaite's story is intertwined with that of Jean-Michel Basquiat and Keith Haring, other street artists whose work has become iconic. The memoir also features appearances by Blondie, Andy Warhol, and the Clash, highlighting the era's cross-cultural pollination.The book offers a firsthand account of legendary venues like CBGB and Paradise Garage, where Brathwaite experienced the raw energy of punk and dance music. He recalls visiting CBGB as a 'Black secret agent on a mission' and describes Paradise Garage as a 'transformational experience.'While reading Brathwaite's story in 2026 is bittersweet, it also offers a hopeful message. New York, despite being in dire economic straits at the time, gave birth to magnificent cultural movements. For Fab 5 Freddy, rap and punk represented 'urban youth going against the grain, inventing their own culture, creating their own fun, responding to the world as it was.'The enduring legacy of this era is that subcultures can emerge and thrive even in challenging times, leaving a lasting impact on art, music, and culture. As Brathwaite puts it, 'everybody's fly' – a testament to the power of creative expression and community.

The Wu-Tang Clan, a legendary hip-hop group, is being showcased in a stunning photo series by The Guardian. This rare visual collection offers fans a glimpse into the group's history like never before.Briana Ellis-Gibbs curates this photographic tribute, providing an intimate look at the artists who have shaped the hip-hop landscape. The images capture the essence of the Wu-Tang Clan's impact on music and culture.

Rapper Jay-Z recently spoke out about a sexual assault lawsuit filed against him and Sean 'Diddy' Combs' in 2024. The lawsuit alleged that both men raped a 13-year-old girl at a party in 2000, which both Jay-Z and Combs vehemently denied.In a recent interview with GQ, Jay-Z explained why he chose to fight the lawsuit rather than settle. He stated, 'I can’t take a settlement – it ain’t in my DNA.' He further emphasized that settling would have been difficult for him and his family, particularly his wife Beyoncé.Jay-Z expressed that he was 'heartbroken' and 'angry' when the allegations first emerged. He described the experience as 'really hard' and mentioned that he hadn't felt 'uncontrollable anger' in a long time. The rapper emphasized the importance of being certain before making such serious accusations against someone.The lawsuit was voluntarily dismissed in February 2025. Jay-Z's attorney, Alex Spiro, previously described the claims as 'provably, demonstrably false' and highlighted an 'impossible timeline.'In addition to discussing the lawsuit, Jay-Z touched on other topics, including the beef between Kendrick Lamar and Drake and what he described as a 'right-wing agenda to silence voices in the hip-hop community.' He expressed concern about the negative impact of such conflicts on social media and the involvement of people's families.Jay-Z also reflected on 30 years since the release of his debut album Reasonable Doubt, which he will celebrate with two shows at New York's Yankee Stadium in July.

The Museum of Youth Culture in Camden has unveiled an exhibition that delves into the rich history of teenage subcultures through a stunning collection of photographs. Capturing the essence of youthful rebellion and self-expression, the exhibition provides a visual journey through the decades, highlighting the diverse and often provocative styles that have defined generations of young people. From punk to hip-hop, and from mod to goth, the photographs on display offer a poignant look at the ways in which young people have used fashion, music, and art to express themselves and challenge societal norms. The exhibition at Camden's Museum of Youth Culture serves as a celebration of the creativity and resilience of young people, and is a must-visit for anyone interested in the history of youth culture and the power of photography to tell compelling stories.