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The LeadGame of Thrones actress Hannah Murray shares her experience of being sectioned in a psychiatric hospital in her new memoir "The Make-Believe: A Memoir of Magic and Madness." The actress describes her mental health journey and the experience of being involuntarily admitted under the Mental Health Act.The Hospital ExperienceThe door to the room opens. A man enters the room. He is a Black man, bald and overweight. He is dressed in uniform. Blue uniform, a blue lanyard that reads "NHS". But I know Steve, the leader of the organisation that introduced me to magic, is a magician. I know he can appear in disguise.I approach the man and try to kiss him.He does not let me kiss him. Then no. It is not Steve.The man has brought me a plate of toast. He has brought me a cup of tea. I add sugar to the tea, which I would never have done in my former life, but a spoonful of sugar helps the medicine go down!I am a Ritual Master. And this, drinking my own urine, is a powerful ritual. This is all I need now to survive … I will never need to eat again. I survive on liquids and air and lightI do not eat the toast. I drink the tea. I am alone in the room again and I urinate into the cup and drink that too.I am a Ritual Master. And this, drinking my own urine, is a powerful ritual. This is all I need now to survive. It is the most potent of potions I can drink. I am a self-contained, utterly self-sufficient being. I will never need to eat again. I survive on liquids and air and light.I decide to explore outside the room. Outside my sanctuary. He has not come. So maybe I need to go searching for him …The Phone CallTime jumps. I am in a corridor lit by overhead strip lights. The electric light is pale yellow in tone. I am sat on one of three chairs in a row against the wall. The chairs are purple, curved plastic. I am still waiting for him to appear.There are two doors in front of me. One is the door to the blue room with the blue sofa and chair. Behind the other door is an office of some kind, and there is a woman in there, shuffling papers and talking on the phone.The woman comes out of the office. She is holding out my phone. My only possession now – the one artefact from my previous life. There is someone she wants me to speak to.Him.When I hold the phone to my ear, I hear a voice I recognise.But the voice belongs to my mother."Hannah?" she says. "Where are you? What's going on?"There is distress in her voice. Her voice is trembling with pain and anxiety.I do not want to hear it.This is a test. A horrible test, certainly, but one that I can pass. They are trying to tempt me back into the human. They are trying to lure me back into the past.I hang up the phone.But, after a moment, it starts to ring. The word Mum lights up the screen."Talk to her," says the woman.I answer the call.My mother sounds different now. Calmer. She asks again what's going on but gently, even cheerfully. I tell her everything's OK. That I'm fine. I tell her not to worry. I'm in a good place.This is the last time I will ever hear her voice, I think. This is the way I say goodbye.The DiagnosisThey tell me I am being sectioned.The words jar with my beliefs."Section 2 … the Mental Health Act … 28 days … right to appeal … "I cock my head.This does not fit at all. It does not fit in the world of Steve, of Ritual Master, of Shambhala and the invention of magic.I am not concerned. I am concerned only with the energy I can feel spiralling up through my body and the voices I can hear in my head.I pace the hospital corridors, delivering a tearful monologue, delivering the greatest performance of my life. A phrase comes to me. The Girl With All the Gifts. The title of a post-apocalyptic horror film released in 2016, starring Gemma Arterton.I am a magician. I am an actress. I am a writer. I have superhuman strength. I can fly. Anything that can be imagined, I can perform it. Every skill and every ability is mine.The film came out as a warning, and a prophecy.And because of me, the apocalypse has been averted.I am the saviour of the planet. I am the girl with all the gifts.The Journey to RecoveryIt was very hard, the journey to get here. It took 27 years. The path was twisting and full of setbacks, there were challenges and so much pain. There were times I wanted to give up. It was very hard. Everyone will have to make their own journey, and their journeys will be their own, unique as snowflakes or fingerprints. That is the beauty of it, the joy of it. Everyone has to figure it out for themselves.But I have laid the groundwork. I have walked the path. It starts with the energy healing, and it goes on and on through the seven dimensions, through increasingly magical planes. It goes on and on until you meet your soulmate, like I met mine.I was in a TV show called Game of Thrones, hidden in plain sight in the midst of a cultural phenomenon. I, the key to the world's salvation, wore the face of a character called Gilly, but really I played every role. Then I worked on a film called Detroit in Boston. David Benioff and Dan Weiss and Kathryn Bigelow were the four horsemen of the apocalypse. Numbers are irrelevant. Three counts as four. David and Dan and Kathryn cast me in the roles that brought about my destiny. The end and beginning of the world.I am the Ur-actress. I am every actress. Every performance ever given has been animated by my energy, my talent, by the gestures and facial expressions I am performing here and now.The Memoir and BeyondThis is an edited extract from The Make-Believe: A Memoir of Magic and Madness by Hannah Murray, published by Cornerstone (£18.99). To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply.Hannah Murray will be in conversation with Jessie Cave at Kings Place in London on 5 June.

The Final Curtain: Colbert’s Farewell and the Countdown of Iconic SegmentsThe week of 21 May 2026 marks the end of two eras in network television: the original Late Show format created by David Letterman in 1993 and Stephen Colbert’s 11‑year stewardship. To commemorate the departure, the Guardian compiled the ten standout moments that defined Colbert’s tenure, ranging from political takedowns to whimsical pop‑culture tributes. 2016 – The Hungry for Power Games Recap: A satirical deep‑dive into both the Republican and Democratic conventions, complete with a purple wig and a pet ferret. 2017 – Goodbye to Bill O’Reilly: Colbert resurrected his on‑air alter‑ego to lampoon the former Fox News pundit. 2019 – Alex Jones in Court: A gag that turned Jones’s courtroom testimony into a comedic sketch. 2017 – Sending a Message to Trump: A razor‑sharp monologue that sparked #FireColbert trends. 2019 – Liv Tyler’s LOTR Fantasy: The actress handed Colbert an Elven sword for a reenactment of an iconic scene. 2019 – Conan Takes Over: A role‑swap that gave viewers a glimpse of a parallel late‑night universe. 2020 – Grief Talk with Joe Biden: A heartfelt Skype interview during the pandemic’s peak. 2022 – Faith & Comedy with Dua Lipa: A spiritually‑tinged conversation that broke the typical pop‑star interview mold. 2026 – Strike Force Five Reunion: Colbert joined fellow hosts to support writers during the 2023 WGA strike. 2026 – Letterman & Colbert Destroy CBS Property: A chaotic finale stunt with former host David Letterman. The Numbers Behind the Late Show’s DominanceDespite the announced cancellation, the show maintained the highest ratings among late‑night talk shows for nine consecutive years. Executives framed the decision as a purely financial move, yet the timing coincided with an $8 billion merger between Paramount (CBS’s parent) and Skydance, fueling speculation of political motivations linked to the Trump era. Why Colbert’s Exit Reshapes Late‑Night CultureColbert’s blend of political satire and genuine human moments cultivated a distinct brand that resonated with both partisan and non‑partisan audiences. His willingness to tackle controversial figures—Trump, O’Reilly, Alex Jones—while also embracing pop‑culture fandom (Lord of the Rings, Dua Lipa) broadened the genre’s appeal. The show’s collaborative spirit, exemplified by the Strike Force Five podcast, set a precedent for solidarity among competing hosts. Looking Ahead: The Future Landscape of Late‑Night TelevisionWith the Late Show ending, CBS faces a strategic crossroads: replace the flagship with a new format or double‑down on streaming‑first content. Competitors may seize the ratings vacuum, while Colbert’s legacy suggests that future hosts will need to balance sharp political commentary with authentic, human‑interest storytelling to retain audience loyalty.

Lead: A Treasure Trove of Keaton’s Life on DisplayThe upcoming Bonhams auction, titled Diane Keaton: The Architecture of an Icon, will feature an astonishing array of the actress’s personal ephemera – from a massive wall collage to vintage clothing and a handwritten Annie Hall script – giving collectors a window into her creative world.Bonhams Unveils Keaton’s Eclectic Collage and Wardrobe for West Hollywood SaleDuring a Friday preview in West Hollywood, visitors could walk along a near‑full‑wall collage that Keaton assembled over decades, peppered with Parisian photo‑booth snaps, Victorian mugshots, a fake ear with acupuncture points and a menu from a defunct California gambling den. The display also included signed photos of Al Pacino, original film scripts and a selection of her beloved clothing.Auction Preview Highlights: Over 150 Lots and Estimated Script ValuationsMore than 150 lots of clothing, accessories and artwork will be offered.Signature items include a black bowler hat, a sequined Gucci suit and a 2020 Oscars Ralph Lauren tuxedo.The original Annie Hall script is estimated to fetch between $2,000 and $3,000.Other notable pieces: drawings by David Wojnarowicz, a sketch by Jack Nicholson, and a metal wastebasket of black‑and‑white polka‑dot wrapping paper.What the Sale Reveals About Celebrity Collecting and Hollywood NostalgiaKeaton’s archive underscores a shift among Hollywood elites toward curating personal histories rather than purely monetary assets. By displaying items the way she kept them – in glass boxes, themed groupings and lived‑in garments – Bonhams highlights the emotional resonance that drives demand for authentic, story‑rich memorabilia.Future Outlook: Potential Market for Iconic Film MemorabiliaThe live New York auction on 8 June is expected to attract both film aficionados and high‑net‑worth collectors, potentially setting new benchmarks for script and costume valuations. Success could encourage more estates of celebrated actors to monetize their personal archives, further blurring the line between personal nostalgia and commercial art.

The Hollywood Backlash Against #MeTooCate Blanchett has lamented that the #MeToo movement "got killed very quickly" in Hollywood, while speaking at the Cannes film festival. In a wide-ranging conversation on Sunday, the acclaimed actress expressed concern that the tide of #MeToo has been turned in an industry where she has been outspoken about gender equality.Blanchett's Observations on Gender Disparity"It got killed very quickly, which I think is interesting," said Blanchett. "There are a lot of people with platforms who are able to speak up with relative safety and say this has happened to me. And the so-called average woman on the street, person on the street, is saying me too. Why does that get shut down?"Blanchett detailed her daily experiences on film sets, stating: "I'm still on film sets and I do the headcount every day. There's 10 women and there's 75 men every morning."The Evolution of Gender Representation in FilmIn 2018, when Blanchett was president of the jury at Cannes, she participated in a red-carpet protest with 81 other women, representing the total number of female directors who had been selected for the Cannes competition lineup, compared with the 1,866 male directors who had been selected over the same period."I love men, but what happens is the jokes become the same," she said. "You just have to brace yourself slightly, and I'm used to that, but it just gets boring for everybody when you walk into a homogeneous workplace. I think it has an effect on the work."Industry Perspectives on ChangeJulianne Moore also spoke at Cannes on the weekend about gender disparity on film sets, saying she believed numbers had improved in the last decade. Speaking at a Kering Women in Motion talk on Saturday, Moore recalled being one of two women on a set around 2016. "I can remember being on a set not too long ago where the only women were me and the third AC [assistant camera]," she said.Blanchett's comments come as she prepares to star in The Brutalist director Brady Corbet's next film, an "X-rated" feature set in the 1970s, alongside Selena Gomez and Michael Fassbender.

The LeadRenowned actress Linda Bassett reflects on her distinguished career spanning decades of theatre work, her celebrated collaboration with playwright Caryl Churchill, and her upcoming role in Alexander Zeldin's "Care" at the Young Vic. Known for her understated yet powerful performances, Bassett shares insights into her approach to acting and the profound impact of theatre on her life.The Career JourneyBassett's path to acting wasn't conventional. Despite coming from a non-theatrical family, she discovered her passion at age four when she was unexpectedly thrust into a Sunday school Easter play. "I was in bliss," she recalls. Her formative years included ushering at the Old Vic during Laurence Olivier's legendary tenure, where she witnessed groundbreaking performances and even sold ice creams during intermissions.After briefly studying English at Leeds University, where she focused on drama rather than academics, Bassett began creating devised work in Leeds and Coventry. This experience, she suggests, "made me a bit gobby," developing her confidence to make suggestions as an actor, though she admits she sometimes oversteps when working with certain playwrights.The Churchill ConnectionBassett's most significant artistic relationship has been with playwright Caryl Churchill, beginning with "Fen" in 1983 and continuing through to "What If If Only" in 2021. She describes auditioning for Churchill as "enormous" because it launched her on a particular trajectory. Her disconcerting clarity has made her a peerless interpreter of Churchill's work, which some audiences find forbidding."They're not hard to watch," Bassett protests of Churchill's plays. She recalls her iconic monologue in "Escaped Alone" where the phrase "terrible rage" is repeated 25 times in succession. "It was the only thing to say at that point. The words fed the feeling, and it was the audience who felt it, not me, which is ideal." Churchill's writing, she notes, is "so distilled, no excess baggage," requiring actors to find "the one way" to play them.From Call the Midwife to CareDespite notable film roles including "East Is East" and "Calendar Girls," many audiences know Bassett as stern nurse Phyllis in the BBC's "Call the Midwife." "Complete strangers come up and say, I love you. My wife loves you, my mother loves you. It's extraordinary," she remarks of the public's connection to the character. Despite playing Phyllis for over a decade, she found fresh aspects to explore, learning "how to be" more matter-of-fact and practical than her natural disposition.Currently rehearsing Alexander Zeldin's "Care" at the Young Vic, Bassett plays Joan, a woman who after caring for her family begins showing signs of dementia and needs care herself. "She's convinced, as many people are, that she's just in for respite. She never loses the idea that she's going home," Bassett explains. The role draws from personal experience; after a heart attack, she spent two weeks recuperating in a care home, giving her "an insight into what it's like when you become helpless."The Actor's Philosophy"Every part is an education," Bassett states. "That's the glory of being an actor. You learn about human feelings and frailty and rottenness. The writer puts their soul on the page, and you inhabit that. I've always felt I was a writer's actor." This philosophy has guided her selective approach to roles, resulting in a "remarkably free of crap" CV despite turning down numerous opportunities.Though she hasn't performed as many classics as she might have hoped—"I think I'm seen as a working-class actress"—Bassett values the authenticity she brings to her roles. With Zeldin directing "Care," she appreciates his desire for "absolute truthfulness," which "suits me down to the ground." As she prepares for this new challenge, she acknowledges the nerves: "Every new part you're starting again. It's a bit scary, but I think we'll be all right."The Future of TheatreAs a veteran performer who has witnessed theatre's evolution, Bassett remains committed to the medium's power. She recalls the impact of Ronald Pickup's messenger speech in Peter Brook's production of Seneca's "Oedipus": "People fainted every night. You didn't see anything, his voice was enough. That's the power of theatre, isn't it?"Looking ahead, Bassett continues to seek roles that challenge her and explore the human condition. Whether through her meticulous interpretation of complex playwrights like Churchill or her willingness to portray the vulnerability of aging in "Care," she remains dedicated to the craft that has defined her life. "Every part is an education," she reiterates, and with each new role, Linda Bassett continues to learn, grow, and enrich the theatrical landscape.

Lead: A Decade‑Long Parade of Cannes ScandalsThe Cannes Film Festival, celebrated for its red‑carpet glamour, has repeatedly become a stage for controversy. Over the past three decades, incidents ranging from dress‑code enforcement to physical altercations have highlighted a clash between tradition, gender politics, and celebrity expectations.From High‑Heels to Baby Bans: The Most Outrageous Cannes Incidents2015 – Women barred from the gala screening of Carol for refusing to wear high heels; producer Valeria Richter denied entry despite a foot amputation.1994 – After Pulp Fiction won the Palme d’Or, director Quentin Tarantino flipped the bird at a heckler.1983 – Actress Isabelle Adjani faced a photographer boycott after refusing a traditional photocall.2011 – Terrence Malick’s The Tree of Life was heavily booed yet still won the Palme d’Or.1999 – Sophie Marceau received a two‑minute, ad‑libbed speech that provoked audience boos.2013 – A heist stole jewellery worth £89 million from the Carlton International hotel during the festival.2024 – Singer Kelly Rowrow was hustled off the carpet, shouting “Don’t talk to me like that, you’re not my mother!”2023 – Director Maïwenn spat on journalist Edwy Plenel, resulting in a €400 fine and €1,500 in damages.2019 – Filmmaker Greta Bellamacina was denied entry with her four‑month‑old son, who was later forced to purchase a £260 delegate pass.Financial Fallout and Legal PenaltiesWhile most controversies are reputational, a few carried tangible costs. The 2013 jewellery theft represented the largest heist in French history at £89 million. Maïwenn’s 2023 spitting incident resulted in a fine of €400 and a court‑ordered payment of €1,500 in moral damages.Impact on Cannes’ Global ReputationThese episodes have reinforced the perception of Cannes as a festival where rules are enforced arbitrarily and where celebrity confrontations are broadcast worldwide. The repeated gender‑related incidents—high‑heel mandates, baby bans, and the treatment of female directors—have sparked broader debates about inclusivity in the film‑industry elite.Looking Ahead: Will Cannes Reform Its Protocols?Pressure from filmmakers, advocacy groups, and social‑media backlash suggests the festival may need to modernise its dress‑code policies and visitor‑access rules. If Cannes fails to adapt, it risks alienating emerging talent and losing its status as the premier showcase for global cinema.

The LeadJennie Garth, known for her role as Kelly Taylor in 'Beverly Hills, 90210,' opens up about the psychological impact of early fame and how she found new purpose in her 50s. The 54-year-old actress, who felt 'stuck' and unfulfilled as her daughters grew up, has launched a podcast and book titled 'I Choose Me,' sharing her journey of self-discovery and the lessons learned from her decades in Hollywood.Finding Purpose at 50Approaching her 50s, Garth experienced a classic midlife crisis, questioning her path and purpose after noticing potential acting jobs becoming 'few and far between.' The deaths of her 90210 co-stars Luke Perry in 2019 and Shannen Doherty in 2024 intensified her sense of urgency, prompting her to share what she's learned with other women experiencing similar standstills. Her new venture, 'I Choose Me,' named after an iconic line from her character on the show, combines memoir and self-help as Garth reflects on her journey from teenage star to mature woman finding her voice.The Price of Early FameGarth candidly admits that her early fame 'screwed with her mind,' describing how she spent 20 years 'trying to keep her head above water.' Starting on the hit show at just 18, she felt developmentally 'held back from the realities of the world,' watching peers experience normal milestones while she was 'slammed into' fame. The experience left her questioning how her unusual path affected her relationships and personal growth, as she struggled to form normal connections while constantly being judged and typecast in the industry.Hollywood's Changing LandscapeThe actress reflects on the sexism she faced in the 90s, noting how young female actors were 'exposed to far more than they should' in terms of sexualization and discrimination. She recalls unspoken expectations about appearance and the pressure to conform to certain standards, including her own decision to get breast enhancement at 24. Garth also discusses how the industry typecast her and her co-stars, keeping them in a 'sort of Aaron Spelling-nighttime-soapy category' that limited their growth opportunities, despite the quality of their work.A New ChapterNow in her 50s, Garth feels she's finally 'caught up' developmentally and is embracing her age with greater wisdom and resilience. Through therapy and self-help, she's found a new voice and purpose, sharing her experiences to help other women navigate similar challenges. Her journey from teenage star to empowered woman reflects both the lasting impact of early fame and the potential for reinvention later in life, as she continues to work while also focusing on personal growth and helping others find their own path to self-acceptance.

Demi Moore warned at a Cannes press conference that the film industry “cannot fight” the rise of artificial intelligence, describing resistance as a losing battle and calling for collaborative approaches.The Cannes Jury’s Candid Take on AI’s Inevitable RoleDuring a Tuesday press conference, the actress – a member of the Cannes Film Festival jury – answered questions about AI’s impact on cinema. She said, “AI is here. To fight it is a battle we will lose,” and suggested that filmmakers should explore ways to work with the technology rather than oppose it.Absence of Quantitative Data Highlights Qualitative ConcernsThe discussion contained no specific financial figures or usage statistics, underscoring that the debate is currently driven by ethical and creative considerations rather than measurable market impacts.Implications for Filmmakers and the Regulatory LandscapeMoore expressed doubt that the industry is doing enough to protect creators, hinting at a need for stronger regulation.Fellow juror Park Chan-wook reinforced the idea that art and politics should not be divided, linking the AI conversation to broader questions of creative freedom.Screenwriter Paul Laverty warned of potential “blacklisting” in Hollywood, suggesting that AI‑driven content controls could exacerbate existing censorship pressures.Future Outlook: Collaboration Over ConflictMoore concluded that the “beautiful aspects” of AI can enhance filmmaking, but the “true art” will always come from the human soul. The prevailing view among the jury is that embracing AI as a tool, while safeguarding artistic integrity, will shape the next era of cinema.

The LeadIn a revealing interview, acclaimed actress Juliette Binoche opens up about the deeply personal experience that inspired her transition from acting to directing. The Academy Award winner discusses how a violent attack during her teenage years became the creative catalyst for her first film as a director, offering a rare glimpse into the personal motivations behind her new artistic venture.The Personal JourneyBinoche recounts the harrowing experience of being attacked as a teenager, describing how she told her attacker, "Go ahead, do it" during the ordeal. This traumatic event, which she kept private for decades, has unexpectedly become the foundation of her directorial debut. The actress explains how processing this past trauma has allowed her to explore complex themes of survival, resilience, and transformation through her new work.The Artistic VisionAs an actress known for her nuanced performances in films like The English Patient and Chocolat, Binoche brings a unique perspective to directing. Her directorial debut reportedly explores themes of vulnerability and strength, drawing directly from her personal experience. The film represents a departure from her on-screen roles, showcasing her ability to shape narratives from behind the camera while maintaining the emotional depth that has defined her acting career.The Industry ImpactBinoche's transition to directing represents a significant development in the film industry, particularly for established actors exploring new creative avenues. Her success could inspire other performers to venture into directing, potentially bringing fresh perspectives to filmmaking. The industry has seen similar transitions from actors to directors before, but Binoche's approach—rooted in personal trauma and healing—offers a unique narrative that may resonate with audiences seeking authentic, emotionally resonant stories.Future ProjectsFollowing her directorial debut, Binoche has indicated that she plans to continue developing projects that blend her acting experience with her growing expertise in directing. The actress has expressed interest in exploring more personal stories and collaborating with emerging talent, suggesting that her transition to directing may mark the beginning of a new chapter in her already illustrious career. As she balances both acting and directing roles, Binoche is positioning herself as a multifaceted artist with a distinctive voice in contemporary cinema.