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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.

Renowned artist and stage designer Es Devlin is pioneering a unique approach to addressing AI ethics through her latest project, which combines ceramics and collaboration. At the AI and Earth conference organized by Devlin, a diverse group of artists, AI researchers, spiritual leaders, academics, and tech experts gathered at Oxford Kilns to discuss AI and create pottery.The conference, held in preparation for the opening ceremony of the Schwarzman Centre for the Humanities at Oxford University, aimed to foster dialogue and understanding among individuals with varying perspectives on AI. Devlin's approach emphasizes the importance of human connection and hands-on engagement in the digital age.Participants, including Alan Turing and Isaac Asimov, discussed the implications of AI on society, while Ethan Mollick introduced his concept of centaurs or cyborgs, describing how humans use AI for specific tasks or close collaboration. The event also featured a performance by the University Chamber Choir and a choral piece by Nico Muhly, inspired by the works of 17th-century theologian and poet Thomas Traherne.Devlin's installation, 360 Vessels, will be showcased at the Schwarzman Centre's opening festival, featuring 360 pots created by participants and the public. The project serves as a platform for exploring the intersection of technology, art, and human values.As Devlin noted, 'I am aware that my art and my words and my every choice, my presence, is being used to train the algorithms that concentrate wealth among a small number of individuals, and, in spite of this – however confusing, however painful – I would like to try to stitch my digital shadow back on to my feet and dance with it myself, and invite others to dance with it too.'

The transition from live piano accompaniment in silent cinemas to recorded soundtracks marked a turning point for movie‑goers; the Vitaphone disc system of 1926 and the optical Movietone process that followed gave films a reliable, repeatable musical identity.Sunrise: A Song of Two Humans (1927) was the first feature to have its music and sound effects printed directly onto the film strip, allowing audiences to hear orchestrated pieces by Chopin and Gounod in perfect sync with the picture.King Kong (1933) showcased Max Steiner’s pioneering use of the orchestra to drive narrative, mood and scene transitions, laying the groundwork for the symphonic Hollywood score that dominated the mid‑20th century.Citizen Kane (1941) gave Bernard Herrmann a platform to break from the lush, “Hollywood” sound, delivering a stark, atmospheric score that emphasized psychological tension and set a new standard for dramatic underscoring.Blackboard Jungle (1955) introduced Bill Haley’s Rock Around the Clock as the film’s musical spine, proving that popular rock could boost a movie’s commercial appeal and ushering in the era of song‑driven soundtracks.Forbidden Planet (1956) featured the first entirely electronic score, created by Louis and Bebe Barron using magnetic‑tape techniques; the pioneering use of the theremin and other electronic textures opened a fresh sonic frontier for sci‑fi cinema.Breakfast at Tiffany’s (1961) highlighted Henry Mancini’s “symphonic pop” style, marrying a timeless hit – Moon River – with a jazzy, contemporary score that demonstrated how pop sensibilities could coexist with traditional orchestration.2001: A Space Odyssey (1968) is remembered more for its curated classical pieces than Alex North’s original score, yet the film’s bold juxtaposition of Ligeti, Strauss and Khachaturian proved that pre‑existing music could become an integral narrative force.American Graffiti (1973) assembled over 40 period songs, weaving them into the story’s fabric and proving that a soundtrack could function as a cultural time‑capsule, influencing countless later productions.Star Wars: A New Hope (1977) revived the full‑orchestra tradition when John Williams delivered a heroic, leitmotif‑rich score that re‑ignited audience love for symphonic film music and set a template for blockbuster scoring.Crimson Tide (1995) marked Hans Zimmer’s breakthrough, blending aggressive electronic pulses with a powerful orchestral choir to create the modern, hybrid sound that now defines many high‑budget action films.These ten milestones illustrate how film music has continually evolved— from live accompaniment to electronic experimentation—while retaining a core purpose: to deepen storytelling and shape audience emotion. The legacy of these scores is celebrated each April at the London Soundtrack Festival, underscoring their lasting influence on both cinema and popular culture.

Peter Whelan and the Irish Baroque Orchestra have returned Handel’s Messiah to Dublin, the city of its 1742 debut, with a landmark recording that is the first period‑instrument rendition by an Irish ensemble. The project seeks to echo the original performance at the Fishamble Street music hall, where audience etiquette was so strict that women were asked to forgo hoop skirts and men to leave their swords at home.The album features a cast of historically informed singers. Helen Charlston delivers the contralto arias once associated with the scandal‑ridden Susannah Cibber, her voice described as firm, slightly metallic and unflaggingly expressive. A rare duet‑and‑chorus version of “How Beautiful Are the Feet,” originally written for two Dublin cathedral countertenors, showcases Alexander Chance in buoyant form, while soprano Hilary Cronin provides a sweet‑sounding contrast.Whelan draws a fleet‑footed performance from a modest 13‑member choir and the orchestra, resulting in vocal lines that are light, precise, and at times almost conversational. Formerly a bassoonist with the orchestra, Whelan is poised to succeed Nicholas McGegan as music director of San Francisco’s Philharmonia Baroque, cementing his status as a rising star in the baroque world.Listeners can stream the recording on Apple Music or Spotify.

Acclaimed filmmaker Danny Boyle is set to unleash a sprawling, one‑off pop‑culture spectacle at London’s Southbank Centre on 3 May 2026. Titled “You Are Here”, the event will weave together 75 years of British youth movements—from teddy boys and punk to rave and Brit‑pop—across the venue’s historic spaces. Marking the 75th anniversary of the Royal Festival Hall’s 1951 opening, the production anticipates 1,000 performers and more than 10,000 attendees. Boyle, who directed the iconic 2012 Olympic opening ceremony, describes the show as an antidote to the “hi‑tech curation” that dominates modern life, likening today’s media overload to “5,000 channels with everything on”. The immersive experience will unfold in five distinct beats, each spotlighting underground music scenes, sub‑cultural fashion, activism and spoken‑word performance. Poets, MCs and rappers will narrate stories that are then translated by choirs and dancers, creating a “kaleidoscopic narrative” that moves audiences from a high‑energy Northern Soul floor to a communal house‑party atmosphere. Boyle emphasizes that the event is deliberately free of celebrity headliners, allowing the chaos of the performance itself to become the focal point. He calls the Southbank a “gargantuan labyrinth of opportunity” and urges young people to seize the chance to experience culture beyond the “aquarium of indifference” offered by on‑demand streaming and food delivery services. Organisers stress that the show is not a traditional pageant or seated theatre; instead, the entire Southbank site becomes a living stage, inviting visitors of all ages to wander, engage, and reflect on Britain’s evolving identity. Tickets for “You Are Here” go on sale now at southbankcentre.co.uk. The event promises to be a landmark moment for London’s cultural calendar, blending history, music, fashion and activism into a single, chaotic celebration.

Brandy's highly anticipated memoir, Phases, co-written with Gerrick Kennedy, provides an intimate look at the singer's life, detailing her formative years, meteoric rise to fame, and struggles with addiction, bullying, and trauma.Brandy, known as the 'Vocal Bible,' has been in the music industry for over 30 years, with a discography that includes undeniable classics like 'Sittin’ Up in My Room', 'The Boy Is Mine', and 'What About Us?'. Despite her success, she has often been underrated, and her memoir aims to set the record straight.The book delves into Brandy's early life in Mississippi and California, where she developed her singing skills in church choirs and youth groups. It also explores her experiences as a teenage superstar, including her role on the hit sitcom Moesha and her struggles with addiction.Brandy shares stories of bullying, including being targeted by a bully named Shanice, and her complicated relationships with musical idols like Whitney Houston and Michael Jackson. She also opens up about a toxic relationship with Wanya Morris of Boyz II Men and her side of the story about her highly publicized feud with Monica.The memoir also touches on Brandy's involvement in a fatal car accident in 2006, which left her with survivor's guilt and a deep sense of responsibility. Through it all, Brandy's love for music remained a constant, and she reflects on her journey to becoming one of the most respected vocalists in the industry.Phases is now available on HarperCollins in the US and will be released in Australia on April 1 and in the UK on April 23.

Chinese-born American composer Tan Dun is renowned for his eclectic and captivating works. His music has been featured in prominent projects, including the score for Ang Lee's Crouching Tiger, Hidden Dragon and the official music for the 2008 Beijing Olympics.Tan's Choral Concerto: Nine, commissioned for Beethoven's 250th anniversary, premiered with the London Philharmonic Orchestra and London Philharmonic Choir. The concerto features a vast array of percussion and choral techniques, including dramatic inhalations and hints of Mongolian throat singing.In contrast, the performance of Beethoven's Ninth Symphony was marked by fast tempos and crisp rhythms but lacked a sense of large-scale direction and magic. The 'chaos' chord in the finale was overpowered by loud brass, and despite a well-matched vocal quartet, the performance felt workaday.