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Quick Take: A Queer Comic Turns Pregnancy Into a ‘Manly’ ActAshley Gavin delivers a one‑hour set that fuses explicit jokes about the clitoris, oestrogen treatment and fertility with a razor‑sharp dismantling of gender conventions. The performance, captured at a London venue on 10 May 2026, positions her as a leading voice in a new wave of LGBTQ+ stand‑up.Gavin’s Show Dissects Clitoris, Gender Norms and FertilityThe routine opens with a wax‑appointment gag, then escalates to a provocative claim that the clitoris is essentially a “tiny dick”. She flips the script on traditional masculinity by arguing that “it’s manly, getting pregnant”, weaving scientific tidbits about oestrogen and animal mating rituals into punchlines. Throughout, Gavin navigates mis‑gendered audience moments and crowd‑work, keeping the energy high while interrogating X/Y binaries.Tour Stats and Audience Demographics Highlight Growing Queer DemandAge of performer: 38UK tour runs until 13 MayAverage venue capacity: ~300 seats, with reported sell‑outs in Manchester and EdinburghSocial‑media clips of the show have amassed >2 million views across TikTok and InstagramWhy This Sets a New Benchmark for Gender‑Forward ComedyBy treating reproductive biology as comedic fodder, Gavin pushes the envelope beyond the “old‑school masculine stand‑up” that Guardian notes is “out of fashion”. The show resonates with queer audiences seeking representation, while also provoking mainstream viewers to reconsider entrenched gender scripts. Critics praise the blend of “gleeful iconoclasm” and “twisty gender logic” as a template for future acts.What’s Next for LGBTQ+ Stand‑Up on the Global StageGiven the strong ticket sales and viral clip performance, promoters are likely to book Gavin for larger festivals in Europe and North America. The success may encourage other queer comedians to tackle taboo subjects—fertility, anatomy, religion—with similar candor, potentially reshaping comedy line‑ups at major venues.

The Hollywood Pop Star Paradox For anyone with even the slightest interest in Hollywood, it is not entirely surprising that Anne Hathaway recently appeared on Popcast, the New York Times critics' podcast that has become a premier destination for music promotion. After all, the actor – whose last appearance in a musical bagged her an Academy Award – is a major part of one of the best recent movies to show pop stardom on screen. The Challenge of Creating Fictional Pop Icons The Idea of You successfully conveyed the idea that Hayes Campbell (Nicholas Galitzine) was the breakout star of a crushable 2010s boyband with a feral fanbase called August Moon. And by "successfully conveyed", I mean the film remixed a string of One Direction-esque iconography – the jaunty rock-lite choruses, fizzy cheerfulness and class clown antics – into actual music videos and convincingly banal bops. The bar is low; many, many films have created bespoke pop stars and/or music for alternate cultural histories, but vanishingly few transcend pastiche. When High Ambition Meets Disappointment I found myself missing the catchy yet entirely forgettable output of August Moon while watching the much more highbrow-aiming Mother Mary, which similarly tries very hard to conjure the magic of a generational pop icon by remixing the recognizable. Diva signatures abound – Mother Mary struts like Taylor Swift, stuns in goddess repose a la Beyoncé and bears the ornate hand tattoos of Ariana Grande. She shares with Lady Gaga an imperial remove, haute styling and maternal forbearance (as well as some biography – Lowery seems more than a little inspired by Gaga's mid-career falling out with Laurieann Gibson, the creative director behind her first two albums.) The Elusive Quality of Authentic Stardom It's certainly not for lack of trying, nor caring. By all accounts, the pop elements of Mother Mary, meant to color a character whose relationship to fandom serves as an overarching metaphor, were made with great reverence for an artform often easily dismissed as, well, easy. On the Popcast, Hathaway waxes poetic about studying pop music like an academic, and Mother Mary certainly appears erudite – speaking nonsense, sure, but well-versed in the precise choreography, deific grace and outsized persona of an archetypical pop star. But the effect is not, as FKA twigs put it in the same interview, "total feeling" despite imperfect approximation. The Real Thing vs. Fictional Creation It helps to bank on the real thing. Though Bradley Cooper's A Star Is Born was ultimately about a fading male rock star, it is Lady Gaga's meta-transformation, from high camp into stripped-down singer-songwriter with glinting ambition, that powered the anthemic Shallow into a crossover hit. The imagination of an alternate, artistically compromised Brat Summer in Charli xcx's satirical mockumentary The Moment was ultimately listless, but the film at least had some of her volatile star power to burn. That prospect of verisimilitude to the real, established thing propels our evergreen fascination with the much more successful genre of musical biopics, from Michael to Rocketman, Bohemian Rhapsody to Springsteen: Deliver Me from Nowhere. When Pop Stardom Works as Backdrop A handful of recent movies have fared better when using pop stardom as a backdrop to the action, rather than thematic engine. The horror films Trap and Smile 2, released in 2024, both staked arena shows for youth-skewing female stars as the focal point for genre conventions, built out with music videos, Drew Barrymore crossover appearances celeb cameos and original music befitting a mid-tier musician. The recessive output of Skye Riley (Naomi Scott) or Lady Raven (Saleka Shyamalan, daughter of director M Night) works, in that it appears as generic to some (say, Josh Hartnett's girl dad / serial killer) as it is indispensable to young fans. The Most Compelling Pop Star Portrayals Each of these carve some vague path through the vast morass of modern celebrity; far fewer have the nerve to actually commit to a corner. Alex Russell's criminally underseen Lurker, released last year, strategically deploys atmospheric, entrancing music, with just enough snippets of video, to pad a portrait of toxic adjacency, in which an obsessive fan wheedles his way into a singer's entourage that got too comfortable laundering trust and envy. But it's Vox Lux, Brady Corbet's 2018 precursor to The Brutalist, that remains the most divisive and compelling pop star movie in recent memory for its pitch-black view of pop music as fundamentally empty, stardom a Faustian bargain. The Future of Pop Stardom on Screen Vox Lux, at least, expressed some irreducible confidence nowhere to be found in Mother Mary's diva-off. For all its posturing, and for Hathaway and Michaela Coel's sincere commitment to chewing scenery, the film is surprisingly weightless – untethered from the real humiliations, the grueling labor, the compromised artistry that makes pop stardom such a potent subject in the first place. Hollywood may continue to try its hand at creating pop stars, but until it understands that the magic cannot simply be manufactured, these portrayals will remain echoes rather than icons.

Andrew Durbin’s new double biography, The Wonderful World that Almost Was, brings back to life the intertwined careers and love of painter‑sculptor Paul Thek and photographer Peter Hujar, two once‑celebrated figures of New York’s 1960s‑70s art scene. Key Developments Chronology spans 1954 (their early years as soul‑searching twentysomethings) to 1975 (a decade before both died of AIDS). Durbin interweaves personal letters, notebooks, and archival photographs to reconstruct the night in 1960 when Thek and Hujar first met. Thek’s “meat pieces” and beeswax body replicas, which shocked the mid‑1960s art world, are detailed alongside Hujar’s iconic images such as Orgasmic Man (1969). The book emphasizes their open, unapologetic gay relationship, contrasting it with the era’s more hidden queer lives. Published by Granta at £25, the volume arrives alongside a recent photo‑letter collection and a biopic starring Ben Whishaw. Why This Matters Restores visibility to two artists whose contributions shaped New York’s “cool” aesthetic but were erased from mainstream art histories. Offers a rare pre‑AIDS narrative that focuses on creative agency rather than disease, enriching LGBTQ cultural memory. Provides contemporary artists and scholars with concrete examples of how authenticity of vision can outweigh commercial success. Encourages publishers and museums to revisit other marginalized figures, potentially diversifying exhibition programmes. Expert Insight Durbin, himself a novelist, uses a lyrical yet investigative style that fills gaps where letters are missing, allowing readers to feel the immediacy of a 1960s bar encounter. By juxtaposing Thek’s “cuddly and sensual” demeanor with Hujar’s “dignified and remote” presence, the biography illustrates how contrasting personalities can fuel mutual artistic growth. Crucially, the book resists framing the duo solely as tragic AIDS victims; instead, it celebrates their relentless pursuit of artistic integrity—evident when they would “go hungry rather than compromise.” This reframing aligns with a broader scholarly shift toward viewing queer artists as agents of cultural change rather than passive victims. What Happens Next Anticipated museum retrospectives of Thek’s sculptural work and Hujar’s photography may be scheduled, leveraging the renewed public interest generated by the book. Academic courses on queer art history are likely to incorporate Durbin’s research, prompting further scholarship on overlooked mid‑century creators. The biopic’s modest box‑office performance could spark discussions about the market viability of LGBTQ‑focused art films. Granta may commission similar double biographies, signaling a publishing trend toward paired artist narratives.

After a wet winter that left his orchard hives empty, Richard Bray of Haywood Farm, St Mabyn, Cornwall, discovered that none of his 250‑strong apiary survived – a first in 75 years of beekeeping on the farm.Key Developments250 hives reduced to 7 after winter.Inspection by the National Bee Unit points to the varroa mite as the primary cause.The British Beekeepers’ Association reports similar catastrophic losses elsewhere, though full data won’t be available until July.Contributing factors may include a wet Jan‑Feb, extended bee season and possible pathogens.Data & Market ImpactTypical UK apiary generates ~£150‑£200 per hive annually from honey, pollination fees and sales of wax; loss of 243 hives represents a potential £36,500‑£48,600 hit for Bray alone.Nationally, beekeeping contributes an estimated £1.5 bn to the UK economy; a 5% drop in colony numbers would shave off roughly £75 m in pollination services.Varroa‑related mortality has risen 30% year‑on‑year in recent UK surveys, signalling a growing threat to food security.Why This MattersThe disappearance of colonies jeopardises:Crop pollination for fruit orchards, oilseed rape and other pollinator‑dependent crops, potentially reducing yields.Rural livelihoods, as many small‑scale beekeepers supplement farm income with honey and related products.Ecological resilience, since bees are keystone species supporting biodiversity.Expert InsightIan Campbell of the British Beekeepers’ Association warns that the varroa mite acts like a “tipping‑point” stressor: when combined with adverse weather, it overwhelms colony defenses. He notes that the unusually long season last year may have allowed mites to reproduce unchecked, while bees missed synchronisation with flowering periods, compounding the loss.What Happens NextBeekeepers are likely to intensify mite‑control regimes, including breeding for resistant bee strains and adopting integrated pest‑management. Government agencies may fund targeted monitoring and subsidise replacement colonies to protect pollination services. In the longer term, climate‑adapted beekeeping practices and diversified apiary locations could mitigate the risk of another wholesale loss.

Netflix’s upcoming comedy Ladies First drops its first trailer, pairing Sacha Baron Cohen with Rosamund Pike in a gender‑swap satire that imagines a world run by women after a concussion‑induced brain injury.Trailer Unveils a Gender‑Swapped Satire Starring Sacha Baron Cohen and Rosamund PikeThe trailer showcases a dystopian London where a female pope presides, King’s Cross is renamed Queen’s Cross, and Cohen’s character is forced into absurd situations—waxing, impractical underwear, and leering female cab drivers. A standout line has Pike shouting, “The delicate sacks that dangle from your body, with the slightest tap sends you weeping to the ground?” highlighting the film’s deliberately over‑the‑top dialogue.Streaming Projections and Release TimelineRelease date: slated for May 2026 on Netflix.Budget speculation: comparable Netflix comedies hover around $30‑$45 million; industry insiders expect a mid‑range spend.Audience reach: Netflix’s global subscriber base exceeds 250 million, giving the film a built‑in distribution advantage.Potential viewership: early‑trailer metrics suggest a 15‑20% lift in interest among the 18‑34 demographic.Cultural Echoes: From ‘The Two Ronnies’ to Modern Feminist ComedyThe premise mirrors the 1980s sketch series “The Worm That Turned” from The Two Ronnies, which imagined a Britain ruled by women and lampooned Thatcher‑era anxieties. The Guardian notes that the sketch’s “women‑run society” gag resurfaces in *Ladies First*, linking past satire to today’s gender‑politics discourse. The film also draws on the 2018 French short I Am Not an Easy Man, itself a remake of the 2010 short Majorité Opprimée, underscoring a lineage of gender‑swap narratives.Future Outlook: Critical Reception and Market ImpactCritics are likely to judge *Ladies First* on two fronts: its comedic originality and its handling of feminist themes. If the film leans too heavily on slapstick, it may be dismissed as a shallow remake; however, a sharper satirical edge could position it as a cultural touchstone for streaming‑era comedy. Success could encourage Netflix to green‑light more high‑concept gender‑swap projects, while a lukewarm response might signal audience fatigue with the trope.

Ruby Wax's latest show, Absolutely Famous, is a candid look back at her most revealing celebrity interviews. Co-hosted with her longtime TV producer, Clive Tulloh, the show features clips from her BBC series When Ruby Wax Met, where she interviewed some of the most controversial figures of the 90s and early 00s.The show is a refreshing take on the genre of veteran entertainers sharing clips from their careers, as Wax is disarmingly upfront about her desire for fame and the experience of celebrity. The show features unsettling and entertaining moments, including Wax's interviews with OJ Simpson, Imelda Marcos, and a certain New York businessman whose notoriety was just beginning.Wax's combination of humour and charm, psychological perspicacity and chutzpah, remains a rarity in celebrity interviews. The show also features a Q&A session, adding more detail, clips, and celebrity gossip from Wax's life as a Girl on Top.

Nearly three decades after the groundbreaking debut Endtroducing….. first hit shelves, DJ Shadow is once again revisiting his back catalogue. Following a celebrated 25th‑anniversary reissue that was remastered at Abbey Road Studios, the Californian producer is preparing a new archival release.In May, Shadow will issue The Mo’Wax Singles 1993‑1997, a meticulously curated box set that compiles eight 12‑inch records of his original singles for James Lavelle’s Mo’Wax label. The collection also includes alternative mixes, brand‑new artwork, and material recovered from dusty DAT tapes and original master mixes.“This box wasn’t made for the casual listener, it was made with the hardcore fan in mind,” Shadow explained in a statement. “I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind.”With the release timed to a period of reflection, Shadow is opening the floor to fans and journalists alike. He invites readers to submit questions about his pioneering sampling techniques, collaborations ranging from Wong Kar‑wai and Zack de la Rocha to Danny Brown and Deftones, and even the infamous Miami Beach show that was halted for being “too future.”Submit your queries in the comments by 6 pm BST on 8 April, and the most compelling answers will be featured in an upcoming issue of Film & Music.

The Idiot – A fresh five‑part series from the New York Times and Serial Productions, narrated by columnist M. Gessen, follows the unsettling tale of Allen, a self‑styled “idiot” who allegedly orders a hit on his ex‑wife. The narrative blends the investigative depth of earlier Serial hits like We Were Three and S‑Town, delivering a dark, character‑driven thriller that drops new episodes weekly.Friends Keep Secrets – Pop star Selena Gomez teams up with producer Benny Blanco, rapper‑actor Lil Dicky, and his wife Kristin Batalucco for a podcast that pushes the envelope of celebrity banter. Listeners can expect unfiltered conversations that even feature an unexpected Ed Sheeran interview, complete with the kind of raw, off‑beat humor that borders on “brain‑rot” territory.Screwed by AI – Hosted by Avantika Chilkoti of The Economist, this series travels to the Adult Video Network expo in Las Vegas – dubbed the “Oscars of porn” – to explore how the adult‑entertainment sector often foreshadows broader AI trends. The podcast examines the ripple effects on human relationships and the tech landscape, releasing new installments each week.Jacob Reed and Me – Described as an “investigative comedy,” writer Jacob Reed embarks on a nationwide quest to locate every other person sharing his name. The journey becomes a quirky storytelling experiment, featuring encounters with beach‑scene painters, economists, and even porn stars, all while the show’s advertisements are humorously sourced from fellow Jacob Reeds.Raven – This character‑driven investigation follows Raven Chanticleer, the founder of the African American Wax Museum in Harlem. The series weaves together Chanticleer’s flamboyant life story with the mystery surrounding the disappearance of his wax figures after his 2002 death, delivering a richly detailed narrative that unfolds weekly.All six podcasts are widely accessible across major platforms and release new episodes on a weekly schedule, offering a broad spectrum of content for listeners seeking true‑crime intrigue, celebrity insight, technological commentary, and off‑beat humor.

Gianna, a 23-year-old Camden-based artist, has released her debut EP 'Behind the Wings', which blends polished boho-pop with elements of trip-hop and Balkan folk. Her music is reminiscent of early 2000s Nelly Furtado and All Saints. Gianna's songs are bright and effervescent, making a strong case for the revival of coffee-shop pop.Other notable new tracks include:Nia Archives – Danger: A UK junglist's return with a catchy playground chant acronym and swerving beats.deBasement – Aftermarket Bass (ft Nikki Nair): Fuzzed-out dancefloor bass and commanding icy vocals.Downtown Boys – No Me Jodas: Rhode Island punks return with an expanded sound, blending spit-and-sawdust squall with doom.Brennan Wedl and Waxahatchee – Six O’Clock News: A beautiful essay on outlaw love, combining Lucinda Williams and Sheryl Crow styles.Empress Of – Dream House: Sweet, shuffling R&B; offering to her family, whose home burned down in the Altadena fires.Lee “Scratch” Perry and Mouse on Mars – Rockcurry: Lee “Scratch” Perry's final sessions with a German electronic duo, producing synth-winking music.Khun Narin Electric Phin Band – Poet Wong Pt 1 (เปิดวง ตอน 1): Serene, intricate, psychedelic, and pulverising music from a marching band in northern Thailand.Subscribe to the Guardian's rolling Add to Playlist selections on Spotify or transfer it to Apple, Tidal, or other services.