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A24 marketed Kristoffer Borgli’s second English‑language film as a darkly comic romance, pairing Zendaya and Robert Pattinson as a seemingly picture‑perfect couple on the brink of marriage. The studio’s teaser, a faux wedding announcement in the Boston Globe, amplified the buzz that began with the trailer’s release and even earlier Reddit speculation. The narrative follows Charlie (Pattinson) and Emma (Zendaya) through a series of sun‑lit flashbacks that culminate in a tense pre‑wedding dinner. During a “worst‑thing‑you’ve‑done” game, Emma confesses that, as a depressed teenager in Louisiana, she once planned a mass shooting and even practiced with her father’s rifle, though she never pulled the trigger. This revelation serves as the film’s central twist and propels the story into a moral quandary about forgiveness and trust. Critics note that the film’s premise is deliberately provocative. Borgli, known for his satirical take on cancel culture in Dream Scenario, uses Emma’s confession to interrogate America’s obsession with gun violence. By placing the “thought crime” in the hands of a Black woman—contrasting with statistics that over 95% of mass shooters are male and more than half are white—the director forces a reversal of the usual gendered narrative surrounding firearms. The twist has provoked strong reactions from survivors and advocacy groups. Tom Mauser, who lost his son in the 1999 Columbine shooting, called the plot “awful” in a TMZ interview, while 2019 school‑shooting survivor Mia Tretta told USA Today that such a storyline “shouldn’t be joked about.” Parkland survivor Jackie Corin offered a more measured view, urging the film’s stars to use their platforms responsibly and questioning whether the project rises to the ethical standards their influence demands. Beyond the controversy, the film boasts technical strengths. Arseni Khachaturan’s cinematography creates a lush visual palette, and the editing maintains a brisk pace as the wedding day approaches. The climactic ceremony—described by many reviewers as the film’s “pièce de résistance”—forces Charlie and Emma to confront the fallout of Emma’s secret amid a chaotic, alcohol‑fueled toast that lays bare the fragility of their relationship. In the final scene, the couple reconvenes at a diner, echoing the opening “can we start over?” motif. The ambiguous resolution suggests that exposing one’s darkest thoughts may either deepen intimacy or foreshadow further turmoil. Overall, ‘The Drama’ is both a compelling watch and a flashpoint for debate about how cinema engages with the United States’ endemic gun‑culture. Whether the film succeeds as a thought‑experiment or merely courts outrage remains a divisive question that will likely fuel discussions well beyond its theatrical run.

Italy's World Cup qualifying playoff woes continued as they lost to Bosnia on penalties, following a 1-0 win over Northern Ireland. Alessandro Bastoni's first-half red card in the Bosnia game was pivotal.Bastoni had been jeered by fans in away games for Inter Milan due to his actions in February's Derby d'Italia against Juventus, where he got Pierre Kalulu sent off. He apologized for his behavior, calling it 'really ugly'.Inter Milan bounced back from their slump with a convincing 5-2 win over Roma, Lautaro Martínez scoring. Marcus Thuram and Hakan Calhanoglu also shone, with the latter scoring a goal of the season contender from 30 yards.The win eased Inter's nerves ahead of Serie A title contention, keeping their lead intact. Alessandro Bastoni received a standing ovation when substituted, with fans chanting his name.

The recent commentary on Donald Trump's presidency has highlighted a critical concern: the world cannot afford to wait for him to leave office. Trump's administration has effectively eroded central tenets of the US legal and civic structure, rendering the traditional checks and balances on political power ineffective.Waiting for the downfall of one individual raises two crucial questions. Firstly, will others with similar politics simply take his place? Secondly, if the country and the world wish to move in a different direction, when can we expect to see a plan?It is essential to remember that changes brought about by Trump's presidency cannot always be easily abolished or replaced. The implications of his actions, and those of his administration, are far-reaching and have significant consequences for global stability.Some argue that faith in the November midterm elections may be too optimistic, as Trump and his administration are already preparing to undermine them. The concern is that he will not allow himself to lose.Others suggest that the media and public have a role to play in puncturing Trump's pride and casting doubt on his legacy. Keeping a running count of the death toll of civilians, children, aid workers, and journalists killed since his presidency began could be one way to hold him accountable.The situation has drawn comparisons to the fall of the Roman Empire, with some warning that the current instability could lead to a similar collapse of political structures. As such, there is an urgent need for a plan to address the consequences of Trump's actions and to work towards a more stable future.

Romanian director Radu Jude is known for his wildly improvised and low-budget filmmaking style, often incorporating elements of TV ads, AI-generated content, and amateur dramatics into his movies. His latest film, 'Dracula', continues this trend, presenting a satirical take on Romania's dark past and the country's most reliable export: the legend of Dracula. The film is a meta-cinematic experiment, featuring a smug and supercilious film-maker, Adonis Tanta, who introduces the audience to his cheapo film about Dracula, created on his iPad using unbearable AI. The story is interspersed with set-piece mini-films-within-a-film on Dracula-adjacent themes, including a communist-era tale of a truck driver who falls in love with a local woman. Jude's film is a scathing critique of Romania's persistent strains of fascism, antisemitism, clerical arrogance, exploitative service economy, and stakeholder capitalism. Specifically, it relates to a proposal for a Dracula theme park in the late 1990s, in which thousands of Romanian citizens invested money that they would never see again. While the film may test the audience's patience at times, it features moments of startling insanity and is a testament to Jude's innovative filmmaking style. As the reviewer notes, 'one day, I predict, Jude will make a biopic of political vampirism about the most pressing Romanian subject of all: Nicolae and Elena Ceaușescu.' 'Dracula' is set to premiere at the ICA in London on April 10.

When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

Cambodia has taken a significant step in its fight against cybercrime by approving a new law targeting scam centers accused of defrauding foreigners of billions of dollars. The law, which aims to enhance the country's 'cleaning operation' against these illicit operations, imposes punishments of two to five years in prison and fines of up to $125,000 for those convicted of online scams.The legislation, which will now go to Cambodia's king for a final signature, also outlines penalties for money laundering, gathering victims' data, or recruiting scammers. Ringleaders of scam centers that engage in human trafficking, detentions, and torture will face prison sentences of up to 20 years and fines of up to $500,000.The passage of the law comes amid widespread condemnation from rights groups and sanctions by governments around the world, with Cambodia accused of being a hotbed of cyberscams. The US Department of State has previously stated that 'official complicity, including at senior levels, inhibited effective law enforcement action against trafficking crimes' in Cambodia, which has denied these allegations.The new law is seen as a significant effort by Cambodia to combat the rise of online fraud, romance, and cryptocurrency scams. Several countries have enacted anti-cyberscam laws to address this issue, with con artists in Singapore facing 24 strokes of the cane in serious cases.Justice Minister Keut Rith emphasized that the law is 'strict like the fishing net' and aims to ensure that online scams do not return to Cambodia. The law is expected to send a strong message to cyberscammers that Cambodia is not a place to conduct scams, and it will serve the interests of the Cambodian nation and people.

On a sun‑lit picnic beside Canberra’s Molonglo River, a tartan blanket, a bottle of wine, crusty baguette, cheese and a daring chicken‑and‑grape salad from a gourmet magazine marked the beginning of a romance that would be defined by food.Their shared appetite for culinary experimentation quickly turned into a series of kitchen showdowns—debates over meat doneness, oven temperatures, seasoning ratios and the eternal butter‑vs‑oil dilemma. While the clashes were frequent, the meals they produced together often became celebrated triumphs.Over the years, their lives were chronicled in the spines of recipe books and the aromas of countless dinners. From the quest for the perfect loaf to the fiery sting of chilies that left a lasting impression, each dish mapped the highs and lows of their partnership.He gravitated toward savoury mains; she honed a talent for desserts. Their culinary quirks—her habit of returning leftovers to the fridge, his ritual of swaddling roasted meat in tea towels—added both friction and flavor to their shared table.Even after their separation, the couple’s kitchen remains a shared space. A well‑worn ceramic baking tray, scarred by years of roasting turkeys, chickens and lamb, still serves as the foundation for gravy‑making and other culinary rituals during holiday gatherings.One of his most enduring contributions is a dish they call Pasta Dimanche. Born from a pantry raid on a Sunday night, the pasta blends diced capsicum, carrot, purple onion, garlic, celery, parsley and tomato with a tin of tuna, cracked pepper, salt and a splash of Tabasco and green chilli sauce. The result is a vibrant, summery plate that celebrates colour, texture and the surprise harmony of warm and crisp.Recipe: Pasta Dimanche (Serves 4)Ingredients:1 red onion, finely chopped1 carrot, finely diced3 garlic cloves, finely chopped1 yellow capsicum, finely chopped1 green capsicum, finely chopped1 red capsicum, finely chopped1 cup finely chopped parsley370 g tin tuna, drained1 tsp Tabasco1 tsp green TabascoDried pasta of choice (to serve)Method:1. Toss the vegetables, garlic, parsley and tuna in a large bowl; season with Tabasco, salt and pepper.2. Cook pasta in salted boiling water until al dente; drain.3. Divide pasta among four bowls, top with the tuna‑vegetable mix, and serve.Despite their split, they continue to exchange food news, recipe links from the New York Times, and tips on premium ingredients—proving that a shared love of cooking can outlast even the most intimate of relationships.

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 Black Country, a region in the West Midlands, is grappling with the highest levels of physical inactivity in England. With 1.2 million residents, it is one of the poorest parts of the country, and the statistics are stark: 28.4% of adults in the West Midlands are physically inactive, with some areas like Sandwell and Walsall recording even higher rates of inactivity.However, local volunteers and organizations are taking proactive steps to address this issue. Kelvin Gilkes, founder of the Pendeford Community Bike Hub, is working to encourage people to get active through cycling. His initiative not only provides a space for people to repair and ride bicycles but also aims to expand horizons and promote physical activity among community members.Another initiative is led by Tracy Tromans, who runs a weekly walking group through Leasowes park in Halesowen. Her group focuses on friendship and being aware of everyone's limitations, gently encouraging people to leave their homes and get moving. Nadia Inglis, director of public health for Walsall, emphasizes the benefits of physical activity, including lowering the risk of chronic conditions and improving mental wellbeing.Organizations like Sport England and Active Black Country are also playing a crucial role in supporting local initiatives. They are funding networks of 'place-based' Active Partnerships to improve physical activity in areas where it is scarce. The goal is to turn local insight into community action and create a broader impact.These community-driven initiatives offer a glimmer of hope in the face of a significant challenge. By making parks more accessible and promoting non-traditional activities, such as Nerf clubs, these efforts aim to unlock spaces and encourage people to get active. While change is slow, there is a sense of momentum and ownership within the community, which is essential for long-term success.