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Palantir Accuses Mayor of Prioritising Politics Over SafetyPalantir says London mayor Sadiq Khan is “politicising procurement” by blocking a two‑year, £50 million AI contract for the Metropolitan Police, arguing the move jeopardises public safety.Mayor Blocks £50m AI Procurement Deal with Met PoliceKhan’s office cited a “clear and serious breach” of procurement rules and rejected the plan for the Met to use Palantir’s AI to process intelligence in criminal investigations. The decision was first reported by the Guardian on 21 May 2026.Financial Stakes: £50m Contract and Wider Government Deals£50 million – value of the blocked Met Police contract.£330 million – NHS England deal with Palantir.£240 million – Ministry of Defence agreement.Less than £500,000 – earlier separate AI pilot with the Met to detect rogue officers.Political Fallout and Policing Implications in LondonThe move has split Labour MPs: Rosena Allin‑Khan and Clive Lewis praised the block, while Stella Creasy condemned Palantir’s CEO for “using sexual‑abuse allegations to attack the mayor”. The Metropolitan Police Federation called the AI system “big brother”. Business Secretary Peter Kyle defended Palantir’s capabilities and urged Khan to explain his decision.Future of AI Procurement and Domestic Tech AlternativesKhan’s stance may encourage a shift toward British‑owned AI solutions, echoing Kyle’s call for more investment in domestic firms. Ongoing debates about foreign AI providers could reshape how UK public services adopt advanced technology, with potential impacts on policing effectiveness and public trust.

The Disco Legend Returns to the SpotlightLost in Music, He's the Greatest Dancer, Thinking of You and We Are Family – many artists would long for just one of these songs at any time in their career, but for Sister Sledge they all appeared on a single side of one of their albums. As she brings these and the rest of the disco group's still-sensational catalogue to the Electric Paradise festival this summer, Kathy Sledge will be joining us to answer your questions.The Rise of Sister SledgeKathy is one of four Sledge sisters along with Debbie, Joni and Kim, who formed the group as children in the mid-1960s, picking up gigs at churches and local events in their home city of Philadelphia as the Sledge Sisters. After flipping the name around, they got a record deal and their first chart success came in the UK in 1973, with the Top 20 hit Mama Never Told Me.The Chic Collaboration That Defined an EraFurther commercial success eluded them for a few years – though that's no reflection on the quality of early disco material such as Pain Reliever – until their label paired them with Chic's Nile Rodgers and Bernard Edwards. Sister Sledge's poise and charisma shone from the aforementioned hits the pair wrote for them, collected on the album We Are Family. The title track reached No 2 in the US and it, along with the others, endure as pinnacles of the disco era.Chart Success Through the DecadesRemixed versions of those songs came back around in 1984 and 1993, each to great success particularly in the UK, though the group's only UK No 1 single was in a very different style in 1985, with the swaying neo-60s pop of Frankie.A Solo Career and Continued PerformancesKathy took the lead vocal on some of their biggest hits, and after Sister Sledge went on hiatus in 1987, she had a solo career interspersed with occasional Sister Sledge reunions, and later – amid some legal wrangles with her sisters – solo tours of Sister Sledge material. Next up she'll perform at Electric Paradise in Milton Keynes, on 8 August, alongside other legends of the era such as Grace Jones, Candi Staton, Kool and the Gang and more.Your Questions for the Disco IconNow 67, Kathy has been in countless nightclubs and recording studios around the world across her multi-decade career, so there's plenty to ask her. Post your questions in the comments below before 6pm GMT on Wednesday, and we'll publish her answers later in the week.

The Underwhelming Experience of Cannes 2026 The 2026 Cannes film festival has come to a close, leaving many with a sense of disappointment. This year's event was marked by a lack of standout films, with even seasoned veterans like László Nemes, Pedro Almodóvar, and Asghar Farhadi delivering average performances. The Absence of Hollywood Glamour One notable absence was the lack of big-budget Hollywood films in the official selection. Typically, films like Mission: Impossible or Elvis would add a touch of glamour to the festival, but their absence was felt this year. The Disappointing Auteurs Films from renowned directors like Ryusuke Hamaguchi's 'All of a Sudden' and Cristian Mungiu's 'Fjord' received mixed reviews, with some critics calling them contrived and lacking in substance. The Data Analysis: A Look at the Numbers While there aren't specific numbers to analyze, the overall sentiment among critics and attendees suggests that this year's festival was a letdown. The Impact Analysis: A Shift in the Film Festival Landscape The underwhelming experience of Cannes 2026 raises questions about the future of the film festival. Will it continue to be a premier event for filmmakers and industry professionals, or will it struggle to regain its momentum? The Prediction: What's Next for Cannes Based on this year's lineup, it's clear that Cannes needs to adapt and evolve to stay relevant. The festival may need to consider new ways to attract top talent and engage audiences. Standout Films and Awards Despite the overall disappointment, some films stood out, including Andrey Zvyagintsev's 'Minotaur,' Paweł Pawlikowski's 'Fatherland,' and Rodrigo Sorogoyen's 'The Beloved.' These films showcased exceptional direction, acting, and storytelling. Palme d'Or: Minotaur (dir. Andrey Zvyagintsev) Grand Prix: Fatherland (dir. Paweł Pawlikowski) Jury Prize: The Black Ball (dirs. Javier Calvo, Javier Ambrossi)

The LeadSouth Korean activists have taken dramatic action against Starbucks' "Tank Day" promotional campaign, publicly smashing coffee cups in protest. The demonstration underscores the complex relationship between global brands and local cultural sensitivities in South Korea.The Tank Day Campaign DetailsThe "Tank Day" campaign appears to be a promotional initiative by Starbucks that references military tanks, a sensitive subject in South Korea due to its divided history with North Korea. Activists argue that the campaign trivializes serious historical and political issues. The protest involved activists publicly destroying Starbucks cups, drawing attention to their opposition through viral social media content.The Impact AnalysisThis protest highlights the challenges global corporations face when entering markets with unique historical sensitivities. South Korea has a complex relationship with military imagery due to its ongoing tensions with North Korea. The incident may prompt Starbucks to reconsider its marketing strategies in the region and could encourage other multinational companies to conduct more thorough cultural assessments before launching campaigns.The PredictionGoing forward, we can expect increased scrutiny of global marketing campaigns in South Korea. Companies may invest more in local cultural consultants to avoid similar controversies. This incident could also lead to stronger movements advocating for culturally appropriate advertising, potentially influencing marketing practices across the region.

The LeadMajor US social media companies including Meta's Facebook and Instagram platforms have blocked the accounts of Saudi Arabian dissidents so they are no longer visible inside the kingdom, following orders by Saudi authorities. Those affected include Abdullah Alaoudh, a US-based activist and vocal critic of Saudi human rights violations, and Omar Abdulaziz, a Canada and UK-based activist who worked closely with Jamal Khashoggi before the journalist's murder by Saudi agents in 2018.The Platform Response to Government DemandsAt least seven accounts had been blocked by Meta at the end of April, including those of two American citizens and two individuals based in Europe, according to the advocacy group American Committee for Middle East Rights (ACMER). Meta did not respond to the "dirty work" claim, but provided a statement to the Guardian saying that when "something happens" on one of its platforms that is reported as violating local law but not the companies' own community standards, the company may restrict the content's availability in the country where it is alleged to be unlawful.Meta operates a public "transparency center," where it acknowledges that Saudi authorities contacted the company and sought restrictions on a total of 144 Instagram accounts, Facebook pages, and Facebook profiles during April. The site also shows that Meta restricted access to 108 "items".Inconsistent Approaches to Government RequestsInterviews with some of the dissidents targeted suggest the companies approached by Saudi authorities did not all respond in the same way. While Meta did alert users that their content was being blocked due to a "local legal requirement, or a request from a government," Snapchat appears to have slowed or removed accounts in Saudi Arabia – including one used by Abdulaziz – without alerting the account owners of the change. It is not clear how many Snapchat accounts were affected, and its owner, Snap Inc, declined to comment.At least two users of X, which is owned by Elon Musk, received letters informing them that the platform had received a request from the Saudi communications, space and technology commission claiming their accounts violated Saudi laws. X told users including Abdulaziz that it had not taken any action on the reported content yet, writing that the company "strongly believes in defending and respecting the voice of our users". It then urged addressees to seek legal advice if they wished, or to delete the relevant content voluntarily.Human Rights Concerns and ImplicationsAbdulaziz told the Guardian: "I think this is just the introduction to a massive crackdown by the Saudi government to mute opposition. It could go as far as committing atrocities, just like they did with the murder of Jamal Khashoggi." The Saudi government did not respond to a request for comment, sent through the Saudi embassy in Washington.Other accounts targeted include those of individuals linked to the London-based human rights organisation ALQST, including its founder, Yahya Assiri. Dr Maryam Aldossari, an ALQST board member, stated: "These [account holders] are not dangerous actors; they are people documenting abuses, challenging state propaganda and giving voice to Saudis inside the country who cannot speak freely. Blocking these accounts would not protect public safety, it would project authoritarian power from scrutiny."The Future of Digital DissentDr Aldossari further commented: "This is how authoritarian censorship travels: through legal notices, platform pressure and the attempted outsourcing of repression to global technology companies." As social media platforms continue to navigate the complex landscape of international laws and human rights standards, the case of Saudi dissidents highlights the growing challenge of maintaining free expression in an increasingly interconnected digital world where governments increasingly seek to control online discourse beyond their borders.

The Arrest That Sparked International ConcernThe operation began at 9am Moscow time, but took place across all of Russia's 11 time zones. Almost simultaneously, agents of the federal security service (FSB) raided the homes and workplaces of 17 Indigenous rights activists. Officers carried out searches, confiscated laptops and phones, and arrested and interrogated activists about participation in international forums. Most were let go; many have since left the country. Others remain in Russia, but will no longer speak up.Six months later, one remains in jail. Daria Egereva, one of Russia's foremost Indigenous rights activists, is accused of membership of a terror group. No trial date has been set. Her supporters say the charges are fabricated and she has been targeted for speaking out.Egereva was not just any activist. A member of the Selkup indigenous group, from western Siberia, she was a "bright star" of Russia's indigenous rights movement. As a member of the UN's Indigenous Peoples' Coordinating Body, she had international status. Weeks before her arrest, she had played a key role at Cop30 in Brazil as co-chair of the Indigenous People's Forum on Climate Change.Her jailing has shone a spotlight on the plight of Russia's Indigenous people, threatened by authoritarianism, extractivism and climate breakdown.The Climate Crisis in Russia's Arctic"They are really seeing the worst effects of climate change," said Alicia Moncada, director of global advocacy at Cultural Survival, which campaigns for Indigenous rights. "They are on the frontline of the frontline – that's why [Egereva's] advocacy was super important."The polar north is heating faster than any other part of the planet. In recent decades, temperatures in Arctic regions have risen three to four times faster than the global average. Communities based on permafrost are seeing their world collapse around them."The elders are saying that nature has stopped trusting us," said one exiled Indigenous leader, who requested that his name be withheld. "The traditional ways of predicting nature are not working any more."Many settlements sit next to the banks of rivers and lakes. Due to the melting permafrost, those banks are beginning to crumble. "There is a real threat of destruction for a lot of those villages," said the leader, who spoke through an interpreter. And the melting ice has brought a new source of tension: newly accessible critical mineral resources.Resource Extraction and Indigenous Displacement"All these resources of the Russian Federation, a majority of them are located under the lands of Indigenous people: gold, diamonds, oil, gas, coal," the leader said. "For some people it is a treasure, but for us it is a curse."Because the companies are coming to our land for those resources and they are pushing us out. Even if they don't push us out, the environmental situation in those places will become so bad that we are unable to hunt or fish."One of the elders said that we can adapt to anything, but we will not be able to survive without our land."The Government Crackdown on Indigenous ActivismAlthough Indigenous groups maintained their identities, by the end of the Soviet era they lacked independent organisation and relied on the state. Egereva had been part of a new generation of leaders who had encouraged community self-empowerment.But this assertiveness brought them into conflict with the authorities. Even before the war in Ukraine, the Russian state claimed that its enemies were exploiting environmental and indigenous issues. Now, with the war a pretext for a crackdown on civil society, Indigenous people are among those at the sharp end.To date, 830 organisations and 20,813 individuals have been put on the "list of terrorists and extremists", according to the UN. Among them was Aborigen Forum, a network of Indigenous defenders designated an "extremist organisation" in July 2024.Russian authorities have based their charges against Egereva and her co-defendant, Natalia Leongardt, a civil rights activist, on their involvement with Aborigen. Authorities claim it is part of an anti-state "post-Russia free nations forum".International Response and Russian DefenseIn a bail hearing on 29 April, Egereva and Leongardt denied being part of any anti-state conspiracy. "I am not familiar with and do not know this organisation," Egereva told the court. "What we are being accused of is completely untrue ... I ask to be allowed to return home and embrace my children."The court refused to grant them bail, remanding them in custody until at least mid-June. The following day, Russia celebrated a new federal holiday: the "Day of Indigenous Small-Numbered Peoples".The Russian embassy told the Guardian: "The investigation concerning Daria Egereva is an internal Russian legal matter, conducted in full accordance with Russian law. As proceedings are ongoing, we are not in a position to comment on the specifics of the case."Russia firmly rejects any allegations of violations of Indigenous people's rights. Unlike a number of western states – including Britain in its former colonies – Russia has no history of forced assimilation of Indigenous communities. Russian law affords Indigenous peoples special legal protections, guaranteeing their collective and individual rights, cultural identity, and linguistic heritage under the constitution and in line with international norms."Russia is actively engaged in the international climate agenda, taking account of both the challenges and the economic opportunities emerging in its northern regions – including expanded access to the northern sea route and mineral resources in permafrost zones. All such projects are carried out with the aim of supporting regional development, creating jobs and attracting investment, including for the benefit of Indigenous communities in these areas."

Lead: On May 14, 2026 a Madhya Pradesh high court declared the historic Kamal Maula mosque in Dhar a Hindu temple, prompting saffron‑flag displays by far‑right groups and reviving scrutiny of Hindutva—the nationalist ideology driving Prime Minister Narendra Modi and the Bharatiya Janata Party (BJP). The episode underscores how a century‑old movement has moved from pamphlets to courtroom battles and national policy. The Madhya Pradesh Verdict and Its Immediate Symbolic Fallout The court’s decision sparked a rapid on‑ground response: supporters unfurled saffron flags, filmed rituals, and celebrated the reclassification as a triumph of Hindu heritage over perceived Islamic encroachment. This mirrors a pattern where legal rulings become flashpoints for Hindutva activism. Chronology of Hindutva’s Evolution and Electoral Milestones 1923: Vinayak Savarkar publishes *Essentials of Hindutva*, defining a Hindu cultural nation. 1925: Keshav Baliram Hedgewar founds the Rashtriya Swayamsevak Sangh (RSS), the movement’s organisational hub. 1948: Assassination of Mahatma Gandhi by a former RSS member intensifies scrutiny of the ideology. 1951: RSS‑linked political party formed, later becoming the BJP in 1980. 1992: Demolition of the Babri Mosque triggers nationwide sectarian violence. 1996‑2004: BJP cycles through short‑lived governments before losing to the Congress. 2014: Modi leads BJP to a historic mandate, the largest since 1984. 2019: Abrogation of Article 370 and passage of the Citizenship Amendment Act (CAA) reflect Hindutva‑inspired policy shifts. 2024: CAA implementation accompanied by the National Register of Citizens (NRC). 2026: Court ruling in Madhya Pradesh reignites public debate. Policy Shifts Attributed to Hindutva Governance Since 2014, Hindutva‑aligned legislation has targeted three main areas: Territorial sovereignty: Removal of Jammu & Kashmir’s special status (Article 370, 2019). Citizenship criteria: CAA granting fast‑track citizenship to non‑Muslim migrants, followed by the NRC framework. Cultural protectionism: State‑level bans on cow slaughter, anti‑conversion laws, and pushes for a Uniform Civil Code. Societal and Communal Repercussions Across India The legal and policy agenda has deepened communal fault lines. High‑profile incidents—such as the 1999 burning of missionary Graham Staines and the 2002 Gujarat riots—remain cited by critics as evidence of Hindutva‑fuelled violence. Recent lynchings of alleged cow‑carriers since 2014 illustrate ongoing tensions, with few convictions recorded. Outlook: Hindutva’s Trajectory Ahead of the 2026 Elections Looking forward, analysts anticipate that the BJP will leverage the court ruling to reinforce its narrative of reclaiming Hindu heritage, potentially mobilising voters in upcoming state elections. However, heightened legal challenges and growing domestic and international criticism could force the party to balance hard‑line rhetoric with broader electoral appeal. The evolution of Hindutva will likely hinge on how effectively it can translate cultural symbolism into sustainable policy without alienating India’s pluralistic electorate.

The Star Wars Big Screen ConundrumWhen Disney acquired Lucasfilm for $4 billion in 2012, it seemed like a guaranteed success. The initial trilogy of films under Disney's leadership—The Force Awakens, Rogue One, and The Last Jedi—all earned over $1 billion worldwide. However, despite this commercial success, the franchise has faced increasing criticism and fan dissatisfaction. The latest film, The Mandalorian and Grogu, currently holds a 61% rating on Rotten Tomatoes, barely scraping into the "fresh" category. This raises questions about whether Star Wars has become an impossible franchise to successfully translate to the big screen in the modern era.The Disney+ Success FormulaDisney+ has proven to be a successful platform for Star Wars content, with shows like The Mandalorian, Andor, The Book of Boba Fett, Obi-Wan Kenobi, and Ahsoka finding dedicated audiences. These series have allowed Disney to explore corners of the Star Wars universe that films couldn't address, filling plot holes and expanding the mythology. The Mandalorian, in particular, introduced Grogu (Baby Yoda), a character specifically designed for maximum appeal. However, this streaming success has created a challenge: when the same characters and format are brought to the big screen, they may feel more like extended episodes rather than cinematic events.Financial Performance vs. Critical ReceptionDespite the critical challenges, Star Wars films have remained financially successful. The Force Awakens earned over $2 billion worldwide, Rogue One surpassed $1 billion, and even The Rise of Skywalker, which was widely disliked by fans, still earned Disney more than $1 billion. This financial success has allowed Disney to continue producing Star Wars content, but the declining critical reception suggests a growing disconnect between audience expectations and what the franchise delivers. The Mandalorian and Grogu, while profitable, appears to be following this pattern of commercial success mixed with middling critical reviews.The Franchise Identity CrisisThe article suggests that Star Wars is suffering from an identity crisis on the big screen. Disney has tried multiple approaches: soft-rebooting the original trilogy with The Force Awakens, challenging the mythology with The Last Jedi, and attempting to please all fans with The Rise of Skywalker. Each approach has faced backlash from different segments of the fanbase. The Mandalorian and Grogu takes a safer route, focusing on beloved characters without major revelations about the Force or character lineages. This approach may satisfy existing fans but fails to deliver the grand cinematic experience that audiences expect from a Star Wars film on the big screen.The Mythic Structure ProblemA key insight from the article is that the original Star Wars trilogy worked because it had a clear beginning, middle, and end. The story felt complete with the Empire's fall and Luke's redemption. However, subsequent continuations have undone these victories, reopening narrative wounds and diminishing the impact of the original story. The article suggests that this endless continuation without true resolution has made the Star Wars myth less meaningful over time. Characters are never allowed to complete their emotional arcs, victories are temporary, and the galaxy exists in a state of perpetual conflict without resolution.The Future of Star Wars CinemaLooking ahead, the article implies that Star Wars may need to reconsider its approach to big-screen storytelling. The success of Disney+ shows demonstrates that there's an appetite for Star Wars content, but perhaps the franchise needs to differentiate between cinematic and television experiences more clearly. Alternatively, the franchise might benefit from taking bigger creative risks or allowing stories to reach definitive conclusions rather than maintaining an endless status quo. As The Mandalorian and Grogu shows, simply delivering what fans already know and love in shinier packaging may no longer be sufficient to satisfy both critics and audiences on the big screen.

The Churchill Exhibition: War Leader's Artistic EscapeBritain's eloquent war leader kept himself sane by puffing on cigars, swilling brandy – and painting the world around him. The Wallace Collection in London is hosting "Winston Churchill: The Painter" from 23 May to 29 November, offering a rare glimpse into the artistic side of the historical figure.New Voices in Contemporary ArtThe London art scene is buzzing with new exhibitions featuring contemporary artists:Kira Freije presents hollow metal people at Modern Art Oxford, showing shadows of Berlin Dada in her work. The exhibition runs from 23 May to 16 August.Miriam Elia, known for her witty take on Ladybird books, turns her eye towards Moses in this exhibition for Jewish Cultural Month at JW3, until 30 June.Liam Young offers futuristic but lo-fi worlds you can walk through at the Barbican, until 6 September, with installations finding hope for our planet.Zsuzsi Ujj presents her first UK solo show at Arcadia Missa, from 22 May until 18 July, establishing her presence from Hungary's dissident art and underground music scenes.Remembering Valie ExportThe art world mourns the passing of Austrian feminist artist and film-maker Valie Export, who died this week. Her 1968 performance piece "Tapp und Tastkinema" (Tap and Touch Cinema) is highlighted as typically provocative but playful, giving people the opportunity to interact with and appraise a real female body: her own. Export's fearless approach to challenging beauty standards continues to influence contemporary artists.Notable Art News and DevelopmentsThe week brought several significant stories from the art world:Taiba Akhuetie makes wild creations out of hair – Rihanna and Cate Blanchett are fansWhistler should have used better paint to capture his motherNina Simone's chewing gum is going on show in a new exhibition celebrating the superfanChristo made the invisible visibleGrayson Perry's life story is to be made into a musicalFlorentina Holzinger rocked this year's Venice Biennale with naked jetskiers, human bells and urine diversGen Z can't get enough of the king of colour, Mark RothkoSanya Kantarovsky's paintings of Christian iconography and children will haunt youMasterpiece of the Week: The Judgement of ParisJoachim Wtewael's "The Judgement of Paris" (1615) stands as this week's masterpiece. The painting depicts the moment when Trojan prince Paris foolishly rates the beauty of Minerva, Venus, and Juno, giving the prize to Venus in return for her helping him seduce Helen. This decision sparked the Trojan War, with the Greeks supported by the furious Juno. Wtewael's mannerist style, with its bony, angular forms and deliberate distortions, creates an overabundance that presages doom, reflecting the war-torn Europe of the 1600s. The painting is on display at the National Gallery in London.