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Tom Wright’s latest theatrical offering, “Please Please Me”, turns the spotlight onto the often‑overlooked figure of Brian Epstein, the man who shepherded the Beatles to global fame. By weaving together the manager’s personal turmoil, his ambiguous bond with John Lennon, and a pivotal holiday in Torremolinos, the play asks whether the myth of Beatlemania can ever be fully disentangled from the private shadows of its architect.The Play’s Narrative Focus on Epstein’s Inner WorldThe production opens in Epstein’s father’s record shop, where a young Brian swaps classical violin concertos for Elvis’s “Hound Dog,” signalling the cultural rupture of the 1960s. Set designer Tom Piper employs rotating closets and dimly lit corridors to echo the manager’s sense of concealment, while the script delves into his identity as a Jewish gay man navigating a hostile industry. Central to the drama is the disputed Torremolinos encounter, a moment that, according to the play, intensified Epstein’s dependence on drugs and deepened his entanglement with Lennon’s volatile genius.Critical Reception and Box‑Office SnapshotVenue: Kiln Theatre, London (running until 29 May 2026)Lead Cast: Calam Lynch as Brian Epstein, Eleanor Worthington‑Cox in multiple roles including Cilla Black, Noah Ritter debuting as John LennonDirection: Amit SharmaCritical notes: Praise for Lynch’s “terrific, increasingly physical” performance and the production’s “mobile set of spinning closets” that visualise the era’s chaos.Reframing the Beatles’ Mythos Through Epstein’s LensBy centring Epstein rather than the band, the play challenges the conventional hero narrative that has long dominated popular culture. It foregrounds how the manager’s personal insecurities and hidden sexuality may have shaped key decisions—such as the timing of the Torremolinos trip—that in turn influenced the Beatles’ trajectory. This reframing invites audiences to reconsider the price of fame and the often‑invisible architects behind cultural revolutions.Future Prospects for Musical Biographies on Stage“Please Please Me” arrives at a moment when theatre is increasingly embracing biographical stories that blend music, politics, and personal identity. Its success could spur further productions that explore the backstage lives of iconic artists, especially those whose stories intersect with LGBTQ+ history and post‑war cultural shifts. Expect more investors to back daring, historically nuanced works that promise both critical acclaim and modest commercial returns.

The Comedic Journey of Urzila CarlsonUrzila Carlson's path to comedy stardom began with a dark childhood in South Africa, marked by her parents' divorce after years of abuse at the hands of her violent father. At just eight years old, she delivered her first joke about her parents' divorce, saying to a teacher: "Miss, it's my dad's fault. My mom really, really wanted to be a widow but my dad wouldn't drink the poison." The teacher laughed, and Carlson was hooked on comedy as a coping mechanism for the trauma she experienced.From Trauma to Triumph: The Making of a ComedianCarlson grew up in mining towns around South Africa, the youngest of three. The night her father hunted her family with a handgun, they were rescued by a neighbor who drove them to safety. After the divorce, her mother raised the three children in Benoni, east of Johannesburg, where they were "dirt poor" but happy. As an adult, Carlson found life in South Africa increasingly demoralizing but discovered freedom in travel. She funded a trip to the US by selling fudge door-to-door with a sign that said HELP ME GET THE FUCK OUT OF HERE. The final straw came in 2006, when armed men stormed the office she worked in and robbed everyone at gunpoint. The very next day, she saw an ad: "Want to emigrate? Why not New Zealand?" Three months later, she was there.Rising to Fame in the Comedy WorldNew Zealand gave her a first taste of standup comedy. When leaving one job as a graphic designer for another, her colleagues gave her a fake contract to sign, making her do an open mic spot at an Auckland comedy club. It turned out they had already booked her for it, and 70 people from her agency were going to watch. She wrote four minutes of material for a five-minute slot, got on stage, and was a hit. The next day she got a call letting her know she was through to the next round of a talent competition she hadn't even known she'd entered. She had never seen a standup show before, and went on to win New Zealand's best newcomer. When the global financial crisis came along and brought redundancy with it, it was like the universe was telling her to go professional: "I thought, you can't ride two horses with one arse. You've got to go for it."Building an International Comedy CareerCarlson is particularly popular in Australia where she is a regular on TV, including Have You Been Paying Attention? and Guy Montgomery's Guy Mont-Spelling Bee, and she holds the record for most tickets sold at Melbourne's international comedy festival. Internationally, she has appeared on QI, Taskmaster New Zealand and Amy Schumer's Netflix comedy Kinda Pregnant. In her latest standup show, Fatty on a Yacht, she recalls turning up for a day on a friend's boyfriend's dad's boat, expecting a tinny and finding a super yacht complete with a hot tub and jetskis. Despite her following in Australia and the US, Carlson refuses to relocate from West Auckland, which she affectionately calls "Bogan Central." She is now back in the southern hemisphere with a sketch show titled Urzila, to be broadcast in Australia later this month, and a sitcom with Nazeem Hussain on the way.Navigating Fame and BoundariesCarlson has two children, and recently decided her 13-year-old daughter was old enough to watch her routines: "I can't say anything filthier than 13-year-olds do at school." She recently took her daughter and her friends ice-skating "and they were all saying to me in the car, 'can you roast us?' … I just looked at them in the rear-view and said, 'No, because I'm a professional comedian and I will destroy you. You'll go home and tell your mom.'" Her phone often dings with messages from fans, including unsolicited photos. "Now I just ignore it," Carlson says. "If I say thank you, I'll get tits. I always say, 'Please don't do that. I don't need to see you naked.' And they go, 'Oh, you're not into tits?' And I'm like, 'No, I'm not into unsolicited nudes.' She gets dick pics too: "To those I just say, 'That's cute – it's just like a penis, only smaller.'"The Future of Comedy: Authenticity and ResilienceAs Carlson continues to build her career, she remains committed to staying true to her roots while pushing boundaries in her comedy. Her journey from a traumatic childhood in South Africa to international comedy stardom demonstrates how humor can be both a coping mechanism for pain and a powerful tool for connection. With her new sketch show and sitcom in development, Carlson shows no signs of slowing down. Her ability to turn personal trauma into relatable comedy while maintaining clear boundaries with fans exemplifies the evolving nature of comedy in the digital age, where performers must navigate new challenges while staying authentic to their voice and experiences.

The Phoenix Rising"Please close the door. It conserves heat and keeps the organ in tune," requests the notice inside the church door. It's pleasantly warm inside, on this chilly April morning. But on the night of 16 September 1998, temperatures here exceeded 1,000C, when fire consumed the old organ, along with the floors, window, roof and 900 years of history, leaving a charred shell.Seven years of reconstruction and renewal followed, creating a light, airy interior: simple pale oak has replaced the darker, more intricate furnishings, and a new east window portrays an exotic floral paradise.A Paradise RestoredHelen Whittaker's Paradise window in St Brandon's church. Photograph: Phil GatesHelen Whittaker's vibrant stained glass Paradise window celebrates the quest of the Irish traveller St Brandon, better known as St Brendan, who spent a lifetime searching for an earthly Garden of Eden. Early-morning sunlight, streaming through the glass, casts rainbow shadows of subtropical flowers that he might have encountered: strelitzia, jacaranda, hibiscus and angel's trumpets. Below panes of red, orange, purple and blue, the artist has left clear glass panels, revealing the natural beauty of native trees in the churchyard beyond, itself a paradise for local wildlife.Wildlife SanctuaryFebruary's drifts of the snowdrops and winter aconites, around the grave of Jack Warner – a much-missed former colleague – gave way to daffodils in March. Today, bee-flies are darting between primrose flowers, in longer grass between mown paths. A buff-tailed queen bumblebee, searching for a nest site, explores a vole tunnel around an old tree stump. A seven-spot ladybird ambles across a lichen-encrusted table-tomb. The loudest sound comes from a song thrush. Otherwise, it is so quiet that I can hear the scratchy claws of a treecreeper climbing the bark of an ash tree.Pollen-producing cones on a St Brandon's churchyard yew. Photograph: Phil GatesThe Balance of LifeSympathetic churchyard management like this achieves a fine balance between respect for those whose life journeys ended here and the needs of nature, where another cycle of life is beginning.Pollen of RenewalOne of the ancient churchyard yews is covered in tiny male, pollen-producing cones. On the way out, I give its branch a gentle shake and, for a second or two, a ghostly cloud of yellow pollen is suspended in a shaft of sunlight, then dissolves like smoke in the air as it rises through the branches.

The Executive Order That Changed Psychedelic PolicyIn a surprising move during the weekend celebrating 'Bicycle Day' – the anniversary of the first LSD trip – Donald Trump signed a landmark executive order to accelerate research into hallucinogens and increase access to them. The scene was surreal as Trump joked, 'Can I have some, please?' when discussing ibogaine, a lesser-known psychedelic known for its 12-hour trips that often provide visions of traumatic personal memories.Accelerated FDA Review ProcessThanks to the order, the US Food and Drug Administration (FDA) will fast-track the reviews of three incoming psychedelic drug candidate applications that have already received breakthrough therapy designations. These are likely to be psilocybin for two types of depression and MDMA for PTSD, a prior application for which was rejected by the FDA in 2024. This move represents the biggest greenlight the potential multibillion-dollar market has yet received, causing psychedelic company stocks to soar.Financial Implications of the Psychedelic MarketThe executive order has significant financial implications for the emerging psychedelic industry. Industry analyst Josh Hardman noted that the expected issuance of these vouchers shows just how much the White House has changed its mind on psychedelics in the last six months. The Department of Health and Human Services also announced a new $139m initiative to help spur new, effective therapies for behavioral health, including the safe use of psychedelics, with at least $50m earmarked to match state psychedelic research initiatives.Industry and Regulatory TransformationThis executive order marks a significant shift in the approach to psychedelic substances in the United States, which have been federally illegal since Richard Nixon passed the 1970 Controlled Substances Act. The order states that investigational psychedelic drugs will become available under 'right to try' legislation, which is typically reserved for terminally ill patients and those who have tried all approved treatment options. However, this sets up a potential clash with the Drug Enforcement Administration (DEA), which has previously stated that schedule I compounds are ineligible for right to try.Future Outlook for Psychedelic MedicineThe future of psychedelic medicine in the US appears to be accelerating, but with significant challenges remaining. While Trump indicated his administration is already working on rescheduling efforts, which would require approval from the DEA, concerns remain about pharmaceutical and commercial interests being the primary beneficiaries of the order. Indigenous communities that have stewarded psychedelics like ibogaine and psilocybin worry they won't be fairly compensated for their knowledge. As psychedelic reform advocate Ismail Ali noted, 'It is a substantial threshold moment,' but 'if you're looking at the US federal government for the full liberation of these plants, you're probably looking in the wrong place.' The coming years will determine whether this marks the beginning of a truly accessible psychedelic medicine future or another chapter in extraction and commercialization.

Lizzy Yarnold’s PicksBest moment: Matt Weston winning double gold in the mixed‑team skeleton relay.Biggest disappointment: Freya Tarbit and Marcus Wyatt finishing fourth in the GB skeleton relay.Star of the Games: Alysa Liu – figure skater returning on her own terms.Crowd‑pleaser: Jamaican bobsleigh team, matching their 2022 record with three sleds.One to watch for France 2030: Kirsty Muir (GB freeski) and Johannes Høsflot Klæbo (Norway cross‑country).New sport suggestion: More dual events and relays.Three‑word summary: Joyful, ambitious, impressive.Sean Ingle’s PicksBest moments: GB mixed‑team snowboard cross gold, Eileen Gu half‑pipe gold, debut of skimo, Atle Lie McGrath slalom, Andrea Bocelli performance, and the “Penisgate” controversy.Biggest disappointment: Ilia Malinin fell twice yet still won team gold; Kirsty Muir and Mia Brookes missed medals.Star of the Games: Eileen Gu (three medals) and Johannes Høsflot Klæbo (six golds). Also noted Vladyslav Heraskevych protest.Crowd‑pleaser: Japanese pair Riku Miura & Ryūichi Kihara, and Mikhail Shaidorov in a panda‑themed gala.Future watch for France 2030: Young Japanese skaters like Rio Nakata and possibly Jakob Ingebrigtsen.New sport idea: Cross‑country running, cyclo‑cross, fell‑running‑style skimo, even volleyball or handball.Three‑word summary: Exhilarating, newsy, fun.Andy Bull’s PicksBest moment: Matt Weston’s mixed‑team skeleton relay run that clinched GB’s third gold by 0.3 seconds.Biggest disappointment: Green‑washing concerns over “sustainable Games”.Star of the Games: Johannes Høsflot Klæbo – more medals than Great Britain.Crowd‑pleaser: Canadian curler Marc Kennedy and his infamous “fuck off” comment.Future watch for France 2030: Lara Colturi, 19‑year‑old alpine skier poised to win Albania’s first Winter medal.New sport suggestion: Yukigassen (snowball fighting).

President Donald Trump signed an executive order on Saturday in the Oval Office, joined by podcaster Joe Rogan, to fast‑track the federal review of psychedelic drugs such as ibogaine, aiming to broaden treatment options for serious mental illness.The ceremony highlighted Rogan’s long‑standing advocacy for ibogaine, a plant‑derived compound used by some veteran groups to address post‑traumatic stress. Rogan recounted texting Trump about the drug, to which the president replied, “Sounds great. Do you want FDA approval? Let’s do it.”Trump framed the order as a lifeline for patients: “Today’s order will ensure that people suffering from debilitating symptoms might finally have a chance to reclaim their lives and lead a happier life.” He added that successful outcomes could have “a tremendous impact.”In a brief moment of levity, Trump joked, “Can I have some, please? I’ll take some.” He quickly refocused, noting he has no time for depression and stays busy instead.The move enjoys rare bipartisan backing, despite ibogaine and other psychedelics remaining classified under the federal government’s most restrictive drug schedule.Health Secretary Robert F. Kennedy Jr. had previously pledged to ease medical access to psychedelics, a stance echoed in the new order, which directs the Department of Health and Human Services to allocate at least $50 million to states developing programs for serious mental‑health conditions.Simultaneously, the FDA is set to issue “national priority” vouchers for three psychedelic candidates. Commissioner Marty Makary said the vouchers will enable rapid approval “if they align with our national priorities.”The agency also plans the first human trials of ibogaine in the United States, overcoming earlier concerns about potential fatal heart effects.Ibogaine’s origins trace back to the Bwiti religious ceremonies in West‑Central Africa, where the plant has been used for centuries in spiritual contexts.Former Navy SEAL Marcus Luttrell, also present at the event, praised ibogaine, stating, “It absolutely changed my life for the better.”Rogan’s endorsement and the executive order have added a new dimension to Trump’s 2024 campaign narrative, even as he has publicly questioned the administration’s stance on the war with Iran.

Ten years after Prince’s death, friends and collaborators such as George Clinton, Apollonia Kotero and drummer Charles “Chazz” Smith share personal memories that illuminate his musical brilliance and private life.George Clinton, the legendary leader of Parliament‑Funkadelic, remembers meeting the 19‑year‑old Prince in 1977 and immediately recognizing a talent “a new version of Sly Stone.” Clinton praised Prince’s ability to master guitar, keyboards, bass and drums, noting his “arranging genius” inherited from his pianist father and his dance flair “like James Brown.” Clinton also recalled how Prince later signed him to Paisley Park Records and inducted him into the Rock and Roll Hall of Fame, cementing a friendship that survived countless late‑night studio sessions.Apollonia Kotero, actress and singer who starred alongside Prince in the 1984 film Purple Rain, describes a bond that spanned 33 years. She recounts the grueling shoot—jumping into a freezing lake, suffering hypothermia, and Prince’s frantic plea, “Please don’t die, Apple. I love you.” Their relationship, she says, was “family, not romance,” and Prince’s protective nature shone when he cared for her during illness. Kotero also recalls a surreal moment when Prince hummed the opening melody of “When Doves Cry” into her answerphone, urging her “Don’t erase this!” as a reminder of his creative process.Beyond the studio, Kotero notes Prince’s voracious appetite for literature and politics, his 3 a.m. visits that turned into midnight drives across Hollywood, and his habit of showing her walls plastered with fan mail—a testament to his deep connection with his audience.Charles “Chazz” Smith, Prince’s cousin and original drummer in the early band Grand Central, paints a picture of Prince’s childhood obsession with music. After a spontaneous Sly and the Family Stone concert in Minneapolis, Prince declared, “We’re gonna form a band, and you’re gonna be the drummer.” Within weeks, a newly gifted guitar allowed him to replicate Santana’s “Black Magic Woman” note for note, signalling the start of an insatiable drive to master every genre—from rock to funk to ballads.In the final months of his life, Prince’s friends observed a shift. He reclaimed the rights to his catalog in 2014, began repaying debts, and expressed grief over the death of Vanity, his longtime muse. Smith recalls a poignant encounter six weeks before Prince’s passing: after a brief hug, they exchanged the words “I love you,” marking the last conversation they ever shared.These testimonies collectively reveal a portrait of Prince that goes beyond his public persona: a relentless virtuoso, a compassionate confidant, and an artist whose influence continues to reverberate a decade after his untimely death.

Eddie Howe finds himself under unprecedented pressure as April brings a familiar sting: Newcastle United sit 14th in the Premier League with only six games left to convince the board that his tenure should continue. The club’s hierarchy, led by sporting director Ross Wilson and chief executive David Hopkinson, faces a stark financial reality. To stay within European and Premier League spending rules, Newcastle will likely need to sell at least one, possibly two, of Sandro Tonali, Anthony Gordon and Tino Livramento before the September transfer window. If the team fails to qualify for Europe, all three may demand exits. Last summer’s transfer activity has drawn criticism. The £125 million received from Alexander Isak’s sale to Liverpool was funneled into a £220 million spending spree on Nick Woltemade, Yoane Wissa, Anthony Elanga and Jacob Ramsey. Yet all four starters began the season on the bench, and Newcastle have lost 25 points from winning positions this campaign, including a 2‑1 defeat to Crystal Palace. Adding to the woes, Woltemade – a £69 million acquisition – appears ill‑suited to Howe’s preferred 4‑3‑5 formation. Despite scoring ten goals, his size and pace make him more of a deep‑lying No 10 than a traditional centre‑forward, forcing him to operate in midfield. Howe’s tactical rigidity is also under scrutiny. His high‑pressing, counter‑attacking 4‑3‑3 system, which delivered Champions League spots and a Carabao Cup triumph in previous seasons, now seems predictable. Opponents have adapted, and Newcastle have kept only three clean sheets in their last 25 league matches, often burning out after the 75‑minute mark. Critics point to a lack of fresh ideas within the coaching staff. Howe’s long‑standing backroom team, headed by assistant Jason Tindall, has remained largely unchanged since their Bournemouth days, potentially fostering a “group‑think” mentality. Former defender‑turned‑analyst John Anderson argues that “a fresh pair of eyes” could rejuvenate the squad, citing Sir Alex Ferguson’s practice of periodically bringing in new coaches. The club’s Saudi owners, already displeased by recent defeats to promoted Sunderland, may be reconsidering the level of autonomy granted to Howe and his nephew Andy Howe in player recruitment. The upcoming match against Bournemouth holds added significance, as Howe has never beaten his former club in a league encounter. Ultimately, Howe’s future hinges on two factors: his willingness to cede some control over recruitment and his ability to embrace new coaching perspectives. Even a short‑term revival in the next six games could restore boardroom confidence, but a failure may end his five‑year spell at St James’ Park.

A Miami‑based U.S. District Judge, Darrin Gayles, dismissed former President Donald Trump’s $10 billion defamation lawsuit against the Wall Street Journal and its proprietor Rupert Murdoch. The case centered on a July 2025 article that linked Trump to a birthday greeting allegedly sent to convicted sex offender Jeffrey Epstein.Judge Gayles concluded that Trump, as a public figure, did not satisfy the stringent “actual malice” threshold required in defamation actions. To prevail, a plaintiff must prove that the media outlet knowingly published false information or acted with reckless disregard for the truth.In his written opinion, Gayles noted that WSJ reporters had reached out to Trump for comment before publishing the story and included his denial, thereby giving readers a balanced view. He wrote, "This complaint comes nowhere close to the actual‑malice standard—quite the opposite."The judge granted Trump permission to file an amended complaint, setting a deadline of April 27 for any revisions.Trump’s original filing labeled the alleged birthday note to Epstein as a “fake” and sought damages for perceived harm to his reputation. The newspaper’s parent company, News Corp’s Dow Jones & Company, defended the article’s accuracy, emphasizing its adherence to journalistic standards.The dismissal adds to a series of legal setbacks for the former president as he attempts to curb reporting on his connections to Epstein. Trump announced on his Truth Social platform that he intends to re‑file the suit within the court‑ordered timeframe.A Dow Jones spokesperson welcomed the decision, stating, "We are pleased with the judge’s decision to dismiss this complaint and stand behind the reliability, rigor, and accuracy of The Wall Street Journal’s reporting."