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The Director's Supernatural EncountersMulti-Oscar-winning director Guillermo del Toro has revealed his lifelong fascination with the supernatural, from childhood ghost sightings to a UFO encounter at age 14. The filmmaker, currently in the UK to receive a BFI fellowship, shared his belief that these experiences 'cause a crack' in our perception, allowing 'the mystery of the universe' to rush toward us.From Family Hauntings to Hammer HorrorDel Toro's supernatural journey began at age 11 when he first sensed a spectral presence at his family home in Guadalajara, Mexico – which he believes was his late uncle keeping a promise. This experience inspired Santi, the sighing ghost-boy in his 2001 film The Devil's Backbone. The director has since encountered numerous paranormal phenomena, including surround-sound ghostly disturbances in a New Zealand hotel while scouting locations for The Hobbit.'There are certain magical lands for me,' del Toro explains, 'and the land of ghosts is England.' He is currently looking to purchase a haunted house in the UK to house his extensive collection of silicone figures and memorabilia.The Influence of British CinemaThe BFI fellowship holds special significance for del Toro, who cites British cinema as a major influence on his work. He particularly reveres the 'reveries of Powell and Pressburger or Ken Russell' and the entire Hammer horror legacy, including Terence Fisher's Frankenstein films which partly informed his own 2025 adaptation of Mary Shelley's novel.'The 1974 Hammer film Frankenstein and the Monster from Hell had the worst makeup but the most delicate Creature,' del Toro notes. 'As the movie progressed, the Creature became more of an innocent and the Baron more of a pure villain.' This approach shaped his interpretation featuring Jacob Elordi as the Creature.A Legacy of Monsters and Misunderstood BeingsDel Toro has always portrayed monsters as complex beings capable of tenderness alongside violence, reflecting his belief that 'precisely like us.' This philosophy has resonated with fellow artists, including Taylor Swift, who has cited his films as inspiration. After becoming a fan of The Shape of Water, Swift explored his back catalogue during the pandemic, declaring herself 'dazzled' by The Devil's Backbone and Pan's Labyrinth.The influence is mutual, with Swift later invoking Del Toro-esque imagery in her hit single Anti-hero, picturing herself as 'a monster on the hill … slowly lurching toward your favourite city.' This artistic connection demonstrates how del Toro's vision has permeated popular culture beyond cinema.The Future of Fantastic CinemaAs a BFI fellow – joining the ranks of Martin Scorsese, David Lean, Akira Kurosawa, and Orson Welles – del Toro continues to champion the potential of horror and fantasy genres. His teenage years saw him running a film society in Guadalajara, sourcing controversial works like Powell's 1960 serial-killer classic Peeping Tom from the BFI itself.With his upcoming projects and continued exploration of the supernatural, del Toro remains committed to expanding our understanding of the unknown, both on screen and in his personal life. As he puts it, these experiences 'dislocate your sense of self,' revealing the mysteries that exist just beyond our everyday reality.

Exploring New Releases in Science Fiction and Fantasy The Guardian has published a review roundup of recent science fiction, fantasy, and horror books. The selection includes a variety of titles that showcase the diversity and creativity in these genres. In-Depth Look at Notable Titles The Republic of Memory by Mahmud El Sayed: A thought-provoking space opera set on a gigantic spaceship, exploring themes of language, culture, and revolution. The Rainshadow Orphans by Naomi Ishiguro: The first volume of a trilogy inspired by Japanese pop culture, set in a vibrant city with a mix of technology, magic, and adventure. No Ghosts by Max Lury: A unique ghost story that delves into the emotional undercurrents of contemporary life, blending elements of AI-generated film and psychic phenomena. Palaces of the Crow by Ray Nayler: A moving and thought-provoking novel set during World War II, exploring the lives of a doctor's daughter, a young soldier, and a Roma girl in a Lithuanian forest. Moon Over Brendle by Jeff Noon: A magical faux-autobiography set in Lancashire in 1968, where a strange multicolored dust known as Greot affects the world in mysterious ways. Why These Books Matter These books represent a small sample of the innovative and engaging works being published in the science fiction, fantasy, and horror genres. They offer readers a chance to explore new worlds, ideas, and perspectives, showcasing the versatility and creativity of authors in these fields. What's Next for Readers For readers looking to expand their literary horizons, these reviews provide a valuable guide to recent releases that are worth checking out. Whether you're a fan of space operas, magical realism, or psychological thrillers, there's something on this list for everyone.

The Paradox of a Banned BestsellerWhile DH Lawrence intended *Lady Chatterley's Lover* to be a serious exploration of the 'sacred nature of sex,' the novel's legacy has become inextricably linked to farce and cultural upheaval. Guy Cuthbertson’s new book, 'Lady C,' argues that the text created laughter not just through its explicit content, but through the absurdity of the reaction it provoked—from customs seizures to endless parodies. The novel’s journey from a literary taboo to a ubiquitous cultural touchstone offers a unique lens into the shifting moral landscape of the 20th century.The 1960 Trial and the VerdictThe legal battle over the book, Regina v Penguin Books in 1960, stands as a watershed moment in publishing history. The prosecution's attempt to ban the novel relied on a provocative question from Mervyn Griffith-Jones: 'Is it a book that you would even wish your wife or your servants to read?' The defense, bolstered by an impressive roster of witnesses including EM Forster and Rebecca West, successfully challenged the obscenity laws.The Jury's Role: Members of the jury spent a week reading the book at the Old Bailey before reaching a verdict that defied the judge's inclination.The Verdict: The acquittal was a landmark victory for literary freedom.From Courtroom to Commerce: The Cultural FootprintThe data surrounding the novel's release and aftermath reveals a staggering commercial and cultural penetration. The paperback edition did not just sell; it exploded.Sales Figures: The book sold approximately 2 million copies in its first run.Cultural Ubiquity: The title permeated every aspect of British life, from steam railway carriages to 'Lady Chatterley's Loofah' and 'Lady Chatterley's Pullover.'Celebrity Endorsement: The novel became a badge of cultural cool, endorsed by figures like David Bowie (who wore red trousers as recommended by the character Mellors) and Philip Larkin.Shifting the Moral Compass: From Sex to SensitivityThe impact of *Lady Chatterley's Lover* extends beyond the legal realm; it fundamentally altered the criteria for social acceptability. Cuthbertson notes that the offense has shifted over time. Where once the four-letter words and sexual candor caused outrage, modern readers are more likely to be offended by the novel's homophobic and antisemitic undertones. This shift highlights how the definition of 'obscenity' is fluid, moving from physical acts to social attitudes.Lady C as a Mirror of Social EvolutionLooking forward, Guy Cuthbertson’s work serves as a vital historical document. By framing the novel through the lens of social history rather than heavy moralizing, the book ensures that the legacy of the 1960s trial is preserved not as a relic of censorship, but as a testament to the resilience of free expression. The enduring presence of the book in modern media—from 'Mad Men' to film adaptations—suggests that its role as a cultural provocateur is far from over.

The Forbidden Garden: A Modern Reinterpretation of the ClergyChannel 4's new drama Falling introduces a provocative twist on the traditional period piece by centering on a forbidden romance between a nun and a priest. Set in a convent garden within a community plagued by social issues, the series follows Anna, played by Keeley Hawes, a woman who entered the order at 18 and has never known the outside world, and David, played by Paapa Essiedu, a younger, worldly priest with his own demons.Breaking the Wall: Humanizing the FaithfulThe series distinguishes itself by moving beyond the stereotype of the fanatical religious leader. Both actors emphasize the humanity of their characters—discussing mundane realities like buying socks and the physical toll of the job. A key narrative device is the concept of "jumping the wall," the difficult decision for nuns to leave the order, which Hawes researched extensively with an ex-nun. The show subtly explores how menopause acts as a catalyst for Anna's sudden desire and departure from her vows, adding a layer of biological realism to the spiritual conflict.A Timeless Ethereal: The Future of British DramaDespite the modern themes of desire and identity, *Falling* maintains a timeless, almost ethereal atmosphere. The absence of smartphones and athleisure clothing contributes to a liminal setting where the struggle between the "now" and "eternal souls" feels universal. As the industry moves toward more grounded, gritty portrayals of modern life, *Falling* offers a counter-narrative: a drama that is "good but not wet," balancing wholesomeness with complex, ardent passion.

The Evolution of Male Dance “We always thought BalletBoyz was a really stupid name. We wanted not to be BalletBoyz.” says William Trevitt, founder of the company called, guess what, BalletBoyz. It was the BBC that landed them with that tag, when then-Royal Ballet dancers Trevitt and Michael Nunn made a cheeky and revealing backstage documentary at London’s Royal Opera House. Breaking Down Barriers BalletBoyz is heading out on tour this month to celebrate its 25th anniversary. In those two-and-a-half decades, Nunn and Trevitt have done a lot for the image of men dancing (they have had women in their shows over the years, too, it must be said). It was never their intention to make a statement, it was always just about great dance, but still, here were two straight men who danced together – and later a whole company of young men – and commissioned a new repertoire that wasn’t about romantic partnering, but “two matching energies and exploring the balance between them”, as Trevitt puts it. The Data Analysis 227% rise in boys applying to the Royal Ballet’s Lower School from 1999-2000 intake to a peak just before Covid. 349% rise in girls applying to the Royal Ballet’s Lower School over the same period. 3 to 4% of candidates taking International Society of Teachers of Dancing (ISTD) exams identify as male. The Impact Analysis “It’s cool to dance now, isn’t it,” says Layton Williams, who was the ninth Billy Elliot on stage, and more recently a runner-up on Strictly with pro partner Nikita Kuzmin. “My nephew is dancing on TikTok with his mates, and he’s a proper lad.” The Prediction “There’s a persistent misconception that boys aren’t interested in dance, but we consistently see a strong appetite,” says Laura Nicholson from the industry body One Dance UK. With initiatives like BalletBoyz’s workshops in schools and the success of shows like Diversity on TV, it seems that the stigma around boys who dance may finally be shifting.

The Misstated Emissions Developers working for Google have significantly misstated how much carbon two proposed AI datacentres will contribute to the UK’s total emissions in planning documents reviewed by the Guardian. The tech company wants to build two huge datacentres – one 52-hectare (130 acre) project in Thurrock and another at an airfield in North Weald, both in Essex. To do so, developers are required to submit planning documents calculating how much carbon these projects will emit as a proportion of the UK’s total carbon footprint. The Calculation Error In both cases, they appear to have compared one year of the proposed datacentre’s emissions with the UK’s entire five-year carbon budget, understating the significance of their emissions by a factor of five, according to experts at the tech justice nonprofit Foxglove. Google's Thurrock datacentre claimed its emissions would amount to 0.033% of the UK’s budgeted carbon footprint between 2028 and 2032, but it will actually be 0.165% of the total. The North Weald datacentre said it would emit 0.043% of the UK’s total carbon budget from 2033 to 2037, but it will actually emit 0.215% of the total. The Impact Analysis These apparent misstatements are another example of a pile-up of faulty calculations surrounding AI development and its environmental footprint in the UK. The three developments will account for more than 1% of the UK’s carbon budget in 2033, equivalent to the emissions of a mid-sized city such as Bristol. The Prediction “Google has serious questions to answer about its dubious datacentre pollution figures,” said Tim Squirrell, the head of strategy for Foxglove. “Unless they can explain themselves, it looks like they are seriously misleading the council and the public over the climate pollution their facility will cause.”

The Concept of the Garden Stinging nettles, buttercups, broken crockery, fly-tipped flowers and a discarded gnome are not the usual hallmarks of an RHS Chelsea flower show garden. But this year’s On the Edge garden by Sarah Eberle – the most decorated designer at Chelsea – is designed not to look like a garden at all, rather to transport its visitors to the liminal spaces on the outskirts of towns where the countryside begins and nature is in critical need of protection. The Garden's Design and Features The garden is about the fringe lands of towns and cities – and how vulnerable they are to development. There is very much a feel of the countryside to it, but with a town edge coming in, in its plant material. Right at the front is its centrepiece: a fallen mature tree sculpted into a reclining female figure by the chainsaw carver Chris Wood, “a mixture of stone and timber carved from a sequoia that’s fallen on this piece of edgelands”. The Symbolism of the Sculpture The sculpture, which represents Mother Nature or Gaia, the Greek goddess of the Earth, is intended to evoke the peacefulness and vulnerability of green belts and other countryside that surround urban centres. Its arm touches rainwater collected in a gravel pool and its willow hair flows into a dry stone wall that winds through a landscape dotted with native trees such as hornbeam, field maple and hawthorn. The Planting Scheme The planting scheme includes lots of wildlife-friendly native plants that are typically viewed as weeds, such as buttercup, wild strawberry, purple foxglove, cow parsley and stinging nettles. “There is beauty in our ordinary, native landscapes and the plants you find there – and a weed is only a plant in the wrong place,” said Eberle. The Impact of the Garden Eberle hopes the garden will help to convey how fragile, scrappy patches of countryside on the edges of towns and cities can serve as important sanctuaries for wildlife and urban communities. “If we look after these spaces, they can be good for nature and good for people,” she said.

The US Shift on Hormuz and Nuclear Talks The United States Navy began escorting commercial vessels through the Strait of Hormuz on Monday morning, only to pause the operation by Tuesday afternoon. President Donald Trump announced the reversal on Truth Social, citing the 'request of Pakistan and other Countries' and 'great progress' towards a 'complete and final agreement' with Iran. Iran's Core Demand For weeks, Iran has been demanding multistage negotiations, with a preliminary deal aimed at ending the war, and negotiations on the White House's demands that Tehran end its nuclear programme pushed for later. The US appears to have come around to accepting Iran's demand, with a one-page MoU to end the war close to being agreed upon. The Data Analysis The shift in the US approach reflects a sober reassessment in Washington of what is achievable. Seyed Mojtaba Jalalzadeh, an international relations analyst based in Tehran, said the week's diplomatic signals indicated a viable first step to solve the immediate problem. Iran's 14-point proposal to end the war includes lifting the US naval blockade, releasing frozen Iranian assets, and paying reparations. The US and Iran are close to agreeing to a one-page MoU to end the war. The Impact Analysis The central question is whether the US has, implicitly, accepted Iran's core demand: end the war and settle the Strait of Hormuz first, with the nuclear programme to follow. This marks a significant shift from March, when the US outlined four objectives, including destroying Iran's ballistic missile capabilities and ensuring Iran never obtained a nuclear weapon. The Prediction Significant gaps remain, including the definition of 'opening the strait' and the new mechanism governing the Strait of Hormuz. However, the converging deadlines, including the upcoming Hajj pilgrimage and the summit between Trump and President Xi Jinping, make some form of agreement more likely.

Marco Rubio announced on Tuesday that Operation Epic Fury – the joint U.S.-Israel campaign launched on 28 February – has met its objectives and is now over, signalling a shift toward a negotiated settlement. At the same time, President Donald Trump confirmed that the naval escort effort known as Project Freedom, intended to keep commercial vessels moving through the Strait of Hormuz, has been temporarily paused pending progress in talks with Tehran.The Official Declaration: Rubio Announces End of Operation Epic FuryIn a White House briefing, Rubio stated, “The Operation Epic Fury is concluded. We achieved the objectives of that operation,” and added that the administration now prefers “the path of peace.” He referenced ongoing back‑channel talks facilitated by Pakistan and noted that both sides have submitted fresh proposals since the last round in Islamabad.Contrasting Signals: Trump’s Pause on Project FreedomTrump told reporters that Project Freedom was halted “based on the request of Pakistan and other countries” and because “great progress has been made toward a complete and final agreement” with Iran. The operation, launched on 4 May, was designed to escort merchant ships through the Strait of Hormuz, a chokepoint that carries roughly 20 % of the world’s oil and LNG shipments.Key Numbers and Timelines28 Feb 2026 – Operation Epic Fury begins.4 May 2026 – Project Freedom launched.5 May 2026 – US imposes naval blockade on Iranian ports.6 May 2026 – Rubio declares Epic Fury concluded; Trump pauses Project Freedom.~20 % – Share of global oil/LNG transiting the Strait of Hormuz.Geopolitical Ripple Effects Across the Gulf and Global Energy MarketsThe abrupt policy shift has sparked mixed reactions. Analysts at the Royal United Services Institute warn that the pause reflects “frantic diplomatic back‑channeling” aimed at extracting deeper nuclear concessions from Tehran. Meanwhile, Iran’s Revolutionary Guard Corps has threatened to fire on any ship entering the strait without permission, raising concerns about a renewed blockade that could further depress Iranian oil revenues and destabilise regional markets.UAE officials have already accused Iran of striking the Fujairah port, intensifying fears of a broader confrontation that could involve additional Gulf states.Scenarios for the Next Phase of US‑Iran DiplomacyExperts outline three likely pathways:Negotiated Settlement: Continued pauses in military operations create space for a comprehensive nuclear deal, potentially lifting sanctions and ending the blockade.Limited Escalation: If talks stall, the U.S. may resume Project Freedom at a higher intensity, while Iran could increase IRGC naval activity.Stalemate: Both sides maintain a fragile cease‑fire, using diplomatic rhetoric to manage domestic audiences without achieving a lasting resolution.Given the domestic pressure on both Washington and Tehran, the next few weeks will be critical in determining whether the war truly ends or merely enters a prolonged diplomatic limbo.