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The Transformative Night in Blackpool Bronzed, with winged tips and doused in Le Male, I clamped the baby pink GHDs to my hair until they sizzled and singed it. Emerging from a cloud of cheap hairspray, I was ready for the dancefloor. I was 18 and had grown up in Blackpool, a place synonymous with hedonism and fun. I came out in high school at the age of 14 and from 16 I studied performing arts at a local college. Underage, I was smuggled into clubs and in my spare time I watched shows in our many beautiful theatres. The bright lights of the illuminations, the showgirls, the feathers, sequins and rhinestones were intoxicating. Blackpool really was – and still is – extraordinary. When the bar closed, a new adventure would begin. One night, as the sun was coming up (and as was I), a drag queen took me back to her place. I didn't know the significance of what I was about to experience, but I was to receive an education no university course could ever match. The drag queen was a Liza Minnelli tribute act. She knew every beat of every Liza film, every concert, every move of choreography. She performed as Liza in all the bars around town. Now I was ordained by being welcomed into her home. This moment could be the plot of a movie with Blackpool as a beautiful backdrop to my coming out/coming-of-age fantasy The Muppet Show That Changed Everything Was I ready to be indoctrinated? Very. She led me to the living room for a VHS screening of what I was told was one of Liza's finest performances. I was expecting Cabaret, the winner of eight Academy Awards, but not on this occasion. She sat me on the sofa and played Episode 414 of The Muppet Show from 1979, with special guest the one and only Liza Minnelli. The premise works so beautifully for exactly the same reason that The Muppet Christmas Carol is so beloved. In that film, Michael Caine gives the performance of his life in a movie almost entirely populated by felt characters, and in her guest episode Liza matches him in commitment. Take the musical number Copacabana she performs: the curtain goes up and Liza is smoking. She is the narrator, the storyteller, in a Funny Face-esque black polo neck that gives a real sense of gravitas to those Barry Manilow lyrics. Moments later, she is Lola, dancing with human-sized muppets. Or in another scene Liza holds Kermit while they sing A Quiet Thing together. Their connection is pure and tender, a thing of simplicity and gentleness. A Career Born from Inspiration As I reflect on this story nearly 20 years later, I am now 10 years sober and while life might well be a cabaret, the decadence of my early youth is firmly in the past. But I think back to this moment, which could be the plot of a movie with Blackpool as a beautiful cinematic backdrop to my coming out/coming-of-age Technicolor fantasy. I didn't know at the time, but this incident set me on the path to my current profession. Four years later, in 2011, I started making cabaret performances in south London at the famed Royal Vauxhall Tavern at nights such as Duckie, where my turns were packed full of wigs and jockstraps, fake blood and mascot costumes. In 2015, I joined the international circuit when I became part of big touring pieces of variety and circus spectacle, showing off in the US, Australia, New Zealand and London's glittering West End. I once performed a 107-hour durational piece in drag at Glastonbury and at the Adelaide fringe, as a teenage girl who wouldn't leave her bedroom. A Lifelong Dedication to Liza's Legacy Ever since that fateful night back in Blackpool in the 2000s, Liza has been a hero of mine. I saw her live in concert at the Royal Festival Hall in London in 2013. I have a Liza tattoo on my right thigh. Back in 2019, I did an eight-hour performance in an old deconsecrated church in Brighton, dressed as Liza Minnelli, performing her album Results in full, emulating through endurance art Liza's beautiful commitment to performance. Pet Shop Boys, who produced Liza's Results album, even heard about what I was up to and said my performance sounded great. The Enduring Impact of a Single Performance And if you ever see one of my shows, please understand that the technical foundation of my performances isn't drama school training or Stanislavski; it's Liza on The Muppets. Truth be told, I don't know where the drag queen in the story is now. I hope she's OK, but if I did see her I'd say: "Thank you for changing my life." Harry Clayton-Wright's show Mr Blackpool is at the Grand theatre, Blackpool, 20 May.

The Eurovision Song Contest Grand Final 2026The 70th year of the Eurovision Song Contest will see 20 acts perform at the Wiener Stadthalle arena in Vienna. Spain, Iceland, Ireland, the Netherlands, and Slovenia are not participating due to Israel's participation. Graham Norton provides commentary, and the UK's entry is electro act Look Mum No Computer with the song Eins, Zwei, Drei.Britain's Got TalentThe fourth semi-final takes place tonight on ITV1, featuring acts like Mizuki the aerialist, Mega Unity dance squad, and 17-year-old harpist Niamh.World's Most Secret HotelsChannel 4 showcases unique getaways, including a sea-view hotel in Hamburg made from a freight crane, a wagon retreat in Utah, and a land-bound submarine-cum-hotel in the Scottish Highlands.Royal Peacemaker: Sophie, Duchess of EdinburghChannel 5 profiles Sophie, Duchess of Edinburgh, highlighting her rise in the House of Windsor and her ability to navigate royal challenges.Monsieur SpadeU&Drama; airs a crime drama starring Clive Owen as detective Sam Spade, investigating a murder in 1963 France.Saturday Night Live UKSky One's variety show concludes with a celebratory episode, featuring Ncuti Gatwa and music from Holly Humberstone.Film ChoicesDisney+ offers 'The Testament of Ann Lee,' a historical biopic and folk musical about the founder of the Shakers Christian sect. BBC Four airs 'The Teachers' Lounge,' a German drama exploring issues in a school.Live SportTonight's live sports include the Scottish Premiership Football match between Celtic and Hearts on Sky Sports Main Event, and the FA Cup Final between Chelsea and Man City on BBC One.

Erling Haaland's Acting Debut Manchester City striker Erling Haaland is to make his feature acting debut, in an animated film as the voice of a Viking – called Haaland. The Film Details According to the Hollywood Reporter, the Norwegian international is to play “an animated version of himself” in Viqueens, directed and co-written by Harald Zwart, the Dutch-Norwegian director of The Karate Kid and Agent Cody Banks. The Film's Plot The film’s IMDB synopsis describes Viqeens’ storyline thus: “To return a stowaway, two courageous Viking girls go from Norway to China. Discovering secrets, becoming proficient with dragon kites, fireworks and kung fu, and realising that friendship’s gifts surpass anything taken from adversaries.” The Director's Perspective Zwart said: “Erling has already become a kind of real-life Viking icon around the world – powerful, fearless and uniquely Norwegian. Bringing him into this universe as himself gives the film an unexpected energy and authenticity that felt completely right for this story.” The Film's Cast Zwart has already secured musician Rita Ora and Yellowjackets’ Ella Purnell as its leads, named Hedvig and Ingrid, as well as chatshow host Alan Carr in a smaller role as “a lyrically challenged royal scribe”. Haaland's Current Form Haaland, who joined Manchester City in 2022 from Borussia Dortmund, is leading the race for the Golden Boot, having scored 26 goals so far in the 2025-26 Premier League season. The Film's Release Viqueens is due for release around Christmas.

Lead: The London cinema in Soho became a focal point for a new wave of Jewish dissent as the documentary Planet Israel: A Cautionary Tale screened on the eve of Nakba Day, exposing fractures in British Jewish opinion about Israel’s actions in Gaza and the broader national narrative. The London Screening that Amplifies Dissenting Jewish Voices The film, directed by Gillian Mosely, blends interviews with historians, rabbis and everyday Israelis to examine how trauma, nationalism and militarisation shape Israeli society after the October 7 attacks. Audience members, including Holocaust survivor Stephen Kapos, reacted viscerally to the film’s sound design and AI‑assisted animation, underscoring the urgency of the conversation. Polling Reveals Deepening Rift Within Britain’s Jewish Community 40% of British Jews say Israel’s conduct in Gaza has weakened their attachment to the country. More than 33% no longer identify as Zionists. Only 12% express approval of Prime Minister Benjamin Netanyahu. These figures come from the Institute for Jewish Policy Research, indicating a measurable shift in sentiment that aligns with the documentary’s themes. Shifting Discourse: From Zionist Consensus to Critical Debate New publications such as Israel: What Went Wrong? by Omer Bartov and Here Where We Live Is Our Country by Molly Crabapple echo the film’s questioning tone. The Movement for Progressive Judaism, representing roughly a third of UK synagogues, has framed criticism of Israeli policy as a “Jewish obligation,” warning that current political directions may clash with core Jewish values. Future Trajectories: How Jewish Critique May Reshape Israeli and Global Politics Historians like Avi Shlaim argue that the growing “crisis between Israel and world Jewry” could pressure Israeli leadership to reconsider its narrative and policies. If the trend continues, political parties in the UK and the United States may feel compelled to adjust their stances on Israel, while Israeli civil society could see increased internal debate and potential policy reforms. Mosely concludes that while politicians are slow to respond, the cultural shift sparked by documentaries, books and grassroots activism may eventually force a realignment of public consensus on Israel’s role in the region.

The Artist's Background and Achievements At 29, Rene Matić is the youngest ever person to win the £30,000 Deutsche Börse Photography Foundation prize. They were nominated for their solo exhibition As Opposed to the Truth at CCA Berlin – there is currently a much smaller reconfiguration representing part of the show at the Photographers' Gallery in London. Matić was also the youngest artist ever to be nominated for the Turner prize last year. Notable Works and Artistic Approach There are things I like about Matić. I like the way they challenge what counts in life and art, and what counts as British. Their 2022 work, Upon This Rock – a photographic installation and a film exploring the artist's father, Paul, and his involvement with the skinhead movement – felt like it was breaking new ground, conceptually and materially. Matić's yearning to understand masculinity and fatherhood as forces shaping national identity, and the way they incorporate new stories into the folds of Britain's historical fabric, felt original and exciting. Prize Recognition and Its Significance The Deutsche Börse Photography Foundation prize is one of the most prestigious awards in contemporary photography, carrying a £30,000 prize. Matić's win at such a young age marks a significant moment in the art world, particularly as they identify as a queer, working-class person of colour. The fact someone from this background won this award is good as a statement for what the Deutsche Börse prize can stand for in terms of diversity and representation. Critical Assessment of Current Exhibition Yet a lot of Matić's other work doesn't feel mature enough for the photographer to have taken the prize so early in their career. The installation Feelings Wheel, a series of diaristic snapshots which is shown at the Photographers' Gallery, feels like something you'd paste on your wall or Tumblr at university. They are pretty mediocre pictures, safe from Instagram censorship, and arranging them in Perspex doesn't make them more interesting. I find there is an annoying insularity, a sense of preaching to the converted, whereas the most effective art builds bridges between artist and viewer, allowing people who aren't part of the gang to understand it and be moved by it, too. Comparisons to Influential Photographers Too often, Matić's images are only made interesting by the different ways they display them in assemblages, spatial and sculptural configurations. Their work draws comparisons with Wolfgang Tillmans or Nan Goldin, who both photographed their own subcultures and communities, but with more edge and verve. With slideshows to music (in the case of Goldin's The Ballad of Sexual Dependency) and multi-format installations responding to the space (Tillmans), both photographers cast aside the traditional focus on a single image, creating new ways of looking at multiple photographs that Matić adapts but doesn't quite move forward. Broader Implications for Contemporary Photography There's nothing wrong with art that focuses on identity – especially identities that have been consistently erased and ignored in this country. But based on what Matić has done for photography, I don't think they should have won. Autobiography can't be the only thing a work has to offer. I am not sure what's really radical or nuanced about Matić's photographs of flags and tattoos, or people kissing at Glastonbury. At times, the vulnerability and compassion seems performative rather than sincere, and there's not enough tension – questions in the work for the viewer to resolve. The Future of Matić's Artistic Development Leaving the exhibition, I felt flat – though there are ideas, they need more time to percolate. What this win seems to tell us about photography now is that how you market yourself is possibly more important than the work you make. Matić clearly has potential, as evidenced by their more conceptual works like Upon This Rock, but the current exhibition suggests they may have been recognized before their artistic voice has fully developed. The challenge for Matić will be to build on the conceptual foundations of their strongest work while developing a more distinctive photographic language that doesn't rely solely on presentation techniques to generate interest.

Runway, the New‑York‑based AI video‑generation startup valued at $5.3 billion, announced a strategic shift toward building “world models” – AI systems that learn from observational video data – positioning itself directly against Google’s Genie and other deep‑pocketed rivals.Runway's Pivot from Video Generation to World ModelsFounded in 2018 by three NYU Tisch alumni—two from Chile and one from Greece—Runway first gained traction with its Gen‑4.5 video‑generation model, powering workflows for Lionsgate, AMC Networks and the film Everything Everywhere All At Once. In December 2025 the company released its first world model and plans a second launch within the year, aiming to create AI that “understands how the world works” rather than merely processing text.Co‑founders: Anastasis Germanidis (co‑CEO), Cristóbal Valenzuela (co‑CEO), Alejandro Matamala‑Ortiz (Chief Innovation Officer)Current footprint: 155 employees across New York, London, San Francisco, Seattle, Tel Aviv and TokyoKey product evolution: from “anyone a filmmaker” to “anyone a great filmmaker” and now to “AI that can simulate reality”Funding Milestones and Revenue GrowthRunway’s capital raise and revenue trajectory underscore the high‑stakes nature of the world‑model race.Total capital raised: $860 millionLatest round (Feb 2026): $315 million from strategic partners including AMD Ventures and NvidiaValuation: $5.3 billionAnnual recurring revenue (Q2 2026): $40 million addedCompetitor funding: Luma AI ($900 million), World Labs ($1.29 billion), OpenAI (~$175 billion), Alphabet (parent of Google) $4.86 trillionImplications for Hollywood, Robotics, and Drug DiscoveryThe shift to world models could ripple across several high‑impact sectors.Media & Entertainment: Faster, AI‑driven editing and content creation for studios and ad agencies.Robotics & Gaming: Simulated environments for training autonomous agents without costly physical trials.Life Sciences: Potential to accelerate drug discovery and climate modeling by running “digital twin” experiments.Runway’s recent robotics unit already reports real‑world deployments, hinting at cross‑modal applications that combine video, sensor and textual data.Future Outlook: Can Runway Outpace Deep‑Pocketed Rivals?Experts agree that scaling world models will hinge on compute access and sustained funding.Compute challenge: Need for dedicated large‑scale GPU clusters; Runway currently partners with CoreWeave and Nvidia but has not disclosed dedicated capacity.Competitive pressure: Google’s Genie model, Meta’s research, and well‑funded startups are all pursuing similar multimodal AI.Strategic advantage: Founder diversity and a scrappy, revenue‑first culture may allow Runway to iterate faster than Silicon‑Valley incumbents.If Runway can translate its video‑generation dominance into robust world models, it could become a foundational AI infrastructure provider. Failure to secure the required compute or to demonstrate clear cross‑industry value could see it eclipsed by better‑funded rivals.

The LeadHoward Ashman and Alan Menken's cult musical Little Shop of Horrors receives a solid production from Northern Stage and Derby Theatre that embraces its B-movie roots while introducing pioneering accessibility features through creative captioning. The production balances kooky romance with doo-wop musical numbers, though it scales back some of the original's darker elements.The B-Movie ProductionDirected by Sarah Brigham, this production deliberately maintains the low-budget aesthetic from Roger Corman's 1960 film, which is considered core to the musical's charm. The story follows Seymour, a struggling florist whose fortunes change when he discovers a mysterious, bloodthirsty plant named Audrey II. While the production is solid, it's not described as sparkling, with humor and sensitive elements like Audrey's domestic abuse being toned down compared to previous versions.Pioneering Accessibility Through Creative CaptioningWhere this production truly innovates is in its use of creative captions designed by Ben Glover—a still-rare feature in UK theatre. Rather than simply providing accessibility, Glover incorporates the captions into the fabric of the show, using chunky, horror movie-style lettering and cartoonish speech bubbles that appear on screens behind the action. This approach makes the staging both accessible and entertaining, enhancing rather than distracting from the performance.The Split Performance of Audrey IIA key creative decision in this production is the split portrayal of Audrey II, the carnivorous plant that grows from a small bud into a monstrous entity. Tasha Dowd provides soulful vocals from off-stage while Ross Lennon operates the increasingly bulbous foam puppet from within. This dual approach allows for both vocal performance and physical manipulation, creating a unique interpretation of this iconic character.Visual Design and Musical PerformanceDesigner Verity Quinn employs a color palette referencing the flesh-eating flytrap, with petal pink and stem green elements appearing in costumes, the flower shop set, and the street beyond. The cast of actor-musicians delivers broad New York accents to the doo-wop and rock'n'roll favorites. Kristian Cunningham's Seymour channels Rick Moranis's 1986 film portrayal, while Amena El-Kindy's Audrey presents a less wispy interpretation than Ellen Greene's original film version. Their duet 'Suddenly, Seymour' showcases powerful vocal performances as they break through their timidity.The Future of Accessible TheatreThis production of Little Shop of Horrors demonstrates how accessibility features can be integrated into theatrical storytelling without compromising artistic vision. The creative captioning approach by Ben Glover sets a precedent for future productions seeking to make theatre more inclusive while maintaining its unique magic. As UK theatre continues to evolve, innovations like this may become more commonplace, expanding audiences and redefining how stories can be experienced.

The Resilience of a Russian Auteur in ExileDirector Andrey Zvyagintsev has defied the odds to return to the international stage. After a year-long ordeal with severe Covid-19, he is premiering his new film, 'Minotaur,' at Cannes, symbolizing the endurance of artistic expression despite personal and political adversity.Surviving the Pandemic: A 90% Lung Damage BattleZvyagintsev’s journey back to health was arduous. Stranded in a clinic in Hanover, Germany, he faced a critical health crisis.Physical Toll: Suffered from 90% lung damage and was unable to move or feel his limbs for months.Duration: Spent a total of 11 months in various hospitals.Emotional Impact: Learned of the invasion of Ukraine while paralyzed and bedridden, experiencing deep despair.Despite the paralysis, he managed to channel his anguish into his work, relearning to walk and hold a spoon before returning to film-making.The Economic and Geopolitical Cost of Artistic SilenceZvyagintsev’s nine-year absence from cinema represents a significant void in the global film landscape. As a director whose work often critiques Russian state oppression, his silence during the war in Ukraine was felt keenly by critics.Exile: He has chosen to live in France, the country that cemented his reputation with 'Leviathan' in 2014.Political Stance: His films, such as 'Leviathan' and 'Loveless,' have been interpreted as allegories for the apathy and oppression under the Putin regime.Industry Impact: Julian Graffy noted that the loss of his voice has been the most keenly felt among the new wave of directors.Cannes as a Safe Haven for Dissident VoicesThe Cannes Film Festival serves as a crucial platform for Zvyagintsev, allowing him to bypass the censorship and restrictions of his home country. His return to the red carpet is not just a personal victory but a statement on the resilience of culture.Competing for the Palme d'Or against heavyweights like Pedro Almodóvar and Asghar Farhadi, Zvyagintsev's presence underscores the festival's role in amplifying voices from regions under political duress.The Future of Russian Cinema in the WestZvyagintsev’s return suggests a potential resurgence of Russian cinema outside of Russia. As artists face the choice between exile and silence, the international community becomes the new stage for their narratives.With 'Minotaur' premiering, the industry watches to see if this comeback will translate into critical acclaim and whether it will inspire other Russian artists to continue their work on foreign soil.

Top Picks in Crime and Thrillers A selection of standout crime and thriller novels reviewed recently. Honey by Imani Thompson Honey by Imani Thompson (Borough, £16.99) centres on Yrsa, a young Black woman studying for a sociology PhD and teaching undergraduates at Cambridge. Irritated by her solipsistic, over-privileged students and tired of situationships, she’s fed up with life, and men in particular. Her first killing – that of a much older supervisor who reneges on his promise to leave his wife for a colleague, and steals her research in the process – is an accident, but Yrsa, who has catastrophically poor impulse control, enjoys the sensation and, more importantly, gets away with it. Quite Ugly One Evening by Chris Brookmyre Quite Ugly One Evening by Chris Brookmyre (Abacus, £22) features journalist Jack Parlabane, now 60, who feels increasingly like a “Boomer Ambassador” to the younger colleagues who are snapping at his heels. With his job on the line, he agrees to investigate a cold case: the death, 40 years earlier, of an MI5 operative. The Final Chapter by CB Everett The Final Chapter by CB Everett (Simon & Schuster, £18.99) is a metafictional tour de force: the story of literary superstar Jon Durward, who achieved critical acclaim, commercial success, well-regarded film adaptations and a Booker prize before he mysteriously disappeared in 2009. The Hollow Boys by Tariq Ashkanani The Hollow Boys by Tariq Ashkanani (Viper, £18.99) is set in Appalachia, a prize-winning Scottish author’s latest novel and a masterpiece of smalltown horror. The town of Aurora seems doomed – blighted by poverty, drug addiction, diseased crops, a mysterious beast that slaughters dogs and an underground coal seam fire that grows ever closer. Shrink Solves Murder by Philippa Perry Shrink Solves Murder by Philippa Perry (Hutchinson Heinemann, £18.99) features therapist Patricia Phillips, who lives on East Sussex’s South Downs with Dave the cat, and swims in the sea every morning. When her client Henry Clayton’s body is found below cliffs near the notorious suicide spot Beachy Head, the police assume he has taken his own life.