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The Growing Concern in French Cinema More than 600 cinema figures have signed an open letter warning that the growing influence of the far right on French cinema production risks turning into a "fascist takeover of the collective imagination." Published in the newspaper Libération to coincide with the opening of the Cannes film festival, the letter specifically targets billionaire Vincent Bolloré's dominant position in French film production and distribution. The Power of Vincent Bolloré's Media Empire Bolloré, a conservative industrialist with powerful media connections, controls Canal+ and its in-house production operation, StudioCanal, which is Europe's leading film and television production and distribution group. His recent films include the Amy Winehouse biopic "Back to Black" and "Paddington in Peru." The letter expresses alarm that Canal+ has taken a stake in UGC, the third-biggest network of French cinemas, with a view to fully owning it in 2028. The Political Landscape and Its Cultural Impact The protest comes amid rising influence of Marine Le Pen's far-right National Rally (RN) in French politics, with uncertainty about potential funding cuts to the arts. MPs for the RN have questioned the model of public funding and tax breaks that bolster the film industry through the Centre National du Cinéma (CNC). The party has also been highly critical of France's public broadcaster, France Télévisions, which is a key financier of film, drama and documentaries. Industry Response and Future Concerns This protest follows similar actions by writers who quit the publishing house Grasset in protest against Bolloré's control of its parent company, Hachette Livre. The film industry figures fear that Bolloré might take advantage of his dominant position to influence film content, warning that "the only thing still being financed will be propaganda films that serve an ideology." They called on the wider film industry "to build a movement" that would defend independence. The Broader Implications for French Culture The unprecedented concentration of the financing chain in the hands of Vincent Bolloré gives him total liberty of action when the moment comes, according to the letter. The protest highlights growing concerns about the intersection of media ownership, political influence, and cultural production in France, particularly as the country approaches a presidential election where the far-right is polling strongly.

Stormzy has announced his role as executive producer on a forthcoming biopic about former Arsenal, Crystal Palace and England striker Ian Wright, signalling the rapper’s expanding footprint in the film industry. Stormzy Joins Forces with Tom Wilton to Bring Ian Wright’s Story to the Screen The feature, currently in development, will be written and directed by Tom Wilton, who grew up on the same Brockley housing estate as Wright. Merky Films, Stormzy’s production company, will co‑produce the movie. In a statement the creators described Wright’s journey as “a deeply moving story of heart‑ache, determination and unbelievable triumph” that reflects the experience of a Black British boy born to first‑generation Caribbean immigrants. Career Milestones and Numbers That Shape Wright’s Narrative Debut for Crystal Palace in 1985 at age 22. Scored two goals in the 1990 FA Cup final. Joined Arsenal in 1991 and became the club’s all‑time leading scorer until surpassed by Thierry Henry. Recorded nine goals in 33 appearances for the England national team. Retired from professional football in 2000 and transitioned to media work. Why the Wright Biopic Matters for British Culture and Representation The film spotlights several under‑explored themes: the legacy of the Windrush generation, the socioeconomic realities of South London, and the broader narrative of Black British achievement in sport and media. By foregrounding Wright’s personal story, the project aims to provide “hope and joy” to audiences, echoing the rapper’s own comment that Wright’s journey “goes far beyond football – it’s about resilience, family and believing in yourself against the odds.” What the Film Could Signal for Future Sports Biopics and Merky Films’ Trajectory If successful, the biopic may encourage more collaborations between music artists and the film sector, especially for stories that blend sport, culture, and social history. For Merky Films, it follows the short‑film The Big Man and could cement the company’s reputation for championing diverse British voices. Industry observers predict a surge in similar projects that celebrate Black British icons, potentially reshaping the UK biopic landscape over the next few years.

GameStop announced a surprise $55.5 bn bid for online marketplace eBay, but the eBay board rejected the proposal, describing it as “neither credible nor attractive.” The decision follows a sharp drop in GameStop’s share price and unanswered questions about how the retailer would fund the deal.eBay Board Rejects GameStop’s $55.5bn Takeover OfferThe eBay board, led by chair Paul Pressler, issued a letter to Ryan Cohen stating that the proposal was reviewed and ultimately declined. Pressler cited uncertainty around GameStop’s financing, borrowing capacity, and operational risks of a combined entity.Valuation Gap Highlights Funding ShortfallOffer price: $125 per share, total $55.5 bneBay valuation: $46 bnGameStop market capitalisation: roughly $12 bnCash on hand pledged: $9.4 bnPotential debt financing: $20 bn from TD SecuritiesFunding shortfall: about $16 bn relative to the offer amountStrategic Stakes and Market Repercussions for Gaming and E‑commerce SectorsGameStop has already built a 5% stake in eBay and argues its 1,600 remaining stores could provide a “national network for authentication, intake, fulfilment, and live commerce.” However, eBay is pursuing its own growth strategy, notably the acquisition of the fashion resale app Depop for $1.2 bn to attract younger consumers. The rejection underscores the widening gap between a meme‑stock‑driven retailer and a mature online marketplace.What Lies Ahead for GameStop and eBayCohen has signalled willingness to launch a hostile bid and take the offer directly to eBay shareholders if the board remains uncooperative. Meanwhile, eBay’s focus on expanding its fashion‑forward portfolio suggests it will continue to prioritize organic growth and strategic acquisitions over a merger with a financially constrained GameStop. The next weeks will likely see heightened shareholder activism and further clarification of GameStop’s financing plan.

The Rise of a Culinary PioneerIn Japan, the sushi bar where the chef chops fish for the clientele is a kind of stage. In which case all the world's a sushi bar for Nobuyuki Matsuhisa, whose deluxe Nobu chain has taken root in dozens of cities across the globe. Matt Tyrnauer's documentary charts the rise of this affable but restless pioneer, motivated since the start of his career to break out of insular Japan and shake up its cuisine.Innovative Culinary PhilosophySignature dishes like his iconic black cod with miso – made with Alaskan sablefish – or Peruvian-influenced yellowtail sashimi with jalapeno veer well off the sushi-restaurant template. But don't call it fusion, Tyrnauer's film says early on; it's still Japanese food, just open to foreign ingredients and techniques.From Japan to Global SuccessAfter a rocky start in life, in which a young Matsuhisa was placed on probation after reckless driving, he got "lost in sushi." After stints in Peru and Alaska, it was setting up Matsuhisa restaurant on Los Angeles' La Cienega Boulevard that made his name, introducing a sense of the unexpected and the lavish to the burgeoning western yen for sushi.The De Niro PartnershipRobert De Niro was one convert, making an offer to set up a New York branch that Matsuhisa refused; it was something he felt he wasn't ready for. Several years on, they finally partnered to set up the first of the eponymous eateries. One of De Niro's acquaintances questioned how Matsuhisa could be a master if he just had to chop raw fish. "Nobu wouldn't like to hear you say that," was the actor's testy reply.Personal Struggles and Culinary PerfectionismThis docu-portrait reveals telling vignettes in the second half. One is Matsuhisa hauling the Los Cabos hotel staff over the coals for sloppy preparation of his dishes; the other is De Niro shooting down another partner's ill-fitting ideas for new Nobu locations. Both testify to the difficulty of maintaining a coherent culinary and brand culture in globalised ventures; Matsuhisa does indeed seem to supply a Japanese aestheticism and rigour at the centre of things.The Cost of SuccessOne colleague suggests his sensitivity to failure is also very Japanese: he came close to suicide after his Alaska restaurant burned down and is haunted by a feeling of responsibility for the suicide of his best friend. But having lost his father traumatically early, it's just as likely this anxiety is personal. Either way, it's clear that this sensitivity paid off in the kitchen.

The Film's Unique Narrative Structure Directed by Patrick Leung, Ciao UFO is a Hong Kong drama that employs a non-linear narrative, jumping between different time frames. The film follows a group of childhood friends as they grow up in a working-class Hong Kong housing estate. The Story of Friendship and Growth The story centers around four kids: Kin, Heem, Hoyi, and Little Brother, who share a life-changing experience in 1985 when they see a UFO in the sky. As they grow up, their paths diverge, with each character pursuing different goals and facing various challenges. The Impact of Hong Kong's Changing Landscape The film is set against the backdrop of Hong Kong's transformation, particularly the 1997 handover to China. This significant event serves as a pivotal moment in the characters' lives, influencing their decisions and futures. A Blend of Realism and Melodrama Ciao UFO is not a sci-fi film, but rather a multi-stranded realist drama that explores the complexities of human relationships and the city's evolution. The film features a cast of colorful characters, including a spaced-out uncle and a superstitious grandfather. A Long-Awaited Release Despite being made in 2019, Ciao UFO is only now receiving an international release due to distribution issues. The film still feels fresh and relevant, particularly in today's volatile economic climate.

Theatre Review: Sunset Boulevard: The Backstage Cut Over the past decade, Morag Fullarton has been developing a popular line in bijou Hollywood adaptations. With a camp flourish and a multitasking cast, the writer and director has boiled down favourites including Casablanca and It’s a Wonderful Life. She last had a crack at Sunset Boulevard, then billed as a “lunchtime cut”, in 2015 at Glasgow’s A Play, a Pie and a Pint, the company she went on to co-run for four years. The Event Details Now associate director at Perth, she has reunited the fine four-strong company who went down so well the first time around, worked in an extra 20 minutes of material and given it a handsome main-stage production. But for all its strengths of mimicry and its affection for Billy Wilder’s 1950 original, it is a show severely lacking in purpose. The Performance Analysis Caught like a fly in Norma’s web, John Kielty captures the brashness and vulnerability of skint screenwriter Joe Gillis, fated to end up face-down in his employer’s pool. Frances Thorburn, also acting as narrator to help skip through the scenes, is a bright-eyed Betty Schaefer, the script reader, turning Joe’s head and showing a keen ear for snappy Hollywood dialogue. Mark McDonnell is masterfully dry as butler Max and in other roles. The Impact Analysis But seen in this context, the play offers little of its own. It is not pastiche, parody, reimagining or commentary. Instead, it is a faithful and rather pointless rendition of a film that, inevitably, does the same job better. The Prediction The play will run at Perth theatre until 16 May. Whether it will find its purpose then remains to be seen.

The new BBC Two documentary Children of the Blitz brings together the last surviving witnesses of Britain’s wartime bombing, delivering a moving, unflinching portrait of childhood under fire.Documentary Captures First‑Hand Voices of Blitz SurvivorsDirected to mark the 85th anniversary of the Blitz’s end, the film follows interviewees from Liverpool, Coventry, Cardiff and Sheffield as they recall daily life, loss and the strange normality that followed nightly raids. Their stories are interwoven with present‑day scenes of grandchildren, yoga classes and quiet moments, underscoring how the past still shapes their identities.A Century‑Old Witnesses: Ages, Reach and Broadcast DetailsInterviewees range from 100‑year‑old Ernie Gaskell to survivors now in their late 80s.Filmed across multiple UK cities, the documentary aired on BBC Two on 12 May 2026 and is available on iPlayer.Running time: 60 minutes, featuring over 30 individual testimonies.Reframing the “Blitz Spirit” for Modern AudiencesThe programme questions the myth of a stoic, unbreakable national character, revealing instead a coping mechanism born of psychological crisis. Voices like Monica White and David Rawdon describe a forced silence that mirrors today’s war‑zone children in Gaza, Ukraine and Sudan, linking historic trauma to contemporary conflict.Why Wartime Oral Histories Will Remain VitalAs the final generation of eyewitnesses passes, the film serves as a crucial archival record. Its intimate approach suggests future documentaries will increasingly rely on personal narratives to humanise large‑scale tragedies, ensuring that the lessons of the Blitz stay relevant for decades to come.

The Lawsuit Against Ben Affleck and Matt Damon Two Miami sheriff's deputies have filed a lawsuit against Ben Affleck and Matt Damon, claiming the Hollywood actors' portrayal in a Netflix crime drama makes them look like 'dirty cops'. The Event Details The officers, Jonathan Santana and Jason Smith, deputies with the Miami-Dade county sheriff's office, are seeking defamation damages from the actors' production company Artists Equity. The Rip is a dramatization of a 2016 drugs bust on a private residence in Miami Lakes in which $24m cash was recovered. The Data Analysis The money was found in 24 buckets containing a million dollars each – hidden behind drywall in the property. The haul represented the largest ever recovered by the Miami-Dade police department. The Impact Analysis The lawsuit's plaintiffs, who were part of the real-life team that made the bust on which the fictionalized account in the film was built, say The Rip portrays them in a negative light. 'When you rip something, you're stealing something,' Santana told 7 News Miami, referring to the crime thriller's title. 'We never stole a dollar.' The Prediction It is not the first time The Rip, which was released in January, has angered members of the south Florida community. The Guardian has contacted Artists Equity for comment. Netflix, which is not part of the deputies' lawsuit, settled a defamation case in 2022 with the chess grandmaster Nona Gaprindashvili, who said she was defamed in its drama The Queen's Gambit.

The Rise of Wordle on TV Anyone who has watched television knows that late-night talkshow hosts have a habit of pulling entertainment formats from the barest of inspirations. James Corden got Carpool Karaoke from the act of singing songs in the car. Jimmy Fallon got Lip Sync Battle from the act of mouthing along to songs in the mirror. And now Fallon has struck again. He’s making a Wordle gameshow. The Event Details Fallon’s production company, Electric Hot Dog, has acquired the rights to Wordle and will turn it into a show where teams compete to solve puzzles for cash. The show will film in Manchester, England, this summer and debut on NBC next year. The Data Analysis Wordle is a brand with global recognition. The game has been a huge success, with millions of players worldwide. The TV adaptation will feature teams competing to solve puzzles for cash. The Impact Analysis However, you’d be right to feel suspicious about this new avenue. The description of the show describes teams of players taking part, but Wordle is by nature a solitary pursuit. It’s a game that relies upon the connection of one person and their phone, plus the bespoke tactics that person has honed. The Prediction Perhaps that is why the game has made it to TV. Forbes has framed the move as a necessary diversification tactic by a medium caught in a permanent death spiral. It is now a New York Times property, and newspapers need to keep money coming in. If the only way to keep funding investigative journalism is to take a diverting game and sell it to Fallon, then so be it.