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Monica Barbaro, known for her Oscar-nominated portrayal of activist Joan Baez in James Mangold's A Complete Unknown, is now preparing for her stage debut in the National Theatre's revival of Les Liaisons Dangereuses. Barbaro, 35, will play Madame de Tourvel, a role previously taken on by notable actresses such as Juliet Stevenson and Michelle Pfeiffer.During an interview, Barbaro joked about her accent, saying, "I feel like I'm imitating an American accent, but it really is mine." She switches to an English accent for rehearsals, where she is working on the play's 18th-century French aristocracy setting. "I feel it's best to use my own voice," she explained.Barbaro expressed apprehension about speaking aloud in a theater for a large audience, a significant departure from her previous work in film. "Speaking aloud in a theatre for this big of an audience is new for me," she said.Her preparation for A Complete Unknown was intense, involving months of studying Baez's voice and music, learning guitar, and wearing prosthetic teeth to capture the singer's distinctive look. "We filmed it only a year and a half ago, and it was put out within months," she reflected. "It was really intense. It took a long time for me to land afterwards and feel more like myself again."Barbaro also discussed her connection to Baez, citing their shared mixed identity (Barbaro is a quarter Mexican) and Baez's activism. "I'm just like: 'Then she marched with Martin Luther King, are we clear on that? Do people know that?' It was really nice to hear from a lot of people who watched the movie that they were intrigued to find out more about her."She met Baez in person last year and described the experience as "so trippy." "It was so strange to hear in person the voice I'd been obsessing over for so long. There's a worship quality to it; I felt in complete awe of her," Barbaro said.Regarding her Oscar nomination, Barbaro called it "totally surreal" but something she tried to process in advance. "It seemed embarrassing to want it, or celebrate it, and I needed to confront that it was something I'd love to have. Then, when it happened – unbridled joy. It was a big shift for an actor who went into the film fangirling over the rest of the cast and the director."Barbaro is currently rehearsing for Les Liaisons Dangereuses at the National Theatre, where she will work with director Marianne Elliott. The play explores themes of power, corruption, and manipulation among the aristocracy, resonating with modern issues such as the Epstein files. "It was about the corruption of a certain class who could operate with impunity, and fuck over anyone they wanted," she said.Barbaro reflected on the enduring power of the play, saying, "As a modern woman with autonomy and independence, the thing I fear most in the world is dying of heartbreak." She emphasized the relevance of the play's themes, particularly systemic abuse and corruption.

The film 'All the President's Men', directed by Alan Pakula and starring Robert Redford and Dustin Hoffman, premiered 50 years ago on Saturday at the John F Kennedy Center for the Performing Arts. The movie is based on the 1974 book of the same name by Washington Post reporters Bob Woodward and Carl Bernstein, which chronicled their investigation into the Watergate imbroglio that led to the downfall of President Richard Nixon. The film was a critical and commercial success, earning eight Oscar nominations and winning four, including best adapted screenplay for William Goldman and best supporting actor for Jason Robards as Ben Bradlee, the Post editor. The movie is widely regarded as a classic of American cinema and a landmark in the genre of journalism films. Jane Alexander, who played the role of Judy Hoback, the 'Bookkeeper' of the Committee to Re-elect the President, recalls her experience filming the iconic scene with Hoffman and Redford. She praises Pakula's direction and the attention to detail that went into recreating the Post's newsroom. The film's accuracy and attention to detail were indeed a hallmark of its production. Woodward and Bernstein worked closely with the filmmakers to ensure that the story was told accurately, and the production team went to great lengths to recreate the Post's office and the Washington D.C. of the 1970s. The article also touches on the impact of the film on the careers of its stars and the journalists it portrayed. Redford and Hoffman spent months researching and rehearsing their roles, and their performances are widely praised. Woodward reflects on the film's portrayal of him and its impact on his personal life. The anniversary of the film comes at a time when the media is under attack and the Washington Post, now owned by tech billionaire Jeff Bezos, has recently undergone significant changes. The film's themes of investigative journalism and the importance of a free press remain as relevant today as they were 50 years ago.

A projected ocean backdrop bathed the Hollywood High School auditorium in sunset hues as Mitski opened her five‑night residency, delivering a performance of “Dead Women” from her latest album Nothing’s About to Happen to Me. The stage, arranged like a cozy living room with a writing desk, chaise lounge and warm lamps, amplified the DIY‑style intimacy the artist sought.Addressing the crowd, Mitski quipped, “It’s dark in here – no one can see you. You can cry,” a line that resonated with the mixed‑age audience, prompting genuine emotional responses.The residency coincided with an innovative attendance challenge: students who maintained perfect attendance for two weeks were entered into a raffle for tickets. School staffer Michael Reagan called it “the most effective attendance drive in the district’s recent history.”Beyond the music, Mitski’s agreement to cover the venue’s rental fee will fund caps and gowns for graduating seniors, while she pledged to donate $2 from each ticket to a local youth‑focused music‑education nonprofit.The event attracted students from across Los Angeles and beyond. One senior, Sophia Barrios, traveled by train from the Central Valley after receiving tickets for her 18th birthday, praising Mitski’s genre‑spanning sound and personal lyrics. Fellow attendees echoed the sentiment, noting how the artist’s words gave voice to feelings they struggled to articulate.Former alumna Jessica Torres Vicente, now a therapist, described the experience as “a healthier dose of memory lane,” recalling the unchanged gold‑lettered welcome sign and vintage school‑production posters that still adorn the auditorium.Mitski’s decision to perform in a high‑school setting harks back to the venue’s history of hosting notable acts, such as Morrissey in 2013, and reflects her desire to recapture the raw connection of early‑career punk and DIY shows.The concert retained the hallmarks of a Mitski show—precise, balletic movement, immersive visuals, and a sound that enveloped the crowd—while the unique setting left an indelible impression. When she sang “Two Slow Dancers,” the audience shouted back, “Yes!” in unison, underscoring the shared intimacy of the night.

The conventional view of procrastination is that it's a negative habit, linked to anxiety, diminished self-esteem, and depression. However, what if we could harness it to our advantage? By exploring medieval philosophy, particularly the concept of acedia, or sloth, we can uncover a more positive approach to procrastination. Medieval theologians didn't view sloth as laziness, but rather as a complex mix of boredom, depression, anxiety, and despair. This state can leave us feeling rudderless, unable to make progress towards our goals. However, by accepting and engaging with our procrastination, we can transform it into a catalyst for growth. Dante Alighieri and Bernard of Clairvaux offered valuable insights into navigating procrastination. Dante described the 'wrong' approach as sleepwalking towards disaster, where boredom anaesthetizes our minds, making us vulnerable to manipulation. In contrast, the 'right' approach involves embracing procrastination as a chance for self-discovery. Bernard of Clairvaux likened living a good life to running a marathon over rough terrain. We can't expect to maintain a constant pace; there will be days of apathy and boredom. On such days, we should stay awake and alert, engaging our brains to find value in even the most trivial distractions. By adopting this mindset, we can turn procrastination into a portal to self-discovery. As medieval poems like Parzival and The Pearl demonstrate, heroes often stumble upon profound revelations through distraction and wandering. Similarly, we can find unexpected gold in the midst of procrastination, leading to a deeper understanding of ourselves. So, the next time you find yourself procrastinating, consider embracing it as a chapter break, a chance to recharge and refocus. Remember that accepting procrastination can be essential to emotional growth, allowing us to return to our tasks with renewed energy and perspective.

A Waitrose employee with 17 years of service was dismissed after stopping a shoplifter who had stolen a display of Lindt Gold Bunny Easter eggs worth £13 each. Walker Smith, a shop assistant at a Waitrose branch in Clapham Junction, south London, described his devastation after being sacked. He had been told not to approach shoplifters but felt compelled to act after seeing the repeat offender. The incident highlights the growing concern of shoplifting in retail, with 519,381 offences recorded in England and Wales in the year to September 2025, up 5% from the previous year. Smith's manager told him off and he apologized, but the matter was escalated, leading to his dismissal. He expressed regret over his actions and worries about his future, having recently moved into his own studio flat and being diagnosed with anxiety. Retail businesses, particularly supermarkets, have seen an increase in shoplifting, prompting calls for greater support and security measures. The chief executive of Marks & Spencer has urged the government and London's mayor to crack down on retail crime. A Waitrose spokesperson stated that the company takes the safety and security of customers and employees seriously, with policies in place to address these concerns.

The United States has long honored past presidents by naming airports, dams and monuments after them, but President Donald Trump is pushing the practice to an extreme, seeking to become the most commemorated leader in American history. Less than a year and a half into his second term, Trump’s brand has proliferated across government buildings, federal agencies and even consumer platforms. In February, the administration unveiled TrumpRx, a prescription‑drug website that listed only 43 medications—most of which are available as cheaper generics elsewhere—yet proudly displayed the former president’s signature and logo. Just weeks later, the White House and the U.S. Navy announced a new "Trump class" of battleships, billed as the "largest ever built." A Pentagon release noted that the Navy has not used battleships in combat for 35 years, suggesting the project is more a vanity exercise than a strategic necessity. Federal institutions have not been spared. In December 2025 the U.S. Institute of Peace was renamed the "Donald J. Trump United States Institute of Peace," a move the White House framed as a reminder of "strong leadership" for global stability—just weeks before the administration launched a military strike on Iran. Trump’s influence extended to the arts when, in February 2025, he appointed a new board to the John F. Kennedy Center for the Performing Arts and installed himself as chair. The board voted in December to rename the venue the "Donald J. Trump and John F. Kennedy Center," a change that immediately faced a legal challenge. Republican lawmakers have largely embraced the naming spree. One congressman introduced legislation to carve Trump’s likeness onto Mount Rushmore, while another proposed naming a major airport after him, underscoring the party’s willingness to reward the president’s personal brand. Political scientist Steven Levitsky of Harvard warned that Trump operates "unconstrained" by advisers or party elders, noting that today’s Republican ambition often hinges on pleasing the president, including attaching his name to public projects. Visual propaganda has also surged. Giant banners bearing Trump’s image now hang from the Department of Justice and the Department of Labor buildings, a rarity for a sitting president and a practice more typical of authoritarian regimes, according to Princeton sociologist Kim L. Scheppele. Beyond buildings, the administration has pursued numismatic honors. A 24‑karat gold coin featuring Trump standing over a desk was approved by a hand‑picked arts commission, and drafts of a new $1 coin displayed an air‑brushed profile of the former president. The Treasury Department announced that Trump’s signature will appear on U.S. paper currency later this year, a move Treasury Secretary Scott Bessent described as a "powerful way to recognize historic achievements" of the nation. Critics argue that the public does not share the president’s enthusiasm. The 2026 National Parks Pass, which traditionally showcases natural scenery, sparked outrage when a draft featured Trump’s stern face with a spectral George Washington behind him. A cottage industry of stickers emerged to cover the image, forcing the National Park Service to warn that such alterations could void the pass. White House spokesperson Davis Ingle defended the branding, claiming it reflects Trump’s “vast accomplishments,” including the largest tax cut in history and border security measures. Yet scholars and opponents contend that the relentless self‑promotion blurs the line between public service and personal aggrandizement. As the branding campaign continues, legal challenges, public pushback, and questions about fiscal priorities suggest that Trump’s quest to name everything after himself may soon encounter more than just decorative resistance.

Mary Beth Hurt died on 28 March 2026 at the age of 79, closing a four‑decade career that blended intellectual cinema with acclaimed stage work. Born in Marshalltown, Iowa, she entered the film world with Woody Allen’s experimental drama Interiors (1978), earning a BAFTA nomination for Best Newcomer alongside Christopher Reeve.Although Interiors was a modest critical success, it proved financially profitable, grossing $10 million on a $3 million budget. Hurt’s portrayal of the directionless Joey marked the start of a career defined by thoughtful, understated performances.Her next high‑profile role came as Helen Holm, the college‑professor wife of Robin Williams’s titular character in The World According to Garp (1982). The film’s daring tonal shifts – including a shocking car‑crash scene – earned Oscar nominations for John Lithgow and Glenn Close, while giving Hurt a rare chance to play a fully sexual woman.Early setbacks included losing the lead in Joan Micklin Silver’s Head Over Heels (1979) to Jamie Lee Curtis and a troubled turn in the melodrama A Change of Seasons (1980), which suffered from production turmoil and poor box‑office returns.On stage, Hurt distinguished herself with three Tony nominations: for Pinero’s Trelawny of the ‘Wells’ (1976) opposite a debuting Meryl Streep, for a 1982 revival of Beth Henley’s Crimes of the Heart, and for Michael Frayn’s Benefactors (1986). She debuted on Broadway in 1974’s revival of William Congreve’s Love For Love opposite Glenn Close.Her personal life intersected with her professional world. She married fellow actor William Hurt in 1971, divorcing in December 1982, and later wed director Paul Schrader in August 1983. Collaborations with Schrader included Light Sleeper (1992), Affliction (1997) and The Walker (2007).Later film work featured a supporting turn in Karen Moncrieff’s feminist thriller The Dead Girl (2006), which earned her an Independent Spirit Award nomination, and a cameo in Martin Scorsese’s The Age of Innocence (1993). Her final screen appearance was in the small‑town drama Change in the Air (2018), filmed before a diagnosis of Alzheimer’s disease.Reflecting on her craft, Hurt once said, "I never felt very beautiful or incredibly smart or witty, so I was always looking for something about the role that intrigued me… more fascinating than the gold‑medal moments."She is survived by husband Paul Schrader and their two children, Molly and Sam.

President Donald Trump has unveiled a bold budget request, seeking $1.5 trillion for military spending, a nearly 40% increase from the previous year. This ambitious proposal underscores the White House's priorities, emphasizing military strength and law enforcement.The budget request, while not legally binding, sets the stage for intense congressional negotiations. It includes a proposed $455 billion increase over fiscal year 2026, separate from an emergency request of $200 billion for the US-Israeli conflict with Iran.The plan involves significant shifts in funding, with $73 billion in cuts to domestic programs, including initiatives to counter climate change, boost renewable energy, and support equality and access in housing, education, and healthcare. Instead, funding would be redirected to projects such as Trump's Golden Dome missile defense system, critical minerals investment, US shipbuilding, and troop salary increases.Trump's proposal also emphasizes immigration enforcement, calling for continued funding for the Department of Homeland Security and Immigration and Customs Enforcement to support his mass deportation campaign. The request includes a 13% increase for the Department of Justice, focusing on violent crime.The budget plan faces challenges, including a potential deadlock in Congress over funding for ICE and Customs and Border Patrol. The administration suggests passing the budget through a mechanism known as reconciliation, which could be achieved with a simple majority in Congress.The US military expenditure has steadily increased, reaching $997 billion in 2024, according to the Stockholm International Peace Research Institute. The country consistently spends more on its military than the next nine countries combined, raising questions about priorities in defense and domestic spending.

The arrival of spring brings a cherished Easter tradition for many – a pilgrimage to witness the breathtaking bloom of pasqueflowers in the Chiltern Hills. Every year, as the days lengthen and the landscape awakens, enthusiasts make their way to the sunny slopes of Church Hill, where approximately 60,000 of these delicate flowers emerge.The pasqueflower, named from the Middle English 'paschal' meaning 'of Easter', is a rare sight in today's landscape. Its felty flower buds, surrounded by plumes of white-haired bracts, push through the shallow soil, and the undersides of the petal-like sepals feel warm and soft to the touch. As the flowers unfurl, they reveal hosts of golden anthers, creating a stunning mosaic of green, white, and violet across the hillside.However, the pasqueflower's presence is a conservation success story. Once found in 130 locations in 1750, changes in grassland management and ploughing have reduced its numbers drastically, leaving only 18 sites, with five locations containing 99.3% of the country's remaining plants. Church Hill, now a local nature reserve and site of special scientific interest, holds over a third of the UK's pasqueflowers, a plant classified as 'vulnerable' on the Great Britain Red List.The sight of these flowers is not just a natural wonder but also a testament to conservation efforts. The hope is that this precious site will continue to protect Hertfordshire's county flower for generations to come, allowing sundry folk to enjoy the beauty of nature rather than commemorating the past.