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The Birth of a Modern Classic The one-woman play Iphigenia in Splott was first performed in 2015. Eleven years on, Gary Owen's reworking of Greek tragedy, transplanted to working-class Splott in Cardiff, has earned its place as a modern classic. It reimagines the mythological heroine Iphigenia as Effie, a young woman filling her days drinking vodka out of a mug in her dressing gown. The play is about poverty and social inequality, closures and cuts, services scraped to the bone by austerity. The Data Behind the Drama First performed in 2015 Translated into French and Spanish Welsh-language film adaptation titled 'Effi o Blaenau' The Impact of Austerity The play's writer, Gary Owen, says that expectations were not high for Iphigenia in Splott on opening night at the Sherman theatre in Cardiff in 2015: "They only put it on for two and a half weeks and they were quite worried about whether it would sell the tickets." When he wrote the play, in 2014, he was living in Splott in the thick of the austerity era. "We were being told that we all had to take these cuts because we were all in it together." The Shift to Screen The idea for a Welsh-language film came from the producer Branwen Cennard at S4C, the free-to-air television channel for Welsh speakers. Making the film in Welsh with subtitles was non-negotiable, she says: "I wouldn’t have entertained any other way." The film is directed by Marc Evans, who co-wrote the script with Owen, changing the location from Cardiff to Blaenau Ffestiniog, a former slate-mining town in north-west Wales. The Future of Welsh-Language Cinema The film's star, Leisa Gwenllian, grew up down the road from Blaenau Ffestiniog. "I don’t think I’d quite realised how Welsh my area is until I moved out. We’d go months without speaking English at all, except on the phone. You can go to my local McDonald’s and order in Welsh. It’s quite a bubble." The success of 'Effi o Blaenau' could pave the way for more Welsh-language films and help to promote the language and culture.

The Unbearable Lightness of 'Half Man': A Critical Review of Richard Gadd's Bleakest WorkRichard Gadd returns with Half Man, a follow-up to Baby Reindeer that strips away any comedic pretense to deliver a relentless, bleak examination of male rage and trauma. Unlike its predecessor, this series is not categorised as a comedy but rather as a terror-filled rolling panic attack, described by critics as 'pure, unyielding torture pornography.'The Brutality of 'Half Man': Beyond the Baby Reindeer LegacyThe show features Stuart Campbell as Ruben, a mindless thug whose temper reaches ever greater peaks. The violence is graphic and relentless, with the sight of a stomped face becoming a visual motif. The narrative is trapped in its own unpleasantness, creating a show so dark that its subplot about a suicidal cancer patient is one of its least depressing aspects. The performances are intense, but the framing is often criticized for lacking emotional subtlety.The Critical Consensus: A Referendum on AuthenticityPerformance vs. Narrative: While the acting is described as 'exactly as intense as it needs to be,' the show is often criticized for feeling like 'emo torture porn' made by a '14-year-old acting out.'The Real-Life Connection: The show serves as a 'referendum' on the real-life stalking allegations against Gadd. The character Jamie Bell writes a book about his experiences, creating a complex dynamic where the show feels like a 'right of reply' to journalists.Comparison to Peers: Critics draw parallels to Black Mirror and The Leftovers, noting that while *Black Mirror* can reset the tone each episode, *Half Man* is trapped in its own misery.The Shift in True Crime TV: From Narrative to RealityThe review highlights a significant shift in the television landscape. As shows like *Adolescence* explore male rage, *Half Man* represents a darker, more visceral approach. The distinction noted is that *Adolescence* feels as if it was made by men, whereas *Half Man* feels as if it was made by adolescents. This suggests a growing trend where creators are using their personal traumas as the primary fuel for their art, forcing audiences to confront uncomfortable truths about the line between fiction and reality.The Future of Unflinching TelevisionAs streaming platforms continue to push boundaries, *Half Man* serves as a cautionary tale. While audiences may be drawn to extreme content, the show demonstrates that without emotional nuance and a clear narrative purpose, 'unyielding' darkness can alienate viewers. The future of television will likely continue to explore these dark themes, but the success of *Half Man* suggests that subtlety is required to sustain such bleakness over a full season.

Quick Take: A Darkly Comic Look at Mortality in Chinese CinemaBeing Towards Death opens in UK cinemas on 5 June, offering a chaotic first half‑hour before settling into a bittersweet ensemble piece about a hospital’s “Ward 10 Fearless Squad.” Director Chen Sicheng trades his blockbuster Detective Chinatown formula for a meditation on entropy, using humor to explore how patients confront the end of life.How Chen Sicheng Marries Hospital Humor with Existential QuestionsThe plot follows caregiver Xiaobing (Jiang Long), who teeters on a rooftop after a failed robot‑care scheme, only to be recruited by the hospital director into a mental‑health study for terminal cancer patients. He joins a motley crew – property mogul Mau (Cai Ming), obedient first‑born Bowen (Huang Yi), and the scheming poppet Little Bing (Ye Quanxi) – and convinces aspiring director Dao (Wang Zichuan) to document their lives. The film’s self‑referential moments, including Dao’s constant quoting of Chen and a cameo by sixth‑generation auteur Jia Zhangke, underscore its meta‑commentary on Chinese filmmaking.Box‑Office Prospects and Release WindowWith a limited UK release beginning 5 June, the film targets both art‑house audiences and fans of Chen’s earlier commercial work. No official budget or opening‑week figures have been disclosed, but the combination of a recognizable director and a timely, socially conscious premise positions it for modest box‑office returns and potential festival circulation.Why the Film Signals a Shift in Mainland Comedy‑DramaBy placing comedy inside a hospice, the movie challenges the genre’s traditional escapism, reflecting a growing appetite for stories that blend levity with serious social issues. Its focus on mental‑health interventions and the humanization of terminal patients may encourage other Chinese creators to tackle health‑related narratives, expanding the thematic range of mainstream cinema.What to Expect from the Film’s Journey Beyond ChinaIf domestic audiences respond positively, Being Towards Death could secure wider Asian distribution and possibly a streaming deal, amplifying its discussion of mortality to a global viewership. Critics will likely continue to compare Chen’s tonal shift with the work of auteurs like Jia Zhangke, watching to see whether the film’s “bittersweet” ambition matures into a new sub‑genre of Chinese hospital comedy‑drama.

The Cult of Eternal Values Documentaries about cults all have the same task, at which they nearly all fail: explaining exactly how so many people fell under the spell of a man (it’s always a man) who was, to outside observers, so obviously a damaged charlatan. None of it makes sense; it wouldn’t count as a cult if it did. The Rise of Frederick von Mierers Bring Me the Beauties: A Model Cult does a messy job of telling the story of Frederick von Mierers, who spent the 1980s luring models into his spiritual enlightenment society, Eternal Values. Von Mierers’ life was all lies, chaos and mystery and it would be hard to set it out coherently, however diligently you tried. But this is like trying to keep up with an erratic bar-room raconteur who keeps glossing over the important bits so they can skip on to the next bit of gossip. Admittedly, each new piece of info is wildly juicy. The Early Years of Frederick von Mierers The early years of Frederick von Mierers are murky, but the key facts are that, as a 40ish former model, he was an elegant socialite, living in an apartment in midtown Manhattan and frequenting Studio 54, where the doormen would pull back the velvet rope to let him sashay past the crowds and walk straight in. He had inherited wealth and alien good looks, somewhere between Christopher Walken, Gary Numan and a svelte Dolph Lundgren. In 1978 he suffered an ear infection, and when his fever subsided he announced that his body had become the vessel for a being from the red giant star, Arcturus. The Power of Eternal Values With an extraterrestrial glint in his already piercing eyes, Von Mierers began presenting a public-access television show where he spread the word about the benefits of a healthy diet, the power of controlled emotions – the notion of romantic love was an instrument of “the most diabolical and the most evil forces in this world” – and the importance of recognising that material possessions were not a route to happiness, all these being wisdom direct from the cosmos. The Dark Side of Eternal Values Ordinary punters sent cheques to Eternal Values for astrological readings; members of the inner circle got to share Frederick’s apartment, where they would sometimes wake to find that he had applied a mint-scented face mask to them during the night. Less adorably, he fostered a culture in which anyone who stepped out of line was ruthlessly pilloried in recriminatory interventions known as “slamming sessions”. As well as fearing the loss of the gang’s favour, the Eternal Values foot soldiers anticipated a re-alignment of the Earth’s magnetic poles, foreseen by the Arcturians, which prompted the organisation to purchase a second base in the North Carolina mountains that would survive the earthquakes and tsunamis to come. The Motivation Behind the Cult What’s never a mystery with cults is the motivation of the leader: it’s always sex and/or money, and, for Von Mierers, it was both. Our main witness is a man named John Hoyt, who under the name Hoyt Richards was one of the highest-paid male models of the late 1980s and 90s, regularly appearing in shoots with Cindy Crawford and the like. After completing jobs in Milan, the Caribbean or Los Angeles, John would return to sleeping on the floor of the EV flat, handing all his spare money to Frederick in return for ethereally powerful “gemstones” that may in retrospect have been costume jewellery. Occasionally Frederick would invite to his room young men, whose spiritual insights were so penetrating that John would be asked to hand them $100 on their way out. The Legacy of Eternal Values In the last episode of Bring Me the Beauties, there are desperately moving scenes as the admirably frank Hoyt recalls his agony at realising, a few years after Von Mierers’ death from an Aids-related illness, that he had abandoned his family and friends for nothing. Hoyt now works as an exit counsellor, trying to make cult members understand that they’re in one. As this programme discovers, however, why people join cults is hard to understand.

The Life and Legacy of Kanya King Kanya King, the entrepreneur and tireless champion of Black British music who founded the Mobo awards, has died aged 57 from colon cancer. The news was announced by the Mobo Organisation, which said she died on Wednesday “after a courageous and characteristically determined battle” with her illness. The Impact of Mobo Awards “The music world has lost one of its most fearless champions,” the statement continues. “What Kanya created was never simply an awards ceremony. It was an act of cultural justice. Mobo did not just celebrate Black music; it legitimised it, amplified it, and demonstrated its commercial and creative power to a world that had too often chosen not to see it.” Tributes from the Music Industry Idris Elba was among those paying tribute to her, writing: “You inspired me. Your dedication is unmatched.” Born to a Ghanaian father and Irish mother in Kilburn, north London, King was working as a TV researcher when she set about filling a gap in the marketplace: an awards ceremony that would celebrate the Black British musicians who were sometimes overlooked by other industry events. The Evolution of Mobo Awards She remortgaged her house to raise the money for the first Mobo awards, held in 1996, eventually turning it into an arena-filling event that has celebrated artists such as Stormzy, Dave and Olivia Dean in recent years. The Mobos were sometimes criticised for spotlighting white artists such as Ed Sheeran and Jessie J, while jazz and rock artists complained that there were no awards to accommodate their styles. A Lasting Legacy In a 2020 interview with the Guardian, King described her work as a “labour of love”. “I’ve put my life and soul into this fight over the years, while being told that, you know, inequality is fine and there’s no problem,” she said. “I’ve been fighting for a long time to try to break down barriers … it’s been challenging and isolating.” She was awarded a CBE in 2018 for her contributions to music and culture.

The Guardian’s Weekly Pick: A Curated Line‑up of Seven Streamable SeriesThis week’s roundup showcases a spectrum of genres and platforms, offering viewers new reasons to log in across Disney+, Netflix, Prime Video and Crime+Investigation.Intergenerational Romance Gets Cringe‑Funny in Alice and Steve (Disney+)Created by Sex Education writer Sophie Goodhart, the comedy follows middle‑aged best friends Nicola Walker and Jemaine Clement as their bond unravels when Steve falls for Alice’s 26‑year‑old daughter Izzy. The series leans into the messiness of the situation, delivering both excruciating dinner‑party moments and nuanced, sympathetic storytelling.True‑Crime Reflection in Rob Rinder: The Crime I Can’t Forget (Crime+Investigation)Former barrister Rob Rinder revisits the 2005 Liverpool murder case of Lucy Hargreaves, exploring courtroom dynamics and the lasting impact on those involved. The series blends archival interviews with fresh perspectives, offering a sobering look at due process.Global Food Adventures with Best of the World With Antoni Porowski (Disney+)Queer Eye’s culinary star Antoni Porowski travels to London, Paris, Mexico City and New York, immersing himself in each city’s food culture. While some choices feel familiar, his enthusiasm and on‑the‑ground curiosity make the four‑part series a lively cultural tour.Iconic Children’s Education Returns on Sesame Street (Netflix)After a period of uncertainty, Sesame Street is back on Netflix with new episodes that push the envelope—including a space‑mission storyline and inventive mid‑air repairs—while retaining its signature blend of sweetness and moral clarity.Teen Summer Romance Revived in Every Year After (Prime Video)Adapted from Carley Fortune’s bestseller, the series follows Persephone “Percy” Fraser (Sadie Soverall) and Sam Florek (Matt Cornett) across six summers in Barry’s Bay, Canada. Fans of The Summer I Turned Pretty will recognize its nostalgic, soft‑focus aesthetic and slow‑burn romance.LGBTQ+ Family Drama Proud (Netflix)Set against the backdrop of a small‑town community, Proud explores the challenges and triumphs of a gay couple navigating acceptance, family expectations and personal growth. The series adds a heartfelt voice to Netflix’s growing queer‑focused catalogue.Release Calendar and Platform DistributionAlice and Steve – Disney+, from Monday 8 JuneRob Rinder: The Crime I Can’t Forget – Crime+Investigation, from Monday 8 JuneBest of the World With Antoni Porowski – Disney+, from Monday 8 JuneSesame Street – Netflix, from Monday 8 JuneEvery Year After – Prime Video, from Wednesday 10 JuneProud – Netflix, from Monday 8 JuneWhy This Week’s Line‑up Signals a Shift Toward Inclusive, Cross‑Genre StreamingThe selections illustrate streaming services’ strategic push for diverse storytelling—mixing comedy, true‑crime, culinary travel, classic children’s content, teen romance and LGBTQ+ narratives. By offering fresh titles simultaneously, platforms aim to capture fragmented audiences and reinforce subscriber loyalty.What to Expect From Next Week’s Curated PicksGiven the current emphasis on representation and genre‑blending, upcoming recommendations are likely to feature more international co‑productions, limited‑run documentaries and series that foreground under‑represented voices, keeping the streaming ecosystem vibrant and competitive.

The Impact of Brexit on UK Musicians More than a quarter of British musicians have lost all their work in the European Union since 2021, according to new research. The report by European Movement UK, a cross-party campaign group advocating closer UK-EU relations, found that nearly half of British musicians had experienced a reduced amount of work in the EU since 2021. Financial Losses and Reduced Opportunities Average tour earnings had fallen by 45%, with 59% of musicians saying touring in Europe was no longer viable. The UK music sector, which contributes £8bn to the economy, is facing significant challenges, including different visa systems in each EU member state, new work permit requirements, and the Schengen 90-days-in-180 rule. The Broader Impact on the Creative Industry The issues highlighted are highly relevant to other creative industries, including film, TV, and video. Tom Kiehl, the chief executive of UK Music, said that touring the EU remains financially unviable post-Brexit for many musicians and performers. The Future of UK-EU Cultural Exchange Unless barriers to mobility are addressed, the UK risks further weakening a sector central not only to employment and growth, but to its cultural reach abroad. The report sets out a series of direct costs affecting touring artists, including temporary admission (ATA) carnets and cabotage rules.

The Appointment of Dawn Airey Dawn Airey, a veteran television executive known for her bold leadership and commercial instinct, has been appointed chair of Arts Council England (Ace). She will replace Nicholas Serota in August and has been tasked with supporting, nurturing, and protecting the arts. A Career Defined by Boldness and Commercial Instinct Airey's career in television spans over three decades, with senior roles at Channel 5, Sky, and ITV. She is known for her decisive leadership and ability to drive popular programming. Her appointment as chair of Ace follows an independent review by Margaret Hodge, who warned that the arm's-length public body must ensure funding is protected from politicization and simplify its application process. The Challenges Ahead Airey has identified artificial intelligence as a key challenge for the arts sector. She has called her appointment "an honour" and emphasized the importance of the council in championing art and culture, saying that the sector has "never been more vital to our nation". Airey's Background and Experience Airey has a strong background in broadcasting, having occupied senior roles in British television. She made her name in the 1990s as part of the founding team at Channel 5 and later became its head. She has also held roles at Sky and ITV, and has served as interim chair of Channel 4 and deputy chair of its board. Reaction to Airey's Appointment Ben Fenton, a veteran media consultant who worked with Airey at Channel 4 and her independent production company Moon&Back;, described her as "a wonderful person" and "the best thing that can happen to the arts in England". Peter Bazalgette, a former ITV chair and Ace chair from 2013 to 2017, praised Airey as "clever, completely fearless, and fun to work with".

The Life and Legacy of Anthony Head Anthony Head, the actor best-known for playing Rupert Giles in Buffy the Vampire Slayer, has died aged 72. “He passed away peacefully of complications due to pneumonia, surrounded by his family,” his daughters Emily and Daisy Head said in a statement. Early Life and Career Head was born in Camden, London, and was raised by artistic parents. His father was a documentary film-maker, while his mother was an actor. He began his professional career on the stage, starring in the 1978 West End revival of Godspell alongside Su Pollard. Notable Roles Rupert Giles in Buffy the Vampire Slayer Rupert Mannion in Ted Lasso Recurring role in Little Britain Roles in The Iron Lady and The Inbetweeners Movie Tributes and Legacy Tributes have been pouring in from those who knew and worked with Head, including Matt Lucas, David Boreanaz, James Marsters, Eliza Dushku, and Brett Goldstein. The Impact of His Passing Head's daughters said: “Our grief is far greater than the hole he has left behind but we know his legacy will live on in the shows he was a part of and in the audiences that love them.” The Future of His Work Head's work will continue to be celebrated by fans of Buffy the Vampire Slayer, Ted Lasso, and other shows he appeared in. His legacy as a talented actor and kind soul will live on.