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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.

Japan's economic strategy has inadvertently created a Japanese century in global finance, driven by the yen's role as a cheap and reliable funding currency. The Bank of Japan's loose monetary policy has suppressed yields on public debt, effectively creating a publicly subsidized funding pipeline for bankers.By borrowing cheaply in yen and investing in higher-return assets, such as US equities, global investors have profited tens of billions of dollars from the 'yen carry trade'. This trade surged after the pandemic, with speculators betting $435bn in the two years to 2024 out of the estimated $1.7tn worth of yen supplied.Despite Japan's first rate hike since 2007 in March 2024, the carry trade remains popular. However, a persistent fear exists that the BoJ may aggressively raise rates, risking a global financial shock. A stronger yen would increase the cost of repaying yen-denominated debts, and heavily leveraged hedge funds could face significant losses.Japan's economic success has created an external dependency on the carry trade to manage internal crises. The country's reflationist prime minister, Sanae Takaichi, is committed to fiscal expansion, which may continue to stabilize the private sector but not necessarily drive growth.Economic analysis suggests that Japan's growth constraints are rooted in its macroeconomic prices, including profit, exchange rate, interest, wages, and inflation. While Japan has seen recent real wage growth, wages have historically been flat or falling, and the country's firms lack a reliably competitive exchange rate and viable profit rate to drive demand and reform.

It's been 12 months since Donald Trump's 'liberation day' on April 2, 2025, when the US president introduced tariffs on nearly every country the US did business with. The move sent shockwaves through the global economy, causing chaos in Washington and beyond. Experts say that if Trump had spent the last 14 months on the golf course instead of in the White House, the US economy would be in a better place. The wholesale slashing of government jobs and defunding of US aid agencies had already signaled that Trump was in a hurry to upset institutions he considered profligate or useless. Investors quickly understood that chaos was an essential tool in Trump's armoury. Almost as soon as he was inaugurated, there was a steady decline in the value of the dollar against other currencies. Investors sold assets denominated in dollars and bought assets elsewhere: Europe, Asia, South America. Dario Perkins, the head of global research at the consultancy TS Lombard, said: 'If you think that discouraging investors from buying assets in the US is a victory, then you don’t believe in a growing economy.' He added that Trump's policies had led to a decline in US manufacturing jobs and a growing trade deficit. The data supports Perkins' claims. US companies stopped hiring almost as soon as liberation day was announced. Significant revisions in February to data covering 2025 pushed payroll employment down by 403,000 jobs, resulting in the addition of just 181,000 jobs last year. This small boost is set against the 163 million people who are employed in the US. Russ Mould, the investment director of the British stockbroker AJ Bell, said: 'America is still home to the world’s largest economy and its reserve currency, as well as the globe’s largest equity and bond markets, but investors continue to reassess their exposure one year on from liberation day.' The next few months of steadily increasing confidence levels followed probably the calmest period in the second Trump presidency. But sentiment began to fall again in the autumn as the White House battled with Congress over the federal budget deficit and much of the public sector was shut down. A poll by the University of Michigan showed consumer confidence at a near record low at the end of 2025. A six-month moving average produced by the Conference Board showed every generation, from baby boomers to gen Xers, had lost confidence in the economy over the past year. Trump’s liberation day executive order stated: 'The decline of US manufacturing capacity threatens the US economy in other ways, including through the loss of manufacturing jobs.' However, the US manufacturing sector shed 100,000 jobs between January 2025 and March 2026. The ratio of manufacturing workers to total nonfarm employment fell to the lowest point since 1939. Bryan Riley, the director of the National Taxpayers Union Foundation’s free trade initiative, said: 'One year after liberation day, the evidence is in. Tariffs failed even by the Trump administration’s own terms. They did not shrink the trade deficit, did not revitalise manufacturing and did not help farmers. It would be a mistake to replace one set of failed tariffs with another.' Some major US companies have redirected their investments to Europe, but China has proved to be one of the main beneficiaries. In the year to February 2026, China’s industrial profits increased by 15.2%. It's a boom that Beijing will struggle to repeat should Chinese companies face fuel and energy shortages and price hikes. But the decline of two major powers can only be to China’s gain.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

The 2026 Bafta TV award nominations have been announced, with Adolescence, Jack Thorne's groundbreaking drama about a teen accused of murder, leading the pack with 11 nominations. The Netflix psychological crime drama, described by the Guardian as “the closest thing to TV perfection in decades,” has garnered significant attention, including the first Bafta TV performance nominations for supporting actor and actress awards for four of its stars: Ashley Walters, Christine Tremarco, Erin Doherty, and Owen Cooper.Created by Thorne and Stephen Graham, and directed by Philip Barantini, the drama was also nominated for Bafta’s Memorable Moment award for the scene where Jamie snaps at the psychologist. Jane Millichip, CEO of Bafta, praised the diversity and originality of British storytelling, highlighting 124 nominated programmes.First-time nominees include Ellis Howard (What It Feels Like for a Girl) and James Nelson-Joyce (This City is Ours) for best leading actor, as well as best leading actress nominee Narges Rashidi (Prisoner 951). Nine-year-old Rafael Mathé also received his first Bafta nod for best supporting actor in The Death of Bunny Munro, alongside Owen Cooper for Adolescence.A Thousand Blows, a historical drama series created by Steven Knight, received seven nominations, including drama series, leading actress, and costume design. Andor, a politically charged thriller, and Trespasses, an adaptation of Louise Kennedy’s novel, both received six nominations. The Celebrity Traitors received five nominations for presenter Claudia Winkleman and performances.The BBC received the most nominations for a broadcaster, with 73, followed by Netflix and Sky with 28 nominations and Channel 4 with 25. The 2026 TV Baftas will take place on Sunday, May 10, 2026, hosted by Greg Davies.