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The Final Episode of The Late Show Celebrities, politicians, and New Yorkers paid their respects to Stephen Colbert as the Late Show aired its final episode on Thursday. The long-running chat show, which started back in 2015, was cancelled last year by CBS, purportedly because of a financial decision. But many believed it was a result of the network's increasing closeness with Donald Trump, who Colbert regularly criticised. A Bittersweet Goodbye Last night's episode saw the host bid an emotional farewell with the help of celebrity guests including Paul McCartney, Paul Rudd, Ryan Reynolds, and Bryan Cranston. "We love doing the show for you but what we really love is doing the show with you," he said to the audience at home. Colbert hosted more than 1,800 episodes of the Late Show, taking over the mantle from David Letterman. Tributes from Around the World Former president Joe Biden, who had previously guested on the show, also joined the chorus this week with a tribute on Instagram. "There aren't many who can make people think and laugh at the same time," he wrote. "For years, Stephen brought wit, heart, and honesty to late night television. America could always count on a laugh – and sometimes a needed reality check. Congrats on an incredible run, my friend." The Impact of Colbert's Comedy Jane Fonda was among celebrities featured in a video put together by her newly relaunched Committee for the First Amendment. "He made us laugh and he never flinched," the Oscar-winning actor said. "We've watched this administration suppress dissent repeatedly." Colbert already has his next gig lined up with the long-term JRR Tolkien fan set to co-write a new Peter Jackson-produced film tentatively titled The Lord of the Rings: Shadow of the Past. The Future of Late-Night Television The Late Show is being replaced by Comics Unleashed, an unscripted comedy series from comedian and media mogul Byron Allen. The entire set from the show is being donated to the Museum of Broadcast Communications in Chicago.

What is Immunotherapy? Immunotherapies are biological treatments that harness the immune system to prevent, control and fight diseases and other conditions. The most familiar are vaccines, which train the immune system to recognise targets such as invading pathogens. Other immunotherapies boost immune responses when they are too weak, or dampen them down when they are out of control. Still others draw on engineered immune cells or lab-made antibodies to disrupt disease processes. The Evolution of Immunotherapy Efforts to prevent disease by boosting the immune system date back thousands of years, but advanced therapies for a wide range of illnesses have come to the fore in the past two decades. A global registry of clinical trials listed 1,257 trials of immunotherapies between 2006 and 2016. The figure leapt to 4,591 in the past decade. How Do Cancer Immunotherapies Work? Cancer patients have seen great benefits from immunotherapies and dozens are now approved for more than 30 types of cancer. Some tumours evade the body’s defences by switching off immune cells, but antibody-based drugs – called checkpoint inhibitors – reactivate them so they can recognise and attack the malignancies. The Future of Immunotherapy: Beyond Cancer Researchers are now testing whether existing immunotherapies can help a broader range of patients. This includes treating allergies, infections, brain diseases, and autoimmune disorders. Some of the most exciting new immunotherapies draw on recent Nobel prizewinning work on regulatory T-cells, or Tregs, which can be used to dampen down immune responses. The Potential of Tregs in Immunotherapy Tregs are unusual immune cells that stand the immune system down once the threat has been dealt with. Therapies are in the pipeline for dementia and autoimmune diseases from type 1 diabetes and rheumatoid arthritis to lupus and chronic inflammation. The potential for Tregs is vast, and researchers believe that half of all deaths have a component that is immunological.

The Sudden Loss of a Racing Legend Longtime teammates, former rivals and others around the sports world have joined the wave of condolences over the sudden death of Nascar driver Kyle Busch on Thursday. Busch, a two-time Cup Series champion who was the winningest driver across the sport's three series in history, died at 41 after being hospitalized earlier Thursday with a severe illness. No cause of death has been announced. Tributes from the Racing Community "Absolutely cannot comprehend this news," Denny Hamlin, a 22-year Nascar veteran and Busch's former teammate, said on social media. "We just need to think of his family during this time. We love you KB." "There aren't really words for today. I've raced against Kyle for a long time, and anyone who's lined up next to him knows exactly what made him special, he gave you everything he had, every single lap, and he made all of us better for it," driver Ricky Stenhouse Jr said in a post. "But more than the wins and the records, I keep thinking about Samantha, Brexton, and Lennix, and the entire Busch family right now. That's where my heart is. Rest easy, Rowdy. The sport won't be the same without you." A Legendary Career Busch was in his fourth season at Richard Childress Racing. He ranked 24th in the Cup Series standings, with two top-10 finishes in 12 races this season, and had been the Cup Series champion in 2015 and 2019 with Joe Gibbs Racing. He won a Nascar Truck Series race at Dover International Speedway last week and was slated to compete in this weekend's Coca-Cola 600 in Charlotte, North Carolina, before his family announced on Thursday he had been hospitalized. The Impact on the Racing World Dale Earnhardt Jr, an on-track rival after he took over Busch's car after he departed Hendrick Motorsports in 2007 who later became a friend, called Busch one of the "greatest drivers in Nascar history". "Kyle and I had a really challenging existence for many years. But we luckily took the time to figure out our differences and that was something he instigated with a conversation in his bus around how we each managed our racing teams. I was super eager for us to get on better terms. But it was he who made the effort for that to be possible," Earnhardt said. "I will never be able to make sense of this loss but I am thankful that we had found a way to become friends."

The Lead: Demands for Transparency on £5m Gift The defence secretary, John Healey, has urged Nigel Farage to provide transparency about the £5m gift he received from a billionaire businessman, in particular over whether any of the sum could have been linked to Russia-connected profits. In a letter to the Reform UK leader, Healey also asked him to address the possibility that the war against Iran might boost the revenues of AML Global, an aviation fuel company owned by Christopher Harborne, who gave Farage the £5m in 2024. Farage initially supported the US-Israeli attacks on Iran. The Financial Inquiry: Scrutinizing the Gift's Origins The letter, seen by the Guardian, asked Farage to confirm that none of the sum was "derived from transactions with Russian state-linked energy companies", and to give assurances that AML Global had complied fully with all sanctions on Russian energy since the full-scale invasion of Ukraine in 2022. In a statement to the Guardian, AML Global said it had complied fully with all UK and international sanctions, and screened any business partners to ensure the same. The Political Fallout: Investigation and Disclosure The Guardian revealed last month that shortly before the 2024 general election, Farage was given £5m by Harborne, a British-Thai dual citizen based in Thailand. Farage did not disclose the money at the time, and it only emerged when the Guardian reported it. He has argued that because it was an unconditional gift, and received before he announced he would run for parliament, there was no need to declare it once he did become an MP. However, after a complaint from the Conservatives, Farage faces a formal investigation by the parliamentary standards watchdog, Daniel Greenberg, into whether he should have done. The Geopolitical Concerns: Russia and Iran Connections In the letter, Healey noted that AML Global supplies jet fuel through a network of "main and regional oil companies" covering more than 1,200 locations worldwide, including central Asia, the Gulf and eastern Europe. Healey asked Farage to confirm that none of the profits which helped finance the £5m gift came from transactions with Russian state-linked energy companies, that AML Global had fully complied with all Russia sanctions, and that "no fuel sourced from Russian-controlled refineries has passed through its supply chain". The Public Interest: Demands for Open Books Citing previous comments by Farage about Russia – for example, that Nato "provoked" Russia's invasion of Ukraine by expanding eastwards – Healey said this wider situation "places Reform UK under a Russian cloud that only transparency can lift". On Iran, the letter asked Farage to say whether he was aware of a potential benefit to Harborne's company from rising aviation fuel prices when he made supportive comments about the attack on Iran, which led to Iran blockading the strait of Hormuz. Healey added: "The public is entitled to ask whether your financial interests were impacting on your political positioning and your initial support for throwing the UK armed forces headlong into a war in the Middle East without a plan."

The Star Wars Big Screen ConundrumWhen Disney acquired Lucasfilm for $4 billion in 2012, it seemed like a guaranteed success. The initial trilogy of films under Disney's leadership—The Force Awakens, Rogue One, and The Last Jedi—all earned over $1 billion worldwide. However, despite this commercial success, the franchise has faced increasing criticism and fan dissatisfaction. The latest film, The Mandalorian and Grogu, currently holds a 61% rating on Rotten Tomatoes, barely scraping into the "fresh" category. This raises questions about whether Star Wars has become an impossible franchise to successfully translate to the big screen in the modern era.The Disney+ Success FormulaDisney+ has proven to be a successful platform for Star Wars content, with shows like The Mandalorian, Andor, The Book of Boba Fett, Obi-Wan Kenobi, and Ahsoka finding dedicated audiences. These series have allowed Disney to explore corners of the Star Wars universe that films couldn't address, filling plot holes and expanding the mythology. The Mandalorian, in particular, introduced Grogu (Baby Yoda), a character specifically designed for maximum appeal. However, this streaming success has created a challenge: when the same characters and format are brought to the big screen, they may feel more like extended episodes rather than cinematic events.Financial Performance vs. Critical ReceptionDespite the critical challenges, Star Wars films have remained financially successful. The Force Awakens earned over $2 billion worldwide, Rogue One surpassed $1 billion, and even The Rise of Skywalker, which was widely disliked by fans, still earned Disney more than $1 billion. This financial success has allowed Disney to continue producing Star Wars content, but the declining critical reception suggests a growing disconnect between audience expectations and what the franchise delivers. The Mandalorian and Grogu, while profitable, appears to be following this pattern of commercial success mixed with middling critical reviews.The Franchise Identity CrisisThe article suggests that Star Wars is suffering from an identity crisis on the big screen. Disney has tried multiple approaches: soft-rebooting the original trilogy with The Force Awakens, challenging the mythology with The Last Jedi, and attempting to please all fans with The Rise of Skywalker. Each approach has faced backlash from different segments of the fanbase. The Mandalorian and Grogu takes a safer route, focusing on beloved characters without major revelations about the Force or character lineages. This approach may satisfy existing fans but fails to deliver the grand cinematic experience that audiences expect from a Star Wars film on the big screen.The Mythic Structure ProblemA key insight from the article is that the original Star Wars trilogy worked because it had a clear beginning, middle, and end. The story felt complete with the Empire's fall and Luke's redemption. However, subsequent continuations have undone these victories, reopening narrative wounds and diminishing the impact of the original story. The article suggests that this endless continuation without true resolution has made the Star Wars myth less meaningful over time. Characters are never allowed to complete their emotional arcs, victories are temporary, and the galaxy exists in a state of perpetual conflict without resolution.The Future of Star Wars CinemaLooking ahead, the article implies that Star Wars may need to reconsider its approach to big-screen storytelling. The success of Disney+ shows demonstrates that there's an appetite for Star Wars content, but perhaps the franchise needs to differentiate between cinematic and television experiences more clearly. Alternatively, the franchise might benefit from taking bigger creative risks or allowing stories to reach definitive conclusions rather than maintaining an endless status quo. As The Mandalorian and Grogu shows, simply delivering what fans already know and love in shinier packaging may no longer be sufficient to satisfy both critics and audiences on the big screen.

The Churchill Exhibition: War Leader's Artistic EscapeBritain's eloquent war leader kept himself sane by puffing on cigars, swilling brandy – and painting the world around him. The Wallace Collection in London is hosting "Winston Churchill: The Painter" from 23 May to 29 November, offering a rare glimpse into the artistic side of the historical figure.New Voices in Contemporary ArtThe London art scene is buzzing with new exhibitions featuring contemporary artists:Kira Freije presents hollow metal people at Modern Art Oxford, showing shadows of Berlin Dada in her work. The exhibition runs from 23 May to 16 August.Miriam Elia, known for her witty take on Ladybird books, turns her eye towards Moses in this exhibition for Jewish Cultural Month at JW3, until 30 June.Liam Young offers futuristic but lo-fi worlds you can walk through at the Barbican, until 6 September, with installations finding hope for our planet.Zsuzsi Ujj presents her first UK solo show at Arcadia Missa, from 22 May until 18 July, establishing her presence from Hungary's dissident art and underground music scenes.Remembering Valie ExportThe art world mourns the passing of Austrian feminist artist and film-maker Valie Export, who died this week. Her 1968 performance piece "Tapp und Tastkinema" (Tap and Touch Cinema) is highlighted as typically provocative but playful, giving people the opportunity to interact with and appraise a real female body: her own. Export's fearless approach to challenging beauty standards continues to influence contemporary artists.Notable Art News and DevelopmentsThe week brought several significant stories from the art world:Taiba Akhuetie makes wild creations out of hair – Rihanna and Cate Blanchett are fansWhistler should have used better paint to capture his motherNina Simone's chewing gum is going on show in a new exhibition celebrating the superfanChristo made the invisible visibleGrayson Perry's life story is to be made into a musicalFlorentina Holzinger rocked this year's Venice Biennale with naked jetskiers, human bells and urine diversGen Z can't get enough of the king of colour, Mark RothkoSanya Kantarovsky's paintings of Christian iconography and children will haunt youMasterpiece of the Week: The Judgement of ParisJoachim Wtewael's "The Judgement of Paris" (1615) stands as this week's masterpiece. The painting depicts the moment when Trojan prince Paris foolishly rates the beauty of Minerva, Venus, and Juno, giving the prize to Venus in return for her helping him seduce Helen. This decision sparked the Trojan War, with the Greeks supported by the furious Juno. Wtewael's mannerist style, with its bony, angular forms and deliberate distortions, creates an overabundance that presages doom, reflecting the war-torn Europe of the 1600s. The painting is on display at the National Gallery in London.

The Stumbling Blocks in US-Iran War Talks Future control over the Strait of Hormuz and a demand from Washington that Tehran export its stockpile of highly enriched uranium remain key stumbling blocks, as Pakistani mediators continued to seek a permanent ceasefire they believe is still within reach between the US and Iran. Escalating Tensions and Fear of Surprise Attacks Meanwhile, Israel and Iran each fear the other is about to launch a surprise attack on its territory while the US president, Donald Trump, continues to insist a fresh assault on Iran is an option available to him. Pakistani Mediation Efforts The Pakistani interior minister, Mohsen Naqvi, met the Iranian foreign minister, Abbas Araghchi, for the second time in two days in a bid to secure a breakthrough in talks, and it is still possible that a delayed visit to Tehran by Field Marshal Asim Munir, the commander of the Pakistani army, will signal progress is being made. Iran's Conditions for a Ceasefire Iran has emphasised it is seeking to postpone all talks on its nuclear program and focus instead on a permanent cessation of hostilities that it hopes will include a phased lifting of US sanctions, unfreezing of frozen Iranian assets, compensation for US-Israeli war damage, and commitments not to resort to force in future. The Strait of Hormuz Dispute The future management of the strategic Strait of Hormuz is a key point of dispute, with Pakistan floating plans for joint control under UN auspices. Tehran has also proposed that its recently created Persian Gulf Strait Authority take responsibility for the channel, in which fees would be charged and ships would have to follow instructions from over selected transit routes. International Response and Concerns Five Gulf states have written a letter to the International Maritime Authority, a global shipping watchdog, urging merchant and commercial ships not to engage with the PGSA. The list of signatories are Bahrain, Kuwait, Qatar, Saudi Arabia and the United Arab Emirates.

The Performance We know that Aeneas is going to sail away. We know it before he arrives, before he declares his love to Dido, and certainly before the Sorceress and her witchy acolytes get all eye-of-newt about it. But when your opera house is the great hall under the Cutty Sark, and the clipper’s 200ft copper hull is rearing up over your head, it’s impossible to forget the tragedy that Purcell’s compact drama has in store. The Staging So you have to wonder why Andrew Staples, director of the Monteverdi Choir’s semi-staging, felt the need to work quite so hard? The space is the staging. You can try to ignore it (no mean feat when the museum’s collection of antique figureheads flanks the stage in a surreal guard of honour: Florence Nightingale rubbing painted wooden shoulders with Disraeli, Sir Lancelot and a selection of buxom lovelies), but you can’t work against it; you simply won’t win. The Musical Performance Close your eyes, though, and this was a rich account. Conductor Jonathan Sells rode every darting, eddying current in the score, the English Baroque Soloists a colourful, abandoned force in celebration, infinitely restrained elsewhere. Best of all were unaccompanied choral moments – “With drooping wings”, or the two interpolated Funeral Sentences – where movement and time stilled together, voices absolutely unified in their inflection, carving the music’s emotions with devastating clarity. The Vocal Performances The space’s natural resonance allied to some big voices made for an exciting central drama. German-Egyptian mezzo Karima el Demerdasch (definitely one to watch) was a voluptuous-voiced Dido, her suicidal queen still coming into focus. Johanna Wallroth’s radiant, exuberantly ornamented Belinda and Bethany Horak-Hallett’s sumptuous Sorceress supplied the rival musical poles, tugging us from good to ill and back again. And what a treat to have a properly baritonal Aeneas in Hubert Zapiór – a worthy lover and sparring partner for Demerdasch, a hero almost worth dying for. The Future of the Performance Next month the show travels to Norway for the Bergen festival. Cut loose from its nautical anchor, I suspect it’ll pick up several dramatic knots.

The Departure of a Legend Manchester City have confirmed that Pep Guardiola is leaving at the end of the season. The manager is to step away after Sunday’s match at home to Aston Villa with one year on his contract, and City have lined up Enzo Maresca to replace him. Guardiola's Legacy at Manchester City Guardiola has been City’s manager for 10 years, winning 17 major trophies, including this season’s Carabao Cup and FA Cup. Hopes of a domestic treble ended on Tuesday when City’s 1-1 draw at Bournemouth made Arsenal the Premier League champions. The Appointment of Enzo Maresca Maresca has agreed in principle a three-year deal to succeed Guardiola, who he assisted at City in the 2022-23 season. Maresca has been out of work since leaving Chelsea on New Year’s Day. Chelsea are in line for sizeable compensation for the Italian, who departed with three and a half years on his deal, plus the club option of an extra year. Guardiola's Parting Words Guardiola said with a nod to Manchester’s history: “This is a city built from work. From graft. You see it in the colour of the bricks. From people who clocked in early, stayed late. The factories. The Pankhursts. The unions. The music. Simply the industrial revolution and how this changed the world. And I think I grew to understand that, and my teams did too. We worked. We suffered. We fought. And we did things our own way. Our way.”