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The Great Greenwashing: When Sustainability Meets Fast Fashion It was always about the money, wasn't it? For a while there, it seemed like the execs opining "sustainability is not a trend, it's the future" actually meant it. But when yet another global brand drops its net zero goals or stops talking about DEI, you do wonder. Recent headlines include Stella McCartney adulterating her eco gloss with a sustainable capsule collection for H&M; – don't worry, she's just "infiltrating from within" – and Lululemon being investigated for PFAS. The letdowns keep coming. The Everlane-Shein Merger: A Collision of Ideals Now the internet is reeling from a report that Shein plans to acquire Everlane, the San Francisco-based sustainable basics brand built on "radical transparency". Shein is the Chinese ultra-fast fashion giant epitomising murky supply chains and crazy-cheap landfill fashion. They release up to 10,000 styles a day, and have been making headlines of their own over secrecy and alleged links to forced Uyghur labor. Fashion reporter Lauren Sherman reported the acquisition plans this week, though neither Shein nor Everlane have confirmed. Everlane appears to be losing money fast. After layoffs in 2020 and 2023, the brand confirmed in April it was closing its San Francisco office. The Financial Calculus Behind Sustainable Fashion's Fall According to Sherman, Shein sees value in the brand's supply chain and was the only one willing to stump up the US $100m asked by Everlane's majority owner, private equity giant L Catterton (which is backed by LVMH, and owned RM Williams before Australian billionaire Andrew Forrest bought it in 2020). Shein can afford it – last year, their sales topped £2bn in the UK and $1.5bn in Australia. For my money, I bet it's not just the practical capabilities of the supply chain that interests Shein, it's the story. They could use a green glow-up. The Shifting Landscape of Ethical Fashion The Everlane tragedy follows last month's Allbirds comedy. Another publicly listed sustainable fashion company driven by Silicon Valley hype, Allbirds has given up making sneakers out of carbon neutral materials in order to flog AI. The surprise pivot came with a name change – NewBird – and a cynical cash grab. The old bird had been leaking money; the new one sent stock surging 600%. I visited Allbirds HQ the same year I interviewed Preysman. We discussed their B Corp journey, material innovation and how co-founder Joey Zwillinger reckoned "at the end of the day, people don't buy sustainable products, they buy great product experiences". I titled the podcast episode 'The Eco-Awesomeness of Allbirds – Sustainable Shoes for Changemakers'. The Future of Sustainability: Beyond Greenwashing So how do we navigate this moment? Accept it: sustainability is not hot right now. OK! This was never meant to be a popularity contest. The movement needs to get back to basics. Circularity won't save us – we must focus on workers' rights and the just transition. Have hard conversations about overproduction. Dismantle consumerism as the dominant narrative and define a properly radical approach to system change. You can't take the politics out of this, but why would you want to? As the last few months have shown us, when sustainability becomes purely about the business case, it stops meaning anything at all.

The Lead: A Disappointing Return to FormHirokazu Kore-eda's latest film "Sheep in the Box" has premiered at the Cannes Film Festival to largely negative reviews, with critics describing it as a "bafflingly unsatisfying and unconvincing muddle of ideas and moods." The film, which explores the concept of AI humanoid robot children replacing deceased children, represents a significant departure for the acclaimed director, whose previous works have been celebrated for their emotional depth and nuanced storytelling.The Film: A Futuristic Tale of Grief and Technology"Sheep in the Box" follows Otone (Haruka Ayasi), an architect, and her husband Kensuke (Daigo Yamamoto), a carpenter, who are offered a promotional free offer by a company called REbirth: an ultra-hi-tech humanoid robot replica of their deceased seven-year-old son Kakeru. The robot is designed to have the physical form, speech patterns, and memories of the original child, based on videos, photos, and other research materials provided by the grieving parents.The film presents several intriguing concepts: the robot being taken to the scene of the hit-and-run that killed the original Kakeru in hopes of recovering details about the culprit; the robot serving as a confessor for Kensuke to admit his guilt about his son's death; and a subplot involving other abandoned robot children planning a "replicant revolt." However, these ideas remain largely undeveloped, leaving audiences with more questions than answers.Critical Reception: A Missed OpportunityThe review from The Guardian is particularly scathing, noting that the film "isn't as interesting as films on similar themes including Kogonada's After Yang and Benjamin Cleary's Swan Song." The critic specifically faults Kore-eda's "quietist, un-emphasised style" for being unsuitable to the material, suggesting that the director's typically subtle approach doesn't work with the ambitious sci-fi concepts presented.One of the primary criticisms is the film's tonal inconsistency, attempting to be both a sci-fi dystopia and a relatable story about parental grief, with these two elements ultimately undermining each other. The performances are also noted as problematic, with the robot child being "unpersuasively performed in a returning keynote of bland serenity," while the human parents react with bizarre matter-of-factness to what should be an emotionally charged situation.Impact on Kore-eda's Legacy and AI CinemaThis film represents a significant departure for Hirokazu Kore-eda, whose previous works like "Shoplifters" and "Like Father, Like Son" have been celebrated for their emotional authenticity and humanistic approach. The negative reception of "Sheep in the Box" raises questions about whether the director can successfully transition into more genre-oriented territory while maintaining his signature style.In the broader context of AI cinema, the film joins a growing conversation about artificial intelligence and humanity in film, alongside works like Spike Jonze's "Her" and Alex Garland's "Ex Machina." However, where those films have been praised for their thoughtful exploration of AI ethics and human connection, "Sheep in the Box" appears to have missed the mark, failing to deliver either compelling drama or meaningful commentary on its central themes.Future Outlook: A Setback in an Otherwise Distinguished CareerWhile "Sheep in the Box" may represent a misstep for Kore-eda, it's unlikely to significantly impact the director's otherwise distinguished career. The filmmaker has previously demonstrated remarkable range and depth, and this ambitious if flawed experiment may ultimately be viewed as an interesting if unsuccessful detour rather than a definitive statement on his abilities.For audiences interested in exploring AI and humanity in cinema, the film serves as a cautionary tale about the challenges of blending emotional storytelling with complex technological concepts. As the conversation around AI continues to evolve in both society and art, "Sheep in the Box" may be remembered more for what it attempted than for what it ultimately achieved.

Fight Like a Girl is a raw, under‑dog boxing drama set in the Democratic Republic of the Congo, spotlighting the harrowing reality of sexual violence while celebrating the resilience of its female protagonists.The Film’s Core Narrative and Authentic SettingThe story follows Safi (played by Ama Qamata), a teenage survivor of mineral‑mine exploitation who discovers a path to empowerment through boxing under the mentorship of former child‑soldier coach Balezi “Kibimango” Bagunda (portrayed by Hakeem Kae‑Kazim). The film’s gritty street‑level visuals were captured on location in Goma, lending a documentary‑like immediacy.Directed by Matthew LeutwylerFeatures real‑life boxer Clarck Ntambwe as inspiration for the star fighter AishaPost‑credits note reveals the real Kibimango was killed in 2025 while evacuating children from an orphanageRelease Timing and Distribution FactsUK theatrical release begins 22 May 2026Screened in UK cinemas as reported by The GuardianBroader Cultural Impact of a DRC‑Centric Female Boxing DramaBy foregrounding the DRC’s conflict‑driven gender violence and pairing it with a sports‑drama framework, the film expands global awareness of the region’s humanitarian crisis and challenges the traditionally male‑dominated boxing‑movie genre.What Lies Ahead for “Fight Like a Girl” and Similar StoriesGiven its authentic storytelling and timely release, the film is poised to attract festival circuits, spark discussions on gender‑based violence, and inspire further productions that blend social realism with genre conventions.

The Film's PremiseIn an increasingly sparse release schedule for family entertainment, 'Charlie the Wonderdog' emerges as a Canadian-produced animated film featuring Owen Wilson as a dog who gains superpowers after being abducted by aliens for experimentation. The film follows Charlie as he uses his new abilities for good, while his neighbor's cat Puddy turns against humanity over neglected litter duties.Animation Quality and StorytellingDirector Shea Wageman earns some points for weirdness, but the film ultimately falls short when compared to major studio animations. The review suggests that without the legacies of Pixar and DreamWorks Animation, Charlie might seem merely passable. The script contains one solid, funny idea about Charlie and Puddy representing different responses to sentience, but this concept gets lost in frenetic set pieces that fail to engage the audience.Owen Wilson's PerformanceOwen Wilson lends his distinctive drawl to the titular character, bringing humor to moments like Charlie howling with cacti spines in his butt and belching after overindulging in bolognese. However, the review suggests this was likely just an easy paycheck for Wilson during a downtime in his career, with the reviewer hoping for a return to his earlier, funnier roles in the upcoming Fockers sequel.Market PositionThe film appears positioned as filler material for children's matinee shows, particularly as major studios have already delivered blockbusters like 'Hoppers,' 'Goat,' and 'The Super Mario Galaxy Movie' this spring. The review mentions that with Chinese-produced Tom and Jerry failing to generate enthusiasm, Charlie stands as the most immediate family alternative, though it's presented as a decidedly second-tier option.Future OutlookGiven the critical reception in this review, 'Charlie the Wonderdog' is unlikely to make a significant impact in the animated film landscape. Its release in UK and Irish cinemas from May 22 suggests it's being positioned as a modest family option rather than a major contender, with its primary value perhaps serving as temporary entertainment for children until more substantial animated features arrive.

The Long-Awaited TriumphA jubilant Bukayo Saka hit back at Arsenal's critics by saying "they're not laughing at us any more" as the club celebrated their first Premier League title in 22 years. Arsenal players and staff gathered at their London Colney training base to watch Manchester City draw 1-1 with Bournemouth, guaranteeing the Gunners their first championship since 2004.The Road to VictoryThere were wild scenes at Arsenal's training ground, and outside the Emirates Stadium, where thousands of supporters gathered to toast the club's success by lighting fireworks and flares. Ian Wright, who scored 185 times for Arsenal and won the title in 1998, was mobbed by fans as he joined in on the party outside the club's ground.Overcoming DoubtsArsenal, runners-up in the league for the previous three seasons, faced accusations of "bottling" their trophy push after they lost at City on 19 April. But while City subsequently drew at Everton and Bournemouth, Arsenal bounced back by winning their next four without conceding to finish top.Arteta's Vision RealizedMikel Arteta, who rejoined Arsenal as manager in December 2019 with the club in disarray, installed a blacked-out Premier League trophy at the training base which would light up only when the club were champions.Players' Response to Critics"Light that up," Saka said in footage posted by Jurriën Timber on his Instagram account. "Let me tell you something. Twenty-two years, 22 years. There was laughing, there was joking, they're not laughing any more. Look, it is going to be shining, it is going to be shining bright."In an Instagram story, this time on Saka's channel, Myles Lewis-Skelly is holding a champagne bottle. "They called us bottlers," said Lewis-Skelly. "And now we're holding the bottle."The Celebration ContinuesSome of the players took their celebration party to the Emirates, with Eberechi Eze posting a picture outside the stadium alongside Declan Rice, Timber and Saka, in the early hours of Wednesday. Eze's three Instagram slides also included a picture of an Arsenal-branded bottle in another jibe at the club's detractors.

Billy Joel Slams Unauthorized Biopic Over Life‑Rights DisputeBilly Joel publicly condemned the forthcoming film Billy & Me, describing the project as “legally and professionally misguided” after confirming that neither his life rights nor his music catalogue have been licensed to the producers.Legal and Creative Stakes Behind “Billy & Me”The film, announced on Tuesday, is intended to be told through the eyes of Joel’s first manager Irwin Mazur and will be directed by John Ottman, known for editing the Michael Jackson biopic Michael. However, the production does not hold:Joel’s life‑rights agreement, which protects against lawsuits.Licensing rights to any of Joel’s songs, a prerequisite for a music‑driven narrative.Joel’s representatives warned that the parties have been officially notified since 2021 that they lack these essential permissions.Financial Implications of Missing Music RightsSecuring rights to a major catalog like Joel’s typically involves:Up‑front licensing fees that can run into the low‑millions of dollars.Royalty splits on box‑office and streaming revenues.Potential penalties for unauthorized use, which can halt distribution.Without these agreements, the film faces significant budget overruns or the need to replace iconic songs with costly original compositions.Potential Ripple Effects on the Music‑Biopic LandscapeThis clash underscores a growing trend: artists demanding tighter control over how their stories and music are portrayed. Studios may now:Prioritize early negotiations for life‑rights before green‑lighting projects.Allocate larger portions of budgets to music licensing.Consider alternative storytelling approaches that avoid direct use of copyrighted songs.Failure to secure rights could set a precedent that discourages similar unauthorized biopics.What the Future Holds for the Joel Biopic ProjectIndustry observers anticipate three possible outcomes:Negotiations reopen, and the studio secures Joel’s approval and music rights, potentially reshaping the script.The project proceeds without Joel’s catalog, relying on original scores and limited references, which may dilute its commercial appeal.The film is shelved or re‑conceptualized, prompting producers to explore other phases of Joel’s career where rights are clearer.Until a resolution is reached, “Billy & Me” remains in limbo, serving as a cautionary tale for future music‑driven productions.

The Evolution of the Romantic Comedy ProtagonistIt's a long-running romcom trope that the couples we're supposed to root for are often hiding lies that threaten the chances of any happy relationship blossoming. From classics such as The Shop Around the Corner to modern blockbusters such as How to Lose a Guy in 10 Days, the genre thrives whenever it presents the audience with the most alarming red flags it conceals from its characters, raising the stakes by seeing if sparks can still fly when an ulterior motive behind each meet-cute is hidden in plain sight.The Sociopath Archetype in Contemporary RomcomsIn the romantic comedies we've seen so far this year, this trope has not only been revived but pushed far beyond its breaking point, cementing a new romcom archetype: the unlucky-in-love sociopath. This week's new release Finding Emily is the starkest example to date, introducing psychology student Emily (Angourie Rice), whose desperation to find a good case study for her dissertation essay on the self-destructive nature of love leads her to concoct a machiavellian scheme to paint university student Owen (Spike Fearn) as an obsessive stalker.Owen is a kind-hearted employee of her university's student union bar, only meeting Emily after his search to find a different Emily he danced with the previous night leads him in the wrong direction. After she sees him plant posters around the campus, Rice's Emily decides to help him as fuel for coursework she should have handed in already, faking his signature on consent forms, secretly recording their every conversation, and insisting he make grand public gestures that paint him in a bad light. With this being a romantic comedy, certain tropes must be adhered to and feelings gradually form between the two, but the initial lie has cast such a destructive shadow over Owen's life that it doesn't feel triumphant for the audience when he realises it was more than just a friend who betrayed him.Red Flags and Deception in Recent RomcomsLast month, audiences were treated to another romcom sociopath in Halle Bailey's Anna Montgomery, the heroine of the frothy You, Me & Tuscany. A house-sitter who lives vicariously through her clients and imagines their lives as her own, we're introduced to her getting fired after getting caught wearing clothes that don't belong to her – which yes, does include underwear. After a one-night stand with a handsome Italian man, she saves photos of his glamorous Tuscan villa and flies to Europe to squat there, justifying her presence to his family by pretending she is his new fiancee. It's red flag after red flag in a haphazard scheme to maintain a life of luxury on someone else's dime, and the fact she successfully wins over another new interest during this ruse is less shocking than the Italian family forgiving her because they found her that charming.This trope of a relationship built on a lie was very deliberately weaponised in Kristoffer Borgli's hit black comedy The Drama, which juxtaposes one mundane white lie – Charlie (Robert Pattinson) pretending to have read a book he sees Emma (Zendaya) reading so he could talk to her – with her choice to conceal from him the worst thing she's ever done. The genius of The Drama isn't just that Emma is far less of a sociopath than many of those judging her for her teenage planning of a crime she didn't go through with, but that it exposes why modern romantic comedies are making their love interests far more extreme. These are characters who likely would have swiped left on each other if they didn't meet in the real world due to lack of immediate shared interests, with Charlie's planned wedding speech notably lacking any specificity about his wife-to-be.The Digital Dating Disconnect in Modern RomanceThe concept of a real-life meet-cute is growing increasingly alien in a world where more relationships are beginning online, and many reports point towards gen Z opting out of the dating market altogether. The revival of romcoms aimed at millennial and gen-Z audiences coincides with a need to reflect this sea change in how young people approach relationships, which is why we're starting to see an influx of stories that feel more like cautionary tales than traditional examples of the genre. We're still a world away from a horror movie subversion of the meet-cute such as the thriller Fresh, where Daisy Edgar-Jones unwittingly locked eyes with cannibal Sebastian Stan in a grocery store, but film-makers in both genres seem keenly aware that the digital world provides barriers to dating nightmares like these. Neither can function as well if you get to know somebody first and block them before any carnage can ensue.There are, of course, plenty of horror stories about online dating to be told; there's a cottage industry of true crime documentaries such as The Tinder Swindler which revel in the horrors that could be inflicted upon you if you swipe right. The modern romcom remains stubbornly offline in comparison, largely because the love interests it presents wouldn't be reflected well in a dating app bio. In a world where the most viral social posts about dating are from young people outlining their specific "icks" in potential partners, most of this new crop of romcom couples wouldn't sustain a Bumble conversation if they had a better handle on each other's personalities.The Future of Romantic StorytellingWith younger people remaining cynical about love and romcoms struggling to justify classic tropes in an online-driven dating world, these won't be the last films in a wave that feels more harrowing than idealistic. As our dating lives become increasingly filtered through digital interfaces, the romantic comedy genre may need to evolve further to maintain relevance, potentially exploring how relationships can form authentically in a world where first impressions are increasingly curated and deception is just a swipe away.

I Want You to Be Happy by Jem Calder is a debut novel that follows a 23‑year‑old woman and a 35‑year‑old man navigating love in a world saturated with e‑bikes, vapes, push notifications and relentless texting. The Guardian’s review highlights Calder’s affect‑less prose, digital‑centric details, and a price of £14.99 from Faber.Opening Snapshot: A Bar Encounter in the Age of NotificationsThe novel opens with a droll bar scene where the age gap is playfully guessed, immediately establishing a tone that blends classic meet‑cute tropes with contemporary tech‑driven anxieties. The characters’ dialogue is peppered with references to Slack channels, vaping, and the timing of text replies, setting the stage for a romance that feels both familiar and hyper‑modern.Stylistic Choices and Literary LineageCalder’s prose is described as “factual and affectless,” echoing the styles of Sally Rooney, Vincenzo Latronico, Nickolson Baker, Bret Easton Ellis and early Don DeLillo. The review notes his love for noun‑to‑verb transformations (“axised”, “pendulumed”) and Joycean‑style portmanteaux, which make the occasional flash of stylistic flair stand out against an otherwise flat narrative surface.Price Point and Market PositioningThe book retails for £14.99 through Faber, positioning it within the mid‑range paperback market for literary fiction. This price aligns with comparable debut novels from the same imprint, suggesting a strategy aimed at both literary‑enthusiast readers and the broader audience attracted by the novel’s digital‑culture hook.Reflection on Contemporary Romance NarrativesWhile the plot follows the classic “boy meets girl, conflict, separation” arc, the review argues that the fresh element lies in Calder’s meticulous rendering of a world where reality is mediated by screens. The characters’ cyber‑stalking, anxiety over response timing, and the omnipresence of push notifications illustrate how modern dating rituals have been reshaped by technology, offering a commentary that feels both timely and resonant.Future Prospects for Calder’s Digital‑Centric StorytellingGiven the novel’s blend of traditional narrative structure with a sharply observed digital milieu, the review suggests Calder may carve a niche for stories that examine intimacy through the lens of contemporary tech. If his stylistic experiments continue to evolve, future works could deepen the exploration of how language and digital interfaces shape personal connections.

The Lead Apple TV's new 10-part series "Maximum Pleasure Guaranteed" is a tense, twisty thriller that combines online deception, dangerous encounters, and unexpected connections. The series follows Paula, a newly divorced mother who becomes entangled in a dangerous online scam when her therapist-with-benefits is attacked during their video session. The Digital Deception Unfolds The story begins when Paula (Tatiana Maslany) is video chatting with Trevor (Brandon Flynn), a camboy who serves as her therapist-with-benefits. During their intimate encounter, a masked man bursts into Trevor's apartment, attacks him, and delivers a cryptic message to Paula. Despite being warned by police that it's likely a scam, Paula finds herself increasingly drawn into a complex web of deception when Trevor demands $50,000 as ransom. The Character Dynamics What makes "Maximum Pleasure Guaranteed" particularly compelling is its complex character dynamics. Paula, a fact-checker for a magazine, uses her investigative skills to unravel the mystery behind Trevor's attack. Her determination to uncover the truth drives the narrative forward, even as she navigates her complicated divorce from Karl (Jake Johnson) and fights for custody of her daughter Hazel. The series masterfully balances Paula's personal struggles with the central thriller plot. The Performances That Elevate the Series The series benefits from exceptional performances, particularly from Tatiana Maslany, who brings depth and nuance to the role of Paula. Her ability to portray vulnerability, intelligence, and stubbornness makes her character both relatable and compelling. Brandon Flynn effectively portrays the enigmatic Trevor, while Murray Bartlett emerges as a formidable antagonist, adding layers to the series' tension and intrigue. The Blend of Thriller and Social Commentary Beyond its entertainment value, "Maximum Pleasure Guaranteed" offers sharp commentary on modern digital relationships and the dangers of online deception. The series explores themes of surveillance, privacy, and the unseen power dynamics that exist in our increasingly connected world. These elements add depth to the thriller narrative, elevating it beyond a simple crime drama. The Future of Streaming Thrillers "Maximum Pleasure Guaranteed" represents the growing trend of high-quality, serialized thrillers dominating streaming platforms. Its success demonstrates audiences' appetite for complex, character-driven narratives that combine tension with unexpected twists. As streaming services continue to invest in original content, series like this one set the standard for what viewers can expect from the future of television entertainment.