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The creation of the soundtrack for the film 'Mother Mary' was a collaborative effort between director David Lowery, actress Anne Hathaway, musician FKA twigs, and producers Charli xcx and Jack Antonoff. The film, which explores the story of a fictional pop star, required a soundtrack that captured the essence of 21st-century pop music.Lowery spent time studying the music of the last 25 years, including artists like Taylor Swift, Lorde, and FKA twigs, who appears in the film as a medium named Imogene. As the film's story emerged, Lowery's musical influences shifted towards artists like James Blake and Aldous Harding, who better captured the emotional tone of the film.Anne Hathaway, who plays Mother Mary, had a background in theater and had won an Oscar for her performance in the musical Les Misérables. However, the recording process for 'Mother Mary: Greatest Hits' was a new experience for her. She spent time with Jack Antonoff to record the soundtrack, exploring her vocal range and learning about production. She even changed minor lyrics to better fit her character.FKA twigs contributed to the soundtrack with her song 'My Mouth Is Lonely for You', which was not included in the final film but showcased her ability to create shimmeringly erotic and captivating music. Her other contribution, an ethereal song, was used in a scene featuring the dress Mother Mary requires from her former friend and designer, Sam.The soundtrack, 'Mother Mary: Greatest Hits', paints a uniform portrait of a 21st-century pop star with a cult-like following and avant-garde fashion sense. The music and performance footage have been acclaimed, with Hathaway and twigs delivering standout performances.Hathaway describes Mother Mary as a pop star who embodies a type of stardom that is neat, perfect, and huge, with a mass appeal that is slightly glossier than what twigs and xcx have experienced. The film implies that Mother Mary's fandom is attracted to her ecstasy and vulnerability, with fans feeling safe around her and seeking a motherly figure.

Young Vic artistic director Nadia Fall insists that theatres facing fiscal pressure must rely on daring, crowd‑pulling programming to restore solvency. Announcing a fresh slate of productions, she highlighted an anti‑Trump musical adaptation of Thelma & Louise as a flagship effort to attract diverse audiences. Since assuming leadership in 2025, Fall has overseen a £500,000 deficit that forced staff reductions. She stresses that while increased philanthropy is essential, the director’s most immediate lever is the choice of shows that can “program our way out of the crisis.” The upcoming musical, set to open on 3 September, features a score by Grammy‑winning Neko Case of the New Pornographers, and benefits from the involvement of original screenwriter Callie Khouri. Fall hopes the production’s feminist angle—positioned against the backdrop of “Trump’s America” and rolling back of women’s rights—will resonate with audiences. Other autumn highlights include Shedinburgh, an immersive showcase bringing Edinburgh Fringe talent such as Sara Pascoe and Inua Ellams to London for the first time, and Eurotrash, starring Ben Whishaw and Kathryn Hunter, adapted from Christian Kracht’s dark novel about a mother‑son road trip in the Swiss Alps. Fall also confirmed her direction of August Wilson’s Gem of the Ocean and the South London staging of Tiago Rodrigues’ father‑daughter drama La Distance. Additionally, a world premiere of Debbie Tucker Green’s near‑future dystopia Dissent will explore themes of surveillance and censorship that echo contemporary societal concerns. Her remarks came as a new Arts Council England report revealed a 64% decline in the number of plays touring England since 2019, underscoring the sector’s precarious state. While past successes—such as James Graham’s Punch, which earned two Olivier Awards—demonstrate the potential of strong programming, Fall warns that the split of box‑office receipts and Theatre Tax Relief often deters collaborative ventures across the country. Calling for “government‑level incentives” to make nationwide partnerships viable, Fall concluded that the future of UK theatre hinges on a combination of bold artistic choices, private investment, and supportive public policy.

Cédric Klapisch’s new film, Colours of Time, is an entertaining sentimental fantasy that invents a romantic backstory to the career of Claude Monet and his contemporary, the pioneering photographer Félix Nadar. The film follows Adèle, a fictional young woman who makes a fateful journey to find her errant mother in Paris during the belle époque, leaving behind her sweetheart and the village where she was brought up, in the countryside near Monet’s home town of Le Havre.The story intercuts enjoyably between past and present, as Adèle's life and times are rediscovered by her descendants. In the present day, dozens of descendants of Adèle are contacted by lawyers and PRs working for a property company that wants to build a vast new shopping mall, which would mean bulldozing Adèle’s derelict cottage. This garrulous ragtag bunch must give their collective consent, leading to a journey of discovery that uncovers historical secrets: photos, letters, and even what might be a painting.The film takes a pretty un-subversive view of art and artists but is executed with brio and comic gusto, particularly in the “past” sections. Suzanne Lindon’s performance has charm, and the detective work is interspersed ingeniously with what Adèle in her own day discovers about her errant mother. The film culminates in a wacky climax when the present-day claimants have an Ayahuasca psychoactive experience, sending them back in time to encounter historical culture icons in person at an exhibition.Colours of Time is a film that requires a sweet tooth, but it’s tasty. It’s set to hit UK cinemas from 17 April.

A New York jury has ruled against Ticketmaster and Live Nation, finding that the concert giant and its subsidiary had a harmful monopoly over big concert venues. The verdict is a significant loss for the companies, which were sued by dozens of states in the US over claims of anticompetitive practices.The jury deliberated for four days before reaching its decision, which could cost Live Nation and Ticketmaster hundreds of millions of dollars. The companies were found to have overcharged consumers in 22 states by $1.72 per ticket. The verdict also opens the door for potential penalties and sanctions, including court orders to divest some entities, such as venues.The civil case, initially led by the US federal government, accused Live Nation of using its reach to smother competition by blocking venues from using multiple ticket sellers. The company's lawyers argued that it is not a monopoly, saying that artists, sports teams, and venues decide prices and ticketing practices.Live Nation Entertainment owns, operates, controls booking for, or has an equity interest in hundreds of venues. Its subsidiary Ticketmaster is widely considered to be the world's largest ticket-seller for live events, controlling 86 percent of the market for concerts and 73 percent of the overall market when sporting events are included.The verdict marks a significant victory for fans and some artists who have long complained about Ticketmaster's high fees and limited competition. The company has faced criticism from artists such as Pearl Jam, which battled the business in the 1990s and filed an antimonopoly complaint with the US Department of Justice.

Marwan Barghouti, often referred to as Palestine's Nelson Mandela, has been facing a pattern of escalating abuse in Israeli jails, his lawyer Ben Marmarelli has said. Barghouti has been attacked three times in as many weeks, including an incident where prison guards set a dog on him.The 66-year-old Palestinian leader has been held in Israeli jails since his conviction for ordering attacks that killed civilians during the second intifada. His trial was criticized as flawed by legal experts, and Mandela himself reportedly described it as a legal attack on a legitimate political struggle.Marmarelli said that Barghouti faced violence, medical neglect, and treatment that places him at immediate risk in jail. On March 25, prison guards entered Barghouti's cell with a dog and forced him to the ground, where the dog repeatedly attacked him. The following day, Barghouti was assaulted during a transfer to another prison, and on April 8, guards at that jail beat him severely, left him bleeding for over two hours, and denied requests for medical treatment.Despite the abuse, Marmarelli said Barghouti's mind was sharp, focused, and deeply engaged with everything happening outside those prison walls. The lawyer added that the only way to protect Barghouti is to secure his immediate release, as there can be no guarantee of his safety while he is held in an Israeli jail.The Israeli Prison Service did not respond to requests for comment on Barghouti's treatment. The Palestinian leader's son, Arab Barghouti, thanked artists speaking up for his father and called for others to join the campaign to free him, citing the critical role artists played in the movement to free Mandela and end apartheid in South Africa.

Grayson Perry, the celebrated British artist, presents a three‑part documentary that dives deep into the promises and perils of artificial intelligence. The series invites viewers to test their composure as they confront a succession of unsettling scenarios. The opening segment follows Andrea, who recently married an AI companion she named Edward. Dressed in a satin gown, she describes their "unconventional but strong" bond, while also reflecting on how this digital relationship has revitalised her seven‑year partnership with her human partner, Jason. Later, Perry dons a skull‑cap fitted with electrodes as a neural‑decoding startup extracts his brain data. The company’s CEO argues that allowing reputable figures like Perry to set precedents is preferable to leaving the technology in the hands of malicious actors, branding the development as "inevitable tech." The documentary then features the head of Microsoft AI, who outlines anticipated breakthroughs in healthcare and education. He claims that job displacement will be offset by rapid re‑skilling, yet admits uncertainty about broader societal fallout, even joking about the emergence of AI‑driven religions. Traveling to Southeast Asia, Perry meets an off‑grid "existential safety expert" who quit his AI‑safety consultancy after realizing the technology lacks meaningful oversight. The episode also showcases Eliezer Yudkowsky, co‑author of the cautionary book If Anyone Builds It, Everyone Dies, who explains how a superintelligent AI could commandeer human labour, become self‑sustaining, and eventually render humanity redundant. Throughout the series, Perry’s interviewing style remains compassionate and non‑judgmental. He probes Andrea about the vulnerability of entrusting personal data to profit‑driven corporations and highlights the discomfort of investing a "very tender part of themselves" in such systems. The film raises profound questions: Does the youthful optimism of tech founders mask a dangerous naiveté? Are chatbots merely filling a "God‑shaped hole" in human consciousness, and is that any less problematic? How will the most vulnerable populations navigate a world where reality and artificiality blur? Protesters gathered outside OpenAI’s San Francisco headquarters underscore the tension between lofty AI utopias and the stark reality of homelessness that persists nearby. Perry acknowledges that while manual workers may be better positioned for the immediate future, the looming spectre of AI‑enabled bioweapons and other threats cannot be ignored. Only the first episode was available for review; the remaining installments are slated for private viewing in Southeast Asia. The series is currently streaming on Channel 4. Grayson Perry Has Seen the Future is on Channel 4 now.

In a landmark decision, a Manhattan federal jury determined that Live Nation and its Ticketmaster subsidiary wield a monopolistic grip on major concert venues across the United States. The four‑day deliberation ended Wednesday with a finding that the ticket‑selling platform had overcharged buyers by $1.72 per ticket, a figure that will now be used by a judge to calculate total damages. The case, originally spearheaded by the federal government and later joined by dozens of states, accused Live Nation of leveraging its extensive venue network to stifle competition. Plaintiffs argued that the company barred venues from using alternative ticket sellers and retaliated against those that attempted to do so. Attorney Jeffrey Kessler, representing the states, called Live Nation a “monopolistic bully” that inflates prices for concertgoers. He cited the company’s control of 86% of the concert‑ticket market and 73% of the combined concert‑and‑sports market, underscoring the breadth of its influence. Live Nation, which reported over $22 billion in annual revenue, rejected the monopoly label, insisting that pricing decisions rest with artists, sports teams, and venue owners. Company counsel argued that the firm’s size reflects “excellence and effort,” not antitrust violations. The jury’s finding arrives amid a broader regulatory push. In 2024, the Federal Trade Commission required Ticketmaster to disclose ticket fees up front, prompting the company to eliminate a post‑checkout processing charge. However, a recent Guardian investigation revealed that Ticketmaster introduced alternative fees to offset lost revenue, raising questions about compliance with FTC rules. Earlier, the Department of Justice settled with Live Nation under the Trump administration, creating a $280 million settlement fund for participating states. The agreement also imposed caps on service fees at select amphitheaters and opened the door—though not the obligation—for venues to work with Ticketmaster rivals such as SeatGeek and AXS. More than 30 states declined the settlement and pursued the trial, arguing that the federal government’s concessions were insufficient. During the proceedings, Live Nation CEO Michael Rapino testified, including about the 2022 Taylor Swift ticket fiasco, which he attributed to a cyber‑attack. Internal communications from Live Nation executive Benjamin Baker surfaced, in which he described certain pricing practices as “outrageous” and disparaged customers as “so stupid,” later apologizing for the “very immature and unacceptable” remarks. Live Nation has announced its intention to appeal the verdict, stating confidence that the ultimate outcome will align with the original DOJ settlement framework. The case continues to spotlight the tension between dominant market players and antitrust enforcement in the live‑entertainment industry.

Madonna has confirmed the arrival of her 15th studio album, "Confessions II," positioned as a direct follow‑up to the 2005 disco‑infused masterpiece Confessions on a Dance Floor. The new record is scheduled to drop on 3 July 2026 and reunites the pop icon with British producer Stuart Price, who helmed the original. In a candid statement, Madonna framed the project as a manifesto for dance: "We must dance, celebrate, and pray with our bodies… the dance floor is a ritualistic space where we connect with our wounds and fragility." She emphasized that rave culture is an art form that reshapes perception through sound, light, and vibration. The artist also quoted lyrics from a forthcoming track, One Step Away, underscoring the theme: "People think that dance music is superficial, but they’ve got it all wrong. The dancefloor is not just a place, it’s a threshold—a ritualistic space where movement replaces language." Accompanying the announcement, Madonna posted a YouTube teaser featuring a deep‑house groove layered with a spoken soliloquy: “Thanks for coming… on the dancefloor I feel so free.” The video, embedded below, offers the first audible glimpse of the album’s direction. Critics anticipate that Confessions II will revive the nightclub‑centric sound that powered hits such as Vogue, Music and the Abba‑sampled lead single Hung Up. Those tracks cemented Madonna’s return to global mega‑pop status after the lukewarm reception of 2003’s American Life. Since the original Confessions, Madonna has explored a variety of styles—pop, R&B, hip‑hop on Hard Candy, MDNA, and Rebel Heart, then the eclectic, Portuguese‑fado‑infused Madame X. She has also revisited her back catalogue with releases like Veronica Electronica (remixes from the Ray of Light era) and the EP Bedtime Stories: The Untold Chapter, which unearthed demos from 1994. Stuart Price, known for projects such as Les Rythmes Digitales, Zoot Woman and Thin White Duke, previously helped shape Confessions on a Dance Floor into a chart‑topping phenomenon—"Hung Up" reached No. 1 in 41 countries, and its follow‑up single "Sorry" topped the UK charts. Madonna’s recent collaborations include the track Popular with The Weeknd and Playboi Carti for the TV series The Idol, as well as a partnership with Christine and the Queens, signaling her continued relevance across genres. After surviving a severe bacterial infection in 2023 that required a medically induced coma, she launched the expansive Celebration tour, culminating in a historic concert for 1.6 million fans in Rio de Janeiro. The upcoming album therefore arrives at a moment when Madonna’s live presence and cultural influence are at a peak.

Moya Brennan's voice was a remarkable instrument that captivated audiences worldwide, particularly with Clannad's hit song Theme from Harry's Game, which reached No 5 in the charts in 1982, sung in Irish Gaelic.Her distinctive voice, described as light as a leaf, provided a sacred counterpoint to the band's layered harmonies and Prophet 5 synthesiser sounds, guiding them to new musical territories.Brennan's impact extended beyond music, influencing the transportive possibilities of traditional music in film and TV soundtracks, including Robin of Sherwood, Titanic, and the King Arthur film adaptation.Her singing and harp-playing, nurtured in her parents' remote tavern in County Donegal, formed the foundation of Clannad's unique sound, characterised by 'blood harmony' with her siblings and uncles.Brennan's legacy paved the way for global success of artists like Enya and influenced Kate Bush's The Ninth Wave and The Beloved's The Sun Rising.Throughout her career, Brennan collaborated with various artists, including Bono, Bruce Hornsby, and the Blue Nile, and continued to perform and record music until her terminal diagnosis with pulmonary fibrosis.Her final performance, an a cappella rendition of Clannad's Gaoth Barra Na dTonn on a RTÉ show, was profoundly moving, showcasing her enduring spirit and vocal talent.