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The LeadRenowned actress Linda Bassett reflects on her distinguished career spanning decades of theatre work, her celebrated collaboration with playwright Caryl Churchill, and her upcoming role in Alexander Zeldin's "Care" at the Young Vic. Known for her understated yet powerful performances, Bassett shares insights into her approach to acting and the profound impact of theatre on her life.The Career JourneyBassett's path to acting wasn't conventional. Despite coming from a non-theatrical family, she discovered her passion at age four when she was unexpectedly thrust into a Sunday school Easter play. "I was in bliss," she recalls. Her formative years included ushering at the Old Vic during Laurence Olivier's legendary tenure, where she witnessed groundbreaking performances and even sold ice creams during intermissions.After briefly studying English at Leeds University, where she focused on drama rather than academics, Bassett began creating devised work in Leeds and Coventry. This experience, she suggests, "made me a bit gobby," developing her confidence to make suggestions as an actor, though she admits she sometimes oversteps when working with certain playwrights.The Churchill ConnectionBassett's most significant artistic relationship has been with playwright Caryl Churchill, beginning with "Fen" in 1983 and continuing through to "What If If Only" in 2021. She describes auditioning for Churchill as "enormous" because it launched her on a particular trajectory. Her disconcerting clarity has made her a peerless interpreter of Churchill's work, which some audiences find forbidding."They're not hard to watch," Bassett protests of Churchill's plays. She recalls her iconic monologue in "Escaped Alone" where the phrase "terrible rage" is repeated 25 times in succession. "It was the only thing to say at that point. The words fed the feeling, and it was the audience who felt it, not me, which is ideal." Churchill's writing, she notes, is "so distilled, no excess baggage," requiring actors to find "the one way" to play them.From Call the Midwife to CareDespite notable film roles including "East Is East" and "Calendar Girls," many audiences know Bassett as stern nurse Phyllis in the BBC's "Call the Midwife." "Complete strangers come up and say, I love you. My wife loves you, my mother loves you. It's extraordinary," she remarks of the public's connection to the character. Despite playing Phyllis for over a decade, she found fresh aspects to explore, learning "how to be" more matter-of-fact and practical than her natural disposition.Currently rehearsing Alexander Zeldin's "Care" at the Young Vic, Bassett plays Joan, a woman who after caring for her family begins showing signs of dementia and needs care herself. "She's convinced, as many people are, that she's just in for respite. She never loses the idea that she's going home," Bassett explains. The role draws from personal experience; after a heart attack, she spent two weeks recuperating in a care home, giving her "an insight into what it's like when you become helpless."The Actor's Philosophy"Every part is an education," Bassett states. "That's the glory of being an actor. You learn about human feelings and frailty and rottenness. The writer puts their soul on the page, and you inhabit that. I've always felt I was a writer's actor." This philosophy has guided her selective approach to roles, resulting in a "remarkably free of crap" CV despite turning down numerous opportunities.Though she hasn't performed as many classics as she might have hoped—"I think I'm seen as a working-class actress"—Bassett values the authenticity she brings to her roles. With Zeldin directing "Care," she appreciates his desire for "absolute truthfulness," which "suits me down to the ground." As she prepares for this new challenge, she acknowledges the nerves: "Every new part you're starting again. It's a bit scary, but I think we'll be all right."The Future of TheatreAs a veteran performer who has witnessed theatre's evolution, Bassett remains committed to the medium's power. She recalls the impact of Ronald Pickup's messenger speech in Peter Brook's production of Seneca's "Oedipus": "People fainted every night. You didn't see anything, his voice was enough. That's the power of theatre, isn't it?"Looking ahead, Bassett continues to seek roles that challenge her and explore the human condition. Whether through her meticulous interpretation of complex playwrights like Churchill or her willingness to portray the vulnerability of aging in "Care," she remains dedicated to the craft that has defined her life. "Every part is an education," she reiterates, and with each new role, Linda Bassett continues to learn, grow, and enrich the theatrical landscape.

The Prize Rene Matić, a photographer from Peterborough, has been awarded the prestigious Deutsche Börse Photography Foundation prize. The prize, which comes with a £30,000 award, is one of the most respected art awards in Europe. The Exhibition Matić's winning exhibition, 'As Opposed to the Truth', was showcased at CCA in Berlin. The exhibition features photographs, flags with slogans sewn on them, and a collection of black dolls from second-hand stores. The work explores themes of queer love, nationalism, and various subcultures. The Artist's Inspiration Matić's work is often inspired by subcultural movements, including the skinhead movement their father was part of in the 1980s, and Northern Soul. Matić has also been inspired by the photography of Derek Ridgers, who documented the fascist scene of 1970s Britain. The Judging Panel's Decision Shoair Mavlian, director of the Photographers' Gallery and chair of the Deutsche Börse jury, praised Matić's use of photography in a fluid and experimental way. The judging panel was impressed by the construction of the installation, where different dialogues are created through the pairing and reorganizing of images. The Artist's Background Matić was also nominated for the Turner Prize in 2025. Their work has been exhibited widely in the UK and across Europe, including a joint show with Oscar Murillo at Kunsthalle Wien in Austria.

The Lead Kevin Morby's eighth album "Little Wide Open" presents a contemplative journey through the complexities of life, love, and identity, rooted in his midwestern upbringing. The album showcases Morby's signature Americana style while embracing vulnerability and uncertainty in both lyrics and production. The Musical Landscape of "Little Wide Open" The album opens with "Badlands," a track that juxtaposes the harsh imagery of the American midwest with surprisingly laid-back musical elements. Morby's conversational vocals and gentle guitar riffs create a contrast with lyrics that reference both "the big disaster we call home" and the possibility that "heaven is a place on Earth beneath the golden sky." This duality sets the tone for an album that embraces ambiguity and complexity. Musically, Morby primarily works in introspection and understatement, building on his foundation of Americana influenced by Bob Dylan, Lou Reed, Tom Petty, and Leonard Cohen. While his previous work has touched on soul and jazz elements, "Little Wide Open" returns to his core sound with subtle pleasures rather than flashy moments. Tracks like the title track and "Natural Disaster" both exceed seven minutes, allowing songs to gradually unfold and inviting listeners to sit with the music. The Collaborative Production The genesis of "Little Wide Open" offers insight into Morby's respected position in the music industry. The National's Aaron Dessner, whose production credits include work with Taylor Swift and Noah Kahan, approached Morby to collaborate on the album. Dessner has shared Morby's music "with everyone I've ever worked with," indicating high regard for the artist's craft. The album features an impressive supporting cast, including Justin Vernon of Bon Iver imitating a tornado siren with his voice and alt-country star Lucinda Williams delivering a monologue on "Natural Disaster." Additional contributors come from Muna, Sylvan Esso, Florence + the Machine, and Perfume Genius, creating a rich tapestry of sounds that reinforces Morby's Americana foundation. Themes of Vulnerability and Transition Morby has described "Little Wide Open" as his "most personal and vulnerable album," created as he approaches fatherhood with his partner Katie Crutchfield of Waxahatchee. The album captures the doubts and uncertainties that accompany this life transition, as evidenced in "Javelin" where he questions, "Am I a has-been? Am I a husband?" The album explores the push and pull of one's hometown, balancing comfort and nostalgia with feelings of not quite fitting in. Morby captures this tension in "Cowtown" with the line, "Where no one ever makes a sound except me on this guitar," a bluesy acoustic punctuating the austere sound. Similarly, "Natural Disaster" examines mood swings as either something to be managed through medication or meditation, or simply as natural occurrences like landslides that fuel his songwriting. The Art of Introspective Songwriting "Little Wide Open" demonstrates Morby's mastery of introspective songwriting that embraces uncertainty rather than providing definitive answers. The album creates a "welcome safe space for admitting you're not sure; that things are complicated," particularly valuable in a climate that tends to extremes. Key tracks showcase this approach: the lovely melancholy exhalation of the title track's chorus, the banjo-assisted closer "Field Guide for the Butterflies" that gradually builds from fragility to something tougher, and the beautiful piano and clarinet motif running through "Junebug." Even the more climactic moments, like the maelstrom of noisy guitar in "100,000," serve the album's overall theme of emotional complexity. Legacy and Future Directions While Morby has never achieved massive commercial success or written a breakout crossover hit, "Little Wide Open" reinforces his status as a respected artist within the indie and Americana scenes. The album's critical reception and high-profile collaborators suggest that Morby's thoughtful, introspective approach continues to resonate with both musicians and listeners. As Morby navigates fatherhood and continues to explore life's complexities through his music, "Little Wide Open" stands as a testament to his growth as an artist unafraid to embrace vulnerability and uncertainty. The album's blend of midwestern storytelling, musical craftsmanship, and emotional honesty positions Morby as a distinctive voice in contemporary Americana.

The Cultural Phenomenon of Northern SoulAlan Byron's film is an absorbing docu-celebration of the northern soul scene that flourished from the late 1960s to the end of the 1970s. It was a fascinating, vernacular youth movement and a kind of regional open secret: a club culture, a zine culture, a music-and-fashion culture which uncynically invented and sustained itself without the need for any svengali figure from London to keep the show on the road. Northern soul fans were passionate about thumpingly sensual mid-60s American soul, a musical style which they kept alive on the all-night dancefloor by doing spectacular spins and drops, while the official voice of the music business decreed that disco or MOR rock or glam or heavy metal was where it was at.The Wigan Casino LegacyDJs would travel to the US to sort through the boxes and mounds of 7-inch vinyl which had been discarded by Motown and the radio stations – basically prospecting for gold – and bring it back to northern English clubs. The principal clearing house was the mighty Wigan Casino which mounted legendary all-nighters from 2am to 8am, attracting soul fans from miles around who knew that this was the only place where certain tracks could be heard. (No Spotify or Apple Music in those days.)Cultural Resistance and RecognitionLicensing laws meant that only Coca-Cola could be served, but dancers took amphetamine, a part of the northern soul scene that has perhaps only recently been acknowledged fully, and is in fact not looked into all that closely here. It carried on through the 1970s, all but ignored by the cultural gatekeepers of the south; that is, until documentarist Tony Palmer brought his cameras and lights into the club to make The Wigan Casino as part of Granada TV's This England strand, an outsider incursion grumblingly resented at the time but now treasured as a unique archive record.Understanding the Movement's IdentityWhat is fascinating about northern soul is the way it survived under the media-cultural radar and appears to resist larger interpretive analysis. It was not overtly political, unlike punk or reggae, and there is no consensus here about the status of the northern soul consumers. Were they unemployed, poor, alienated and angry? Not necessarily. Many here recall having good jobs and apprenticeships of the sort they wouldn't have now.Enduring Influence and MysteriesAs for whether it was revolutionary in any sexual sense, commentator Paul Mason suggests that there was something homoerotic in the male atmosphere. Maybe, yes: but no one here has any first-hand experience to share about that. As for the Wigan Casino itself, the building's lease was terminated by the council at the end of the 70s prior to planned demolition; just when the tenants might have disputed this, the building mysteriously burned to the ground. (Maybe we need David Peace to write a novel about that.) Northern soul was clearly the godfather of the club and rave scenes of the 90s and beyond, but for me, a question remains: what did the American acts themselves think of it? Were they ever tempted (or invited) to play live at the Wigan Casino?

Demi Moore warned at a Cannes press conference that the film industry “cannot fight” the rise of artificial intelligence, describing resistance as a losing battle and calling for collaborative approaches.The Cannes Jury’s Candid Take on AI’s Inevitable RoleDuring a Tuesday press conference, the actress – a member of the Cannes Film Festival jury – answered questions about AI’s impact on cinema. She said, “AI is here. To fight it is a battle we will lose,” and suggested that filmmakers should explore ways to work with the technology rather than oppose it.Absence of Quantitative Data Highlights Qualitative ConcernsThe discussion contained no specific financial figures or usage statistics, underscoring that the debate is currently driven by ethical and creative considerations rather than measurable market impacts.Implications for Filmmakers and the Regulatory LandscapeMoore expressed doubt that the industry is doing enough to protect creators, hinting at a need for stronger regulation.Fellow juror Park Chan-wook reinforced the idea that art and politics should not be divided, linking the AI conversation to broader questions of creative freedom.Screenwriter Paul Laverty warned of potential “blacklisting” in Hollywood, suggesting that AI‑driven content controls could exacerbate existing censorship pressures.Future Outlook: Collaboration Over ConflictMoore concluded that the “beautiful aspects” of AI can enhance filmmaking, but the “true art” will always come from the human soul. The prevailing view among the jury is that embracing AI as a tool, while safeguarding artistic integrity, will shape the next era of cinema.

The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.

The Sudden Passing of Brandon Clarke Memphis Grizzlies forward Brandon Clarke has died at the age of 29, his sports agency has confirmed. “We are beyond devastated by the passing of Brandon Clarke,” Priority Sports said. “He was so loved by all of us here, and everyone whose life he touched. He was the gentlest soul who was the first to be there for all of his friends and family. Our hearts are so broken as we think about his mom, Whitney, his entire family and all of his friends. From high school to San Jose State to Gonzaga to the Grizzlies, Brandon impacted everyone who was part of his life.” Clarke's Basketball Career and Community Impact Clarke had a standout college career with San Jose State and Gonzaga before he was picked by the Oklahoma City Thunder with the 21st overall selection of the 2019 draft. He was named to the NBA All-Rookie team in his first season in Memphis. He signed a four-year extension with the Grizzlies in 2022 but missed most of the past season after undergoing knee surgery. Clarke was born in Vancouver before his family moved to the United States when he was a child. He was active in the Memphis community and celebrated his 29th birthday by donating books and resources to a local elementary school. Clarke's Legacy and Off-Court Contributions “Every time I talk to kids, I try to get that in their minds that school is important, teachers are important and grades matter,” Clarke told the Memphis Commercial Appeal. “I couldn’t have made it here without locking in on reading, writing and all of that stuff.”

The 'Cotton Picking' Controversy: Racial Rhetoric Enters the Virginia Redistricting War The office of Hakeem Jeffries, the top-ranking Democrat in the US House of Representatives, has issued a scathing condemnation following a radio interview where a fellow lawmaker seemingly endorsed a racially charged remark targeting him. The incident highlights the increasingly volatile nature of the redistricting battle in Virginia and raises serious questions about the state of political discourse ahead of the 2026 midterm elections. The Incident: A Slip of the Tongue or a Reflection of Deeper Bias? The controversy erupted on a conservative radio show where host Rich Herrera criticized Jeffries, a New York Democrat, for his involvement in efforts to redraw Virginia’s congressional map. Herrera’s comment, "get your cotton-picking hands off of Virginia," was met with immediate agreement from Jen Kiggans, a Republican representative. The Comment: Herrera used the phrase "cotton picking," a term historically rooted in the oppression of enslaved Black people in the American South. The Response: Kiggans responded with "That’s right. Ditto," seemingly endorsing the sentiment. The Denial: Kiggans later clarified she did not condone the language but claimed she was agreeing with the broader political point that Jeffries should stay out of Virginia’s redistricting process. The Political Fallout: Resignation Calls and Party Divisions The backlash from the incident has been swift and severe, indicating that the comment has crossed a significant line within the political establishment. Official Condemnation: Christie Stephenson, a spokesperson for Jeffries, called the remark "disgusting, vile and racist," accusing Kiggans of craving a return to "Jim Crow racial oppression." Leadership Pressure: Top Democrats, including Katherine Clark (US Minority Whip) and Gavin Newsom (California Governor), have publicly called for Kiggans to resign. Black Caucus Action: The Congressional Black Caucus (CBC) posted the clip on X, stating unequivocally: "Did she agree with him? Yes. Is this racist? Yes. Should she resign? Yes to that, too." The Broader Context: Redistricting and the Erosion of Civil Rights This incident is not occurring in a vacuum; it is part of a larger, more dangerous trend in American politics involving gerrymandering and the weakening of civil rights protections. Weakened Voting Rights: The incident comes shortly after a US Supreme Court decision in April weakened the Voting Rights Act of 1973, making it harder to challenge racially discriminatory maps. Historical Precedent: The rhetoric echoes previous controversies, such as Donald Trump posting a racist video depicting Barack Obama and Michele Obama as primates in February, which Tim Scott, the only Black Republican senator, condemned as the "most racist thing I’ve ever seen." Partisan Gerrymandering: The battle over Virginia's map is part of a nationwide effort to redraw districts to favor one party, with the Trump administration previously pushing for maps in Texas to boost Republican chances. Future Outlook: The 2026 Midterm Battleground As the November 2026 midterms approach, the redistricting wars are set to intensify. The removal of legal barriers to challenging discriminatory maps suggests that partisan gerrymandering will become more aggressive. For Jen Kiggans, the controversy poses a significant risk to her political standing, potentially opening the door for primary challengers or eroding moderate support. The incident serves as a stark warning that the fight over the map is also a fight over the soul of American democracy.

The Triumphant ReturnIn the gloom of an underlit Barrowlands stage, a man in black is holding a large inflatable phone to his ear and chanting these words: "SFA OK. SFA OK." The man is Gruff Rhys. The band is Super Furry Animals. And the song, Wherever I Lay My Phone (That's My Home), allows them to reintroduce themselves at this, their second gig after 10 years away.Not that they need much introducing. This Glasgow date sold out fast, mostly thanks to fans – going by the age of the crowd – who loved them first time around. Signed to Creation, the label flush with Oasis money, they came to prominence in the mid-90s goldrush.The Britpop OutsidersAlan McGee thought he had found his own version of Blur, but their Welshness and weirdness put them at odds with Britpop orthodoxy. That madcap reputation has tended to obscure what they really are: a formidable songwriting force.Confirmation of their immense skill and range comes when they perform Run! Christian, Run! followed by Juxtapozed with U. The former is 70s-style country rock, the latter an immaculately crafted soul tune. Both are wonderful.The Vocal MasteryIt doesn't get said enough that Rhys is a beautiful singer. Live performance makes this clear. His voice is essentially mournful, but the songs are so sweet with melody that the impression is of Eeyore transcendent – becoming Tigger through the transforming power of pop.He's not much of a showman. Likewise the rest of the band. Mostly they let the songs sell themselves. Yet they have their moments. At the noisy climax of Receptacle for the Respectable, Rhys, Huw Bunford and Guto Pryce gather centre stage, guitars aloft, and press the necks together. It's a bit Status Quo, a bit rutting giraffe, more than a bit thrilling.The Epic PerformanceAs the two-hour show builds to its peak, they lean into epics: Mountain People, Slow Life and, of course, traditional set-closer The Man Don't Give A Fuck, extended tonight to 12 minutes. A singalong protest song against whatever evils of the world you want it to be about, it has lost none of its cathartic anger and vulgar cheer.The Road AheadThe Super Furry Animals have announced additional dates following their successful Glasgow return. Fans can catch them at Venue Cymru, Llandudno, 14 and 15 May; before they continue touring the UK. This reunion not only satisfies longtime fans but also introduces a new generation to their unique musical blend that defies easy categorization.