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History’s Greatest Fails pairs author Elizabeth Day with historian Dan Jones to explore celebrated historical missteps. After a witty reunion anecdote about their Cambridge days, the duo tackles the myth of Richard III’s villainy and promises a future episode on Henry VIII and Anne Boleyn, dubbed the "Ross and Rachel of early modern history."Strangely follows presenters Poppy Damon and Luke Jones as they plunge into off‑beat news stories, such as the macabre tale of a surgeon who amputated his own legs and the obscure origin of Neil Hopper’s "eunuch‑maker" moniker. The show balances factual depth with a tongue‑in‑cheek tone.Passenger Seat is a slow‑burn true‑crime podcast produced by Pennsylvania writer Tom Joudrey. The inaugural season recounts the 2012 kidnapping of Jennifer Hurst in Ohio, unraveling the puzzling motive behind the crime and the surprising gratitude she later expressed in court.Big Bro With Kid Cudi marks rapper Kid Cudi’s entry into the "celebrity podcast industrial complex". His first interview features Kylie Jenner, who drops the usual Kardashian PR veneer to discuss family dynamics, her upcoming acting role in the film The Moment, and a brief nod to Timothée Chalamet.Northern News reunites comedian Amy Gledhill with Ian Smith to spotlight odd and delightful headlines from the north of England that often slip under the radar. Regular contributors such as Stevie Martin, Alison Spittle and Phil Wang add extra comic flair.

Compiling a definitive Top 10 of superhero movies proves as elusive as “herding thunder through a spreadsheet.” Critics must decide whether to prioritize cinematic craftsmanship, cultural influence, or the raw emotional resonance that these films generate.Over the past two decades the genre has diversified dramatically, spanning crime‑driven Batman sagas, family‑friendly adventures like The Incredibles and Guardians of the Galaxy, political allegories such as Captain America: The Winter Soldier and Black Panther, and experimental visual feats exemplified by Spider‑Man: Into the Spider‑Verse. This breadth makes any hierarchical ranking inherently subjective.Influence remains a key metric. Richard Donner’s Superman (1978) demonstrated that audiences would pay to see a man fly, paving the way for half a century of cape‑wearing blockbusters. Similarly, Iron Man reshaped the modern blockbuster formula, launching the Marvel Cinematic Universe and redefining franchise economics.Emotional impact also matters. Logan stands out as a bruised, mournful western that subverts the genre’s usual invincibility myth, presenting a weary Wolverine confronting mortality. Its rawness offers a rare catharsis rarely found in superhero narratives.Event status cannot be ignored. Avengers: Endgame turned its opening weekend into a cultural ritual, with multiplexes resembling revival tents where audiences collectively cheered, gasped, and celebrated. Even a “colder” analysis must acknowledge that the film transformed anticipation into a generational sacrament.Visual innovation is another hallmark. The Oscar‑winning animation Spider‑Man: Into the Spider‑Verse made comic‑book ink feel alive, delivering a sensory overload that redefined what animated superhero storytelling could achieve.Cultural relevance caps the discussion. Black Panther emerged as a modern myth that forced critics to confront race, identity, and heritage within blockbuster fantasy, expanding the perceived centre of the superhero universe beyond the traditional Batman, Superman and Spider‑Man triad.While outliers like Alex Garland’s Dredd and Guillermo del Toro’s Hellboy II: The Golden Army deserve mention, the critic’s final Top 10 list reflects a balance of influence, artistry, and cultural weight:1. The Dark Knight2. Spider‑Man: Into the Spider‑Verse3. Superman (1978)4. The Incredibles5. Spider‑Man 26. Dredd7. Spider‑Man: No Way Home8. Avengers: Endgame9. Spider‑Man10. Logan

Nottingham Forest secured a crucial draw against Porto in the Europa League quarterfinal, with a comical own goal by Porto defender Martim Fernandes giving Forest a vital equalizer. The match ended 1-1, with Forest's Chris Wood returning from a six-month injury layoff and registering 48 minutes on the pitch.The New Zealand striker was withdrawn at halftime, with manager Vitor Pereira mindful of the bigger picture and Sunday's Premier League match against Aston Villa. Pereira handed Wood a starting berth, and although he had a quiet game with just 11 touches in the first half, his presence on the pitch was a boost for Forest.Porto took the lead through William Gomes, who converted Gabriel Veiga's diagonal pass into the box. However, Fernandes's comical own goal leveled the score, with the Porto defender beating Diogo Costa with a blind back pass from close to halfway.Forest began sloppily, but Pereira's substitutions and tactical changes helped the team regain control. The draw sets up a tense second leg at the City Ground next Thursday, with Forest seeking to advance to their first continental semi-final since 1984.

Double 30th‑anniversary celebrations saw Scottish indie‑pop veterans Belle & Sebastian take the stage at London’s Royal Albert Hall on 9 April 2026, performing their debut LPs Tigermilk and If You’re Feeling Sinister in their entirety. Both records originally arrived in 1996, with Tigermilk limited to just 1,000 copies until a 1999 reissue gave it wider exposure.The challenge of translating these lo‑fi classics to a live setting was turned into an advantage. Backed by a nine‑piece ensemble—four of the original six members plus seasoned newcomers—the band expanded the sonic palette, brightening tracks like “You’re Just a Baby” and weaving in subtle nods to Nick Drake, Felt, mariachi brass on “Expectations”, and Stereolab‑style synths on “Electronic Renaissance”.Each song was paired with a brief film that referenced the band’s aesthetic touchstones—second‑hand vinyl, indie comics, 1960s Paris—creating a multimedia experience that reinforced the private universe Stuart Murdoch has cultivated since the mid‑90s.The concert’s second half turned into a “shaggier ramble” through the catalogue, featuring highlights such as the wistful “Lord Anthony” and the propulsive “Lazy Line Painter Jane”. Murdoch, now a more extroverted, Chris Martinesque‑style front‑man, interspersed witty anecdotes, playful digressions, and brief stage invasions that lasted for three songs, showcasing his growth from enigmatic bedsit maestro to confident people‑pleaser.Following the London shows, the duo will continue the two‑concert anniversary tour across Manchester, Mexico, and North America, reaffirming that their early DIY spirit remains as compelling as ever.

It's been 20 years since the passing of Muriel Spark, a celebrated Scottish novelist, short story writer, poet, and essayist. With a career spanning over two decades, Spark left an indelible mark on literature with her 22 novels, which are characterized by their uncanny, astute, and witty storytelling. James Bailey, author of the biography Like a Cat Loves a Bird: The Nine Lives of Muriel Spark, provides a guide to Spark's oeuvre, highlighting her unique narrative style. A typical Spark novel begins by introducing an enclosed community, such as nuns, schoolgirls, or desert island castaways, filled with gossip, deceptions, and conflicts. This setup is then disrupted by a dramatic event, like a murder or scandal, allowing Spark to explore the consequences. For readers new to Spark's work, Memento Mori (1959) is a great starting point. This darkly comic novel follows a cast of bickering pensioners who receive anonymous phone calls with the ominous message: 'Remember you must die.' The novel raises questions about mortality, fear, and the human condition. Spark's debut novel, The Comforters (1957), is a remarkable example of her innovative storytelling. The protagonist, Caroline Rose, believes she can hear the clanking typewriter keys of an entity she calls the Typing Ghost, which dictates the events of her life. This novel showcases Spark's ability to blend diabolism, diamond-smuggling, and supernatural elements. One of Spark's most famous novels, The Prime of Miss Jean Brodie, is known for its quotable lines, such as 'Give me a girl at an impressionable age and she is mine for life.' This novel explores themes of favouritism, fascism, and the seductive power of belonging. Spark considered The Driver's Seat (1970) her finest achievement, describing it as her creepiest work. This novel follows Lise, a protagonist whose holiday romance takes a dark and unexpected turn. Spark's works often explored the contrast between public personas and private lives. Her 1968 novel, The Public Image, is a prime example, delving into the world of a film star struggling to maintain her reputation amidst paparazzi and self-absorbed relationships. Spark's short stories, collected in her Complete Short Stories, offer a glimpse into her versatility as a writer. These tales often feature unquiet spirits and explore themes of mortality, guilt, and redemption.

Matthew Macfadyen headlines the new Sky Atlantic series ‘The Miniature Wife’, playing scientist Les Littlejohn, a brilliant but ethically dubious researcher who accidentally shrinks his wife Lindy (Elizabeth Banks) to six inches tall. The premise promises a darkly comic exploration of marital power dynamics and modern misogyny. However, the show quickly abandons this fertile ground. Showrunners Jennifer Ames and Steve Turner opt for a frenetic, screwball tone that feels forced, leaving the underlying commentary underdeveloped. The central conceit – a miniature wife trapped in a dollhouse – is treated more as a visual gag than a vehicle for satire. The series is littered with side plots that never coalesce. A subplot about a misattributed short story attempts to touch on authorship and truth in the digital age, yet it remains a superficial gesture. Likewise, the ensemble cast—including Zoe Lister‑Jones as a lab overseer, O‑T Fagbenle as a lovelorn colleague, and Sian Clifford as Lindy’s agent—offers colorful moments but fails to achieve narrative momentum. Visually, the production delivers inventive set pieces: Lindy’s daring escapes from towering household objects and explosive laboratory experiments provide occasional laughs. Nevertheless, the novelty wears thin before the series’ nearly ten‑hour runtime concludes. The original short story by Manuel Gonzales required far more expansion than the show supplies, resulting in a stretched‑out narrative that would have benefited from a tighter format. In short, while Macfadyen’s performance is competent, it is largely wasted in a series that promises depth but delivers only scattered comedy. ‘The Miniature Wife’ may satisfy viewers seeking light‑hearted antics, but it falls short of the incisive satire its premise suggests. The series is available on Sky Atlantic, streaming on Now in the UK and on Stan in Australia.

James Gunn's early feature film Slither, initially released in 2006, is being re-released in cinemas ahead of its 20th anniversary. The film, a comedy horror with a heavy focus on body horror, was Gunn's first feature-length project. At the time, it was met with commercial disappointment but has since garnered attention due to Gunn's subsequent success with major franchises such as Guardians of the Galaxy and Superman.The film's plot revolves around an alien lifeform that crash-lands on Earth and takes over a small town in South Carolina. The alien larvae, resembling flaccid phallic worms, infect the townspeople through various orifices, turning them into evil minions or hideously swollen incubators. The movie features Michael Rooker, Elizabeth Banks, and Nathan Fillion in key roles.Despite its thinly conceived science fiction elements and reliance on rubbery practical effects and lame jokes, which align more closely with the style of Troma, a production company where Gunn got his start, the film does showcase Gunn's early experimentation with comic timing and musical cues. A notable scene features a killing spree set to Air Supply's 'Every Woman in the World', a technique Gunn would later refine in his Guardians of the Galaxy films.The cast, including Michael Rooker and Elizabeth Banks, appears to be enjoying the film's humor, bringing some bright spots of wit and amusement to the movie. Slither is set to re-release in UK cinemas on April 10 and will be available on digital platforms from May 1.

A24 marketed Kristoffer Borgli’s second English‑language film as a darkly comic romance, pairing Zendaya and Robert Pattinson as a seemingly picture‑perfect couple on the brink of marriage. The studio’s teaser, a faux wedding announcement in the Boston Globe, amplified the buzz that began with the trailer’s release and even earlier Reddit speculation. The narrative follows Charlie (Pattinson) and Emma (Zendaya) through a series of sun‑lit flashbacks that culminate in a tense pre‑wedding dinner. During a “worst‑thing‑you’ve‑done” game, Emma confesses that, as a depressed teenager in Louisiana, she once planned a mass shooting and even practiced with her father’s rifle, though she never pulled the trigger. This revelation serves as the film’s central twist and propels the story into a moral quandary about forgiveness and trust. Critics note that the film’s premise is deliberately provocative. Borgli, known for his satirical take on cancel culture in Dream Scenario, uses Emma’s confession to interrogate America’s obsession with gun violence. By placing the “thought crime” in the hands of a Black woman—contrasting with statistics that over 95% of mass shooters are male and more than half are white—the director forces a reversal of the usual gendered narrative surrounding firearms. The twist has provoked strong reactions from survivors and advocacy groups. Tom Mauser, who lost his son in the 1999 Columbine shooting, called the plot “awful” in a TMZ interview, while 2019 school‑shooting survivor Mia Tretta told USA Today that such a storyline “shouldn’t be joked about.” Parkland survivor Jackie Corin offered a more measured view, urging the film’s stars to use their platforms responsibly and questioning whether the project rises to the ethical standards their influence demands. Beyond the controversy, the film boasts technical strengths. Arseni Khachaturan’s cinematography creates a lush visual palette, and the editing maintains a brisk pace as the wedding day approaches. The climactic ceremony—described by many reviewers as the film’s “pièce de résistance”—forces Charlie and Emma to confront the fallout of Emma’s secret amid a chaotic, alcohol‑fueled toast that lays bare the fragility of their relationship. In the final scene, the couple reconvenes at a diner, echoing the opening “can we start over?” motif. The ambiguous resolution suggests that exposing one’s darkest thoughts may either deepen intimacy or foreshadow further turmoil. Overall, ‘The Drama’ is both a compelling watch and a flashpoint for debate about how cinema engages with the United States’ endemic gun‑culture. Whether the film succeeds as a thought‑experiment or merely courts outrage remains a divisive question that will likely fuel discussions well beyond its theatrical run.

The latest Supergirl trailer has generated significant buzz, hinting at a fresh take on the iconic DC character. Director Craig Gillespie has revealed that the film will feature a nine-world structure and a considerable amount of planet-hopping, setting it apart from previous superhero films.Building on the success of James Gunn's Superman, which offered a unique twist on the Man of Steel, Milly Alcock's Kara Zor-El is poised to bring a new level of excitement to the DC Universe. The trailer showcases Alcock's character navigating alien landscapes and battling foes with a swagger reminiscent of a cosmic gunslinger.What sets this film apart is its exploration of Kara's vulnerabilities when she's away from Earth's yellow sun. In the comic book series Supergirl: Woman of Tomorrow, Kara encounters a world under a green sun that drains her powers, making her physically ill. This element could add a layer of complexity to the story, as Kara searches for an antidote across multiple planets.The film's setup has a video-game-like quality, with Kara's power levels potentially fluctuating as she navigates different environments. This mechanic could sharpen the drama and create a sense of tension, as Kara faces challenges that test her abilities.While there are risks involved in this bold new direction, the prospect of seeing a more vulnerable and dynamic Supergirl on the big screen is an intriguing one. As the DC Universe continues to evolve, fans are eager to see how this new take on a classic character will unfold.