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The Concept of a Salon Exhibition The gallery appears to have been set for a party. Mismatched chairs are scattered through the space – ornate gothic throne, wing-backed recliner, stackable school chair. Each points towards a white window painted on to the wall, into which one of 43 equally miscellaneous paintings has been inserted. These paintings are the other party guests, and you must decide who to sit with. Engaging with the Artworks It is a ragtag bunch, and so I decide to start with the people I recognise. But on my way to meet a portrait by Denzil Forrester of the young Haile Selassie, its surface resembling scuffed and polished stone, I am distracted by the glitter of light from a small work by Andrew Cranston. It comes from a young woman who seems to have been transplanted from Dumbarton into a glamorous late Vuillard, her coat shimmering like the scales of a fish caught by late summer sun. The Curator's Vision The host of this “salon”, and the person whose sensibility knits it together, is Matthew Higgs, director of New York’s White Columns gallery and magpie impresario. Some of these artists he has worked with for years, while others, such as Adam Keay, who contributes an oddly compelling beach scene, were invited on the strength of a chance encounter. The Experience of Discovery If you can stick it out to the 40-minute point at which things get really psychedelic, you will discover that you have attracted the attention of security guards. This is because exhibitions are not, for the most part, designed to encourage you to spend a long time in front of art works so much as move you through to the gift shop. But Higgs understands that to have a meaningful experience with a painting requires no technical expertise but only time, an open mind and, ideally, a chair.

The Lead: From Sheffield Pub to Hollywood Film ScoreLast year, Jim Ghedi was having a chicken dinner at his mother's house in Sheffield when he checked his phone. A director had started following him on Instagram, and as a joke, Ghedi messaged him saying he wanted to do his next film score. To his surprise, the director, Michael Sarnoski, responded immediately, offering him the job to score the forthcoming A24 production "The Death of Robin Hood," starring Hugh Jackman and Jodie Comer.The Breakthrough: A Working-Class Folk Musician's Unexpected Hollywood OpportunityDespite having never scored a film before, Ghedi was given the gig. He bonded instantly with Sarnoski through video calls and a shared love of Steeleye Span, and ended up writing the songs and score. He describes the finished material as "quite doomy, earthy and dark" but also "quite light and orchestrated." Ghedi was invited out to LA to work on the project there, but instead chose to stay rooted in Sheffield. Even so, he had moments of impostor syndrome, acknowledging that "it's very rare for someone like me, and where I'm from, to get those kinds of opportunities."The Musical Journey: From Hip-Hop to Folk with Working-Class RootsGhedi, 35, was given a guitar when he was eight and quickly became a skilled player, but his teenage years were lit up by hip-hop and punk. The lyrical output of hip-hop proved formative for him. "Hearing people talk about being raised by a single mum was like, whoa," he recalls. "Here's someone artistically talking about something that I'm also experiencing in my life." Then came the revelatory discovery of Bert Jansch. "It was the first time I'd heard someone who played an acoustic guitar and it was not pretty," he says. "It was really heavy and aggressive."The Class Divide: Folk Music's Middle-Class DominanceWhile Ghedi favours metaphor and nuance rather than state-of-the-nation-style delivery, class is central to his music and ethos. "When I was younger, I was really naive and I tried to assimilate," he recalls. "But I realised: I need to own where I'm from. I'm not trying to be a spokesperson, but the folk scene is very middle class. The divide and the drop-off is huge, and in some ways, the disparity is worse now than when I started."The Future Outlook: Authenticity Over Commercial SuccessGhedi's trajectory to landing a huge project such as "The Death of Robin Hood" is a rare but heartening one. Despite having a memorable time working on the film, with a team on whom he heaps praise, he appears resolutely unmoved by the idea that he now needs to play any kind of game. "As long as I stick to focusing on creativity, nothing else matters," he says. "Whether I'm playing to 10 people in a room or 1,000, it's the same for me."

The Film's Premise and ExecutionPeel back the layers and sadly there is nothing much going on inside this American indie drama from director Zeshaan Younus; it's a movie that's aiming for noir, but ends up more of a shade of drab grey. It's contrived and frustrating, with a painfully pretentious voiceover by its lead character Parker (Renee Gagner). She's an actor in Los Angeles who returns to her home town after her sister Indiana (Rosie McDonald) is killed. "Sister, you were right." muses Parker. "I am never fully anything or anyone. Instead, I am practically everyone and everything."Character Development and Dialogue IssuesIt's film in which actors shot in closeup deliver lines looking pensive, with an air of meaning and depth, while not actually saying anything meaningful. Before her death, we watch Indiana brokering some kind of dodgy deal with a biker. She leaves a voicemail for Parker: "I'm in pretty deep out here ... If anything happens to me don't come looking." Which is advice promptly ignored by her sister after Indiana is killed. Instead, Parker searches for answers, although this is a film with loftier intentions than solving a murder.Visual Style and Cinematic ApproachIn places it feels like a film school project, self-conscious without much thought for the audience. There are echoes of David Lynch, though this has none of the danger or strangeness, despite some murky, atmospheric camerawork by cinematographer Justin Moore.Release InformationI've Seen All I Need to See is in UK cinemas from 1 May.

Lead: Sawe’s historic sub‑two‑hour marathon On Sunday, Sabastian Sawe became the first athlete to complete a marathon in under two hours, crossing the London finish line in 1:59:30. Race director Hugh Brasher immediately framed the achievement as the 21st‑century equivalent of Sir Roger Bannister’s four‑minute mile. Sawe shatters the two‑hour barrier at London The 2026 London Marathon saw Sawe maintain a relentless 4:33 per‑mile pace for the full 26.2 miles. He wore a lightweight 97‑gram Adidas supershoe and consumed 325 g of carbohydrates via Maurten hydrogel, eliminating the classic “wall” that stalls most marathoners. Finish time: 1:59:30 Shoe weight: 97 g (Adidas) Carb intake: 325 g (Maurten hydrogel) Previous world record: 2:01:09 (Eliud Kipchoge, 2022) Numbers that rewrite marathon history Sawe’s time slices more than a minute off the prior world record, a margin unprecedented in elite distance running. The performance also highlights the cumulative effect of three technological trends: Supershoe foam – lighter, more responsive midsoles that return up to 30 % more energy. Advanced nutrition – hydrogel carbohydrate delivery that avoids gastrointestinal distress. Training methodology – middle‑distance athletes transitioning to marathon distances earlier, boosting speed endurance. Why Sawe’s run could reshape endurance sport Beyond the headline, the sub‑two hour marathon signals a new performance ceiling. As Hugh Brasher noted, the feat creates a clear “before and after” split in marathon history, much like the 1954 mile did for middle‑distance running. The convergence of shoe tech, nutrition, and elite training suggests that sub‑two‑hour marathons may become the new benchmark for world‑class competition. Looking ahead: Faster courses, lighter gear, and the next record Coaches such as Nick Anderson predict that even faster times will emerge on flatter courses like Berlin, Chicago or Valencia, especially as shoe foams become springier and clothing lighter. The “perfect storm” – optimal temperature, minimal wind, and a deep elite field – will still be required, but the odds of breaking further minutes off the record are rising sharply. In the coming years we can expect: More athletes targeting sub‑two‑hour attempts on fast courses. Continued iteration of supershoe designs, potentially dropping shoe weight below 90 g. Further refinement of hydrogel and other carbohydrate delivery systems. Increased crossover of middle‑distance speed into marathon training programs. Sawe’s achievement not only rewrites the marathon record books; it sets the stage for a new era where the two‑hour barrier is no longer a singular miracle but a realistic target for the sport’s elite.

The Rise of the Neet Rate and Structural CausesBritain is facing a 'crisis' in youth employment, with the number of 16- to 24-year-olds not in education, employment, or training (Neet) reaching nearly 1 million—the highest level in over a decade. The Resolution Foundation has identified the UK as having the third-highest Neet rate among Europe's richest countries, trailing only Italy and Lithuania.2019 vs 2025: The Neet rate for 18- to 24-year-olds rose from 13% to 15%.Scale: There are now 900,000 Neets in the UK.Comparison: The UK rate is higher than Germany and Denmark, and more than three times that of the Netherlands.The thinktank attributes this decline to a 'quartet of causes': a rise in ill-health, weak vocational education, a hands-off benefits system, and a deteriorating jobs market.The Economic and Policy Drivers Behind the SurgeThe deterioration of the UK's youth labor market is not solely due to economic cycles but is driven by specific policy decisions and systemic failures. The Resolution Foundation highlights that a weaker jobs market contributed to just over half of the recent rise in Neets since 2019.Employer Costs: Chancellor Rachel Reeves's £25bn rise in employer national insurance contributions (NICs) has been criticized by business leaders for driving up employment costs.Benefits System: Unlike peers with lower Neet rates, the UK has a distinct benefits system where 300,000 young people receive benefits with no requirements to engage with the Department for Work and Pensions.Mental Health: A significant portion of the remaining rise in Neets is explained by rising ill-health, particularly mental health issues.The Societal Cost of a Failing Transition to WorkThe widening gap between the UK and its European peers signals a deeper societal issue regarding the transition from education to the workforce. Lindsay Judge, the Resolution Foundation's research director, argues that the current system 'both expects and provides too little' to claimants.The stark contrast with countries like the Netherlands, which maintains a Neet rate a third of the UK's, underscores the need for a fundamental rethink of how young people interact with the benefit system and access vocational training.The £2.5bn Youth Guarantee and Future Policy OutlookIn response to the alarming statistics, the government is pivoting toward a 'working state' rather than a 'welfare state.' The upcoming policy measures aim to address the barriers preventing young people from entering the workforce.Youth Guarantee: A £2.5bn investment is being deployed to deliver a million opportunities, ensuring every young person has the chance to earn or learn.Independent Review: Former Labour health secretary Alan Milburn is expected to publish findings next month on the barriers stopping young people from getting into work.Disability Support: An additional £3.5bn is being allocated to provide tailored employment support for sick or disabled people.

Mickey Arthur, former head coach of South Africa and Pakistan, has been appointed to England’s newly created County Insight Group, a four‑coach panel aimed at repairing strained relations with the domestic game after the 4‑1 Ashes loss.The Formation of England’s County Insight GroupEngland’s director of cricket Rob Key announced a four‑member panel comprising county head coaches Mickey Arthur (Derbyshire), Richard Dawson (Glamorgan), Alan Richardson (Worcestershire) and Anthony McGrath (Yorkshire). The group will meet the England hierarchy three to four times each season to provide feedback on players identified by the scouting network.Panel composition: 4 county head coachesMeeting frequency: 3–4 times per seasonAdditional members: performance director Ed Barney, head of player ID David Court, and a yet‑to‑be‑appointed national selectorFinancial and Structural Implications for England CricketWhile no direct monetary figures were disclosed, the initiative adds administrative overhead and creates a new salaried selector role that has been vacant since Luke Wright stepped down in March. Applications closed on 17 April, and the role may be filled before the three‑Test series against New Zealand begins on 4 June.Vacant selector position: open since March 2026Application deadline: 17 April 2026Next major series: New Zealand tour, starting 4 June 2026Rebuilding Trust Between the National Side and County GameThe panel is intended to counter the perception, voiced by Sussex head coach Paul Farbrace, that England “doesn’t care whether county cricket is thriving.” By channeling insights on player character and pressure handling, the group aims to create a two‑way dialogue that influences selection without directly voting on it.What the New Panel Means for Future England SelectionsWith the insight group feeding into the selection process, England hopes to avoid past missteps that contributed to the Ashes defeat. If the national selector role is filled promptly, the combined expertise of the panel, the captain Ben Stokes, and senior staff could lead to more nuanced squad choices, especially for overseas tours.

Adjoa Andoh's Vision for Inclusive Storytelling Adjoa Andoh, a renowned Shakespearean actor and director, recently spoke at the Folger Shakespeare Library in Washington about her work on Shakespeare and Bridgerton. She emphasized the importance of diversity, equity, and inclusion (DEI) in the entertainment industry. The Power of Inclusive Casting Andoh discussed her experience with inclusive casting, particularly in her production of Richard II at the Globe. She noted that the poster featured a Black woman, herself, against the backdrop of the St George flag, making a deliberate statement about the lack of diversity in the industry. Challenging Traditional Notions of Casting Andoh also addressed the controversy surrounding Michelle Terry's casting as Richard III at the Globe. She argued that the role should not be limited to actors with physical disabilities, but rather that the focus should be on the quality of the performance. The Impact of Bridgerton on Representation Andoh discussed her role as Lady Danbury in the Netflix series Bridgerton, which has been praised for its diverse casting. She noted that the show has changed the zeitgeist of casting and has paved the way for more inclusive storytelling. The Future of DEI in the Entertainment Industry Andoh expressed concern about the current backlash against DEI initiatives in the US and UK. She emphasized the importance of continuing to push for greater diversity and inclusion in the industry, and highlighted the work of her production company, Swinging the Lens, which seeks to uncover marginalized histories and present familiar narratives through fresh, inclusive perspectives.

Uncovering the Trauma of Mozambique's Civil War Lasting from 1977 to 1992, the Mozambique civil war left deep scars on the psyche of the whole nation. In his second feature, Inadelso Cossa attempts to grapple with the psychological wreckage of this harrowing period by combing through his own family history; returning to the village where he grew up, the film-maker conducts a series of interviews with his grandmother, whose testimony is rendered unreliable by her worsening dementia. The Blurred Lines Between Reality and Memory The film wavers between real and imagined truths, a liminal state echoed by the evocative cinematography. Nocturnal sequences, in which wooden sheds, grassy fields, and even Cossa’s grandmother, are wrapped in a cloak of darkness inspire a deceptive sense of calm. In the dead of night, though, the spectres of the past linger. Voices of the Past Cossa also speaks to other historical witnesses: Macuacua and Zalina, an older couple, spend much of their screen time bickering but these domestic moments are underlined with unease. A former soldier, Macuacua was once a participant in the violence against civilians but his life now, however, is marred by poverty. In a striking scene, Macuacua holds up a tree branch shaped like a rifle and reenacts a patrol route from his youth with astonishing matter-of-factness. A New Perspective on History For Cossa, history is distilled in these kinds of gestures, moving beyond linear time. Although the film is bookended by archival footage, the director prioritises non-traditional forms of documentation, such as monologues, songs, and reenactments. While this approach embodies the slipperiness of memory, it also renders the film difficult to follow on occasion. The Film's Impact But across these streams of oral history, what we find are not merely facts and figures, but feelings, in which pain and healing entwine. Where to Watch The Nights Still Smell of Gunpowder is on True Story from 1 May.

The prestigious Teatro La Fenice in Venice announced on Sunday that it has terminated the contract of its incoming music director, Beatrice Venezi, following a wave of protests that accused the appointment of nepotism and political interference.The Sudden Dismissal of Beatrice VeneziVenezi, a 36‑year‑old conductor and pianist, was set to become La Fenice’s first female music director in October. She sparked controversy by claiming that positions at the historic opera house are “practically passed down from father to son” and that the orchestra “never leaves the island.” The foundation labeled her repeated public statements “offensive and detrimental” and cancelled all future collaborations.Financial and Operational RepercussionsSeason ticket holders are reported to be predominantly over 80 years old, raising concerns about audience renewal.The orchestra’s strike and leaf‑letting protests risk disrupting the upcoming season’s revenue streams.Venezi’s ties to the culture ministry and her father’s former membership in the neofascist Forza Nuova party have attracted scrutiny that could affect sponsorships and donor confidence.Broader Cultural and Political ImplicationsThe episode highlights a clash between Italy’s far‑right government, led by Giorgia Meloni, and the country’s cultural sector. Critics argue that Venezi’s appointment was a political reward, while unions and many musicians view the firing as a stand for artistic autonomy. Both Meloni’s office and Culture Minister Alessandro Giuli have denied any direct involvement, emphasizing the decision’s independence.What Lies Ahead for La Fenice and Italian OperaLa Fenice now faces the challenge of restoring credibility while attracting younger audiences. Analysts predict a renewed search for a director with extensive operatic experience, likely distancing the institution from overt political affiliations. The outcome could set a precedent for how Italy’s historic cultural venues navigate government influence and modernisation pressures.