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The Evolution of Google's Gemini App At its annual Google I/O event, Google announced a series of updates to its Gemini app, aiming to transform it into an all-purpose AI hub. The updates include a 'Daily Brief' feature, a redesigned interface, access to a new AI video model called Gemini Omni, and a new personal AI agent called Gemini Spark. The Daily Brief Feature The Daily Brief feature is a personalized digest designed to be users' first stop each morning. It pulls together information from a user's inbox, calendar, and most important tasks, and then organizes them into a clear overview. The feature prioritizes tasks and suggests next steps, with the most important items shown first. Daily Brief is rolling out to Google AI subscribers in the United States. The Redesigned Interface Google has rebuilt the app from the ground up, introducing a new design language called 'Neural Expressive.' This brings fluid animations, vibrant colors, new typography, and haptic feedback. Gemini's responses are no longer presented as a wall of text; instead, key information appears in bold at the top, with additional text and possibly other elements such as images and timelines appearing as the user scrolls down. Gemini Spark and Gemini Omni Gemini Spark is a 24/7 personal AI agent that helps users navigate their digital life. It's a cloud-based agent that keeps working in the background even when the phone is locked. With Gemini Spark, users will be able to create their own custom workflows. Gemini Omni is a new AI video model that combines Gemini with Google's generative media models to create outputs grounded in knowledge. The Impact on the AI Market These updates signal Google's push to make its Gemini app more competitive with apps like ChatGPT and Claude. With over 900 million monthly users and availability in over 230 countries and in more than 70 languages, Google aims to maintain its existing customer base while attracting new users. The Future of AI-Powered Assistants The introduction of Gemini Spark and Gemini Omni underscores Google's broader push into multimodal content creation and AI-powered video tools. As the AI landscape continues to evolve, it will be interesting to see how these updates impact the market and Google's position within it.

The Modernist Comedian's Journey How has it come to this? That's what new show Tilting at Windmills finds John Kearns asking, and – after a fashion – it's what TS Eliot asked in The Waste Land, the modernist poem Kearns deploys here as an unlikely motif. After the breakup of a 12-year relationship with the mother of his son, we find the 39-year-old angrier than usual, and unmoored: flat-hunting pessimistically while living back home with mum and dad, roaming the streets of London having fled a disappointing walking tour based on Eliot's verse. High Culture Meets Everyday Life Sound clips of the poem, read by Alec Guinness, punctuate the show. They infuse it (as Van Gogh's Starry Night did with its predecessor, The Varnishing Days) equally with awe, at life's ineffable mysteries, and bathos – at the contrast between high literary culture and the humdrum realities of our host's life. Here he is shopping in Aldi with his mum; there he is naked and not very wet under a dripping shower. A remark about washing machines by a newspaper columnist induces a bout of class anxiety; an awkward teenage meeting is recalled with then-PM Tony Blair, who came to see Kearns' school play. Existential Questions and Personal Struggles Under Jon Brittain's direction, this all comes at us in Eliot-alike fragments, as Kearns bounces between existential conjecture (an encounter with ventriloquist Nina Conti has him wondering "am I my own puppet?!") and sadness at the wreckage of his domestic dreams. We're not let deeply into all that: no oversharer he. But if his real feelings are woven obliquely into this tapestry of a Streatham clown adrift, they remain palpable, not least in the surprising ferocity this usually low-key act brings to his dialogues with dimwit estate agent Connor, say, or with two poetry scholars in a pub over an illicit packet of prawn cocktail crisps. A Poignant Reflection on Modern Life Maybe its sharp edges, that sense of real hurt beneath the (very funny) gags about Kearns' limited commercial reach, forestall hilarity. But there's no resisting the care, the craft and the many beautifully turned phrases of a comic who "feels like he's being CC'ed into his own life". At its best, this show about The Waste Land itself aspires to wonderstruck, workaday poetry. Show Information Artist: John Kearns Show: Tilting at Windmills Director: Jon Brittain Touring to 6 November

The LeadIn a photographic self-portrait taken not long after she was diagnosed with squamous cell bladder cancer in 2020, Tracey Emin's iPhone shrouds her right breast as our line of vision descends from her catheter to her urostomy bag to her disposable knickers. Her body is fragile here in this hospital mirror, yet her gaze is anything but. It looks us dead in the eye as if to say: I matter, this matters – a sureness that challenges the notion of subjugation in times of ill-health.The Art of Bodily AutonomyEven now, six years after her life-saving surgery, Emin refuses to conform to what may, or may not, make us feel comfortable when it comes to her post-operative body. As well as losing her bladder, Emin also lost her uterus, ovaries, lymph nodes, part of her colon, her urethra and part of her vagina. And yet she has found a striking autonomy in documenting the changes in her body. "This is mine, I own it," she affirmed in an interview not long after her surgery.The Personal Becomes PoliticalWould I have taken these photographs if it wasn't for Emin? Probably not. In the weeks that led up to my own life-saving surgery, I became increasingly fixated on the ways in which her no-holds-barred Polaroids, like the squares of her autobiographical blankets, were urging us to look at her in ways that perhaps we'd rather not. Twenty-seven years after her sculptural work My Bed catapulted her to tabloid fame in the late 1990s, Emin is still challenging us to acknowledge the things we tend to pull away from. Only these days her bleeding nudes are centred squarely on the presence of non-visible disability and what Harry Weller, creative director of Emin's studio, calls "her wild scramble for existence".Challenging the "Confessional" Label"Back in the 90s, people used to say it was confessional art," Emin recently mused to Maria Balshaw, director of the Tate. Only it wasn't. "I wasn't confessing anything at all to anybody," she corrected her past critics – and maybe even her present fans. I thought of Emin's vital reframe only a few weeks ago when I visited her landmark show at Tate Modern and contemplated her 2023 painting, I watched Myself die and come alive. In it, her red-swabbed body is splayed out on a table, she is watched over by the black cloak of death, and her mother's ashes are resting in a casket behind her bloody hair. Like most of Emin's artworks, this painting isn't asking for a certain kind of gaze from us – it exists for itself alone, and that's what makes it so corporeally present.The Legacy of Frida KahloCall it visceral, call it personal. But, like Emin, I too struggle with the word "confessional" in relation to women's expression of their experiences. The implication being that there is something guilt-inducing and therefore even shameful about a woman drawing attention to herself both in her life and art. As if by doing so, she needs to beg pardon for it. Only Emin has never subscribed to this falsehood. Come to think of it, neither did Frida Kahlo over the course of her all-too-short life (Kahlo died when she was only 47) – another autobiographical artist whose retrospective is set to appear at Tate Modern next month.Transforming Trauma into TranscendenceWith an anatomical eye on her wounds, Kahlo would redraw what she called her "body's landscape" on her own terms, making her disabilities into something transcendental, a devotional act that helped her transform the mundanity of her physical limitations into something extraordinary. As Kahlo's biographer Hayden Herrera remarked in 1983, Kahlo's art has a particular intensity and strength "that can hold the viewer in an uncomfortably tight grip". We can see this for ourselves in her 1944 artwork, The Broken Column: a valiant self-portrait of chronic pain that evokes the Saint Sebastian paintings of the Christian faith.

Grayson the Musical will bring the eccentric life of Turner‑prize winning ceramicist Grayson Perry to the stage in an “outrageous” production co‑created with composer Richard Thomas, the mind behind Jerry Springer: The Opera. The show, billed as an “irreverent odyssey,” explores Perry’s journey from his Chelmsford childhood to international fame, with a supporting role for his iconic teddy bear Alan Measles.“Grayson the Musical” Takes Shape with a Workshop Run in JulyThe workshop production will be staged at Soho Theatre Walthamstow in east London, the borough where Perry kept a studio for many years. Director Sean Foley leads the team, while Perry himself provides the lyrics. The book is written by Sara‑Ella Ozbek, known for screenwriting and novels.Workshop Schedule and Production Team Reveal Key NumbersFive performances scheduled from 16 to 19 July.Music composed by Richard Thomas.Lyrics by Grayson Perry; book by Sara‑Ella Ozbek.Directed by Sean Foley.Venue: Soho Theatre Walthamstow.Cultural Resonance of Perry’s Story in London’s Theatre SceneThe musical taps into Perry’s reputation for challenging class norms, gender expression, and pop‑culture references. By featuring Alan Measles, a beloved element of Perry’s visual art, the production bridges his gallery work with live performance, offering audiences a rare glimpse into the artist’s personal narrative and the broader themes of identity and self‑acceptance.What’s Next for the Musical After the Workshop?Following the July workshop, the production is slated for further development, with the potential for a full run beyond the initial five shows. Success in the workshop could position the musical for a larger West End engagement, expanding its reach and cementing Perry’s legacy in both visual and performing arts.

President Donald Trump said the United States will hold off on a scheduled attack on Iran after Qatar, Saudi Arabia and the UAE asked for a pause while “serious negotiations are now taking place.” The decision follows a fresh Iranian peace proposal routed through Pakistan and a series of drone incidents that have heightened tension across the Gulf.The Decision to Pause a Planned Iranian StrikeMay 19, 2026: Trump announces the attack is on hold at the request of Gulf allies.May 18, 2026: Drone attacks hit the Barakah Nuclear Energy Plant in the UAE and Saudi airspace.April 8, 2026: Temporary cease‑fire begins, six weeks after the war started.Trump instructed Secretary of Defense Pete Hegseth and Joint Chiefs Chairman General Dan Caine to stand down, while keeping forces ready for a “full, large‑scale assault” if talks fail.Numbers Behind the Conflict: Ceasefire Timeline and Strategic AssetsIran holds roughly 440 kg of uranium enriched to 60 %—well below the 90 % threshold for a weapon.The Strait of Hormuz carries about 20 % of global oil and LNG shipments.Since the cease‑fire, hostilities have largely subsided, but no durable peace agreement has been reached.Geopolitical Ripple Effects Across the GulfThe pause underscores the delicate balance between U.S. pressure on Iran’s nuclear program and the Gulf states’ fear of escalation. Saudi Arabia’s interception of three drones and Iran’s restriction of shipping through the Strait of Hormuz threaten global energy markets. Meanwhile, Russia’s offer to store Iran’s enriched uranium adds another layer of diplomatic complexity.What Comes Next: Scenarios for U.S.–Iran TalksAnalysts see three likely paths:Deal reached: Iran agrees to freeze enrichment and release frozen assets, leading to a formal end‑to‑hostilities.Stalemate persists: Core issues—enriched uranium, sanctions, and Strait of Hormuz control—remain unresolved, extending the “life‑support” cease‑fire.Military escalation: If negotiations collapse, the U.S. may resume the planned strike, risking broader regional conflict.

The Absurdist Comedy of I Love Boosters Boots Riley's latest film, I Love Boosters, is a mixed bag of absurdist comedy and militant politics. The film follows a group of shoplifters who target high fashion, led by Keke Palmer's character Corvette. The Film's Gonzo Agitprop Style Riley's film-making style is described as gonzo agitprop, which can be both hilarious and frustrating. The film features a range of absurd and baffling moments, including demon cunnilingus and Marxist notions like dialectical materialism. The Ensemble Cast The film features a talented ensemble cast, including LaKeith Stanfield, Taylour Paige, and Naomi Ackie. The cast brings to life a range of characters, from the exploited retail staff to the Chinese sweatshop laborers. The Impact of Riley's Politics Riley's politics are front and center in I Love Boosters, with the film tackling topics like fast fashion philanthropy and the exploitation of retail workers. The film's message is clear, but the characters can feel frustratingly limited. The Future of I Love Boosters I Love Boosters is set to hit US cinemas on May 22, with UK and Australia dates to be announced. The film is sure to spark conversation and debate, with its unique blend of comedy and politics.

From Anna Forbes to Glasgow Therapist: A Personal JourneyThe Guardian revisits Daniela Nardini nearly three decades after her breakout role as Anna Forbes in This Life. Once a cultural touchstone of late‑90s Britain, she now runs a therapy practice in the West End of Glasgow, offering a quiet contrast to the sharp, messy character that once defined her.Viewership Numbers and Awards Highlight Nardini’s Early Impact3.5 million viewers tuned in to This Life at its peak, making the series a BBC Two hit.1998: Nardini earned a BAFTA for her performance.2009: She won a Scottish BAFTA for the film New Town.These figures cemented her status as a role model for a generation of young women navigating the “work‑hard, play‑hard” ethos of the era.How Mid‑life Transitions Reshape Identity in the Public EyeAfter the series ended, Nardini faced a series of personal upheavals: the death of her father Aldo, the dissolution of her marriage to restaurateur Ivan Stein, and a breast‑cancer diagnosis that required a mastectomy and reconstruction. The experience prompted her to retrain as a therapist seven years ago, a shift she describes as more than a simple “pivot.”Her clients, predominantly women in midlife, benefit from her lived experience of grief, loss and bodily change, giving her practice a uniquely empathetic edge.What Lies Ahead for Nardini’s Dual Career PathLooking forward, Nardini plans to continue blending her artistic sensibility with therapeutic work, using creative outlets such as painting to process trauma. While she does not anticipate a resurgence of Anna Forbes‑related clientele, she remains open to occasional acting projects that align with her new perspective.As she approaches her 60th birthday, Nardini embodies a narrative of resilience: “quite a lot happened in my 50s,” she reflects, suggesting that the next decade will be defined by the strength she has cultivated through both fame and personal adversity.

Lead: A Treasure Trove of Keaton’s Life on DisplayThe upcoming Bonhams auction, titled Diane Keaton: The Architecture of an Icon, will feature an astonishing array of the actress’s personal ephemera – from a massive wall collage to vintage clothing and a handwritten Annie Hall script – giving collectors a window into her creative world.Bonhams Unveils Keaton’s Eclectic Collage and Wardrobe for West Hollywood SaleDuring a Friday preview in West Hollywood, visitors could walk along a near‑full‑wall collage that Keaton assembled over decades, peppered with Parisian photo‑booth snaps, Victorian mugshots, a fake ear with acupuncture points and a menu from a defunct California gambling den. The display also included signed photos of Al Pacino, original film scripts and a selection of her beloved clothing.Auction Preview Highlights: Over 150 Lots and Estimated Script ValuationsMore than 150 lots of clothing, accessories and artwork will be offered.Signature items include a black bowler hat, a sequined Gucci suit and a 2020 Oscars Ralph Lauren tuxedo.The original Annie Hall script is estimated to fetch between $2,000 and $3,000.Other notable pieces: drawings by David Wojnarowicz, a sketch by Jack Nicholson, and a metal wastebasket of black‑and‑white polka‑dot wrapping paper.What the Sale Reveals About Celebrity Collecting and Hollywood NostalgiaKeaton’s archive underscores a shift among Hollywood elites toward curating personal histories rather than purely monetary assets. By displaying items the way she kept them – in glass boxes, themed groupings and lived‑in garments – Bonhams highlights the emotional resonance that drives demand for authentic, story‑rich memorabilia.Future Outlook: Potential Market for Iconic Film MemorabiliaThe live New York auction on 8 June is expected to attract both film aficionados and high‑net‑worth collectors, potentially setting new benchmarks for script and costume valuations. Success could encourage more estates of celebrated actors to monetize their personal archives, further blurring the line between personal nostalgia and commercial art.

The LeadScars of war are laid bare in daylight across Sudan’s capital, yet signs of recovery are visible along the city’s roads. While rubble is being cleared and traffic slowly returning, the reality of life in Khartoum is a stark contrast between bustling commercial strips and ghostly residential districts. Refugees and displaced residents are returning cautiously, as official statements about normalcy often clash with the ground realities.The Fragmented Heart of KhartoumThe city’s recovery is highly uneven, with wealthy districts remaining largely deserted. Areas such as Garden City, Manshiya, Riyadh, Taif, Maamoura, Arkawit, and Mujahideen in the south see little to no activity. In central Khartoum, the silence over the ruined Arab Market and city centre is profound, with most ministries and institutions still empty.However, pockets of life persist. Along Freedom Street, known for electrical appliances, and Sixty Street, a major link between north and south, shops, banks, and restaurants have reopened. Yet, the residential areas behind these commercial hubs remain quiet by day and shrouded in darkness at night due to power outages.The Ghost Towns and Booming SuburbsResident return is cautious, influenced by factors such as income, education, healthcare, and psychological trauma. Interestingly, the Karari locality in northern Omdurman has seen significant growth. As the Rapid Support Forces (RSF) were absent during the war, Karari has inherited the commercial and institutional role of Khartoum, making it a relative beneficiary of the conflict.The real estate market reflects this instability. A growing supply of homes for sale is attracting buyers, particularly in eastern districts. Property prices have fallen by 30 to 40 percent, depending on location and condition. Most buyers are traders and businesspeople looking to capitalize on low prices, though they prefer ready-built properties due to high construction costs.The Economic Strain of SurvivalFor families returning to Khartoum, daily life has become a struggle. Prices shift rapidly amid a severe economic crisis. A common phrase among shoppers is “every day brings a new increase,” forcing families to reduce consumption or rely on debt and remittances.Bread Crisis: The staple has become a burden, rising to five times its pre-war level.Imports: Most goods are imported from Egypt by land and Saudi Arabia by sea.Transport: Rising costs and worn-out buses add to the burden, though digital payments are becoming ubiquitous.The Future OutlookDespite the hardships, residents are determined to restore their way of life. The real estate market may see a rebound within a year if prices return to pre-war levels, but the psychological scars of the war and the ongoing instability in the capital will likely delay a full return for many families for the foreseeable future.