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The Lead The Netflix adaptation of Shelby Van Pelt's novel Remarkably Bright Creatures stars Sally Field as Tova, a cleaner at an aquarium who forms a bond with an octopus voiced by Alfred Molina. The film is a gentle, heart-first drama about broken people trying to heal. Sally Field Shines in a Gentle Drama Every now and then, a strange forgotten chapter of life during Covid will interrupt my thoughts. Remember when we used to fake happy hour merriment on the Houseparty app? Or when Anne Hathaway and Chiwetel Ejiofor made an unwatchably awful film about stealing diamonds from Harrods during lockdown? The unavoidability of My Octopus Teacher led to everything from a creepy spike in people googling “did octopus teacher sex with octopus” (time-saver: he didn’t) to an unforgivably undeserved Oscar win for best documentary (Collective, you were robbed) and then, while not a direct on-record inspiration, it at least paved the way for the success of Shelby Van Pelt’s best-selling novel Remarkably Bright Creatures in 2022. The Film's Emotional Resonance It’s a film that can also sit in the streamer’s row of originals aimed at an older audience, alongside gentle afternoon watches like Nonnas, Our Souls at Night, Juanita and Otherhood. Like those films it welcomes in an actor we haven’t seen as much lately as we once did – Sally Field in this instance – and grants her more screen time than she has been given in over a decade – her last lead role was 2015’s Hello, My Name Is Doris. I’m not sure how much of the film would really work without her anchoring it – she adds volume to what’s otherwise a pretty low-level hum – but with Field smoothly moving between comedy and drama in a film that can’t always move quite so gracefully, it all just about stays afloat. The Impact of Molina's Voiceover Field is Tova, a cleaner at an aquarium in a picturesque coastal town who struggles to connect with those around her, still tending to the wound she endured after the death of her son years earlier. She now prefers being alone, something she has in common with Marcellus, an elderly octopus voiced by Dr Octopus himself, Alfred Molina. He hates humans, an understandable response to being trapped in a tank by them, but he appreciates the relative calm of Tova who talks to him in detail about her life. The Future of Gentle Dramas Assistance in that department also comes from Molina’s octopus, who isn’t always made to feel like a natural element of the story (there’s a stretch when it seems like Newman has forgotten about him entirely), but when he’s brought back to the forefront in the final act, there’s a neatly contrived yet sweetly effective and emotionally earned ending, If Newman doesn’t quite get the tears she’s clearly craving, she manages to leave us charmed enough for it not to matter all that much. Remarkable might be a stretch, but decent will do.

The Flaws of MIA MIA, the new drama created by Bill Dubuque, the mastermind behind Ozark, had all the ingredients for a gripping series. Set in Miami, Florida, the show explores the extremes of the American experience, where ostentatious wealth and illegal activities coexist, propped up by the hard work and dreams of immigrants. A Missed Opportunity for Depth The series starts with a promising premise, focusing on Etta, a young woman who seeks revenge after her family is slaughtered by a drug cartel. However, the thoughtful treatment of the immigrant experience is quickly overshadowed by a silly revenge thriller. The show's attempt to balance the serious subtext with an action-packed plot falls flat. The Problem with Convenient Plot Devices The show relies heavily on convenient plot devices, such as Etta's photographic memory, which helps her in her quest for revenge. Additionally, her connections to a badass aunt and a motel owner with unusual skills feel contrived and undermine the show's credibility. A Lackluster Villain The Rojas cartel, the main antagonists of the show, are underwhelming. Their sibling rivalry and attempts to expand their business into people-trafficking feel like boilerplate villainy. The character of Cary Elwes' gumshoe is equally ineffectual, adding to the show's dullness. A Glimmer of Hope The 'found family' that Etta gathers is the highlight of the show. However, even this aspect gets lost as Etta starts eliminating her targets. A big twist at the end sets up a potential second season, but it may not be enough to redeem the show's overall lackluster performance.

The Lead Nobel laureate JM Coetzee has declined to attend the Jerusalem international writers festival, citing Israel's 'genocidal campaign' in Gaza. Coetzee, who was born in apartheid South Africa and lives in Australia, wrote to organisers of the festival in November, expressing his reasons for not attending. Coetzee's Letter to the Festival Organisers In his letter, Coetzee stated that Israel's actions in Gaza have been 'vastly disproportionate to the murderous provocation of 7 October 2023.' He also mentioned that the campaign, conducted by the IDF, appears to have had the enthusiastic support of the vast majority of Israel's population. The Data Analysis Coetzee revealed that he had once been a supporter of Israel, but the campaign of annihilation in Gaza has changed his stance. He also mentioned that long-time supporters of Israel have turned away in revulsion at the actions of the Israeli military. The Impact Analysis Coetzee's decision to decline the invitation has sparked a debate about the role of literature in politics and the responsibility of writers to speak out against injustice. Julia Fermentto-Tzaisler, the festival's artistic director, responded to Coetzee's letter, stating that she respects his decision but will not stop running the festival. The Prediction The controversy surrounding Coetzee's decision is likely to continue, with some supporting his stance and others criticising his decision to boycott the festival. The incident highlights the complex and often fraught relationship between literature, politics, and social justice.

The Geopolitical Fracture at the Venice BiennaleThe world's most prestigious art exhibition, the Venice Biennale, was transformed into a flashpoint for geopolitical dissent on its preview day. A strike organized by the Art Not Genocide Alliance (Anga) aimed to bar Israel from the event due to its ongoing war in Gaza, resulting in a chaotic shutdown of multiple national pavilions just 24 hours before the public opening.The Anatomy of the Biennale ShutdownThe protest was not merely symbolic; it physically altered the visitor experience. The Austrian pavilion, which featured a standout work, remained closed for the entire day, while several others shuttered their doors intermittently. The disruption was widespread, affecting the Belgian, Dutch, Japanese, Macedonian, and Korean pavilions. Even the British and Spanish pavilions faced closures, reopening only after securing additional staff to manage the Italian cultural workers' strike.Disruption Metrics: A Snapshot of ChaosOrganizer: Art Not Genocide Alliance (Anga)Pavilions Closed: Over a dozen, including Austria, Belgium, Netherlands, Japan, Macedonia, and KoreaSupport Actions: Artists added references to Palestine, hung flags, and displayed posters reading "Palestine is the future of the world."Historical Precedent: This follows a pattern of disruption, including the 1968 student occupation and the 1970 Communist party protests that led to award suspensions.From Art to Activism: The Institutional CrisisThis year's edition underscores a critical shift in how international institutions handle geopolitical conflicts. The crisis began earlier in the week when the jury resigned en masse after refusing to consider entries from countries with leaders facing international arrest warrants. Furthermore, the UK government refused to send a minister to open the British pavilion, citing the inclusion of Russia. The closure of the Israeli pavilion—initially due to a private event—added fuel to the fire, while the Russian pavilion had already been forced to shut down temporarily due to a Pussy Riot protest.The Future of Cultural DiplomacyThe Venice Biennale 2026 signals that art institutions can no longer remain neutral in the face of global atrocities. As the "cultural boycott" movement gains momentum, we can expect more international events to face similar disruptions. The question for the art world is no longer just about aesthetic merit, but about the moral responsibility of hosting nations and the resilience of the artistic community against political pressure.

The Film's Premise A new short film, Vitória Régia (Amazon Water Lily), has imagined a future where a far-right coup in Brazil succeeds, and the Amazon rainforest is surrendered to the United States. The film depicts a dystopian scenario where Brazilian democracy is annihilated, and the military takes power. A Nightmarish Scenario The film's plot centers around a scenario where Jair Bolsonaro's plot to seize power after the 2022 election is successful. The military takes control, censoring the media, purging ideological 'deviants,' and transferring control of the Amazon to Washington in exchange for its support of the coup. The Data Analysis The film highlights the potential consequences of such a coup, including the exploitation of the Amazon's natural resources by US interests. The film's director, Denis Kamioka, noted that the film was shot in March 2025, nearly a year before Donald Trump's administration took a similar stance in Venezuela. The Impact Analysis The film's lead actor, Alice Braga, said that the film became 'almost a documentary' given the similarities between the film's plot and real-life events. The film aims to draw attention to the threats facing Brazil's Indigenous peoples and their centuries-long quest to defend their traditional lands. The Prediction The film's creators hope that it will serve as a warning about the dangers of far-right extremism and the importance of protecting democracy and the environment. With Bolsonaro's politician son Flávio poised to challenge the leftwing incumbent, Luiz Inácio Lula da Silva, for the presidency, the film's message is more relevant than ever.

The Rise of Community Car-Sharing in the UK In the UK, a growing trend towards community car-sharing is gaining momentum as a potential solution to reduce carbon emissions and meet climate targets. Miriam Stoate, a regenerative farmer from rural Leicestershire, noticed that many residents in her village, Tilton, struggled to access cars when needed. In response, Stoate and a group of volunteers launched Tilton's electric car club in 2023, providing residents with access to two electric vehicles (EVs) for a monthly fee. The Electric Car Club Model The initiative in Tilton offers one small solution in a wider struggle, as the UK grapples with the challenges of creating a sustainable and affordable transport system fit for the 21st century. The car club provides local volunteer drivers, allowing residents who can no longer drive to still use the service. Stoate says the scheme has been a success, not only in providing better access to viable transport but also in helping people get to know each other. The Data Analysis: Emissions and Transport Trends Transport is the UK's largest source of carbon emissions, with surface transport responsible for about 25% of the annual total. Despite efforts to rein in emissions, progress has been slow. However, experts say some elements of the transition to a sustainable transport sector are moving in the right direction. EV sales have jumped 59% in April and now account for around a quarter of all car sales. The Impact Analysis: Challenges and Opportunities Experts stress that more needs to be done to create sustainable and affordable ways to move around – and meet the UK's climate targets. Anna Krajinska, the UK director of the Transport and Environment group, emphasizes the importance of sticking to the zero-emission vehicle (ZEV) mandate, which forces car manufacturers to sell an increasing percentage of zero-emission vehicles each year. Chris Hayes, chief economist at the Common Wealth thinktank, highlights the need for an integrated rail and bus service that is affordable and works for people and communities. The Prediction: Future Outlook and Solutions Experts believe that, while moving to EVs and improving public transport and active travel are essential starting points, they will not be enough on their own. Greg Marsden, a professor of transport governance at the University of Leeds, calls for a new transport taskforce to explore innovative ways to reduce car reliance and carbon emissions. He suggests considering greater access to shared electric vehicles across rural and urban areas, lighter and cheaper shared EVs for short journeys, and fleets of shared EVs at major train stations.

The UK's First Community-Owned Solar Battery Project The UK is set to host its first community-owned solar battery project, with plans to install a battery storage system at Ray Valley Solar, a large community-owned solar park in Oxfordshire. Project Details and Investment Ray Valley Solar has 36,000 solar panels generating enough clean electricity to power about 7,000 homes for a year. The project uses profits to provide grants to community initiatives that help reduce carbon emissions and make homes, schools, and businesses more energy efficient. The battery installation, planned for October, will have a capacity to store 12 megawatt hours of electricity every day, saving enough electricity to power an additional 300 homes a year. The Low Carbon Hub is seeking to raise between £500,000 and £1.3m to finance the installation, offering investors up to 5% return on their investment. Financial Impact and Benefits By selling electricity at a higher price during the evening peak, Low Carbon Hub estimates it can increase its community benefit contribution to £1m over the battery's 15-year lifetime. Community Impact and Future Outlook The project has attracted huge interest from other community energy groups around the UK, with Low Carbon Hub running 56 community-owned renewable energy projects across Oxfordshire. The UK government has pledged to spend up to £1bn on community-owned green energy schemes, but more policy support is needed to ensure everyone can benefit from the shift to clean energy.

The Shift in McIlroy's Stance on LIV Golfers Rory McIlroy is no longer opposed to LIV Golf players returning to the PGA Tour, but he said Friday that “it’s a question of if they do want to come back”. McIlroy's comments indicate a softening of his previous stance on golfers who joined LIV. The Uncertainty Surrounding LIV Golf McIlroy said the answer will probably depend on what happens with LIV’s financial situation in the coming months. Last month, Saudi Arabia’s sovereign wealth fund pulled the plug on future funding for LIV Golf, which had lured away stars including Jon Rahm and Bryson DeChambeau with lucrative, guaranteed contracts. The Data Analysis: Financial Implications $500m: The amount Bryson DeChambeau has reportedly asked for in a new deal with LIV Golf. The Impact Analysis: Golf's Future Landscape The PGA Tour recently offered a temporary path back for some LIV players. Brooks Koepka took advantage of the opportunity. Rahm and Tyrrell Hatton are among the players who remain under contract with LIV beyond this season. McIlroy expressed skepticism about the rival tour raising enough money to continue in its current form. The Prediction: What's Next for LIV Golfers “If you want to be the most competitive golfer you can be, this is the place to be,” McIlroy said of the PGA Tour. “And if you don’t want to play here, I think that says something about you.” The PGA Championship is next week outside Philadelphia, with DeChambeau, Rahm, and Koepka all set to participate.

The Director's Supernatural EncountersMulti-Oscar-winning director Guillermo del Toro has revealed his lifelong fascination with the supernatural, from childhood ghost sightings to a UFO encounter at age 14. The filmmaker, currently in the UK to receive a BFI fellowship, shared his belief that these experiences 'cause a crack' in our perception, allowing 'the mystery of the universe' to rush toward us.From Family Hauntings to Hammer HorrorDel Toro's supernatural journey began at age 11 when he first sensed a spectral presence at his family home in Guadalajara, Mexico – which he believes was his late uncle keeping a promise. This experience inspired Santi, the sighing ghost-boy in his 2001 film The Devil's Backbone. The director has since encountered numerous paranormal phenomena, including surround-sound ghostly disturbances in a New Zealand hotel while scouting locations for The Hobbit.'There are certain magical lands for me,' del Toro explains, 'and the land of ghosts is England.' He is currently looking to purchase a haunted house in the UK to house his extensive collection of silicone figures and memorabilia.The Influence of British CinemaThe BFI fellowship holds special significance for del Toro, who cites British cinema as a major influence on his work. He particularly reveres the 'reveries of Powell and Pressburger or Ken Russell' and the entire Hammer horror legacy, including Terence Fisher's Frankenstein films which partly informed his own 2025 adaptation of Mary Shelley's novel.'The 1974 Hammer film Frankenstein and the Monster from Hell had the worst makeup but the most delicate Creature,' del Toro notes. 'As the movie progressed, the Creature became more of an innocent and the Baron more of a pure villain.' This approach shaped his interpretation featuring Jacob Elordi as the Creature.A Legacy of Monsters and Misunderstood BeingsDel Toro has always portrayed monsters as complex beings capable of tenderness alongside violence, reflecting his belief that 'precisely like us.' This philosophy has resonated with fellow artists, including Taylor Swift, who has cited his films as inspiration. After becoming a fan of The Shape of Water, Swift explored his back catalogue during the pandemic, declaring herself 'dazzled' by The Devil's Backbone and Pan's Labyrinth.The influence is mutual, with Swift later invoking Del Toro-esque imagery in her hit single Anti-hero, picturing herself as 'a monster on the hill … slowly lurching toward your favourite city.' This artistic connection demonstrates how del Toro's vision has permeated popular culture beyond cinema.The Future of Fantastic CinemaAs a BFI fellow – joining the ranks of Martin Scorsese, David Lean, Akira Kurosawa, and Orson Welles – del Toro continues to champion the potential of horror and fantasy genres. His teenage years saw him running a film society in Guadalajara, sourcing controversial works like Powell's 1960 serial-killer classic Peeping Tom from the BFI itself.With his upcoming projects and continued exploration of the supernatural, del Toro remains committed to expanding our understanding of the unknown, both on screen and in his personal life. As he puts it, these experiences 'dislocate your sense of self,' revealing the mysteries that exist just beyond our everyday reality.