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Gen Z's Cinema Comeback People born between 1997 and 2012 are now more frequent cinemagoers than some older age groups, with 87% having seen at least one film in a cinema in the last 12 months compared with 58% of baby boomers. This shift in cinema attendance patterns is reshaping the film industry and challenging assumptions about younger generations' entertainment preferences. The Digital Escape to Big Screens Many young people cite the cinema as a rare distraction-free zone in an increasingly digital world. "It's a distraction-free zone," says Emma Balfour, 19, from Kirkcaldy in Scotland. "It helps me stay off my phone, since it's something I want to stop using so much. There's a lot more social stigma around being on your phone when a film's playing on a cinema screen versus your own home, and the complete darkness means I can fully immerse myself." Alex McAleer, 22, living in Berkeley, California, agrees. "The ability to block out two hours and have that time be your own is so rare in a world where you're constantly accessible, aware of the news cycle and aware of the potential for your phone to alert you." Communal Experience in a Fragmented Media Landscape Cinema provides a rare communal experience that appeals to younger generations. "You don't get a lot of opportunities any more to really watch things with people in a group," says Jae, 23, from Swansea. "There are moments when everyone in the cinema laughs in unison, or you can see people crying or gasping in shock. It's the kind of setting where there's absolutely no commitment to chat, but you are still spending time with people." This communal aspect has become particularly valuable as media consumption becomes increasingly fragmented. Cinema provides the few "water cooler moments" that Jae's generation has left, with films released universally allowing for shared cultural touchstones. Social Media's Influence on Cinema Culture Ironically, while many young people seek to escape their phones at the cinema, social media platforms are driving cinema's popularity with this demographic. "The cinema is romanticised on TikTok," Kate, 26, from Cambridge, explains. "Film TikTokers do films to look out for, and there are normal people showing their Letterboxd or their experience of going to the cinema. You put anything to nice music and make it a montage, and that content does very well on social media." Letterboxd, an app for cinephiles to log films and publish reviews, has over 26 million users and is most popular among those aged between 18 and 35. "I've used Letterboxd for probably four years now," says Kate, who has 850 films logged. "I'm on it more than probably anything else and that's my main way of tracking what might be worth going to see." The Future of Cinema in a Digital Age Despite the enthusiasm from Gen Z, the future of cinemas remains uncertain. Many young cinemagoers are conscious that theaters could be under threat as attendance declines. Cineworld closed 11 UK cinemas in 2024, and a 2025 survey showed almost a third of UK independent cinemas are at risk. Cost is also a significant factor, with many young people favoring more affordable options. "If my only option was to go to Cineworld or something which is at least £15, I think I would struggle to want to go as much," says Cesca, 26, from London. "But my local cinema is Peckhamplex and they do £6.99 tickets, so that's more reasonable." Despite these challenges, Gen Z's enthusiasm for cinema offers hope for the industry's future. "The cinema is really valuable," says Alex McAleer. "I try to encourage as many of my friends to go as possible."

The Lead: Beth Orton's Artistic Philosophy in the Age of AI Beth Orton, the acclaimed British singer-songwriter, has shared her thoughts on the intersection of technology and creativity in a recent interview. While discussing her illustrious career spanning decades, Orton made a striking statement about artificial intelligence's impact on music, expressing skepticism that AI "isn't going to have any beneficial influence on humans." This perspective comes from an artist who has navigated the evolving music industry while maintaining her unique voice and creative integrity. The Creative Journey: From Fear to Finding Her Voice Orton discovered her singing ability in 1989 while experimenting with theater, initially driven by a desire to confront her fear of performing publicly. "My biggest fear was singing in public and I wanted to do something I was afraid of," she recalled. This led her to transform a Rimbaud poem into what she imagined was a blues song, marking the beginning of her musical journey. Her talent was quickly recognized by producer William Orbit, who connected her with a singing teacher and helped launch her career, though Orton still struggles with identifying herself primarily as a musician. The Creative Process: Inspiration meets Craft When asked about her songwriting approach, Orton described a process where inspiration often strikes during everyday moments. "I get inspired and that's why I write. I could be walking in nature or having a conversation and it'll spark something in my head and I'll make notes," she explained. The elements of melody, words, and chords frequently emerge together, followed by the challenging work of refining these initial ideas. "The easy part is the la la la, here's the idea, here's the shape, here's the form, and then it's like: this all came unconsciously, how do I write to that standard consciously?" she noted, highlighting the difficulty of translating inspiration into finished songs. Musical Influences: Bowie's Wake-Up Call One of Orton's earliest musical memories involves hearing David Bowie's "Oh! You Pretty Things" as a child. "Anything he played was fucking loud. Mostly it was raging punk rock, but this one morning that track woke me up – he must have been up all night – and I heard something that made me feel excited for life. I was like: 'Wow, what the hell is that? I wanna find that.'" This experience exemplifies the profound impact that authentic human creativity can have, a theme that resonates with her later skepticism about AI-generated art. Industry Reflections: Authenticity in Commercial Pressures Orton reflected on her career in the music industry, particularly her experience with the album "Central Reservation" in 1999. She expressed discomfort with the pressure to conform to commercial expectations, noting that "it was like: 'Oh, she likes to be remixed. Let's get her remixed up the wazoo and that'll make this work and make it successful.'" This experience highlights the tension between artistic authenticity and commercial pressures that many musicians face, a challenge that AI might further complicate by potentially devaluing human creativity even more. The Economic Reality: Making Music Outside the Mainstream When asked about the financial challenges of being a musician outside the mainstream, Orton acknowledged the difficulties. "It is not easy. I think the lucky break is if you can make music for TV or films. That didn't happen for me and I have had to support a family," she shared. Despite these challenges, she found motivation in her dedication to her craft: "at a certain point it was like, well, there's no going back because I'm not good at anything. I'm useless at everything, but I can make music so I'll just keep doing that and hope for the best." The AI Question: Human Creativity vs. Machine Generation Orton's most controversial statement came when addressing the impact of AI on music: "Yes. It's pretty depressing. I still live in the hope that the real deal is the real deal and that only humans can make art the way humans can. And I think that's really important, spiritually and emotionally and energetically. I sound really hippy, I don't care. If you make music you feel maybe it can have an energetic influence in a powerful, positive way and I just can't see that AI is going to have any beneficial influence on humans." The Future Outlook: Preserving Human Artistry As AI continues to advance in creative fields, Orton's perspective represents a significant viewpoint from an established artist. Her stance emphasizes the irreplaceable human element in creative expression—something that cannot be replicated by algorithms, no matter how sophisticated. This viewpoint raises important questions about the value we place on human creativity in an increasingly automated world and challenges the notion that technology can fully replace the authentic, emotionally resonant qualities of human-made art.

The Western Australian Government's Climate Stance Western Australia has been known for its beautiful landscapes, beaches, and roads. However, its government has taken a stance on climate change that is concerning. They believe they shouldn't be expected to act on the climate crisis in the same way as the rest of Australia. Climate Targets and Emissions Documents released under freedom of information laws show that Western Australia's gas exports risk slowing Asia's shift to clean energy. The state's annual pollution increased by 4% last year, and its emissions have grown 17% since 2005. In contrast, other states have reduced their emissions. The Impact of Fossil Fuel Expansion The Western Australian government has continued to back fossil fuel expansions, arguing that gas exports reduce coal burning in Asia. However, experts say that gas is still a fossil fuel and contributes to greenhouse gas emissions. A US study found that liquified natural gas exports can be dirtier than coal when emissions from extraction, piping, processing, and shipping are counted. The Role of the Federal Government The Albanese government has given implicit support to Western Australia's climate position. However, experts say that the federal government should take action to address the issue. A question for the prime minister is whether he intends to do anything about Western Australia's climate targets risk. The Future of Fossil Fuel Projects A big decision lies ahead for the federal government: a verdict on the Browse development, Australia's largest untapped gas basin, is expected before the end of the year. Experts say there is a stronger than usual legal case that it could be blocked on environmental grounds, given the risk to protected species.

Smithsonian's Monumental Celebration of America's 250 Years To paraphrase the musical Rent, 131,487,300 minutes – how do you measure, measure 250 years? Especially in a country navigating an election year fraught with divisions and disagreements over basic facts? That is the challenge facing the Smithsonian National Museum of American History in Washington DC as it marks the semiquincentennial of US independence. The museum's answer is with 250 objects that tell the American story, ranging from a revolutionary war-era gunboat to gloves worn by a "Miracle on Ice" hockey player, from Thomas Jefferson's desk to a Donald Trump fan's "Make America great again" hat. A Museum-Wide Journey Through American History Opening on 14 May, "In Pursuit of Life, Liberty & Happiness" will display 250 objects encompassing 250,000 sq ft across all three floors of the museum. They range from old to new, from big to small and from sublime to mundane. Seventy-six of them – many rarely or never seen by the public – will be concentrated in cases lining the entry halls, while the remainder will be embedded throughout the museum's existing galleries, connected by a "ribbon" design to guide visitors on a historical treasure hunt. Each is paired with an action verb to underscore the view of democracy as a "highly participatory sport." Among the star attractions is the Philadelphia, a 53ft, flat-bottomed wooden gunboat constructed in the chaotic, sweltering summer of 1776. On a recent preview tour, visitors stepped into a climate-controlled enclosure at the museum where the air was thick with the scent of 100% acetone. Behind viewing windows that allow the public to see the work in progress, two conservators clad in headlamps and respirators were meticulously wielding soft and stiff bristle brushes, dental picks and wooden dowel rods to strip away decades of accumulated lacquer from a rusted iron cannon and its surrounding timber. By the Numbers: The Scale of the Exhibition The exhibition features 250 objects spread across 250,000 square feet of museum space. Seventy-six of these objects – many rarely or never seen by the public – will be concentrated in cases lining the entry halls. The Philadelphia gunboat itself weighs 16,000 pounds and was constructed in 1776. The wreck languished underwater for 159 years before being salvaged in 1935, fully intact with its armament and hundreds of artifacts scattered across its deck. When raised, the boat revealed about 600 to 800 items, including cannons, carriages, wheels, a stew pot, a melting pot for pitch, shoe leather, buttons from regimental coats, and even a leather button that was probably from someone's breeches. Reframing America's Complex Narrative "How do you structure a commemoration, celebration and time for reflection?" asks Anthea Hartig, the museum's director. "What we landed on were those moments where individuals or communities had fought for recognition and advocated for their own sense of identity and self in their role in creating and becoming a part of the United States. But we also wanted to do the playful." Hartig describes the US as "amazing, beautiful, complicated", and cites the African American writer James Baldwin's celebrated observation: "American history is longer, larger, more various, more beautiful, and more terrible than anything anyone has ever said about it." The exhibition captures both the monumental and the intimate aspects of American history. Alongside iconic items like Thomas Jefferson's portable desk on which he drafted the Declaration of Independence, the Star-Spangled Banner that inspired the national anthem, and George Washington's military uniform, are personal artifacts like a faux-pearl necklace worn by Abigail Adams in the mid-18th century. The Future of Historical Commemoration Hartig adds: "We believe that this anniversary is so important not only to the nation but the world, and that our past 250 years are filled with so much history that it takes an entire museum to do it justice." The exhibition also incorporates modern technology to enhance the visitor experience, including a virtual reality experience that transports visitors back to the Philadelphia's construction 250 years ago. As the museum continues to preserve and interpret America's complex past, the exhibition represents a new approach to historical commemoration – one that embraces the full spectrum of American experiences, from the revolutionary to the contemporary, and from the sublime to the mundane.

The Artist's Journey Through Love and LossFalling in and then out of love is a universal experience that often brings sadness, grief and heartbreak, and with time, hope and healing. Photographer Diana Markosian used her camera lens to document these complex feelings in her new project, Replaced.She brings the viewer on her journey of having, losing and reclaiming love, in a project that blurs documentary and fiction. "[The moments] no longer existed in the way they had, and I wanted to reclaim them," she says. "I wanted to feel that I could exist in my own story again."Recreating Intimate Moments Through ArtTo document their relationship, Markosian and her team worked with an actor to play her ex-partner. Each intimate image from the series, taken over three months, is a replica of an exact moment once shared with her ex and now shared between her and the actor. Her connection to him deliberately led to his being cast as her partner in the series so that the experience would feel as real as possible.With the actor, she visited Miami, Paris, Naples, Capri and Nice, all places she had once traveled to with her ex-partner. "These locations carry an existing weight of romantic myth," she says. "They are already shaped by cultural narratives of love, desire and idealized experience."The Emotional Toll of ReenactmentShe stayed at the same hotels and did the activities they had once done together, describing the experience as painful but cathartic. "It hurts so much, watching myself be replaced, watching those memories erased, and I didn't want to live in this any more," she says. "I'm so grateful that the project happened quickly."One of the most tender moments she recreates with the model appears in an image of them seated in a bathtub, holding one another with a red light glowing around them. Their vulnerability allows the viewer to reflect on a delicate moment between two people whose past love no longer exists, fostering empathy and prompting the audience to reflect on their own past relationships.Art as a Tool for Processing EmotionsCreating these intimate photographs enabled her to contemplate her journey. "I wanted to acknowledge how these same spaces can be reoccupied," she says, before adding: "If anything, [the project] just showed me how much I loved this person."For the past 16 years, Markosian has not let go of her camera, often using it to reach back and understand her past. "Art has given me a way of processing. I was studying writing, and suddenly found myself holding a camera and not wanting to let go of it; it became just a friend in my life," she says.A Career Built on Memory and ReconnectionShe first picked up a camera at 20, during graduate school at Columbia University. After graduating with a master's degree in journalism, she wanted to see the world, so she moved back to Moscow, Russia, where she was born. There she taught herself how to use the camera.Today, her lens serves as a tool for reconnecting with her past life and reclaiming it as her own. In her previous, highly regarded photo monograph Inventing My Father, she demonstrates her unique ability to reveal the unseen past through her images. Working on the book for 10 years, she depicts her journey of finding her father after 15 years of no contact, following her move to California in 1996 from Armenia, where he lives."Father, my previous work of the past decade, it's all rooted in memory, and I think what's beautiful about memory, there's a blend of fiction, interpretation, and it's very subjective," she says. "So I think I love existing in that territory because none of it is really real."

The Abrupt End of Australia's Sprint CampaignKaden Groves, Australia's premier sprinting hope at the 2026 Giro d'Italia, has been forced to abandon the race due to injuries sustained in a mass crash during the opening stage in Bulgaria. The 27-year-old, who was aiming to surpass Caleb Ewan's 11 Grand Tour stage wins and move second on the Australian all-time winners' list, joins compatriot Jay Vine in exiting the race prematurely due to crash-related injuries.The Opening Stage Crash That Changed the RaceGroves was among several riders injured in a mass crash occurring just 600 meters from the finish line as the race opened in Bulgaria on Friday. Despite appearing bloodied and limping immediately after the incident, his team Alpecin Premier-Tech initially reported that he seemed "OK." However, it later became clear that the 10-time Grand Tour stage winner was suffering from shoulder and neck bruising that proved more serious than initially assessed."I didn't ride yesterday. I hope after a complete day off the sensations have improved. I'll take it day by day and see how things are on the climb. I don't need to risk anything," Groves said before his withdrawal, indicating the severity of his condition despite his initial description of the injuries as "just a few superficial scrapes all over my body."Australian Cycling Suffers Double BlowThe withdrawal of Groves compounds a difficult start to the Giro for Australian cycling, following Jay Vine's earlier exit due to concussion and a broken elbow suffered in a crash on stage two. The two high-profile departures significantly reduce Australia's representation in the race's competitive aspects.In the absence of their big name duo Mathieu van der Poel and Jasper Philipsen, the Belgian team had anointed Groves, who was wearing No 1 in the race, as their main sprinter. With his exit, Francesco Busato will now lead Alpecin's sprinting efforts, though 25-year-old Australian Jensen Plowright may also receive opportunities after finishing 18th on stage three.Race Dynamics Shift as Sprinters ExitThe absence of key sprinters has altered the competitive landscape of the Giro. Ecuador's Jhonatan Narvaez capitalized on the changing dynamics to win stage four, providing a welcome boost for Vine's UAE Team Emirates XRG. Orluis Aular (Movistar) finished second, while Giulio Ciccone took third place and claimed the race leader's pink jersey.Two Australian general classification contenders remain in the race, with Red Bull-BORA hansgrohe's co-leader Jai Hindley and Jayco AlUla's Ben O'Connor both sitting handily 10 seconds behind new race leader Ciccone, alongside pre-race favorite Jonas Vingegaard (Visma Lease-A Bike).The Challenge Ahead: Mountain Stages AwaitWith sprinters exiting the race, attention now shifts to the climbers as the Giro prepares for its most demanding stages. Wednesday's fifth stage features nearly 4000m of climbing on the 203km route from Praia a Mare to Potenza, a profile that could significantly shake up the general classification standings.For Groves, the withdrawal represents a setback in his quest to add to his career tally of 10 Grand Tour stage victories. The Australian had just returned after a break of more than two months with knee trouble following a crash in the Omloop Het Nieuwsblad race at the start of March, making this latest injury particularly frustrating for the 27-year-old sprinter.

The Skyboxification of FootballIn What Money Can't Buy, his 2012 critique of a world where everything is for sale, Michael Sandel laments what he calls "the skyboxification of American life". Price gouging and profiteering, Mr Sandel notes, can exclude millions from communal experiences that should unite people, rather than divide them according to the size of their wallets. That is "not good for democracy, nor is it a satisfying way to live".World Cup Ticket Pricing Strategy Under FireAhead of the men's World Cup in the United States, Canada and Mexico next month, millions of football fans would readily agree with the Harvard philosopher. Gianni Infantino, the president of the sport's global governing body, Fifa, has predicted that this summer's tournament will be the "greatest and most inclusive … ever". But the lead-up has been overshadowed by a ticketing strategy that is almost surreally indifferent to the battered traditions of "the people's game".Exorbitant Price Points RevealedIn the latest phase of an opaque, manipulative process, Fifa has tripled the price of some of the best seats for the World Cup final in New Jersey to $32,970 (for the 2022 final in Qatar, top whack was about $1,600). On Fifa's Resale/Exchange Marketplace, tickets for the final have ranged from $8,970 to a laughable $11,499,998.85. For the US's opening group game against Paraguay in Los Angeles, the cheapest tickets initially offered were priced at $1,200. Even Donald Trump worried that might be too much for ordinary Americans to afford.Dynamic Pricing and Financial BarriersA dynamic pricing system means that a few tickets may become cheaper closer to the tournament. Many are likely to become still more expensive. These are ridiculous, exploitative prices that undermine the integrity of the world's most avidly followed sporting event. To add insult to financial injury, fans who bought early at prohibitive cost are discovering that the goalposts have now moved, as seats with the best views are hived off for even more lucrative hospitality packages.Impact on Football's Democratic TraditionFactor in accommodation and transport costs for travelling fans, and it is clear that access to the most monetised World Cup in history has been priced way beyond the means of most football lovers. But Mr Infantino has remained blithely dismissive in the face of the groundswell of protest, noting merely that the competition is being staged in a "market in which entertainment is the most developed in the world. So we have to apply market rates."Market Rates vs Democratic ValuesThis is self-serving nonsense. It is difficult to take anything Fifa's president says seriously after his decision to award a peace prize to Mr Trump. But such words betray a dismaying inability to consider wider responsibilities beyond a dollar-denominated bottom line. The best World Cups have been sporting and cultural festivals, enriched by the presence of passionate supporters from host cities and around the world. Only those with impressively deep pockets will be able to maintain that tradition in June and July.The Future of Inclusive FootballIn his book, Mr Sandel writes: "The more things money can buy, the fewer the occasions when people from different walks of life encounter each other." Next month, Mr Infantino will no doubt be waxing lyrical about the ability of the World Cup to bring people together and cross divides. Pious talk of inclusivity will ring very hollow if only the well-off can enter a stadium to actually watch a game.

The Discovery Jem Calder's writing career had a fairytale start. Sally Rooney emailed him, impressed with a short story he'd submitted to the literary magazine she was editing soon after Conversations with Friends came out. It was the first story he'd ever completed. Calder was already 'a huge fan' of Rooney's, so the whole thing was surreal, he tells me. 'I can't really imagine what could top that, to be honest.' The Writing Career That story ultimately ended up in Reward System, Calder's 2022 collection of six interconnected tales following a cast of sad young things living in an unnamed city. It was hailed as a book of the year; a review in this paper placed Calder among 'the most talented young writers of fiction at work today'. Now, his debut novel, I Want You to Be Happy, picks up some of the themes of the first book: the trials of modern love, millennial ennui, consumer culture, technology, political and ecological doom. The Novel's Themes The novel explores the challenges of modern relationships, with characters struggling with commitment, addiction, and the search for meaning in a dismal macroeconomic climate. Calder's characters are addicted to instant gratification – buying stuff, social media, vaping, porn – anything to ward off the world's horrors. The Author's Perspective Calder grew up in Cambridge, studied English at Leeds, and has since worked a variety of jobs alongside writing, including those of his protagonists – Joey is a barista, and Chuck is a copywriter. He says he 'truly can't relate' to authors who complain of writer's block – having to work a day job 'gives me such motivation to get back to it and force myself to deal with something difficult in my writing'. The Future Calder could be grouped with a cohort of young novelists to whom the 'voice of a generation' label can easily be applied, alongside the likes of Rooney, Oisín McKenna, Madeleine Gray – writers concerned with how a dismal macroeconomic climate impacts young lives. How does Calder feel about that badge? It 'isn't something I consciously pursue at all', he says. 'It's unavoidable not to critique capitalism in some way if you're trying to address the absurdities of how we live now, but I also don't care about putting my political views in my fiction. The goal is always to just write realistically about how life feels.'

The Dominance of Adolescence The Netflix drama Adolescence, which won universal acclaim for its chilling portrayal of violence by disaffected teenage boys, has dominated the Bafta TV awards. The four-part series, where each episode was filmed in a single take, won the award for best limited drama, while Stephen Graham, who co-created the show, took the best leading actor prize. The Winners' Circle Graham, who had been nominated eight times before, talked about being inspired by the TV show Scully as a child. “For any other young kid, no matter where you’re from, anything is possible.” “We’re not saving lives,” he said. “But we have the opportunity to tell the human condition. And we have the obligation to tell beautiful stories.” Owen Cooper, who became a household name for his performance as 13-year-old Jamie Miller, who is arrested for murdering a girl at his school, also bagged the best supporting actor award. Other Notable Wins Other winners on the night included the crime series Code of Silence for best drama and Narges Rashidi for best leading actress in Prisoner 951, the true story of Nazanin Zaghari-Ratcliffe, the Briton imprisoned for six years in Iran. The documentary Gaza: Doctors Under Attack took the spoils in the current affairs category. The Impact of the Awards The Bafta TV awards have once again highlighted the best in British television, with a range of genres and shows being recognized. The dominance of Adolescence and the wins by other notable shows and actors demonstrate the high quality of television being produced in the UK. The Future of British Television As the television industry continues to evolve, the Bafta TV awards will remain a key event in showcasing the best of British television. With shows like Adolescence and Code of Silence pushing the boundaries of storytelling and performance, the future of British television looks bright.