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The LeadRenowned actress Linda Bassett reflects on her distinguished career spanning decades of theatre work, her celebrated collaboration with playwright Caryl Churchill, and her upcoming role in Alexander Zeldin's "Care" at the Young Vic. Known for her understated yet powerful performances, Bassett shares insights into her approach to acting and the profound impact of theatre on her life.The Career JourneyBassett's path to acting wasn't conventional. Despite coming from a non-theatrical family, she discovered her passion at age four when she was unexpectedly thrust into a Sunday school Easter play. "I was in bliss," she recalls. Her formative years included ushering at the Old Vic during Laurence Olivier's legendary tenure, where she witnessed groundbreaking performances and even sold ice creams during intermissions.After briefly studying English at Leeds University, where she focused on drama rather than academics, Bassett began creating devised work in Leeds and Coventry. This experience, she suggests, "made me a bit gobby," developing her confidence to make suggestions as an actor, though she admits she sometimes oversteps when working with certain playwrights.The Churchill ConnectionBassett's most significant artistic relationship has been with playwright Caryl Churchill, beginning with "Fen" in 1983 and continuing through to "What If If Only" in 2021. She describes auditioning for Churchill as "enormous" because it launched her on a particular trajectory. Her disconcerting clarity has made her a peerless interpreter of Churchill's work, which some audiences find forbidding."They're not hard to watch," Bassett protests of Churchill's plays. She recalls her iconic monologue in "Escaped Alone" where the phrase "terrible rage" is repeated 25 times in succession. "It was the only thing to say at that point. The words fed the feeling, and it was the audience who felt it, not me, which is ideal." Churchill's writing, she notes, is "so distilled, no excess baggage," requiring actors to find "the one way" to play them.From Call the Midwife to CareDespite notable film roles including "East Is East" and "Calendar Girls," many audiences know Bassett as stern nurse Phyllis in the BBC's "Call the Midwife." "Complete strangers come up and say, I love you. My wife loves you, my mother loves you. It's extraordinary," she remarks of the public's connection to the character. Despite playing Phyllis for over a decade, she found fresh aspects to explore, learning "how to be" more matter-of-fact and practical than her natural disposition.Currently rehearsing Alexander Zeldin's "Care" at the Young Vic, Bassett plays Joan, a woman who after caring for her family begins showing signs of dementia and needs care herself. "She's convinced, as many people are, that she's just in for respite. She never loses the idea that she's going home," Bassett explains. The role draws from personal experience; after a heart attack, she spent two weeks recuperating in a care home, giving her "an insight into what it's like when you become helpless."The Actor's Philosophy"Every part is an education," Bassett states. "That's the glory of being an actor. You learn about human feelings and frailty and rottenness. The writer puts their soul on the page, and you inhabit that. I've always felt I was a writer's actor." This philosophy has guided her selective approach to roles, resulting in a "remarkably free of crap" CV despite turning down numerous opportunities.Though she hasn't performed as many classics as she might have hoped—"I think I'm seen as a working-class actress"—Bassett values the authenticity she brings to her roles. With Zeldin directing "Care," she appreciates his desire for "absolute truthfulness," which "suits me down to the ground." As she prepares for this new challenge, she acknowledges the nerves: "Every new part you're starting again. It's a bit scary, but I think we'll be all right."The Future of TheatreAs a veteran performer who has witnessed theatre's evolution, Bassett remains committed to the medium's power. She recalls the impact of Ronald Pickup's messenger speech in Peter Brook's production of Seneca's "Oedipus": "People fainted every night. You didn't see anything, his voice was enough. That's the power of theatre, isn't it?"Looking ahead, Bassett continues to seek roles that challenge her and explore the human condition. Whether through her meticulous interpretation of complex playwrights like Churchill or her willingness to portray the vulnerability of aging in "Care," she remains dedicated to the craft that has defined her life. "Every part is an education," she reiterates, and with each new role, Linda Bassett continues to learn, grow, and enrich the theatrical landscape.

The Prize Rene Matić, a photographer from Peterborough, has been awarded the prestigious Deutsche Börse Photography Foundation prize. The prize, which comes with a £30,000 award, is one of the most respected art awards in Europe. The Exhibition Matić's winning exhibition, 'As Opposed to the Truth', was showcased at CCA in Berlin. The exhibition features photographs, flags with slogans sewn on them, and a collection of black dolls from second-hand stores. The work explores themes of queer love, nationalism, and various subcultures. The Artist's Inspiration Matić's work is often inspired by subcultural movements, including the skinhead movement their father was part of in the 1980s, and Northern Soul. Matić has also been inspired by the photography of Derek Ridgers, who documented the fascist scene of 1970s Britain. The Judging Panel's Decision Shoair Mavlian, director of the Photographers' Gallery and chair of the Deutsche Börse jury, praised Matić's use of photography in a fluid and experimental way. The judging panel was impressed by the construction of the installation, where different dialogues are created through the pairing and reorganizing of images. The Artist's Background Matić was also nominated for the Turner Prize in 2025. Their work has been exhibited widely in the UK and across Europe, including a joint show with Oscar Murillo at Kunsthalle Wien in Austria.

Campbell Brown, once Meta’s inaugural news chief, is now spearheading Forum AI to evaluate how large language models handle complex, high‑stakes subjects such as geopolitics, mental health, finance, and hiring. After witnessing the launch of ChatGPT, she warned that AI could become the primary conduit for information—"not very good"—and set out to build a benchmark system that pairs world‑leading experts with AI judges. Forum AI’s Quest to Benchmark High‑Stakes AI Answers The company assembles experts—including Niall Ferguson, Fareed Zakaria, former Secretary of State Tony Blinken, former House Speaker Kevin McCarthy, and former cyber‑security chief Anne Neuberger—to design nuanced evaluation criteria. AI judges are then trained to match expert consensus, targeting roughly 90% agreement on contentious topics. Funding and Early Metrics: $3 Million Seed Round and 90% Human‑Expert Consensus Seed funding: $3 million led by Lerer Hippeau (closed fall 2025). Founded: 17 months ago in New York. Performance goal: achieve ≈90% consensus with human experts across geopolitics, finance, mental‑health, and hiring benchmarks. Why Current Foundation Models Miss the Mark on Truth and Bias Initial evaluations revealed systematic issues: Gemini sourced content from Chinese Communist Party sites unrelated to the query, and most models displayed a left‑leaning political tilt. Other failures include missing context, ignoring alternative perspectives, and straw‑man arguments—all of which erode user trust. Enterprise Audits as the Next Lever for Trustworthy AI Brown argues that businesses—especially those using AI for credit, lending, insurance, and hiring—have a strong liability incentive to demand accurate, auditable outputs. While many firms currently rely on superficial checkbox audits, Forum AI proposes deep, domain‑expert‑driven evaluations to meet emerging regulatory requirements, such as New York City’s hiring‑bias law. Looking Ahead: From Compliance Checks to a Truth‑Optimized AI Ecosystem Brown believes the industry stands at a crossroads: AI can either cater to user whims or prioritize “what’s real, honest, and truthful.” If enterprise demand for rigorous audits scales, it could force model developers to embed robust truth‑verification mechanisms, shifting the AI landscape toward higher reliability and public trust.

The Lead The documentary 'Wrestling With Trump' draws parallels between Donald Trump's campaign style and professional wrestling, suggesting that Trump's approach to politics is more akin to a WWE match than a traditional political campaign. The Event Details The documentary, created by comedian and satirist Munya Chawawa, examines how Trump's team used the same playbook as World Wrestling Entertainment (WWE) to craft their campaign and style of government. Chawawa explores the use of hyperbole, smack talk, and kayfabe – the pretence that everything is real – in Trump's approach to politics. The Data Analysis No specific data is provided in the article, but it highlights how Trump's use of wrestling-style rhetoric and tactics has been successful in inflaming the crowd and rousing bloodlust. The Impact Analysis The documentary suggests that Trump's approach to politics has contributed to the blurring of lines between truth and lies, creating a reality that suits him better. This has led to a polarized political landscape and has been criticized for promoting a divisive and aggressive style of politics. The Prediction The documentary concludes that Trump's style of politics is likely to continue, with former Trump campaign adviser Sam Nunberg stating that Trump abides by his own code and that we can expect more slamming of the body politic in the years to come.

Trump’s Overnight Social Media Onslaught Amid Iran ConflictDonald Trump unleashed a late‑night tirade on his Truth Social platform, posting over 50 messages from Monday evening into the early hours of Tuesday. The barrage targeted former presidents, current leaders, and judicial figures while the United States remains embroiled in the war with Iran. Details of the 50‑Post Marathon and Targeted AttacksThe marathon included:Doctored images of Barack Obama on the $100 bill and a sewage‑filled Lincoln Memorial reflecting pool.Calls for the arrest of Democratic rivals, including Joe Biden and Nancy Pelosi.Attacks on New York Times reporting about a $6.9 million pool‑renovation contract.Criticism of Supreme Court justices Neil Gorsuch and Amy Coney Barrett for voting against his tariff agenda. Quantifying the Spree: Posts, Timing, and Economic ContextKey metrics:50+ posts in roughly 3 hours.Posts coincided with a sharp rise in U.S. fuel prices, the highest in four years, linked to the Iran‑Israel war.Economic pressure affecting millions of Americans as inflation and living costs climb. Political Ripple Effects Ahead of Trump‑Xi SummitThe timing is critical: the spree occurred just hours before a high‑stakes trip to China for talks with Xi Jinping. By amplifying partisan attacks, Trump may be attempting to:Mobilize his base ahead of the diplomatic engagement.Divert attention from domestic economic strain.Reinforce his narrative of “endless wars” while paradoxically extending the Iran conflict narrative. What the Next Week May Hold for Trump’s Campaign and U.S.–Iran RelationsAnalysts anticipate:Increased scrutiny of Trump’s social‑media tactics as the China visit unfolds.Potential escalation of rhetoric around the Iran war, influencing public opinion on upcoming elections.Pressure on the administration to address fuel‑price inflation, which could shape policy debates in the coming weeks.

The Artist's Monument to Forgotten WorkersAn air of civilisational wipeout hangs over the Gehrenseestrasse complex, an abandoned housing estate on the north-eastern outskirts of Berlin, where the city still looks shabby without the chic. The insides of the nine prefabricated blocks have long been gutted; six floors of empty window frames stare hollow-eyed over multi-lane carriageways. In the courtyard, paintballers have left behind wooden barricades from when they played at World War III.Yet in one of the second-floor rooms of Berlin's largest ruin, artist Sung Tieu is waltzing across the concrete floor and reliving scenes from her childhood. "Here was the single bed I shared with my mother for three years," she says, pointing into a corner of the small room. "Two metres by 90cm, can you believe it?" There in the corridor is where her neighbours used to make bánh bao dumplings on camping stoves, for lack of private kitchens. "I still remember the smell." Here was the door through which she used to entertain her best friend when his mother locked him in during working hours. "We played cards through the gaps," she recalls with glee.But she also still remembers where neo-Nazis tried to throw molotov cocktails into the building: "They eventually set up a net because the windows kept on getting smashed".The Mosaic Recreation of a Lost CommunityThese days, few people have heard of the Gehrenseestrasse complex, whose last tenants left in 2002. But if Tieu had her say, it would be as essential a stop on the tourist trail as the Brandenburg Gate, the Reichstag or Checkpoint Charlie. There is, in her view, no place that better tells the story of the Vertragsarbeiter generation – the oft-forgotten workers who were hired on fixed-term contracts from socialist "brother states" in Vietnam, Mozambique, Angola or Cuba to boost the East German economy. "To me, this place is a monument," says Tieu.By the end of this summer, many more people in Germany – and art enthusiasts around the globe – will know about her childhood home. For this year's Venice Biennale, Tieu has clad the German pavilion with a like-for-like replica of the complex's facade, recreating the grey concrete and smudges of graffiti with three million mosaic stones made in Ravenna. She conceived the pavilion in tandem with the artist Henrike Naumann, who died in February from cancer aged only 41.Bureaucracy as Artistic MediumThe woman I meet at a Vietnamese restaurant in Berlin's Lichtenberg district is the antithesis of that exoticised cliche: modest, dressed all in black, analytical in her answers to my questions. She talks me dispassionately through the more experimental food options on the menu, but comes alive when explaining bilateral treaties and labour regulation."I really try to avoid the pure post-migrant diaspora narratives. By focusing on individual experience you can lose sight of the bigger picture. Contracts, state treaties, floorplans – that's what I am interested in. There has to be a certain formal toughness."Looking through her catalogue raisonné you are reminded of Marcel Duchamp. You see an artist dedicating her career to seeking ever more minimalist ways to express the same idea, from Cubist painting to readymade to annotations of chess moves. And in Tieu's case, that big idea is bureaucracy. In 2015, she reprogrammed the scrolling LED displays at a shop inside the Dong Xuan Centre, Berlin's largest Asian market, to display the texts of immigration treaties. For a group show at Berlin's Haus der Kulturen der Welt in 2024, she transcribed by hand documents from the national archives on the East German porcelain industry, authenticating them with her own ornamental stamp. Her website, fittingly, is just a long index of file names and a deadpan biography section: "Sung Tieu is an artist."Childhood Trauma and Artistic Vision"I think it's also a childhood trauma," she says when I ask her where her interest in bureaucracy comes from. "I've had to fill out forms for my mother since I was five, since she didn't speak any German. And by the time I was seven my German was better than hers. Bureaucracy was part of my childhood – I studied politics and administration because I wanted to understand it."Born in 1987 in Hai Duong, northern Vietnam, Tieu moved with her mother to what was by then the formerly socialist East German regions in 1992. They were joining up with her father, who had moved to the GDR five years earlier via a bilateral agreement for factory workers from the socialist republic.Initially announced in the romantic spirit of ideological solidarity, the treaty between the two states soon became a more hard-nosed deal, addressing ongoing labour shortages in East Germany while helping to rebuild a war-ravaged Vietnam, which took a...The Legacy of Forgotten WorkersTechnically there was no racism in the GDR, because it wasn't documented. But of course it always existed. This is the uncomfortable truth that Tieu's installation confronts – the erasure of immigrant experiences in official narratives, even as these workers were essential to East Germany's economy.Through her art, Tieu transforms personal memory into collective history, giving voice to the thousands of contract workers who built East Germany but were never fully acknowledged as part of its society. The Venice Biennale installation, with its meticulous recreation of a housing complex that many would prefer to forget, serves as both memorial and critique – a reminder that the stories of immigrants are integral to understanding modern Germany.The Future of Migration Narratives in ArtAs Europe continues to grapple with questions of migration and identity, artists like Sung Tieu are pioneering new forms of expression that move beyond personal stories to examine the structures and systems that shape immigrant experiences. By focusing on bureaucracy, architecture, and official documents, Tieu creates art that is both deeply personal and universally relevant.The Venice Biennale platform ensures that these often-overlooked histories reach a global audience, challenging visitors to reconsider their understanding of migration, labor, and belonging. As Tieu continues her exploration of these themes, we can expect more installations that transform bureaucratic systems into powerful artistic statements, creating spaces where the voices of the marginalized can be heard and remembered.

Lead: A Play That Puts Climate on the Domestic StageIn Martha Loader’s two‑year research‑driven drama Albatross, an Antarctic glaciologist named Alice returns home to a strained family, forcing a confrontation between personal obligations and the planet’s looming emergency.Martha Loader’s Two‑Year Immersion into Antarctic Research Fuels ‘Albatross’Loader spent 24 months interviewing scientists in Antarctica, translating their fieldwork and emotional toll into a narrative that juxtaposes a flooded kitchen set with the melting ice shelves they study. The play follows Alice as she reunites with her mother Eve (played by Agnes Lillis) and Eve’s new partner Martin (portrayed by director Patrick Morris), exposing the moral calculus each generation faces.Tour Schedule and Audience Reach: 30 May Closing DateTouring until 30 May – the production travels to regional venues after its UEA run.Staged at the University of East Anglia (UEA), home to a leading UK climate‑science department, enhancing academic‑theatre crossover.Set design features a flooded kitchen that visually echoes icebergs, reinforcing the climate metaphor.Staging Climate Truth: How ‘Albatross’ Bridges Science and Public ConsciousnessThe play’s strength lies in its ability to make abstract climate data tangible through family drama. By embedding an “ice‑cream demo” that explains warming ice caps, the production educates while entertaining, prompting audiences to consider the personal cost of inaction.The Future of Climate‑Centric Theatre in the UKWith increasing public appetite for environmentally themed art, productions like Albatross signal a shift toward theatre that not only reflects scientific realities but also challenges societal complacency. Expect more collaborations between research institutions and theatre companies, and a rise in touring shows that embed climate narratives within relatable human stories.

The LeadUnited States President Donald Trump has rejected Iran's response to his latest peace proposal to end the war, which has upended the global economy. In a series of posts on his Truth Social platform, Trump accused Iran of 'playing games' and called their response 'totally unacceptable,' escalating tensions in the already volatile Middle East region.The Diplomatic BreakdownResponding to the counterproposal Iran sent to the US via mediator Pakistan, Trump wrote that Iran 'has been playing games with the United States, and the rest of the World, for 47 years.' He added: 'They will be laughing no longer!' Two hours later, he reiterated: 'I have just read the response from Iran's so-called 'Representatives'. I don't like it – TOTALLY UNACCEPTABLE!'Iran's Ministry of Foreign Affairs spokesperson, Esmaeil Baghaei, responded by stating that the US continues to have 'unreasonable demands,' adding that Iran's response was 'not excessive.' He emphasized that Iran's proposal to end the war and lift its naval blockade in and around the Strait of Hormuz was a 'legitimate' demand.The Strategic DemandsAccording to Iranian media reports, Tehran countered the US proposal with one of its own, including a demand for an end to the war on all fronts, including in Lebanon, where Israel has carried out heavy strikes and a ground invasion. Iran wants the first stage of negotiations to focus on ending hostilities and ensuring 'maritime security' in the Gulf and the Strait of Hormuz.On the nuclear issue, Iran reportedly proposed to have some of its highly enriched uranium diluted and the rest transferred to a third country. They were also willing to suspend enrichment for a shorter period than the 20-year moratorium proposed by the US but rejected dismantling nuclear facilities.In contrast, the US has demanded that Iran reduce uranium enrichment to 0% and hand over its estimated 440kg stock of enriched uranium. The US 14-point peace proposal also requires Iran to agree not to develop a nuclear weapon and to halt all enrichment for at least 12 years.The Regional ImplicationsThe ongoing tensions have significant implications for global energy markets, as the Strait of Hormuz is through which one-fifth of global oil and natural gas exports are shipped during peacetime. Iran's de facto blockade of the strait came in response to US and Israeli attacks on the country on February 28.The naval standoff has disrupted international shipping, with both the US and Iran continuing to attack, capture and intercept ships. Countries in the Gulf region have also come under attack again, threatening regional stability and security.Chris Featherstone, a political scientist at the University of York, noted that Iran has not conceded to US demands, which appears to have confounded Trump. 'The Iranians are maintaining their conditions for a long-term peace deal,' he said, adding that Trump has 'painted himself into a corner' in these negotiations.The Path ForwardWith neither side agreeing to a peace deal, experts suggest limited options for Trump. Ali Vaez, director of the Iran Project at the International Crisis Group, stated that 'no amount of economic coercion or military force will compel Iran to capitulate to maximalist US demands.' Trump is left with what Vaez calls 'two bad options: escalate a war he cannot win, or accept a compromise he cannot sell.'Mark Pfeifle, a former US national security adviser, suggested that Trump is unlikely to resume the war but may ramp up economic pressure through the blockade and conduct limited military actions targeting Iran's fast boats, drone launch pads and missile sites. Trump could also tighten sanctions or push for European and Asian naval forces to help escort ships through the Strait of Hormuz.As Baghaei stated, 'Whenever we are forced to fight, we will fight, and whenever there is room for diplomacy, we will seize that opportunity.' However, with both sides entrenched in their positions, the path to a comprehensive peace agreement remains uncertain.

The Legacy of a Journalistic IconShireen Abu Akleh was more than just a journalist; she was an icon who anchored the Palestinian cause firmly in the Arab conscience. For many Palestinians, including the author of this piece, her voice was a constant in an ever-shifting landscape. She began reporting on pivotal events in Palestine even before the author was born, documenting the second Intifada and the battle for Jenin in 2002. In 2005, she made history as the first Arab journalist to gain access to Ashqelon prison to interview Palestinian prisoners held there for years.During the 2014 war on Gaza, her presence on screen projected hope and resilience despite the anguish she conveyed about the situation. Shireen was loved and respected by all Palestinians, regardless of their faith or political affiliation, for her courage, moral clarity, and unwavering commitment to making Palestinian voices heard.The Assassination That Changed EverythingOn May 11, 2022, the shocking news of Shireen Abu Akleh's killing arrived. Footage showed her lying on the ground, with journalist Shatha Hanaysha by her side, as someone behind the camera desperately shouted for an ambulance. Israeli fire hampered rescue efforts, leaving Shireen bleeding on the ground as colleagues were unable to pull her to safety.The assassination in broad daylight of one of Palestine's top journalists was not just a shocking crime. It was a harbinger of what was to come. A year and a half later, Israel began a campaign of systematic targeting of Palestinian journalists in Gaza. As of today, at least 260 media workers have been killed, with Israel now recognized as the "biggest killer of journalists."A New Generation of Journalists EmergesDespite the assassinations of Shireen and other journalists—including Anas al-Sharif, Fadi al-Wahidi and Mariam Abu Daqqa—there has been no silencing effect. Instead, their deaths have motivated young people to pick up the camera, the microphone, and the pen to continue their work.The author, who was studying English literature before Shireen's killing, shifted their focus from literary fiction to the real world. They realized that while literature preserves culture, journalism defends present truth. This realization led them to enroll in journalism classes and develop new skills, even as the genocide in Gaza made journalism a deadly profession.Bearing Witness in the Face of AtrocityAs a resident of Gaza City, the author became a firsthand witness to the horrors that rained down on the north. They survived numerous Israeli attacks and were forced to flee with their family multiple times. They began journaling about the experience of genocide, often thinking of what Shireen would have said in the face of such atrocities.Remembering Shireen's words—"I chose journalism to be close to the people. It might not be easy to change reality, but at least I was able to bring that voice to the world."—the author started writing about the situation in northern Gaza, documenting the harrowing details of life and death they had witnessed through several sieges and a famine.The Siege of Silence and Breaking ThroughDue to internet blackouts, the author could not connect to the rest of the world for an extended period. After a temporary truce in January 2025 restored some connectivity, they published their first piece, "Surviving war in north Gaza," documenting the untold details of life and death they had witnessed.While this achievement brought pride and satisfaction, it also brought fear for the author's family, who worried that they too could become targets. Nevertheless, the author continued writing even as Israel was killing journalists weekly and the world failed to stop it.The Torch Continues to BurnToday, despite supposed "ceasefires," the murders of journalists have not ceased. Just last month, Israel killed Mohammed Wishah, who worked as a correspondent for Al Jazeera Mubasher. Yet, there are still so many young Palestinians who insist on writing, documenting, and screaming through their words in the face of horror and injustice.They have picked up the torch from Shireen, and they carry it forward. As the author states, "Palestine will not be silenced." Despite the extreme danger, a new generation of Palestinian journalists continues to bear witness to their reality, ensuring that the world cannot ignore their truth.