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Tracy Kidder, an award-winning narrative nonfiction writer, has passed away at the age of 80. Kidder was known for his ability to transform unlikely subjects into bestsellers, captivating readers with his in-depth research and storytelling skills. Throughout his career, Kidder immersed himself in various worlds, producing richly researched books on topics that may not have seemed like light reading. His work included The Soul of a New Machine, which explored the inner workings of a fledgling computer company in Silicon Valley and earned him the Pulitzer Prize and National Book Award in 1981. Kidder's other notable works include Among Schoolchildren, which highlighted the dedication of an inner-city teacher in Holyoke, Massachusetts, and Old Friends, which chronicled the lives of two friends in a nursing home. His book Mountains Beyond Mountains, about a doctor's efforts to bring healthcare to Haiti, introduced his work to a new generation of readers and inspired numerous universities to add it to their reading lists. Kidder's approach to storytelling was rooted in his belief that small things can have a significant impact. He avoided focusing on his personal interests, such as fishing or baseball, to maintain his objectivity and enthusiasm for his subjects. Kidder saw himself as a storyteller, not a 'literary journalist' or 'creative nonfiction' writer, and believed that nonfiction should not be limited by traditional techniques. Born in New York City in 1945, Kidder attended Harvard University and served in Vietnam, where he documented his experiences in My Detachment, a memoir that offered insights into the lives of support troops.

Lisa Kudrow reprises her role as Valerie Cherish in the third season of 'The Comeback', a character often compared to Steve Coogan's Alan Partridge. Both are narcissistic figures clinging to past showbiz successes. The show initially gained acclaim for its satirical take on the entertainment industry. This season, Cherish is offered a lead role in a new sitcom called 'How's That?', which is secretly written by an AI program. The use of AI in comedy writing is a key concern, especially following the 2023 US writers' strikes. However, the show fails to effectively satirize this concept, instead opting for a more sentimental approach. The Comeback's earlier seasons were praised for their meta approach, blending reality TV and mockumentary styles. However, the latest season struggles with its format, frequently switching between mock-doc and traditional sitcom modes without clear justification. Cherish, once portrayed as a sharp-elbowed has-been, has evolved into a reformed character. She is now universally praised by those around her, making her less relatable and less humorous. The show's attempts at humor fall flat, with the AI-generated scripts producing generic and unfunny gags. The season concludes as a heartfelt paean to traditional comedy, but its lack of humor and toothless satire leave little confidence in its future. The show's shift towards sentimentality over satire is a significant disappointment.

The Iranian people's determination for freedom and democracy remains unshaken, even in the face of extreme hardship and oppression. Thousands have died and many more are suffering under the current regime, which continues to patrol streets with guns, beating and arresting citizens. In recent times, the situation has worsened with the outbreak of the US-Israeli war, which has restricted internet access, led to the appearance of checkpoints, and filled Tehran's prisons to capacity. Despite these challenges, the Iranian people's fight for freedom persists. Azar Nafisi, an Iranian-American writer, reflects on her experiences and the resilience of the Iranian people. She recalls the 1979 revolution and the mandatory veil imposed by Ayatollah Khomeini, which led to thousands of women protesting in the streets, chanting 'Freedom is neither eastern nor western. Freedom is universal.' Nafisi emphasizes the importance of cultural heritage in preserving Iranian identity and humanity. Truck drivers across Iran display bumper stickers with poems by Hafez, Saadi, or Ferdowsi, demonstrating the enduring power of literature and art. The writer also remembers her former students in Tehran, particularly Razieh, a young Muslim girl who was imprisoned and executed for her love of literature and independence. Razieh's story serves as a powerful reminder of the sacrifices made in the fight for freedom. Nafisi concludes that even in the midst of war and oppression, there can be hope. The Iranian people's struggle for freedom is a universal fight that can benefit people worldwide, from the UK to Sudan. The preservation of freedom and democracy requires constant vigilance and a willingness to challenge oppression.

The final season of Netflix's Heartbreak High has concluded, but its farewell has left much to be desired. The show, a remake of the 1990s Australian series, had potential with its fresh-faced cast and energetic tone. However, it ultimately succumbed to a polished but contrived approach, straying far from the gritty realism that made its predecessor compelling.The original Heartbreak High was praised for its near-verite realism and diverse cast, tackling tough issues with fearlessness and courage. In contrast, the new series opted for a blinged-out U-turn, adopting a jokey tone and pat writing. While it still addressed important issues like abortion, mental health, and racial tensions, it did so without the same level of authenticity.The final season follows the gang's last year at Hartley High, kicking off with a chaotic muck-up day prank. However, even this moment felt painfully contrived, lacking the realism that once defined the series. The show's approach to emotional moments was similarly forced, designed to generate feeling rather than earn it.Creator Hannah Carroll Chapman may have aimed for a show akin to Sex Education, but Heartbreak High fell short. Its colourful but contrived approach rarely achieved a strong emotional pull, instead favouring sentiment over subtlety in its conclusion.Despite its shortcomings, Heartbreak High still explored complex relationships and character aspirations. However, the show's failure to balance humour and drama, coupled with its contrived emotional moments, left this reviewer underwhelmed.

Surrender to It is a film that seems to have been made without regard for the clichés that have been established by similar movies in the past. Writer-director Tim Bryn Smith appears to have ignored the criticism that greeted films like Peter's Friends back in 1992, which featured a similar premise of actors reuniting.The story revolves around a group of former thespians who met at a drama workshop and are now reuniting for a hiking weekend. The cast includes Daemian Greaves, Melissa May Smith, Fletcher Graham, and Chantelle Lee, among others. However, their performances are marred by stiff gestural quality and amateur production values.The script, credited to Bryn Smith and Chris Wetton, feels disjointed and like it was cobbled together from improv exercises and random suggestions. The film tries to balance maudlin tones with comic subplots, but the result is a mess. One subplot involves a bereaved couple mourning their dead son, while another focuses on a movie star recovering from a scandal.The film's production values are also lacking, with scissorhand editing and poorly executed plot twists. Despite its flaws, Surrender to It will be available on digital platforms from 30 March.

Criterion Capital, a property company established by billionaire Asif Aziz, has strongly denied allegations of attempting to mass-evict tenants in the weeks leading up to the implementation of England's no-fault evictions ban on May 1. The controversy began when Matthew Pennycook, the housing minister, wrote to Criterion seeking urgent answers about its plans after reports emerged that the company had issued section 21 notices to a large number of tenants. These notices inform tenants of proposed eviction. According to reports, Criterion issued 87 section 21 notices across its property portfolio, which accounts for fewer than 5% of its total tenants. The company insists that this is not a case of mass eviction but rather 'routine and lawful tenancy management'. The company emphasized that more than a third of households who received these notices had chosen to move, describing these as 'tenant-led decisions.' Pennycook expressed concern that Criterion's actions, if true, would be those of a 'thoroughly unscrupulous landlord,' especially with the Renters' Rights Act set to ban no-fault evictions in England. He requested a transparent account of Criterion's actions regarding periodic tenancies at Britannia Point and other buildings in south London. In response, Criterion accused politicians of spreading 'inaccurate and politicised narratives' and claimed that tenants were being used as 'cannon fodder for political campaigning.' The controversy highlights the tension between property management practices and upcoming legislative changes aimed at protecting renters' rights in England.

David Squires presents his unique visual perspective on the recent Carabao Cup final, where Manchester City emerged victorious over Arsenal in a compelling showdown at Wembley Stadium. The acclaimed cartoonist captures the essence of the match through his distinctive artistic style, focusing on pivotal moments that defined the contest.In his latest work, Squires examines the significant decisions that influenced the outcome, offering insightful commentary that resonates with football enthusiasts. The cartoon strips showcase the tactical battle between the two Premier League giants, with particular attention to the master-apprentice dynamic between the respective managers.One notable highlight featured in Squires' cartoon is the audacious performance of a young player whose cheeky antics and skillful play caught the attention of spectators and critics alike. The cartoonist effectively immortalizes these moments through his signature visual storytelling approach.The artwork provides a lighthearted yet perceptive take on the competitive nature of the cup final, illustrating how Manchester City ultimately secured their triumph over their London rivals. Squires' ability to distill complex match dynamics into accessible and entertaining visuals continues to make his work a favorite among Guardian readers.For those interested in exploring more of Squires' football commentary, the article includes links to purchase his cartoons and his latest book, 'Chaos in the Box,' which showcases his collection of sports-related artwork.

The Guardian is calling on readers to share their favorite books they've read recently as part of their ongoing 'what we're reading' series. Readers can recommend fiction or non-fiction books they've enjoyed by filling out a secure online form. The form is encrypted, ensuring that only The Guardian has access to the contributions.Share Your RecommendationsTo participate, readers simply need to provide their recommendations and contact information. One of The Guardian's journalists will be in touch before publishing the recommendations.For those having trouble with the form, an alternative link is provided: click here. Readers can also access The Guardian's terms of service and privacy policy for more information.

The innaugural Hilary Mantel Prize for Fiction has been awarded to Anna Dempsey and Uduak-Abasi Ekong, two emerging writers from the UK and Ireland. The prize, established in memory of the late Booker Prize-winning novelist Hilary Mantel, aims to support unpublished and un-agented writers.Anna Dempsey, a Florida-born writer and teacher who now lives in London, won the prize for her unpublished novel This Is About an Alligator and Nothing Else, taking home £7,500. Her novel is a coming-of-age story set on the edge of the Florida Everglades, where a small town faces a water contamination crisis linked to corporate negligence.Uduak-Abasi Ekong, a Manchester-based Nigerian writer, was named runner-up for her novel A Kind of Resurrection, receiving £2,500. Her novel is a work of psychological horror drawing on West African folklore, in which supernatural elements are intertwined with emotional trauma.The judging panel was chaired by the bestselling author Maggie O’Farrell and featured Nicholas Pearson, Ben Miles, Chetna Maroo, and Chigozie Obioma. The prize is open biennially to unpublished and un-agented writers in the UK and Ireland, who submit an extract of 15,000 words.