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A Critical Portrait of George MichaelIn 1998, George Michael was arrested for public lewdness in an LA lavatory, an incident that finally led the singer to publicly come out. The following day, Sathnam Sanghera found himself unable to leave his room at university: the doorway had been mockingly plastered with tabloid newspaper headlines – "ZIP ME UP BEFORE YOU GO-GO!" – by fellow students aware of his longstanding fandom. As a writer, Sanghera is best known for a series of award-winning books on the British empire, which he calls his "specialist subject". Judging by Tonight the Music Seems So Loud – not a biography so much as a miscellany, a set of themed essays that tend to digress in all kinds of intriguing directions – the life and work of one Georgios Panayiotou runs imperialism and its legacy a very close second.The Complex Legacy of a Pop IconIt is an unashamedly partisan book, although not an uncritical one. Sanghera is as alive to Michael's personal and professional failings (whether the naffness of some of his early work as one half of Wham! or his high-handed treatment of the duo's other half, Andrew Ridgeley) as he is in love with his artistic triumphs. These, of course, range from Careless Whisper and Wham!'s annually inescapable Last Christmas to the 1996 solo masterpiece Older, a peculiar and peculiarly effective cocktail of raw grief at the Aids-related death of his lover Anselmo Feleppa and unrepentant horniness.The Evolution of Critical ReceptionSanghera's love for his subject is evidently sharpened by the opprobrium of others. Indeed if the book has a flaw, it's that the author is old enough to remember an era when George Michael was deemed insufferably uncool by some arbiters of taste (incredibly, when Wham! performed at a 1984 benefit show for striking miners, the only mainstream pop act to show support for the cause, they were received stone-faced by the audience and savaged by the music press for their trouble), and thus has a tendency to underestimate how much both he and his music have been critically re-evaluated in the 21st century.The Artistic Journey of George MichaelHe says one of the spurs to write the book was his belief that "most truly popular music is not generally deemed worthy of serious analysis and George Michael's music most certainly is not". That might have been true once, but certainly not of late: when he died, this newspaper alone ran six features by critics analysing different aspects of his music. "He sang so exquisitely about the marrow of life, about the vital, corporeal things", wrote one, which definitely doesn't amount to taking George Michael insufficiently seriously.double quotation markEven as he skinned up in front of journalists and discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed himFamily Background and Cultural IdentitySanghera is very good on the climate of homophobia in the 80s, which might have given any gay public figure serious qualms about coming out, and fascinating on Michael's family background: how growing up embedded in north London's Greek Cypriot community impacted on everything from Wham!'s image – not camp, Sanghera suggests, but "the vision of two children of immigrants imagining a kind of glamour they had not actually experienced before" – to his work ethic and control freakery. His dad made good in England by working exceptionally hard, running such a tight ship at his restaurant that he summarily fired his only son for messing up the drinks orders. The fact that the same son went on to hire 12 different saxophonists before finding one that could play the solo on Careless Whisper to his satisfaction doesn't come as a huge surprise.The Perfectionist and Contradictory ArtistThis my-way-or-the-highway perfectionism could yield hugely impressive results – Careless Whisper's sax hook may well be the most famous in pop history – but it could equally lead to intransigence and self-sabotage. Michael worked incredibly hard to transform himself from a member of a teen pop band into a more adult-facing solo artist, but having sold a staggering 25m copies of his 1987 solo debut Faith, he refused to promote its follow-up Listen Without Prejudice Vol. 1, or even make videos for its singles: a better album than its predecessor, it achieved only a fraction of its sales as a result. It was evidence of a deeply contradictory nature that occasionally has Sanghera throwing up his hands in bewilderment.The Public and Private Faces of George MichaelMichael was a polymath, keen to be duly credited as the sole singer, writer, producer and musician on a succession of tracks, but also had a weird habit of talking down his abilities, claiming he couldn't play instruments he was perfectly capable of playing. He was a Stakhanovite who increasingly worked at an agonisingly glacial pace, endlessly fussing over details, a state of affairs not much helped by his gargantuan appetite for marijuana: coupled with bouts of writers' block, it meant he released only six albums of original material in a career that lasted 34 years. He was a Labour voter, booster of the NHS and famously generous philanthropist who also engaged in tax avoidance. After being publicly outed, he became a notoriously frank interviewee ("as if nothing can embarrass him anymore" the Guardian's Simon Hattenstone suggested when he met him in 2009). But even as he skinned up in front of journalists and freely discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed him.The Decline and Final YearsMichael emerges as a messy, unpredictable but ultimately hugely likable figure, which makes the essay about his demise particularly tough reading. Listed starkly on the page, the facts of his final 10 years make it obvious that he was a deeply unwell man whose life had spun wildly out of control: drug busts, medical emergencies, visits to rehab, rumours of breakdowns and suicide bids and seven incidents in which he either crashed his car or was found comatose at the wheel.The Professional Mask of Personal StruggleThat it somehow didn't appear obvious at the time – that his death at 53 felt like a shock rather than a grim inevitability – seems remarkable, but as Sanghera points out, Michael's professionalism did a lot to paper over the cracks. He was always available to the media and always smart, funny and self-effacing: to use a modern turn of phrase, he controlled the narrative. He was punctilious about his appearance – the star certainly never looked like an ailing drug addict – and unfailingly superb onstage.The Hidden Realities Behind the FameBehind the scenes, it was a different story. He struggled to make new music: at one juncture he booked six months of recording sessions but never turned up to the studio once. His once-acute commercial instincts seemed to desert him: even Sanghera can't muster much enthusiasm for the handful of still-unreleased songs he completed in his final years. He cut off close friends and family who tried to intervene. No one who knew him seems to have been particularly surprised by his death: the list of adjectives used to describe him on his official website now includes not just "icon" "legend" "soul singer" and "philanthropist" but "addict" "repeat offender" and "depressive".An Imagined Alternative LegacyAs the book draws to a close, Sanghera offers a heartbreaking alternative history. He imagines Michael conquering his addictions, coming to a complete accommodation with his musical past (to the end of his life, he was dismissive of Wham!, describing their oeuvre as an exercise in "ignoring my own intelligence" and declining to play most of their hits live) and headlining Glastonbury, "getting pleasure from the audience reaction to Club Tropicana".The Enduring Power of George Michael's MusicIt's affecting because you can imagine it so vividly: the endless succession of hits that anyone with even a passing interest in pop music knows, the pandemonium in the crowd when he breaks out Careless Whisper, the encore of Freedom '90. You don't have to be a fan on Sanghera's level to understand what a triumph it would have been. Tonight the Music Seems So Loud: The Meaning of George Michael by Sathnam Sanghera is published by Picador (£22). To support the Guardian, buy a copy at guardianbookshop.com. Delivery charges may apply.

The Pentagon's Latest Move to Restrict Media Access The United States Department of Defense has barred journalists from its press office, the latest move by the Pentagon to restrict media access since President Donald Trump’s return to the White House. Reasons Behind the Restriction Acting Pentagon Press Secretary Joel Valdez said on Monday that the administration had re-designated the office as a “Sensitive Compartmented Information Facility” due to its use by speechwriters with access to classified government information. “These speechwriters routinely handle classified material and require SIPRNet access,” Valdez said in a statement provided to Al Jazeera, referring to the secure computer network used by the Pentagon to share classified information. Impact on Media Access “As a result, journalists will no longer be permitted to enter the office space. Access to the office of the Assistant to the Secretary of War for Public Affairs and to the Press Secretary remains available by appointment only,” Valdez added, using the Trump administration’s preferred title for Defense Secretary Pete Hegseth. The Washington Post first reported the change. A Pattern of Restrictions The move follows a slew of steps by the Trump administration to curtail the ability of US media outlets to report on the military and other areas of the government. In March, the Defense Department said it would no longer allow media outlets to maintain offices at the Pentagon after a judge sided with The New York Times in a lawsuit challenging the imposition of new rules for obtaining press credentials. The Pentagon also announced that journalists would require an official escort while inside the complex, a policy that The New York Times is seeking to overturn in a separate lawsuit filed in May. Criticism from Journalism Organizations The National Press Club, the main professional organisation for journalists in the US, condemned the latest restrictions as a “troubling escalation” in the Trump administration’s efforts to curtail media scrutiny of the Pentagon. “Independent reporting on the US military is not optional,” National Press Club President Mark Schoeff Jr said in a statement. “When journalists are pushed farther from the institutions they cover, the American people are left with less information, less transparency, and less oversight. Any effort to restrict that access should alarm everyone who values a free and informed society.” The Freedom of the Press Foundation, a nonprofit advocacy organisation, also criticised the move. “It’s rare for anything other than disingenuous spin and outright lies to come out of the Pentagon’s press office these days, so it’s hard to imagine what basis they have to call the space classified,” Seth Stern, chief of advocacy at the organisation, told Al Jazeera. “The only thing sensitive or confidential about the information released by Pete Hegseth’s Pentagon is that it’s not true.”

Escalation of the Jerusalem DemonstrationOn June 1, thousands of ultra‑Orthodox protesters gathered near the Knesset, chanting against the government's push to broaden army conscription. Police units deployed crowd‑control measures, leading to violent clashes that resulted in arrests and injuries on both sides.Draft Policy Tensions and Available FiguresWhile officials have not released precise numbers of participants or detainees, the Ministry of Defense confirmed that the draft reform aims to increase ultra‑Orthodox enlistment from the current approximately 2 % to a higher target by 2027. The lack of concrete data on the day's arrests underscores the fluid nature of the confrontation.Political Repercussions Across Israeli SocietyThe incident intensifies the long‑standing debate between secular and religious communities. Prime Minister Benjamin Netanyahu faces pressure from coalition partners and opposition parties to balance security needs with religious freedoms, a dilemma that could reshape future coalition dynamics.Potential Trajectory of Conscription ReformAnalysts predict that the government may seek a compromise, possibly introducing alternative national‑service pathways for ultra‑Orthodox men. Continued street protests could force a legislative pause, while international observers watch for implications on Israel's internal cohesion and defense readiness.

Michael Grade, having stepped down from the regulator and reclaimed the Conservative whip in the Lords, used his newfound freedom to criticise the UK broadcasting establishment for being uncomfortable with GB News’ editorial stance.Grade’s Public Break with Ofcom Over GB NewsIn an interview with Politics Home, Grade said broadcasters are “embarrassed” that a news channel openly reflects the concerns of a large segment of voters – topics such as immigration and Brexit that he claims receive insufficient coverage on the BBC. He emphasized that the same regulatory framework applies to GB News as to the BBC, Sky and ITN, and that editorial choices, not regulator‑imposed bias, drive differences in coverage.Regulatory Landscape: No New Rules, Same Rules AppliedGrade asserted that GB News complies with existing rules, noting that “sometimes it’s only a sentence in a script.” However, Ofcom’s founding director of standards, Chris Banatvala, disputed this view, arguing that impartiality cannot be reduced to a single line of copy and that Ofcom has failed to enforce its own code consistently.Grade’s claim: identical rules for all news outlets.Banatvala’s rebuttal: Ofcom’s impartiality decisions show a gap between policy and practice.Industry Reaction: From Ofcom Insiders to TV ExecutivesResponses ranged from criticism of Grade’s interpretation of the broadcasting code to broader concerns about GB News’ right‑wing slant. A GB News spokesperson proclaimed the channel “Britain’s No 1 news channel,” while senior TV figures argued the channel should not be allowed to broadcast if its presenters and guests predominantly reflect a right‑wing perspective. Ofcom is currently investigating a repeat airing of Donald Trump’s interview, after earlier complaints were not pursued.What Lies Ahead for GB News and UK Media RegulationCommunications professor Steven Barnett warned that Grade’s comments amount to “rewriting the law on impartiality” and suggested that Parliament may need to intervene. With Ian Cheshire set to become Ofcom’s new chairman, observers will watch whether the regulator tightens oversight of GB News or maintains the status quo.

The Paradox of Diplomacy and DestructionUnited States President Donald Trump has publicly stated that he is close to achieving a 'very good deal' with Iran, yet Washington and Tehran are engaged in a dangerous cycle of military exchanges. This contradiction suggests that while diplomatic channels may be open, the military realities on the ground are actively working against a peaceful resolution.The Weekend's Escalation: Radar and Drone SitesThe latest round of hostilities began with a measured response from the US military. In a post on X, CENTCOM confirmed strikes on Iranian radar and drone sites in the city of Goruk and the island of Qeshm over the weekend. The attacks were a direct response to the shootdown of a US MQ-1 drone operating over international waters. US fighter aircraft swiftly eliminated Iranian air defenses, a ground control station, and two one-way attack drones that posed threats to shipping lanes.Tehran's Retaliatory StrikesIn response to Washington's aggression, the Islamic Revolutionary Guard Corps (IRGC) launched a multi-pronged counterattack. On Monday, the IRGC Aerospace Force targeted the airbase responsible for the attack on a telecommunications tower in southern Iran. While the specific location of the facility remains undisclosed, the IRGC claimed the predicted targets were destroyed.Kuwait: State news agency KUNA reported that air defenses intercepted missile and drone attacks on a major US base in the country.Northern Iraq: A senior official in the Iranian Kurdish party Komala accused the IRGC of striking the party's headquarters in Alana Valley, with the Kurdistan Freedom Party (PAK) also reporting a base hit near Erbil.Since the start of the war on February 28, Tehran has retaliated by striking US military bases in the Gulf, Israel, and Kurdish groups in northern Iraq, accumulating over 81 missiles and drones in these operations.The Strategic Value of the Strait of HormuzA critical factor in this stalemate is the strategic chokepoint of the Strait of Hormuz. Colin Clarke, executive director of the Soufan Center, argues that Iran's control over this waterway represents a more usable and powerful deterrent than nuclear weapons. With approximately 20 percent of the world's oil and liquefied natural gas transiting the strait, Iran's ability to close it with mines and shoulder-fired missiles gives Tehran a form of leverage that carries none of the risks of nuclear escalation.Erosion of Trust in NegotiationsDespite the diplomatic rhetoric, trust between the two nations has eroded significantly. Iran's chief negotiator, Mohammad Bagher Ghalibaf, stated that the country would not agree to a deal that does not secure full Iranian rights, citing a lack of trust in the US. Negar Mortazavi, a senior fellow at the Center for International Policy, described the situation as Iranian sources going to talks with their 'finger on the trigger,' expecting bombs to fall from the sky.Outlook: A Fragile Path to PeaceThe future of the ceasefire remains highly volatile. While Trump has toughened the terms of the proposed deal and sent them back to Tehran, Iran demands tangible results before fulfilling commitments. The recent exchange of fire serves as a stark reminder that the military option remains a constant threat, making the path to a durable agreement perilously narrow.

How Norway’s Children’s Books Are Redefining TabooSwedish‑born author Anna Fiske and fellow illustrators are publishing picture books that openly discuss subjects traditionally considered off‑limits for young readers, from assisted reproduction to sexual abuse. The approach has earned them awards, strong sales, and, in some markets, fierce opposition.Anna Fiske’s ‘How Do You Make a Baby?’ Triggers International ControversyFiske’s 2019 title Hvordan Lager Man en Baby? (How Do You Make a Baby) illustrates IVF, insemination and the mechanics of intercourse. Distributed in English‑speaking territories by a New Zealand publisher, the book attracted death threats in Canada, was labeled pornographic in the US and banned from several school libraries, yet it also sparked vital conversations about sexual education.Sales Milestones and Awards Highlight Market Reception100,000+ copies sold of Fiske’s “How to” series in Norway.2025: Fiske receives the Honorary Brage award, one of Norway’s top literary honors.Norwegian festival of literature in Lillehammer showcases dozens of titles on exclusion, bullying, queer literature, climate, mental health and forced migration.State Support and Cultural Attitudes Fuel Literary FreedomNorway’s publishing model purchases a large stock of every new title for national libraries, insulating authors from pure market pressure. Government grants further enable writers to experiment without fearing commercial failure. Culturally, Scandinavian views treat children as autonomous individuals, encouraging open dialogue about risk and hardship.Global Publishers May Follow Norway’s ModelAs controversy in North America highlights the limits of censorship, the Norwegian example suggests a viable path for other markets: combine public funding with a cultural ethos that respects children’s capacity to engage with difficult topics. If other countries adopt similar policies, we could see a surge in globally distributed children’s literature that tackles previously taboo subjects.

The LeadFormer US Federal Reserve Chair Jerome Powell has issued a powerful defense of central bank independence while accepting the prestigious John F Kennedy Profile in Courage Award. In his speech delivered in Boston, Powell warned against the growing politicization of monetary policy, directly addressing the mounting pressure from President Trump on the Federal Reserve's decision-making processes.Powell's Defense of Central Bank IndependenceIn a clear reference to the current political climate, Powell described the Fed as undergoing a "stress test" similar to other institutions during the Trump era. He emphasized that the US Congress had "wisely" chosen to insulate the central bank from political pressure, noting that all advanced economies maintain similar norms protecting monetary policy independence."These protections have served the public well, and administrations from both parties have respected them," Powell stated. He went on to warn that if any administration were to remove Fed officials over policy differences, it would set a dangerous precedent: "If any administration finds a way to remove Fed officials over policy differences, then future administrations will do so as well."Powell argued that such actions would erode public trust in the central bank: "The public would lose faith that the central bank will make decisions based only on what's best for all Americans." He stressed that the Fed's credibility, built over many decades, is a "priceless asset" that must be safeguarded for future generations.Trump's Campaign Against the FedWhile Powell did not mention Trump by name, his comments directly address the sustained pressure campaign the president has waged against the central bank. Trump has repeatedly criticized the Fed for not cutting interest rates more sharply, even threatening Powell with dismissal during his tenure.The administration's actions have extended beyond mere criticism. Trump appointee and ally Jeanine Pirro initiated a short-lived criminal investigation into Powell's congressional testimony regarding renovation works at the Fed's headquarters. More significantly, Trump ordered the removal of Fed governor Lisa Cook based on unproven claims of mortgage fraud, though the Supreme Court has ruled she can remain in her position while a legal challenge is considered.These actions challenge the traditional interpretation of the Federal Reserve Act, which requires the president to demonstrate "cause"—widely understood to mean malfeasance—to remove any of the Federal Reserve's governors.Broader Implications for Democratic InstitutionsPowell's speech extended beyond the specific issue of Fed independence to offer a broader defense of democratic institutions. He acknowledged that "partisan political differences are normal—indeed essential—in a thriving democracy," but emphasized the need for unity on higher principles."Chief among them is respect for the rule of law," Powell stated, quoting John Adams: "ours is 'a government of laws and not of men'." He highlighted how public institutions "carry us forward through change" and "embody our commitment to freedom, democracy, and service of the public good."These comments reflect growing concerns about the erosion of institutional norms during the current administration, with the Fed's independence being a particularly significant case given its critical role in managing the economy.Future Outlook for Fed IndependencePowell's warning comes at a critical moment for the Federal Reserve, which has historically enjoyed broad bipartisan support for its independence. The current administration's challenges to this norm could have far-reaching consequences for monetary policy and economic stability.Markets and economists will be watching closely to see whether the administration continues to pressure the Fed on interest rate decisions and whether other central bank governors face similar threats. The ongoing legal challenge to Governor Lisa Cook's removal will also be closely monitored as a potential test case for the limits of presidential power over the central bank.As Powell noted in his speech, the Fed's credibility is built over decades and can be lost quickly. The coming months may reveal whether this fundamental principle of American economic governance will withstand the current political pressures.

The Return of the Open RoadForza Horizon 6 has arrived, transporting players to a vibrant, compressed version of Japan. The game serves as a potent reminder of the driving sim genre's peak popularity in the 1990s and early 2000s, a time when consoles were sold on the strength of their racing titles like Ridge Racer and Gran Turismo.From Arcade Legends to Open-World GiantsThe driving genre has undergone a significant evolution. It began with electromechanical arcade machines and evolved into video game staples such as OutRun and Daytona USA. However, the landscape shifted dramatically with the rise of open-world fantasy adventures and live-service behemoths like Fortnite and Minecraft. The mainstream audience drifted toward games that offered more than just driving, such as Grand Theft Auto, which combined driving with action and exploration.The Cultural Shift in DrivingThe decline of the driving sim is not just technological but cultural. In the 90s, the car represented freedom and excitement. Today, the reality of driving often involves fuel costs, traffic congestion, and the environmental burden of ownership. This shift has made the escapist fantasy of the driving game more valuable than ever, offering an idealized vision of the road that real life cannot match.A Revival on the HorizonDespite the genre's apparent decline, the future looks promising. The upcoming release of Grand Theft Auto VI is expected to feature significant racing elements, and the indie scene is reviving the spirit of 90s arcade racers. With titles like Forza Horizon 6 proving that the genre still holds immense appeal, the "fast-car game" is poised for a comeback.

The Rise of Sam Campbell Sam Campbell's journey from Australian standup comedian to Britain's most distinctive comedic voice represents a fascinating evolution in modern comedy. Since moving to the UK in the early 2020s, the 34-year-old has carved out a unique space in the British comedy circuit with his irreverent style that swings between hammy overacting and childish belligerence. His approach forces observational comedy through an absurdist filter, with contrarian takes covering everything from hand sanitiser and dragonflies to Ferrero Rocher and Bratz dolls. This distinctive voice earned him the prestigious Edinburgh comedy award in 2022, followed by an arrogant victory lap the next year with his single 10-minute performance titled Bulletproof Ten. The Unconventional World of "Make That Movie" Channel 4's new series "Make That Movie" represents Campbell's boldest creative venture yet. The show-within-a-show format stars Campbell as an alternative version of himself: a pompous director whose creative well has run dry. He invites the public to share their bizarre movie ideas, which he and his dysfunctional crew then develop into actual feature films within the framework of a shoddy reality program. Each episode concludes with the film's premiere, creating a viewing experience that's equal parts hilarious and bewildering. The production process was remarkably hands-off, with Campbell noting that the production company was busy working on an animated Ricky Gervais series about cats, "so we sort of got left to our own devices." This creative freedom was bolstered by Channel 4's head of comedy, Charlie Perkins, a longtime champion and collaborator of Campbell's who was described as "very trusting" despite initially not fully understanding the concept. Campbell's Comedy Philosophy What sets Campbell apart in the comedy landscape is his instinctive approach to humor. As director Joe Pelling observes, "Sam doesn't really seem like someone who's prone to super analysing his stuff too much. He's just led instinctively by what's funny." This gut-driven creativity manifests in his standup material, which subverts and simultaneously adheres to observational comedy tropes. In "Make That Movie," this translates to embracing obviously "dumb" ideas with deadpan seriousness, finding humor in taking film-making too seriously, especially when disaster strikes. The series features an ensemble cast largely drawn from Campbell's friendship circle, including fellow Australian comic Aaron Chen as the nerdy yet incompetent Sebastian, whose parents fund the entire enterprise. Exuberant standup Helen Bauer plays against type as grumpy sound engineer Pat, while 86-year-old actor David Hargreaves completes the gang as cinematographer Winnie. Dressed in matching purple jumpsuits, the team's aesthetic blends Ghostbusters with Scooby-Doo, creating what Pelling describes as a "real-life cartoon feel" to prevent the show from feeling bleak and strange. Campbell's Impact on British Comedy Campbell's influence extends beyond his own series to reshape the British comedy landscape. His triumphant stint on Taskmaster led to numerous appearances as the resident oddball on panel shows like Would I Lie to You?, 8 Out of 10 Cats Does Countdown, and QI. His most high-profile gig to date was this year's series of Last One Laughing UK, where he battled established comedians like Alan Carr, David Mitchell, and Bob Mortimer with unconventional material including duck impressions and claims of dining next to "mole people" during Eat Out to Help Out. What makes Campbell particularly distinctive is his deadpan delivery that proved more than just a mask during Last One Laughing UK. His composure was so unshakable that producers eventually had to implement a rule change, with Campbell ultimately losing to David Mitchell by virtue of having made marginally fewer contestants crack up. This ability to maintain his comedic vision despite external pressures has solidified his reputation as a uniquely uncompromising comedic voice. The Future of Alternative Comedy As Campbell continues to gain prominence, his success signals a promising future for alternative comedy within mainstream media. His willingness to embrace absurdity while maintaining underlying comedic logic suggests that there's significant appetite for comedy that challenges conventional formats and expectations. The fact that Channel 4 has given him such creative freedom indicates that broadcasters are increasingly recognizing the value of distinctive voices over formulaic approaches. Looking ahead, Campbell's career trajectory suggests he'll continue to push boundaries while maintaining his unique comedic identity. Whether through more television projects, standup specials, or other creative ventures, his instinctive approach to humor and refusal to second-guess himself positions him as a comedian who will likely continue to surprise and delight audiences while expanding the possibilities of what comedy can be.