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BBC Two’s three‑part series ‘Michael Jackson: An American Tragedy’ attempts to map the arc of the King of Pop from a Midwestern child prodigy to a global phenomenon whose legacy is still contested. Released ahead of the family‑approved biopic Michael, the documentary does not promise fresh revelations; instead, it seeks to place the singer’s meteoric fame, legal controversies and post‑mortem financial empire within a single narrative. The first episode, titled Fame, foregrounds Jackson’s musical genius while also exposing the fraught dynamics of his family life. Interviews with siblings and childhood acquaintances depict a household where “six bunk beds in one room” were the norm, and where fear of their father, Joe Jackson, loomed large. La Toyia Jackson’s recollection that “Michael had a fear of my father – we all did” underscores the pressure that shaped his early years. In The Reckoning, the series shifts to the period of criminal investigations and media scrutiny. Former spiritual adviser Rabbi Shmuley Boteach describes the tragedy as a man who, despite unparalleled attention, remained “utterly lonely.” Prosecutor Ron Zonen argues that the sheer scale of the Jackson enterprise eclipsed the pursuit of justice, noting the obviousness of the abuse allegations in his view. The episode also revisits the 2003 Martin Bashir documentary, which Boteach recalls as a “shock” that contributed to the star’s eventual downfall. The final installment, The Resurrection, examines the attempts to revive Jackson’s career, his sudden death, and the ripple effects of the 2019 Leaving Neverland documentary. The review notes that the allegations have reshaped public perception to the point where many, including the reviewer, find it difficult to engage with his music. The series concludes that the ongoing legal battles—seven alleged victims are currently suing the estate—represent “the most extraordinary effort to uncancel someone in history.” While the documentary assembles an extensive roster of interviewees—family members, former managers, record executives, and even Donald Trump—it occasionally suffers from an overly broad brushstroke that blurs moral clarity. The reviewer acknowledges the valiant effort to strike a middle ground but questions whether such balance is sufficient for a story marked by “wild extremes.” Overall, the series provides a comprehensive, if not groundbreaking, overview of Jackson’s complex narrative, serving as a timely companion piece to the upcoming biopic and a reminder that the conversation around his legacy remains far from settled. Michael Jackson: An American Tragedy is currently streaming on iPlayer.

In the spring of 2002, the modest Free Butt pub on Brighton’s seafront buzzed with a restless energy. Future stars such as Natasha Khan, then a university art student, danced atop the bar while the Yeah Yeah Yeahs thundered through their first UK dates. Behind the scenes, band frontmen like Guy McKnight of Eighties Matchbox B‑Line Disaster served pints, and budding engineers like Steve Ansell of Cat on Form fine‑tuned the sound. The atmosphere felt like a rite of passage, where any performer could slip from a cramped stage to national attention.Unlike the neatly branded scenes of New York’s garage‑rock revival or London’s Libertines‑driven hype, Brighton’s early‑2000s scene resisted a single aesthetic. Rock groups emerged from rehearsal rooms and tiny clubs with wildly different looks and sounds, creating a cultural mosaic rather than a monolithic movement.Electrelane’s guitarist recalls recording their debut Rock It to the Moon in a studio once owned by the Levellers, and crafting their sophomore effort inside a former public toilet. These unconventional spaces proved surprisingly fertile, underscoring the city’s DIY spirit.By the turn of the millennium, the big‑beat dominance of Fatboy Slim and Skint Records had faded, making way for a grassroots rock surge. Sea Power relocated from Reading to Brighton, drawn by the city’s “dilapidated charm and fresh sea air”. Their self‑organized Club Sea Power nights at the Lift offered a chaotic yet liberating platform that eventually caught Rough Trade’s attention.Women played a pivotal role in shaping the scene’s infrastructure. Promoters Lisa Lout and Anna Moulson, both still active, booked seminal shows—including the Strokes’ first UK gig at the Lift in 2001—and helped launch the Great Escape festival. Their efforts ensured that bands such as the Pipettes, Electrelane and Bat for Lashes could share stages and media coverage.Artists recall the city’s palpable sense of belonging. Rose Dougall of the Pipettes describes a landscape where “alternative culture was on every street, from vintage shops to the colour of the houses,” and where “small venues made it feel attainable to launch a project.” Similarly, Brakes frontman Eamon Hamilton contrasts Brighton’s walk‑able, collaborative vibe with London’s darker, more competitive energy.Music journalism mirrored the scene’s intensity. Everett True and photographer Steve Gullick launched Careless Talk Costs Lives in 2002, a deliberately short‑run magazine that championed female writers and bands at a time when the industry was still heavily male‑dominated.As rents surged through the 2010s, many of the cheap flats, rehearsal rooms and iconic venues that underpinned the scene vanished. The Free Butt closed, independent record stores shuttered, and the once‑abundant low‑cost infrastructure dwindled, prompting a migration of creative energy down the coast to places like Margate, Ramsgate, Folkestone and Shoreham.Nevertheless, the remnants of Brighton’s network continue to nurture new talent, from the Kooks to Dream Wife and Gazelle Twin. The city’s strength lies not in a singular sound but in its capacity to host a “constant collision of wildly dissimilar bands,” allowing artists to develop authentically and fearlessly.

Miles Jupp, a well-known actor, writer, and comedian, recently shared his thoughts on how the 2005 Ashes series had a profound impact on his life. Sitting at the Oval cricket ground, a place he considers one of his favorites, Jupp reminisced about the life-changing experience of watching the final day of the series on September 12, 2005. Jupp was in his early 20s at the time, working as a standup comedian and actor. He had won the So You Think You're Funny? competition in 2001, which helped launch his career. However, it was the 2005 Ashes that truly altered his path. The series, which ended with England's first victory in 18 years, sparked something in Jupp. He recalls feeling inspired by the journalists in the press box and decided that he wanted to be part of that world. Jupp's passion for cricket and his desire to be part of the action led him to blag his way into the press corps for England's Test tour of India in March 2006. He documented his experiences in his standup show and book, Fibber in the Heat. While Jupp admits that part of him thought the experience would be good material for a story, he claims he was genuinely invested in becoming a cricket journalist. Jupp's journey as a cricket journalist was not without its challenges. He struggled to understand the workings of the press box and found it difficult to maintain the theatrical neutrality required. Ultimately, he concluded that he preferred to watch cricket as a fan, enjoying the excitement of the stands rather than the press box. Despite the difficulties, Jupp's love for cricket runs deep. He reflects on his experiences, including battling a brain tumor and undergoing surgery, and emphasizes that cricket remains massively important to him. His story serves as a testament to the power of sports to inspire and transform lives.

Billy Livsey, an American musician who arrived in England in the 1970s, transitioned from touring with Slim Chance and Gallagher & Lyle to writing hits for Shakin’ Stevens, Elkie Brooks and Paul Young before being tapped to write for the teen pop group Five Star. In the mid‑80s Livsey co‑wrote the chart‑topping single “System Addict” with Gary Bell, and a few months later his publisher suggested a partnership with lyricist Peter Sinfield. After a brief exchange of a rough melody, Sinfield asked Livsey to pen the words over the phone, resulting in the lyric sheet for what would become “Rain Or Shine.” The demo featured the renowned session vocalist Tessa Niles, whose résumé includes touring with The Police and singing on Eric Clapton’s “Layla” on his Unplugged album. Livsey recalls that her effortless delivery set the tone for the final recording. Recording took place at London’s iconic Mayfair Studios, a venue that had hosted legends such as George Michael and Tina Turner. Livsey admits he “stole” a sequencer fragment from Donald Fagen’s “New Frontier” to give the track a subtle, progressive‑pop edge. Five Star’s lead vocalist Deniece Pearson remembers the demo’s female vocal as a revelation compared to an earlier male‑sung version of “All Fall Down.” Her father and manager, Buster Pearson, urged her to “listen to the lady on the demo and articulate your words.” Because she was wearing braces, Deniece deliberately over‑enunciated to keep the metal from sticking to her lips – a quirky detail she still laughs about. Studio sessions were far from smooth. Frequent electrical glitches prompted Livsey to joke, “Gremlin. Gremlin.” Yet he remained confident, insisting that such hiccups often precede a hit record – a prediction that proved accurate. Upon release, “Rain Or Shine” became a staple of Five Star’s live repertoire, earning spots on Top of the Pops, the Royal Variety Performance and the Miss World stage. During a tour, a fan pulled Deniece into the audience pit, only to be rescued by her “hunky Italian” security guard, a moment she now recounts with affection. Today the song closes the group’s concerts as an encore, with audiences singing along and often moving Deniece to tears. She credits Livsey’s melodic craftsmanship, noting that the 80s songwriting formula – a strong melody followed by soaring vocals – remains the song’s enduring charm.

Guy Singh-Watson, founder of organic veg box company Riverford, has expressed deep regret for the decades he spent confined by traditional masculinity. On International Women's Day, he found himself in a crowd of mostly women, listening to his wife discuss her experiences. This encounter made him realize that many issues discussed on IWD relate to male behavior, and men should be paying attention. Challenging Traditional Masculinity: Singh-Watson notes that success in farming and most businesses depends on building and maintaining relationships. He recalls that when Riverford first measured its gender pay gap in 2017, women earned an average of 91p an hour compared to their male colleagues' £1. Despite efforts to address the issue, progress was slow until a new, younger female farm manager, Maddie, took charge and transformed the workplace culture. Under Maddie's leadership, Riverford became one of the few veg farms with a waiting list for pickers. The company achieved this by creating a fun, emotionally safe, and fulfilling work environment. Singh-Watson acknowledges that he and other men in leadership roles often struggle with sensitive issues and tend to turn to women for resolution. A Shift Towards Inclusivity: The cultural shift at Riverford began with its transition to employee ownership in 2018. This process required introspection and evaluation of decision-making processes. With the help of a business change coach and the company's head of HR, a genuinely inclusive culture was built. As a result, Riverford now has a negative gender pay gap, with women earning 1.56% more per hour than men. Singh-Watson emphasizes that men can change and that embracing emotional literacy – kindness, openness, empathy, and compassion – makes them stronger. He encourages men to cast off limiting beliefs around what it means to be a man and to support each other and the women in their lives. Ultimately, inclusivity benefits everyone, and men must take responsibility for creating a more equitable and compassionate work environment.

The film 'All the President's Men', directed by Alan Pakula and starring Robert Redford and Dustin Hoffman, premiered 50 years ago on Saturday at the John F Kennedy Center for the Performing Arts. The movie is based on the 1974 book of the same name by Washington Post reporters Bob Woodward and Carl Bernstein, which chronicled their investigation into the Watergate imbroglio that led to the downfall of President Richard Nixon. The film was a critical and commercial success, earning eight Oscar nominations and winning four, including best adapted screenplay for William Goldman and best supporting actor for Jason Robards as Ben Bradlee, the Post editor. The movie is widely regarded as a classic of American cinema and a landmark in the genre of journalism films. Jane Alexander, who played the role of Judy Hoback, the 'Bookkeeper' of the Committee to Re-elect the President, recalls her experience filming the iconic scene with Hoffman and Redford. She praises Pakula's direction and the attention to detail that went into recreating the Post's newsroom. The film's accuracy and attention to detail were indeed a hallmark of its production. Woodward and Bernstein worked closely with the filmmakers to ensure that the story was told accurately, and the production team went to great lengths to recreate the Post's office and the Washington D.C. of the 1970s. The article also touches on the impact of the film on the careers of its stars and the journalists it portrayed. Redford and Hoffman spent months researching and rehearsing their roles, and their performances are widely praised. Woodward reflects on the film's portrayal of him and its impact on his personal life. The anniversary of the film comes at a time when the media is under attack and the Washington Post, now owned by tech billionaire Jeff Bezos, has recently undergone significant changes. The film's themes of investigative journalism and the importance of a free press remain as relevant today as they were 50 years ago.

The Masters, one of golf's most prestigious tournaments, continues to captivate audiences with its unique blend of tradition and trepidation. For golfers, competing at Augusta National is a daunting experience, as Rory McIlroy, a past champion, recalls feeling scared to take a divot during his initial visits.The course's layout, described as 'picture perfect,' belies its challenging nature. Jordan Spieth, the 2015 Masters champion, emphasizes the importance of approach shots, noting that understanding the nuances of each hole is crucial. 'You need to understand that there is a shot and a miss on every hole,' Spieth explains.Augusta's mystique extends beyond its physical challenges. Many golfers describe an intangible 'thing' that affects their performance. Robert MacIntyre notes that even experienced players can feel 'on edge' when navigating the course, while Xander Schauffele likens it to being in a 'museum' during his early visits.The Masters rewards experience, with no debutant claiming the Green Jacket since 1979. However, even top golfers like Tommy Fleetwood and Schauffele admit to feeling intimidated and learning new lessons with each visit. The tournament's unique atmosphere, complete with electric roars from the crowd, only adds to the pressure.Ultimately, the Masters remains golf's greatest prize due to its perfect blend of tradition, challenge, and mental intimidation. As Fleetwood aptly puts it, 'It's just the Masters, it's hallowed turf.'

Daniel Peretz, the Southampton goalkeeper on loan from Bayern Munich, has expressed his pride in representing Israel during a tumultuous period marked by war and geopolitical conflict. With his family in Tel Aviv, Peretz shares the challenges of balancing his international duties with the safety concerns of his loved ones.Peretz's excitement about facing Arsenal in the FA Cup quarter-finals is palpable, but he also acknowledges the gravity of the situation in Israel. His family adheres to air raid sirens by heading to bunkers and safe rooms, a routine that has become all too familiar. Despite the distance, Peretz stays connected with his family, ensuring they are safe and focused on their instructions.When asked about playing for Israel being bittersweet, Peretz notes that the only bitter aspect is not qualifying for the World Cup and not playing at home. Israel's home games have been held in Hungary for the past three years, but Peretz hopes for a future where they can play at home with their fans.Peretz is known for his positive outlook and has a close relationship with his idol, Manuel Neuer. He recalls his first encounter with Neuer, feeling nervous but inspired. Peretz also shares his experiences with Harry Kane's penalty techniques, noting that saving one in 10 against Kane is a good statistic.As Southampton prepares to face Arsenal, Peretz emphasizes that while they have respect for their opponents, they are not afraid. He believes that if anyone doubts their abilities, they shouldn't participate. With a 14-game unbeaten run in all competitions, Peretz and his team are confident in their abilities.Peretz's future at Southampton is also a topic of discussion, with a £7m buy option in place. He is open to staying but acknowledges that promotion to the Premier League could impact his decision. For now, he is focused on finishing the season strongly.

Fab 5 Freddy, born Fred Brathwaite, has penned a memoir that serves as an 'all-access pass' to the creative explosion of New York in the 1970s and 80s. The book, 'Everybody's Fly: A Life of Art, Music, and Changing the Culture,' chronicles Brathwaite's journey from a young man in Bed-Stuy, Brooklyn, to becoming a pivotal figure in connecting Black art forms like graffiti and hip-hop with the predominantly white downtown art world.Brathwaite's story is intertwined with that of Jean-Michel Basquiat and Keith Haring, other street artists whose work has become iconic. The memoir also features appearances by Blondie, Andy Warhol, and the Clash, highlighting the era's cross-cultural pollination.The book offers a firsthand account of legendary venues like CBGB and Paradise Garage, where Brathwaite experienced the raw energy of punk and dance music. He recalls visiting CBGB as a 'Black secret agent on a mission' and describes Paradise Garage as a 'transformational experience.'While reading Brathwaite's story in 2026 is bittersweet, it also offers a hopeful message. New York, despite being in dire economic straits at the time, gave birth to magnificent cultural movements. For Fab 5 Freddy, rap and punk represented 'urban youth going against the grain, inventing their own culture, creating their own fun, responding to the world as it was.'The enduring legacy of this era is that subcultures can emerge and thrive even in challenging times, leaving a lasting impact on art, music, and culture. As Brathwaite puts it, 'everybody's fly' – a testament to the power of creative expression and community.