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The Galilee String Quartet's Unique Sound The Galilee String Quartet, composed of siblings Omar, Mostafa, and Gandhi Saad, and sister Tibah, has been perfecting their signature east-west blend of music. Formed in 2011, the quartet was forced into hiatus in 2013 when Omar was summoned for military conscription by Israel's IDF. They are currently based in Paris. A Blend of Traditional and Improvised Music Their performance began with Webern's Langsamer Satz, a classical work that showcased their ability to play traditional music. However, as the evening progressed, they incorporated more improvisation and unconventional instruments, such as microphones, voices, percussion, and oud. The Power of Improvisation By the final two pieces, the quartet had abandoned their music stands and began to improvise, sparking off each other's energy and mood. This approach allowed them to explore their "complicated story as musicians and human beings," as described by Gandhi. A Work in Progress While some parts of the performance felt like a work in progress, with tuning issues and ungrounded textures, other moments shone with beauty and vulnerability. The arrangements of Fairouz's and Asmahan's songs, sung by Tibah, were particularly striking. A New Sound for the Future The Galilee String Quartet's unique blend of east and west, combined with their improvisational approach, makes for a compelling and thought-provoking performance. As they continue to hone their sound, they are sure to captivate audiences with their innovative approach to music-making.

The LeadLike the rest of the western world, our household is currently binging medical drama The Pitt, revelling in its visceral depiction of life in a modern emergency department. So far the series has yet to inspire a video game tie-in (though there has been an amusing parody), but fans wishing to try their hand at tense medical (mal)practice, should not despair. Here are eight of the best hospital games spanning more than 40 years of gruesome interactive surgery. Microsurgeon (1982, Mattel Intellivision) Created by lone developer Rick Levine, this early oddity shrank players down and put them into the bloodstream of a sick patient where they had to blast diseased cells and unclog arteries. Clearly inspired by the movie Fantastic Voyage, the title features strange, colourful, almost psychedelic depictions of human anatomy. Life & Death (1988, PC, Mac, Atari ST, Amiga etc) This point-and-click abdominal surgery simulation was groundbreaking in its realism. Players had to diagnose a variety of conditions (kidney stones! aortic aneurysm!), before ordering tests and scans and finally operating while an ECG display showed your victim’s – sorry, patient’s – heart rate. Sanitarium (1998, PC, smartphones from 2015) The asylum has always been a popular trope for horror games, from the imaginatively titled 1981 adventure Asylum to the Silent Hill series. I’m going for this disturbing psychological thriller in which a patient wakes up in a seemingly abandoned sanatorium, his memory gone, his face completely bandaged. Emergency Call Ambulance (1999, arcade) You’ve no doubt heard of Crazy Taxi, Sega’s hectic arcade game about careering around a city picking up annoying passengers. But did you ever play its stablemate, Emergency Call Ambulance, about driving around a city picking up desperately ill passengers? Trauma Center: Under the Knife (2005, Nintendo DS) If you thought the Nintendo DS was all about cosy puzzle games, you were wrong. Developed by veteran publisher Atlus, this fascinating game was part surgery sim, using the handheld’s touchscreen and stylus for realistic operations, and part visual novel as lead character Dr Derek Stiles navigated life in a futuristic hospital. Surgeon Simulator (2013, PC, PlayStation, Switch, Xbox) Surgeon Simulator is a game where you play as a surgeon with a goal to perform operations. The game became famous for its challenging gameplay and realistic physics.

The Psychedelic Bloom of Olof Dreijer's Solo DebutSwedish producer Olof Dreijer, best known for his work in The Knife and with Fever Ray, has released his debut solo album "Loud Bloom." The album represents a significant departure from his previous work, trading the Scandinavian winter gloom of his collaborations with his sister Karin for a vibrant, sun-drenched soundscape that cranes upwards like flowers toward sunlight.A Garden of Musical DelightsEach track on "Loud Bloom" bears a floral name, creating a cohesive concept of growth and blossoming. Dance music enthusiasts may recognize some tracks from EPs released as early as 2023, but together they showcase Dreijer's distinctive musical accent—identifiable sometimes from just half a second of music. The album's melodies squiggle through the air like a beach ball in a strong breeze, with distorted notes that rear up in surprise or cock their heads quizzically.Global Rhythms and Collaborative SpiritThe album's rhythms draw from diverse global traditions including cumbia, kuduro, dancehall, and techno, complicated with fiendish funk and anti-quantised detailing. Dreijer brings in charismatic guest vocalists from Sudan (MaMan), Colombia (Diva Cruz), and South Africa (Toya Delazy) who go toe-to-toe with these complex beats. This international collaboration creates a rich tapestry of sound that transcends geographical boundaries.A New Chapter in Electronic Music"Loud Bloom" represents a significant evolution in Dreijer's musical journey. While his previous work with The Knife and Fever Ray often carried a Scandinavian winter gloom despite incorporating African-Caribbean-Latin syncopation, this solo album embraces warmth and light. The later tracks on the album shift toward contemplative studies in metal strings and ambient tones, maintaining the same impetuous rhythmic sensibility while exploring new territory.The Future of Dreijer's Psychedelic GardenWith "Loud Bloom," Dreijer has created his own walled garden of psychedelia, conjuring the light and scent of a summer in bloom. This debut solo album suggests that Dreijer will continue to explore the intersection of electronic music with global influences and organic textures. As he establishes his own distinct voice separate from his collaborations with Karin, fans can expect more boundary-pushing work that challenges conventional electronic music production while maintaining accessibility and danceability.

Quick Take: A Queer Comic Turns Pregnancy Into a ‘Manly’ ActAshley Gavin delivers a one‑hour set that fuses explicit jokes about the clitoris, oestrogen treatment and fertility with a razor‑sharp dismantling of gender conventions. The performance, captured at a London venue on 10 May 2026, positions her as a leading voice in a new wave of LGBTQ+ stand‑up.Gavin’s Show Dissects Clitoris, Gender Norms and FertilityThe routine opens with a wax‑appointment gag, then escalates to a provocative claim that the clitoris is essentially a “tiny dick”. She flips the script on traditional masculinity by arguing that “it’s manly, getting pregnant”, weaving scientific tidbits about oestrogen and animal mating rituals into punchlines. Throughout, Gavin navigates mis‑gendered audience moments and crowd‑work, keeping the energy high while interrogating X/Y binaries.Tour Stats and Audience Demographics Highlight Growing Queer DemandAge of performer: 38UK tour runs until 13 MayAverage venue capacity: ~300 seats, with reported sell‑outs in Manchester and EdinburghSocial‑media clips of the show have amassed >2 million views across TikTok and InstagramWhy This Sets a New Benchmark for Gender‑Forward ComedyBy treating reproductive biology as comedic fodder, Gavin pushes the envelope beyond the “old‑school masculine stand‑up” that Guardian notes is “out of fashion”. The show resonates with queer audiences seeking representation, while also provoking mainstream viewers to reconsider entrenched gender scripts. Critics praise the blend of “gleeful iconoclasm” and “twisty gender logic” as a template for future acts.What’s Next for LGBTQ+ Stand‑Up on the Global StageGiven the strong ticket sales and viral clip performance, promoters are likely to book Gavin for larger festivals in Europe and North America. The success may encourage other queer comedians to tackle taboo subjects—fertility, anatomy, religion—with similar candor, potentially reshaping comedy line‑ups at major venues.

The Musical Review Bank of Dave: The Musical is a tremendously likable show. The source material is the feelgood true-life story of Dave Fishwick (Sam Lupton), the Burnley businessman whose egalitarian conscience led him to step in where others had failed. Seeing his fellow townsfolk being held back for want of money, he determined to set up a non-profit bank that would treat them with trust and respect. The Story Unfolds Presented as a David and Goliath battle between an impoverished former mill town and a self-serving banking sector, it is an underdog tale with a happy ending. Following the fictionalised outline of the 2023 Netflix film, starring Rory Kinnear, it has two big plus-points for a musical: a community that pulls together and a romantic subplot between a buttoned-up London lawyer (Lucca Chadwick-Patel) and a no-nonsense local doctor (a star performance by Lauryn Redding). The Performance Director Nikolai Foster fashions an ebullient, if a tad overheated show, forever erupting into big chorus numbers on Amy Jane Cook’s amorphous bar-room set with its backdrop of Lancashire chimneys and neat integration of Duncan McLean’s video designs. Pippa Cleary’s songs are bright and engaging, drawing on gospel, soul, hip-hop and Broadway golden age. The Verdict Like the film, the north-south divide is overegged – there is even an apology for the “southern saviour narrative” – and the honest-to-goodness characters flirt with cliche. Unlike the film, it comes clean about the story’s fabrications. Such honesty is consistent with a determinedly down-to-earth show that rails against inequality while championing the possibility of change. Show Details At Lowry, Salford, until 16 May then at Curve, Leicester, 20–30 May

The Revival of Amandaland In a north London TV studio, there's a sense of unpredictability in the air. A gaggle of singing teenagers are on set; there's a dog traipsing around; and – just down the hall in the canteen – Joanna Lumley has paused an interview to politely ask a catering lady not to pack up her tangerine. The Chemistry Between Stars Lumley and her co-star Lucy Punch have a long history, having first worked together on the 2004 film Ella Enchanted. Punch describes Lumley as the 'special sauce' of the show, while Lumley praises Punch's commitment and energy. The Character Dynamics The show revolves around the complex relationship between Amanda, played by Punch, and her mother Felicity, played by Lumley. Punch notes that seeing this dynamic generates sympathy for an unlikable character, while Lumley appreciates the humor in their interactions. The New Season The second series of Amandaland marks a shift for Amanda's kids, who are now teenagers dealing with exams, relationships, and a high-school prom. Amanda has also declared herself a 'v-cel' (voluntary celibate) and Felicity joins a dating app, leading to new challenges and comedic situations. The Importance of Representation Lumley emphasizes the importance of showing an older woman dating, highlighting the need to combat loneliness and encourage social engagement. The show continues to explore themes of family, relationships, and growing up, making it a highly anticipated return for fans.

The Theatricality of the Oval OfficeComedian Munya Chawawa’s new documentary, Wrestling With Trump, offers a startling new psychological framework for understanding the former president’s meteoric rise. Rather than viewing Trump’s behavior through traditional political lenses, Chawawa posits that his political style has been cribbed entirely from the world of WWE SmackDown. This theory, which Chawawa dubs the 'theory of knocking everyone unconscious,' suggests that the American political stage has been transformed into a wrestling ring where the suspension of disbelief is the ultimate weapon.Deconstructing Trump's WWE PlaybookThe documentary dissects the specific mechanics of Trump’s performance, identifying three core elements borrowed from professional wrestling that have reshaped modern politics:Hyperbole: The fact-allergic triumphalism where reality is bent to fit a narrative, exemplified by the claim that 'Michael Jordan said I’m better at basketball.'Smack Talk: Strategic rudeness and crowd-bullying, seen in nicknames like 'crooked Hillary' and 'sleepy Joe,' designed to belittle opponents while energizing a base.Kayfabe: The willingness to suspend disbelief. This concept is central to the analysis, suggesting that the audience’s belief in the 'reality' of the performance is more important than the truth itself.The Business of Politics and WrestlingThe documentary highlights the symbiotic relationship between the wrestling industry and Trump’s political career. Key moments include Trump’s infamous appearance at WrestleMania 23, the 'Battle of the Billionaires,' where he physically pushed promoter Vince McMahon. The film also notes the crossover of wrestling personalities into the political sphere, such as Hulk Hogan ripping his shirt open at the Republican National Convention in 2024. Perhaps most striking is the appointment of Linda McMahon, former wrestling executive, as the US Secretary of Education, blurring the lines between entertainment and governance.The Erosion of Reality in Public DiscourseChawawa explores the 'Attitude Era' of the early 2000s, characterized by controversy and stereotypes, as a precursor to Trump’s rhetoric. The film interviews former wrestlers who played villainous roles, such as an Italian-American who played a 'villainous Arab' and Dan Richards, who played a character called 'Progressive Liberal' beaten to pulp by crowds. This analysis extends to Chawawa’s own visit to a 'Magathering' (a Trump supporters' night), where he encounters supporters who believe they have personally investigated the '30,000 lies' Trump told in his first term—a twist that underscores the dangerous power of the 'kayfabe' narrative.The Future of Political PerformanceUltimately, Chawawa suggests that we are all now living within a script. By comparing his own experience to Louis Theroux’s forays into the manosphere, Chawawa argues that cultural and political scripts are ubiquitous. The danger lies not in the performance itself, but in forgetting that it is a performance. As the line between the theatre of wrestling and the reality of politics continues to dissolve, the challenge for the public becomes maintaining the awareness that the show is on, even when the audience believes the drama is real.

The Accusation Against Rebel Wilson Rebel Wilson has been accused in court of being a liar who made up terrible claims about her colleagues and completely rewrote history. The Pitch Perfect star copped the blunt assessment in the dying hours of a fiery defamation battle where she is being sued by Charlotte MacInnes, the lead actor in musical comedy The Deb which Wilson directed, co-produced and starred in. The Defamation Claims MacInnes claims Wilson defamed her in a series of social media posts that suggested she is a liar and a sellout who walked back a sexual misconduct complaint to further her career. The posts claimed MacInnes confided to the older actor – and later recanted – she felt uncomfortable when the film’s co-producer Amanda Ghost asked to have a shower and a bath together. The Inconsistencies in Wilson's Evidence MacInnes’ barrister Sue Chrysanthou SC accused Wilson of a “complete revision of history” littered with dishonesty during her emphatic closing address in the Federal Court on Friday. She noted the Bridesmaids actor testified she told local producer Greer Simpkin about the alleged complaint on the day it was made to her, but that had been contradicted in court. Simpkin gave evidence she had not heard that Wilson claimed her co-star felt uncomfortable about the incident until it was relayed by Ghost a week later. Wilson's own witnesses have discredited her, Chrysanthou told the court. The Impact on MacInnes MacInnes has suffered devastating harm as a result of the social media posts and hasn’t worked since she starred in a stage production – a role which she had previously secured, her barrister said. “My client has been unable to eat, unable to sleep, has been distressed … (she) fears what Rebel Wilson is going to do to her next,” Chrysanthou said. “No young woman dreams of being pulled into the spotlight by a celebrity and maligned”. Wilson's Response But Wilson testified the young star doesn’t appear to have sustained any damage to her reputation or career, pointing to the lead role and a six-figure record deal MacInnes has secured. “She’s changed her story, she’s flip-flopped and she’s been given huge benefits,” she said.

The Fallout and Preparations Usually the most scrutiny at the glittering Bafta TV Awards is reserved for the stars’ outfits on the red carpet and the winners’ acceptance speeches. But this Sunday those behind the show will be watching with bated breath and taking the event “extremely seriously” after changes were made to how TV coverage of Bafta’s awards ceremonies is handled after the broadcast of racially offensive words during February’s Bafta film awards. The Incident and Its Aftermath During February’s event, John Davidson, who has Tourette syndrome, involuntarily used the N-word while actors Delroy Lindo and Michael B Jordan were on stage presenting a prize. Show host Alan Cumming apologised immediately and the word – which was repeated by Davidson later – should have been edited out as the Baftas are filmed with a delay. The Data Analysis The event at London’s Royal Festival Hall is a hugely complex affair with 2,000 guests expected, including Claudia Winkleman, Jessica Gunning, Paapa Essiedu, Richard Osman, Jodie Whittaker, Alex Hassell, Stephen Graham and Ashley Walters. The Impact Analysis The incident led Bafta to review its planning and procedures, and apologise “unreservedly”. There was also a review and an apology from the BBC, which aired the show and admitted it breached its own editorial standards in airing the N-word. The Prediction Bafta is understood to be taking Sunday’s show “extremely seriously” with additional staff on hand to help ensure any potential issues during the ceremony are escalated quickly to its production partner Penny Lane, whose two bosses will, as usual, be attending the show, and the BBC, which has top executives also attending.