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The LeadThis week's top picks for TV include a mix of classic films and recent releases. From Pixar's latest to classic Hammer horrors, there's something for everyone. Pick of the Week: Hoppers“We’re all in this together.” It may seem an obvious eco message to be pushing at the kids who will flock to watch the latest Pixar animation. But when it’s done as charmingly as in Daniel Chong’s sci-fi comedy adventure, you’d be hard-pressed not to cheer along with the film’s endangered animals. Mabel (voiced by Piper Curda) is our teenage human guide to a biodiverse nook of woods and water near Beaverton. But when a proposed freeway causes the wildlife to scatter, she “hops” her mind into a robotic beaver (invented by her biology teacher) so she can track them down and save their glade. Crammed with neat gags, relatable villains and a shark assassin named Diane, it’s cute propaganda. Out now, Disney+ The Curse of FrankensteinThe first in what would be a distinguished line of colourful “Hammer horrors”, Terence Fisher’s 1957 adaptation of Mary Shelley’s novel still packs a punch. Unable to copy the pathos-tinged Boris Karloff look, the film-makers fashioned a creature with a grey, clammy pallor and irredeembly violent tendencies. He doesn’t even turn up until halfway, but luckily Peter Cushing – in his first movie starring role – commands the screen as the hubristic Baron Frankenstein, a monomaniac diving gleefully off the ethical deep end. Saturday 6 June, 9.05pm, Talking Pictures TV VermiglioThe simple, traditional life of an Italian mountain community butts up against the frictions exposed by the second world war in Maura Delpero’s sensitive, beautiful drama. Tommaso Ragno wields his forbidding white moustache well as local teacher, and father of eight, Cesare. He is harbouring two army deserters: his nephew and the lad’s Sicilian friend Pietro. But then his eldest daughter Lucia falls for Pietro, disturbing the family’s balance of power and stress-testing parental and gender norms to the brink of collapse. Saturday 6 June, 9.20pm, BBC Four The Beautiful GameFor better or worse, out come the footie films for the World Cup. Thea Sharrock’s quirky comedy is one of the niftier ones. Based on a true story, it revolves round the Homeless World Cup. Bill Nighy is his usual wryly comic self as Mal, the manager of the England squad – young men all with tragic backstories – as they head to the tournament in Rome. Mal’s secret weapon is Vinny (Micheal Ward), who nearly made it as a pro but is now a bundle of resentment. The social issues are only touched on, but the “no I in team” moral is loud and clear. Sunday 7 June, 3.35pm, Channel 4 NomadlandChloé Zhao’s moving 2020 drama is one of those rare Oscar winners that feels like an instant classic. It is a portrait of America’s “nomads” – mostly middle-aged loners whose home is their RVs, as they seek out seasonal work and form temporary communities. Acting among an array of real-life travellers, Frances McDormand is a case study in less is more as widow Fern, who heads out into the wide vistas of her nation to discover if this is a meaningful life or merely existing. Sunday 7 June, 1am, Channel 4 The ChoralTODO

The Unveiling of Ferrari's First Electric Car For passionate enthusiasts, Ferraris are not merely cars but works of art. The emotion stirred by their classic red curves is, they say, akin to standing before a Michelangelo sculpture, while the sound of the engine revving evokes a sensation comparable to listening to the music of Giuseppe Verdi or Giacomo Puccini. The Design of the Luce EV The Italian carmaker's first fully electric car, the Luce EV, unveiled this week, left many fans aghast. "I don't dispute the fact that it's electric – that's a generational step that needs to be taken," said Fabio Barone, the president of the Italy-based Passione Rossa Ferrari owners' club. "But the design was a total shock – it has shaken the very foundations of our legendary Ferrari." The Market Reaction The initial financial market reaction suggested investors had a clear view: Ferrari stock plunged 8.4% in Milan trading on Tuesday and US-listed shares fell 5.3%. On Thursday the share price staged something of a recovery, regaining 3.5%. The Impact on Ferrari's Brand The backlash "may not matter for the investment case" for Ferrari. Most analysts suggest it will produce fewer than 1,000 of the cars, so "Ferrari only needs to capture a small number of open-minded wealthy buyers". The Future of Ferrari's Electric Cars Ferrari's chief executive, Benedetto Vigna, said the car was garnering interest from potential buyers. During an event in Modena, Vigna dismissed the critics, telling reporters that people were writing to say they liked the Luce and were placing orders.

The Visual Commentary on Youth Unemployment Ella Baron's recent cartoon for The Guardian offers a poignant visual representation of the UK's youth unemployment crisis. The illustration captures the frustration and uncertainty experienced by young people seeking employment in today's challenging economic landscape. As a visual commentary piece, the cartoon effectively communicates the systemic issues affecting younger generations without relying on traditional journalistic text. The Economic Landscape for Young Workers The cartoon appears to depict the disconnect between the skills and education of young people and the available job opportunities in the UK market. This reflects broader economic trends where graduates and school leavers face increasingly competitive job markets, often requiring experience that newcomers cannot yet possess. The visual metaphor likely illustrates how young workers are navigating an economic environment that presents significant barriers to entry. Generational Impact of Employment Challenges Baron's work highlights how prolonged unemployment or underemployment during formative years can have lasting effects on a generation's economic trajectory. The cartoon may emphasize how these challenges extend beyond immediate financial concerns to impact mental health, career development, and long-term economic prospects. This visual commentary serves as a reminder that youth unemployment is not just a statistical issue but a human one with far-reaching consequences. Policy Implications and Public Discourse As part of The Guardian's opinion cartoon series, Baron's illustration contributes to the ongoing public discourse about government policies and corporate practices affecting young workers. The cartoon likely serves as both criticism and call to action, prompting readers to consider what systemic changes might address the root causes of youth unemployment rather than merely treating its symptoms. The Future Outlook for Young Workers Through her visual storytelling, Baron may be suggesting that without significant intervention, the youth unemployment crisis could worsen as economic uncertainties continue. The cartoon likely implies that addressing this issue requires coordinated efforts from educational institutions, businesses, and policymakers to create pathways that align with the realities of the modern economy while providing genuine opportunities for younger generations to thrive professionally and economically.

Lead: A Flood‑Strewn Wedding Becomes a Global Visual IconOn a monsoon‑ravaged July day, AP photographer Aaron Favila raced through waist‑deep water to reach Barásoain Church in Bulacan, Philippines, just in time to capture the bride, Jamaica, stepping out of the church doors. The resulting photograph, later crowned the 2026 World Press Photo winner, resonated worldwide for its blend of romance and disaster.The Flood Wedding Capture: Logistics, Timing, and the ShotFavila had spent the morning documenting Manila’s post‑monsoon flooding, then received a last‑minute call about the ceremony scheduled for 3 p.m.He and the AP driver covered the 40‑minute distance in a rescue truck, stopping repeatedly to load stranded villagers.At roughly 100 metres from the church, Favila plunged into the water, reaching the bride moments before the doors opened.The image focuses on the bride’s lace‑trimmed dress floating in water, the historic wooden doors, and the soaked groomsmen in traditional barong tagalog shirts.Emotional Resonance and Viral ReachThe photograph quickly spread on social media, garnering far more engagement than Favila’s previous work, which had been limited to personal circles. Viewers were drawn to the juxtaposition of “love and resilience in the face of disaster,” a narrative that transcended language and geography.Cultural Significance of Disaster Weddings in the PhilippinesBoth the bride and groom, accustomed to flooding in their hometowns, deliberately proceeded with the ceremony despite the known risk. Their decision underscores a broader cultural attitude in flood‑prone regions: community events continue, adapting to environmental challenges rather than postponing them.Future Outlook: Photojournalism at the Intersection of Climate Change and Human StoriesFavila’s experience illustrates a growing demand for journalists who can operate safely in extreme weather while capturing intimate human moments. As monsoon intensity rises across Southeast Asia, we can expect more visual narratives that blend personal celebration with climate‑driven adversity, shaping public perception and policy discussions around disaster preparedness.

The Lead: Iran's Internet Partially Restored Tehran, Iran – Authorities in Iran have reinstated some internet access three months after taking the country offline at the start of the war with the United States and Israel, but restrictions remain in place for most people. The Iranian government said last week that it had started a process to bring internet access back to a pre-war level, which was already very restricted as Iran was at the time still coming off an earlier 20-day shutdown imposed during deadly nationwide protests in January. The World's Longest Internet Blackout Last week's move ended more than 2,000 hours of near-total internet shutdown in the country of 90 million people, the longest-ever nationwide blackout in the world. But according to numerous user reports, local media accounts and expert analysis, Iranians' free access to the global internet is far from restored. Restricted Access and Blocked Services Access to millions of web pages remains blocked by the state, and almost all global services and apps such as YouTube, Instagram, Telegram, WhatsApp, Facebook and Waze are closed off and are not under consideration for reinstatement. Mobile, wireless and landline connections are slow and patchy, to varying degrees, while many local applications and services regularly malfunction or fail to load. The Black Market for Internet Access Most people are forced into a black market for access to the internet, which has proven lucrative for those selling virtual private networks (VPNs) or other circumvention methods, often through affiliations with the state. Those connections have now become cheaper after the authorities restored some internet bandwidth, but demand for VPNs has skyrocketed, and people remain exposed to scammers and malware while navigating the market. The Architecture of Filtering Meanwhile, even after the partial reopening, Iranian authorities continue to impose several complex layers of restrictions that have effectively turned full internet access into a privilege that very few people authorised by the state can enjoy. Many data centres have yet to be fully brought back online, and some internet protocols like IPv6 and HTTP/3 are blocked, while others like UDP are actively disrupted by the authorities, local media reported. Political Conflict Over Internet Policy That has prompted more criticism against Iran's relatively moderate President Masoud Pezeshkian, who campaigned against hardliners, in part, on reopening the internet. The Sazandegi reformist newspaper criticised the government over the "belated opening" in an op-ed on Saturday while the state-linked KhabarOnline news site wrote that the "Internet's technical infrastructure is the victim of the new architecture of filtering". The Tiered-Access Internet System Authorities have also failed to elaborate on what exactly they plan to do with the tiered-access internet system that they began expanding during the war. As part of the system, Iranians get varying degrees of access – or no access at all – to the global internet based on their profession and other classifications made by the state. To implement the scheme, a so-called "Internet Pro" scheme was introduced, which offers slightly less restricted access for about three times the price of a regular, more restricted internet package. Frustration and Limited Normalcy Still, more people have been able to get back on social media, where they have posted more videos from the war, including one that showed a new view as dozens of missiles rained down on the headquarters of Iran's supreme leader in downtown Tehran on February 28. Others are sharing war experiences, including where they were and how they felt when the first bombs hit the capital. But that hasn't alleviated the frustrations for many. "What we have right now is not the internet," said a Tehran resident, who spoke to Al Jazeera on condition of anonymity. "It's a return to the previous half-closed condition that is now being sold as an achievement."

The Lead The 2026 Met Gala became a flashpoint for cultural tension as Amazon's $10 million patronage by Jeff Bezos and Lauren Sánchez Bezos sparked unprecedented protests from both activists and fashion industry insiders. The event highlighted the growing friction between tech billionaires seeking cultural validation and a fashion community increasingly uncomfortable with their presence. The Fashion-Tech Collision The Met Gala has evolved beyond a mere fashion event into a cultural battleground where the values of the fashion industry clash with those of Silicon Valley. This year's gala, honoring "The Garden of Time" theme, featured an unprecedented guest list of tech titans including Google co-founder Sergey Brin, Mark Zuckerberg, and staff from OpenAI. The $42 million raised—tickets priced at a staggering $100,000 each—funds the Metropolitan Museum of Art's Costume Institute, yet the presence of tech barons whose companies have faced criticism for labor practices and political alignments has created an uncomfortable juxtaposition. The Protests and Cultural Resistance Opposition to Bezos's involvement manifested in multiple forms. The activist group Everyone Hates Elon projected interviews with disgruntled Amazon workers onto Bezos's Manhattan penthouse and distributed fake urine containers to highlight reports of drivers urinating in bottles due to relentless work schedules. Former US Vogue editor Gabriella Karefa-Johnson organized a "Ball Without Billionaires" as an alternative event, featuring Amazon workers on the runway. In a powerful statement, Karefa-Johnson wrote: "Fashion has always had a talent for laundering. In these moments, it wraps the most sinister individuals in silk, under the warm glow of flashing lights, and manages to convince us it's culture. This is not new. But I have my limits." The Hollywood Parallel: Fiction Meets Reality Interestingly, the cultural backlash against tech's infiltration of fashion was mirrored in Hollywood's "The Devil Wears Prada 2," released just before the gala. The film features a tech baron character named Benji Barnes who attempts to buy the struggling Runway magazine for his girlfriend, echoing unsubstantiated rumors about Bezos potentially acquiring Vogue for his wife. The film's villain delivers a chilling monologue about AI replacing human creativity in publishing, mirroring real concerns about tech's influence on creative industries. The Fashion Industry's Faustian Pact Despite the backlash, the fashion industry has increasingly embraced tech billionaires as patrons and collaborators. Lauren Sánchez Bezos has been prominently featured in US Vogue, received a digital wedding cover in 2025, and sits front row at Paris fashion week shows. The couple has also announced millions in grants for sustainable fabric research. This relationship represents a complex interdependence: fashion gains financial support and cultural relevance, while tech billionaires acquire the cultural cachet they crave. Editor Anna Wintour, who continues to oversee the Met Gala after stepping down from her Vogue editor role in 2025, has a history of bringing commercially potent figures into the fashion fold, often against public criticism. The Future of Fashion and Tech Relations The growing tension between tech's wealth and fashion's cultural values may signal a pivotal moment for both industries. As inequality continues to rise and tech companies face increasing scrutiny over labor practices and political influence, the fashion community may need to reconcile its financial dependence on tech patrons with its traditional values of creativity and cultural significance. The question remains whether this relationship can evolve into something more equitable or if the cultural backlash will force a fundamental restructuring of how these industries interact.

Executive Summary: A Misfire in Netflix’s Nostalgia PushThe streaming giant Netflix has revived a dated British comedy formula with *Ladies First*, but the Guardian finds the result an excruciatingly unfunny, high‑concept experiment that wastes the star power of Rosamund Pike and Sacha Baron Cohen.Plot Premise and Critical ReceptionThe film imagines a world where gender roles are reversed: the protagonist Damien Sachs (played by Sacha Baron Cohen) wakes up to find women dominating the workplace while men struggle for relevance. Rosamund Pike portrays a ruthless executive version of her character, yet even her performance cannot rescue the script, which the reviewer describes as a “criminal waste of talent.”Runtime and Production ContextAt a brief 84‑minute length, the movie attempts to pack a “what‑if” scenario alongside references to other gender‑swap comedies such as *I Feel Pretty* and *Isn’t It Romantic*. The review notes that the film is a remake of a French comedy, highlighting Netflix’s strategy of repurposing existing IP rather than investing in original, high‑quality content.Implications for Netflix’s Comedy PortfolioThe negative appraisal suggests that Netflix’s reliance on nostalgic, low‑budget comedies may erode its reputation for delivering fresh, engaging humor. By prioritising cheap concepts over substantive storytelling, the streamer risks alienating both talent and audiences seeking smarter satire.Future Outlook for Gender‑Satire FilmsGiven the film’s failure to blend humor with insightful commentary on workplace gender dynamics, the review predicts a cautious approach from studios and streaming platforms when green‑lighting similar gender‑swap premises. Success will likely depend on sharper writing and more nuanced performances rather than repetitive, one‑joke setups.

The Director's Supernatural EncountersMulti-Oscar-winning director Guillermo del Toro has revealed his lifelong fascination with the supernatural, from childhood ghost sightings to a UFO encounter at age 14. The filmmaker, currently in the UK to receive a BFI fellowship, shared his belief that these experiences 'cause a crack' in our perception, allowing 'the mystery of the universe' to rush toward us.From Family Hauntings to Hammer HorrorDel Toro's supernatural journey began at age 11 when he first sensed a spectral presence at his family home in Guadalajara, Mexico – which he believes was his late uncle keeping a promise. This experience inspired Santi, the sighing ghost-boy in his 2001 film The Devil's Backbone. The director has since encountered numerous paranormal phenomena, including surround-sound ghostly disturbances in a New Zealand hotel while scouting locations for The Hobbit.'There are certain magical lands for me,' del Toro explains, 'and the land of ghosts is England.' He is currently looking to purchase a haunted house in the UK to house his extensive collection of silicone figures and memorabilia.The Influence of British CinemaThe BFI fellowship holds special significance for del Toro, who cites British cinema as a major influence on his work. He particularly reveres the 'reveries of Powell and Pressburger or Ken Russell' and the entire Hammer horror legacy, including Terence Fisher's Frankenstein films which partly informed his own 2025 adaptation of Mary Shelley's novel.'The 1974 Hammer film Frankenstein and the Monster from Hell had the worst makeup but the most delicate Creature,' del Toro notes. 'As the movie progressed, the Creature became more of an innocent and the Baron more of a pure villain.' This approach shaped his interpretation featuring Jacob Elordi as the Creature.A Legacy of Monsters and Misunderstood BeingsDel Toro has always portrayed monsters as complex beings capable of tenderness alongside violence, reflecting his belief that 'precisely like us.' This philosophy has resonated with fellow artists, including Taylor Swift, who has cited his films as inspiration. After becoming a fan of The Shape of Water, Swift explored his back catalogue during the pandemic, declaring herself 'dazzled' by The Devil's Backbone and Pan's Labyrinth.The influence is mutual, with Swift later invoking Del Toro-esque imagery in her hit single Anti-hero, picturing herself as 'a monster on the hill … slowly lurching toward your favourite city.' This artistic connection demonstrates how del Toro's vision has permeated popular culture beyond cinema.The Future of Fantastic CinemaAs a BFI fellow – joining the ranks of Martin Scorsese, David Lean, Akira Kurosawa, and Orson Welles – del Toro continues to champion the potential of horror and fantasy genres. His teenage years saw him running a film society in Guadalajara, sourcing controversial works like Powell's 1960 serial-killer classic Peeping Tom from the BFI itself.With his upcoming projects and continued exploration of the supernatural, del Toro remains committed to expanding our understanding of the unknown, both on screen and in his personal life. As he puts it, these experiences 'dislocate your sense of self,' revealing the mysteries that exist just beyond our everyday reality.

The Surge in Worker ActivismOn Friday, more than 3,000 May Day protests will take place across the United States – more than double last year's number. Workers, students and families are calling for a strike: no school, no work, no shopping, and an end to billionaire rule. This growing movement reflects deep dissatisfaction with the current political and economic systems.The Historical Context of Labor StrugglesHistory tells us not to be surprised. One hundred and forty years ago, workers across this country walked off the job with a single demand: an eight-hour workday. At the time it was so radical that it provoked riots, mass demonstrations, and the execution of union organizers at Haymarket Square in Chicago. The people who fought for that demand faced a robber baron class – JP Morgan, Standard Oil, Carnegie Steel – that had bought the government, militarized the police, and was perfectly willing to let workers die to protect their profits.The Modern Oligarchy and Worker DiscontentThe conditions today are not so different. A new oligarchy is waging this same class war. Elon Musk dismantled the federal agencies that protect workers. Jeff Bezos is looking to raise $100bn to accelerate automation in manufacturing. Private equity is gutting our hospitals and our pensions. And the Democratic party's answer has been to ask for our votes while delivering neither justice nor relief.The Power of Union OrganizingMy union taught me what it takes. I worked low-wage jobs my whole life until I was hired into a unionized shop at Columbia University. Walking into my first union meeting – a room full of workers I'd never met, from all over the university, doing all kinds of different jobs, trying to figure out together what we deserved and what we could demand – I felt for the first time in my working life that I wasn't alone. My union gave me wages, benefits, dignity and control over my life.The Political Awakening of Working AmericansLast November, more than 2 million people voted for mayor in New York City – the highest turnout since 1969, and nearly double the 2021 figure. And they turned out to elect Zohran Mamdani: a Democratic socialist who campaigned on the idea that our city should be livable for the working people who make it run. More than 100,000 volunteers canvassed, made calls, and talked to our neighbors about the world we deserve.The Path Forward: General Strike and Political ActionThe UAW has already set its contracts to expire at midnight on 30 April 2028 – May Day – and are calling on unions across the country to do the same. Workers aren't waiting to be saved. We're already preparing for a general strike, for a presidential election, for a chance to take this country back from both the fascists and the establishment that let them in. The eight-hour day felt impossible until workers made it inevitable. We've been here before. We can decide how this ends – if we organize.