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Comedian Phil Ellis has taken a unique approach with his new show 'Bath Mat', embracing his midlife failures and inviting the audience to join in on the laughter. The show features a hype-man, played by fellow comedian Tom Short, who sets the tone with a list of Ellis's non-achievements. Ellis' recent move back in with his parents and his struggles with singleness, balding, and financial struggles are all fair game for comedy. The show is a raucous laugh-along, with Ellis straw-polling his observations with the audience and laughing throughout. While the show has its moments, it lacks the concentrated hits of Ellis' previous work. The structure is loose, with barely related routines and more emphasis on standup than antics. Sections like the chat about roadkill and luxury pet treatment feel more like 'all-in-it-together bants' than precision-focused comedy. However, Ellis' ability to find humor in his own failures and celebrate the ramshackle is part of his charm. Fans of his chaotic kids' show 'Funz and Gamez' will appreciate his skill in creating a diffuse but entertaining show. The titular routine, where Ellis canvasses the crowd about bath mats, is a highlight, triggering a lively and entertaining response. The show's humor is rooted in Ellis' willingness to poke fun at himself, sharing amusing snaps from his childhood photo album and tales of duff gigs. While not all routines earn the hype-man's exclamation points, that's part of the point – Ellis glories in the ramshackle and finds humor in his own crapness.

Aaron Pierre delivers a storming, almost hypnotic performance as Randle P. McMurphy, instantly igniting the stale atmosphere of a 1960s American psychiatric ward. His swagger‑filled stride and sudden, childlike scampers create a compelling contrast that keeps the audience on edge.From the opening moments, McMurphy clashes with the authoritarian Nurse Ratched (Olivia Williams), provoking the other patients to rebel, play, and celebrate life beyond the ward’s walls. Pierre’s physicality—alternating between boisterous hugs and a frantic, vulnerable laugh—captures the character’s chaotic charisma.Director Clint Dyer, fresh from his acclaimed 2022 Othello, reshapes the narrative by casting the inmates almost entirely with Black actors. This choice injects a fresh political dimension, turning the patients into “pawns in a system designed to disempower.” Each time Ratched addresses them as “boys,” the line feels like an implicit sneer.While the script does not overtly discuss race—apart from Chief Bromden’s (Arthur Boan) Indigenous background—the production foregrounds the systemic misogyny embedded in both the novel and the 1963 Dale Wasserman adaptation. McMurphy’s mantra, “I fight and fuck,” teeters between liberated individualism and a problematic reclamation of alpha‑male tropes.Olivia Williams, who stepped into the role of Nurse Ratched late in rehearsals, gives the character a “ramrod spine and starched smile.” Her performance underscores the unchecked cruelty of a regime where the doctor (Matthew Steer) is a peripheral, snickering figure, leaving Ratched’s authority unchecked and increasingly vicious.Ken Kesey’s own experience as a government‑run LSD guinea‑pig informs the play’s visceral critique of psychiatry. The production’s lighting, designed by Chris Davey, erupts in scarlet and blue hues that echo the anti‑psychiatry movement of the 1960s, while the depiction of medication, group therapy, and electroconvulsive therapy feels deliberately brutal.Staged in the round at the Old Vic, the audience becomes a “ring of often appalled observers.” Ben Stone’s set design, with its white and pond‑green tiles beneath a soaring ceiling, creates a claustrophobic floor that simultaneously aspires upward—mirroring the characters’ yearning for freedom.The ensemble, led by Giles Terera’s refined Dale Harding, adds subtle layers of tension through nuanced tics and gestures. Dyer bookends the show with a reference to Congo Square in New Orleans, a historic site of Black and Indigenous resistance, framing the play’s cruelty through a lens of cultural resilience—though the production remains largely filtered through a male gaze.The production runs at the Old Vic until 23 May 2026, offering London audiences a bold, politically charged reinterpretation of a classic American drama.

Eighteen Senegalese football supporters, who were convicted and sentenced to prison terms ranging from three to 12 months for a pitch invasion during the chaotic Africa Cup of Nations final in Rabat, have denied any wrongdoing.A Moroccan court in February sentenced the fans on charges of hooliganism, with prosecutors seeking stiffer penalties in the appeals court in Rabat. However, the initial sentences were upheld on Monday.The Senegalese fans argued that they had been forced onto the pitch because of a surging crowd or to avoid being spat upon and projectiles thrown towards them. They claimed it was not to protest against a refereeing decision at the end of the contentious AFCON final on January 18, which Senegal won 1-0.The Confederation of African Football (CAF) reversed Senegal’s win last month, awarding the title to Morocco two months after the final. The Senegalese Football Federation immediately instructed its lawyers to appeal to the Court of Arbitration for Sport (CAS).Defence lawyer Naima El Guellaf asked on Monday that videos of the incidents be shown to verify the identities of the 18 Senegalese in court, a move rejected by the prosecution.

Endless Cookie arrives as a daring, hand‑crafted animation that immerses viewers in the everyday chaos of a Canadian Cree household in the remote Shamattawa First Nation. The project, conceived and voiced by half‑brothers Seth and Peter Scriver, took nine years to complete, a fact the film humorously acknowledges through its meta‑narrative and frequent self‑parody. The visual style feels like a cross between Cheech and Chong antics and the digressive storytelling of Tristram Shandy, with scenes that oscillate between vivid surrealism and grounded family moments. From a post‑apocalyptic Toronto backdrop to a sprawling story map described as “bulging like a distended colon,” the animation pushes the boundaries of conventional indie filmmaking. Beyond its eccentric humor, the film tackles weighty themes with a wry yet respectful tone. It shines a light on police racism and historic land theft, while celebrating ancestral continuity and community resilience. The narrative deliberately sidesteps the Scrivers' own cultural positions, allowing the Indigenous perspective to remain front and centre. Key vignettes include a chaotic caribou stakeout, a punk‑era flashback to 1980s Toronto, and a bizarre encounter with a clingy snowy owl—each episode underscored by the presence of the family’s twelve dogs, two of which are humorously named Cheech and Chong. The film’s funding source even appears as a talking slide rule, adding another layer of self‑referential comedy. Critics have likened the animation’s energy to a “SpongeBob SquarePants episode after an afternoon of smoking DMT,” while also noting its lineage to the counter‑cultural spirit of Fritz the Cat. The result is a work that feels both hallucinatory and deeply affectionate toward its subjects. Endless Cookie becomes available for streaming on Mubi starting 17 April, offering audiences a rare glimpse into a vibrant, self‑determined Indigenous narrative that challenges mainstream cinematic conventions.

Israeli forces have fired teargas at Palestinian schoolchildren who were staging a sit-in in the occupied West Bank after settlers blocked access to their school. The incident occurred in the village of Umm al-Khair, in the southern West Bank region of Masafer Yatta.The schoolchildren, who had been due back in class on Monday for the first time in more than 40 days, had gathered near a barbed wire fence erected by Israeli settlers. The fence blocked access to the school, prompting the children and some local adults to hold an open-air class as a sit-in to demand access. Israeli troops responded by firing teargas at the protesters.Witnesses described the scene as chaotic, with children screaming and fleeing after the teargas canisters were fired. A 12-year-old girl, Sarah al-Hathaleen, recounted her experience: “We were sitting and they threw a grenade [teargas canister] at us. I got scared and started screaming and ran away.”The Israeli military stated that they had dispersed an “unusual gathering” but did not specify whether they had fired teargas. The incident highlights the ongoing tensions in the West Bank, particularly in the Masafer Yatta region, which is a known hotspot for settler violence and Palestinian home demolitions.The Masafer Yatta region has seen increased violence since the outbreak of the Iran war. More than 500,000 Israelis now live in settlements in the West Bank, which are illegal under international law, among about 3 million Palestinians. Israel has occupied the West Bank since 1967.

A devastating stampede at Haiti's iconic Citadelle Laferriere has claimed the lives of at least 30 people, with authorities warning that the death toll may rise. The tragedy unfolded on Saturday during an annual celebration at the early-19th-century fortress, a popular tourist attraction and UNESCO World Heritage Site.The stampede occurred at the entrance to the site, where a large crowd of students and visitors had gathered. Heavy rain exacerbated the disaster, leading to a chaotic and deadly situation. Haiti's Prime Minister, Alix Didier Fils-Aime, extended his condolences to the bereaved families, assuring them of his solidarity during this difficult time.The Culture Minister, Emmanuel Menard, confirmed the deaths of 30 people, stating that the injured are receiving medical care and a rescue team is searching for any missing persons. The exact number of those injured remains unknown. This incident highlights the ongoing challenges faced by Haiti, which has struggled with widespread gang violence and deadly disasters in recent years, including fuel tank explosions and earthquakes.

PCK Dance’s latest double‑bill, “Into the Light,” opens with a palpable tension: dancers inhale as if grasping something costly, their gazes unfixed, brows furrowed, signalling an emotional gravitas that the production amplifies with dark lighting and portentous music.Choreographers James Pett and Travis Clausen‑Knight, both alumni of Company Wayne McGregor, demonstrate why their pedigree matters. Their movement language is slick, finessed and relentlessly precise, with legs whipping to extreme angles and sequences that cascade like the “chatter of a motoring brain.” The duo’s fluency in form lets them forgo the heavy‑handed theatrical cues that often drown subtler expression.The centerpiece, the duet “In the Absence,” features Pett and Clausen‑Knight alongside third dancer Isabelle Evans. Their interplay oscillates between closeness and disconnection, tension and tenderness, hinting at loss. Evans’s decisive gestures—flexed wrists, expressive hands—act as declarations, while a striking passage sees the choreographers literally throwing her body between them, creating a kinetic flash that feels both chaotic and meticulously crafted.Music, composed by Pett with co‑composer Greg Haines, emerges live from a bank of stage‑side technology. The piano interludes give way to pitch‑less textures that evoke a “joyless, end‑of‑days” ambience. This soundscape reinforces the programme’s suggestion that the work grapples with survival in an AI‑driven future, casting the performance as a low‑key apocalypse rather than a conventional dystopia.By marrying razor‑sharp choreography with a minimalist, tech‑infused score, PCK Dance asks a vital question: in a world increasingly mediated by algorithms, what does it mean to remain truly human? The answer, if any, lies in the fleeting connections forged on stage—moments where bodies speak louder than the surrounding machinery.

Rory McIlroy has taken a commanding lead at the Masters, surging six shots clear of his nearest rivals with a breathtaking second-round 65. The 36-year-old McIlroy, seeking to become the fourth man to win back-to-back Masters titles, carded an eagle and 10 birdies to post 12 under par. McIlroy's closest challengers are Patrick Reed and Sam Burns, both on six under, while Justin Rose, Shane Lowry and Tommy Fleetwood are a further stroke back on five under. McIlroy's stunning chip-in at the 18th hole capped a dominant display, setting up a tantalizing prospect of a second Green Jacket. Tyrrell Hatton moved to four under with a 66, while Brooks Koepka recovered from pre-tournament criticism to card a 68 and make the cut. The halfway cut eliminated several notable players, including Bryson DeChambeau after a chaotic 18th hole.

The recent revival of Malcolm in the Middle, titled 'Life's Still Unfair', has left audiences and critics alike in awe of its miraculous comeback. The show, which originally aired from 2000 to 2006, has been revived with a four-episode special, and it's clear that the magic is still very much alive. Bryan Cranston, who played the lovable but chaotic father Hal, is at the top of his game, delivering a performance that's being hailed as one of the best of his career. His portrayal of a drug-induced ego death is particularly noteworthy, showcasing his incredible range as an actor. The show's revival is not just a nostalgic throwback; it's a well-crafted extension of the original series. The story picks up 20 years after the original series ended, with Malcolm (played by Frankie Muniz) having grown up and moved away from his chaotic family life. However, circumstances force him and his secret teenage daughter back into the fold, leading to a series of hilarious and heartwarming moments. Frankie Muniz shines in his return as Malcolm, bringing a depth and nuance to the character that's impressive. His performance in the emotional climax of the series, where he confronts his mother, is particularly noteworthy, showcasing his talent and dedication to the role. The show's success is a testament to the enduring power of comedy and the talented cast and crew. With its fast-paced humor, emotional depth, and standout performances, 'Life's Still Unfair' is a must-watch for fans of the original series and newcomers alike. The revival is currently streaming on Disney+, and it's clear that this is a limited series that will leave viewers wanting more. Here's hoping that the success of 'Life's Still Unfair' will lead to a full new series, giving fans the opportunity to revisit the lovable but chaotic world of Malcolm in the Middle.