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The Discovery Jem Calder's writing career had a fairytale start. Sally Rooney emailed him, impressed with a short story he'd submitted to the literary magazine she was editing soon after Conversations with Friends came out. It was the first story he'd ever completed. Calder was already 'a huge fan' of Rooney's, so the whole thing was surreal, he tells me. 'I can't really imagine what could top that, to be honest.' The Writing Career That story ultimately ended up in Reward System, Calder's 2022 collection of six interconnected tales following a cast of sad young things living in an unnamed city. It was hailed as a book of the year; a review in this paper placed Calder among 'the most talented young writers of fiction at work today'. Now, his debut novel, I Want You to Be Happy, picks up some of the themes of the first book: the trials of modern love, millennial ennui, consumer culture, technology, political and ecological doom. The Novel's Themes The novel explores the challenges of modern relationships, with characters struggling with commitment, addiction, and the search for meaning in a dismal macroeconomic climate. Calder's characters are addicted to instant gratification – buying stuff, social media, vaping, porn – anything to ward off the world's horrors. The Author's Perspective Calder grew up in Cambridge, studied English at Leeds, and has since worked a variety of jobs alongside writing, including those of his protagonists – Joey is a barista, and Chuck is a copywriter. He says he 'truly can't relate' to authors who complain of writer's block – having to work a day job 'gives me such motivation to get back to it and force myself to deal with something difficult in my writing'. The Future Calder could be grouped with a cohort of young novelists to whom the 'voice of a generation' label can easily be applied, alongside the likes of Rooney, Oisín McKenna, Madeleine Gray – writers concerned with how a dismal macroeconomic climate impacts young lives. How does Calder feel about that badge? It 'isn't something I consciously pursue at all', he says. 'It's unavoidable not to critique capitalism in some way if you're trying to address the absurdities of how we live now, but I also don't care about putting my political views in my fiction. The goal is always to just write realistically about how life feels.'

Tom Gauld has taken a bold step by recasting Chaucer’s iconic storytelling as a contemporary unboxing video, a format that dominates social‑media feeds. The cartoon, featured in The Guardian’s “Tom Gauld’s cultural cartoons” series, juxtaposes medieval narrative with the language and visual cues of modern influencer content, inviting readers to reconsider how classic works can be repackaged for a digital audience. Gauld’s Cartoon Brings Chaucer Into the Age of Unboxing Videos The illustration depicts a hand‑held camera framing a medieval manuscript as if it were a new product being unwrapped. Chaucer’s characters appear as if they are being “opened” and examined, complete with exaggerated reactions typical of today’s unboxing influencers. Gauld’s minimalist line work and dry humor preserve the spirit of the original tales while highlighting the absurdity of treating literature as consumer merchandise. Audience Reception and Social Media Buzz Immediate comments on The Guardian’s platform praised the clever mash‑up, noting its relevance to both literary scholars and meme‑savvy readers. Twitter threads shared the image within minutes, generating over a dozen retweets from accounts focused on literature, illustration, and internet culture. While no formal metrics were released, the rapid spread suggests strong engagement across niche literary and visual‑arts communities. Why the Medieval Meets Modern Influencer Culture Matters Gauld’s work underscores a growing trend: classic texts are being reinterpreted through the lens of contemporary media formats. By framing Chaucer as an “unboxing” subject, the cartoon highlights how the consumption of culture has shifted from passive reading to active, visual, and shareable experiences. This reflects broader changes in how audiences discover and discuss literature, often via short‑form video platforms. Future Directions for Literary Satire in the Digital Era As creators like Gauld experiment with hybrid formats, we can expect more cross‑generational collaborations that blend historic content with viral aesthetics. Potential outcomes include: Increased interest in medieval literature among younger demographics. New opportunities for publishers to market classic works through meme‑friendly visuals. Expansion of “cultural cartoons” as a niche genre that bridges academic insight and internet humor. Gauld’s cartoon may be a single illustration, but it signals a larger shift toward re‑imagining the literary canon for the digital age.

The Lead: A Tale of Repression and Hidden DesiresThere's a common greeting in the Outer Hebrides: the lineage-establishing "Who do you belong to?" By the time this question is posed to 22-year-old gay Harris islander John-Calum Macleod, or Cal, in Douglas Stuart's new novel, there is a sense that Cal is his father John's beyond the ordinary claims of blood – the latter's sway containing undercurrents of domineering ownership.The Novel's Core Themes: Repression and Self-Denial in a Conservative CommunityThe book opens with the two conducting a strange ritual over the phone, performed regularly ever since Cal moved to Edinburgh to study textiles: John, a precentor, reads to Cal in Gaelic from the New Testament and has him sing back "with the full power of his belief". The verse John recites – which prefigures the novel's themes of repression and self-denial – urges the faithful to guide the errant and to stay vigilant against temptation. After receiving Cal's assent, John orders him to return home, ostensibly because Cal's maternal grandmother, Ella, is sick. Though John lives with Ella in her croft house, she is his ex-wife's mother and thus not his responsibility.Set within a tight-knit Free Presbyterian community of farmers, weavers and fishers in what appears to be the 1990s, John of John tells the story of Cal's uneasy homecoming. It's a reprise of the parable of the prodigal son and an ardent exploration of the half-lives of queer men condemned to love, pine and suffer in silence. Intimate yet epic in scale, it contains equal parts pastoral drama, tale of familial fracture, love story and inquiry into various forms of loneliness: the loneliness that can reside between fathers and sons, between lovers, between man and God, and between a small place and the big world.Character Analysis: Complex Relationships and Hidden TruthsJohn disapproves of Cal's appearance, his sartorial choices and his long, "flame-coloured" hair, disturbed "by the confused signal they were sending, the strange tension between the masculine and the feminine". Cal's disinclination to be "saved" creates a rift between them that later erupts in violence. Meanwhile, childhood friend and hookup partner Doll gives Cal the brush-off, cross that he's been away for so long. Wearied by his ultraconservative environment, where connection feels out of reach, Cal takes a fancy to his dad's sole friend, confirmed bachelor Innes MacInnes. Cal is struck by Innes's "gentleness, his benevolence – which Cal had never appreciated before, which, if he were honest, he would have said he found boring, unsexy in younger men".This, however, can never be the merry May-December romance Cal wishes it to be. Innes and John are lovers, we learn fairly early on, and it is this pair's tortured relationship since their teenage years – kept secret from everyone, including Cal – that forms the novel's centre of gravity. Masters of discretion, John and Innes are, to townsfolk, neighbouring sheep farmers. The first time we see them alone together, at Innes's, they go through the motions of a long-established routine, allowing themselves to draw close only after John has made sure each room is empty and they are really alone. Later, as John prepares to leave, Innes loudly seeks his assistance over an unspecified "two-man job", "all in case someone should find out and ask what exactly John Macleod was doing upstairs in the MacInnes house at such an ungodly hour".Literary Context: Stuart's Evolution as a StorytellerThe novel tries their bond in ways small and big. Aside from the difficulty of Cal, there is the matter of John's other liaison with a married man, and the tenancy of Ella's house soon to be transferred to Cal's mother. Innes floats the idea of John moving in with him but intuits "how, even under the threat of homelessness, a life together with him seemed no consolation at all". John is a man tormented by the idea of his own depravity: "He loved God. He loved Innes. He loved God and God hated how he loved Innes." At one point he entertains the possibility of Innes, Cal and himself being a family, but even in fantasy, the thought of Cal being gay, like him, remains unimaginable: "They would live like this every day, be useful, peaceful, happy on their land, looking forward to the day Cal married a local girl and filled their croft with grandchildren."The novel is outstandingly canny and wrenching on self-contempt, on the toilsome art of deceit, and on the contradictions we all contain, as well as the friction that can exist between the personal and the collective. As secular values gain ground, there is the suggestion that John and Innes living together could deal a death blow to their local congregation, leaving us wondering whether John and Cal will – or can – come out to one another. Amid all this, Stuart finds the space to touch on crofter subservience to absentee landowners, the scorn and prejudice of mainlanders, and the place of the Western Isles within the English imagination.Critical Reception: A Complex but Ultimately Rewarding ReadJohn of John is certainly enthralling, but the ambient Weltschmerz and the characters' frequent self-pity can be draining. Stuart's first two novels, the Booker-winning Shuggie Bain and its follow-up, Young Mungo, were feats of heartfelt, operatic storytelling, composed as though in defiant response to our age of irony and subtlety. Despite their occasionally miserabilist tenor, the emotions felt guileless and real, whether Shuggie's love for his doomed, alcoholic mother, Agnes; Jodie's for her brother Mungo; Mungo's for his birdkeeping neighbour James or his own doomed, alcoholic mother, Maureen. The impoverished Glaswegian milieus where they were set – marked by Thatcherite ruination, homophobia, sexual predation and sectarian strife – made for sobering reading; but these were novels so lavishly and graciously imagined, so very moving, that you gladly faced up to their gloom.Here Stuart leans heavily on melodrama and sensationalism as a shortcut to tragedy. Towards the end, the novel is eventful to a fault and surfeited with pathos: we have a pregnancy; an attempted shotgun wedding ("What in the world of Thomas Hardy?" says Cal); a death and a momentous departure from the island. While this book will not appeal to those with a low tolerance for excess, diehard romantics will find much to love; I see Cal, John and Innes – knottily entangled and imperfectly endearing – being cherished with readerly devotion. And that is no small feat.

Blooming May 1906: A Snapshot of Rural Flora By mid‑May 1906, the English countryside was awash with a spectacular display of wild plants, as recorded in a Guardian “Country diary”. The entry captures the sheer abundance and variety of flowering species that transformed fields, hedgerows and ponds. Floral Census: Species and Scenes Described Grasses – in flower, providing both “bite” for cattle and visual colour. Red sorrel heads emerging above green foliage. Stitchworts, starworts and chickweed forming white sheets across banks. Water crowfoot dominating ponds, masking duck‑weed. Golden butter‑cups, dandelions, hyacinths, primroses – creating a patchwork of yellow, blue and white. Climbing corydalis and alpine pennycress – noted as unusual finds in Colwyn. Quantitative Glimpse: What the Diary Omits The original text provides no hard numbers, but the sheer list of species suggests a biodiversity hotspot. Modern phenological studies estimate that a typical May field in southern England supports 30‑40 flowering species; the diary’s description aligns with the upper end of that range. Why This Historical Snapshot Matters Understanding past plant phenology helps researchers track long‑term climate trends. The 1906 bloom, described as “overflowing with health”, offers a baseline against which contemporary shifts—such as earlier flowering due to warming temperatures—can be measured. Looking Forward: Lessons for Today’s Ecosystems If similar conditions return, we can expect comparable floral displays, provided habitats remain intact. Conservation of hedgerows and wetland ponds, highlighted in the diary, remains crucial for preserving the diversity that once painted the countryside in vivid colour.

The Bafta Win That Reignited BBC ControversyThe makers of the documentary Gaza: Doctors Under Attack, which was dropped by the BBC, have won the Bafta TV Awards in the current affairs category. The filmmakers used their acceptance speech to directly criticize the broadcaster, renewing controversy over the BBC's decision to shelve the project before it was later aired by Channel 4.Documentary Details and Filmmakers' CriticismThe documentary, which features firsthand accounts from Palestinian health workers in Gaza, was honored at London's Royal Festival Hall nearly a year after the BBC declined to broadcast it, citing concerns over partiality.Accepting the award, executive producer Ben de Pear thanked the journalists behind the film before directly addressing the BBC, which aired the Bafta ceremony on BBC One with a delay of more than two hours: "Finally, just a question for the BBC: Given you dropped our film, will you drop us from the Bafta screening later tonight?"Journalist and presenter Ramita Navai also criticised the broadcaster during her speech, citing findings from the documentary's investigation into attacks on Gaza's healthcare system."These are the findings of our investigation that the BBC paid for but refused to show," Navai said. "But we refuse to be silenced and censored. We thank Channel 4 for showing this film."Navai said more than 1,700 Palestinian doctors and healthcare workers have been killed and more than 400 have been detained during Israel's genocidal war on Palestinians in Gaza. She dedicated the award to Palestinian medical workers being held in Israeli prisons.BBC's Response and Editing of RemarksAccording to British media reports, the BBC edited portions of Navai's remarks from its televised broadcast after consultations with its compliance team.Background on the Documentary's ProductionThe BBC originally commissioned the documentary from the independent production company Basement Films more than a year ago but delayed its release while conducting a review into another Gaza-related documentary, Gaza: How To Survive a War Zone.The broadcaster later decided not to air Gaza: Doctors Under Attack, saying the film risked creating "a perception of partiality that would not meet the high standards that the public rightly expect of the BBC".The corporation also said impartiality remained "a core principle of BBC News".The film was subsequently acquired and broadcast by Channel 4 in July.Speaking backstage after the Bafta win, de Pear praised Gazan journalists Jaber Badwan and Osana Al Ashi, who contributed footage to the documentary, saying the team "woke up every day wondering if the two journalists on the ground were still alive".Implications for Media Coverage of ConflictsThe incident highlights ongoing tensions between media organizations and filmmakers covering the Israeli-Palestinian conflict, particularly regarding perceptions of impartiality. The Bafta win and public criticism may prompt greater scrutiny of how broadcasters balance journalistic standards with the responsibility to report on sensitive geopolitical issues.Future Outlook for Documentary FilmmakingThis case may encourage more independent filmmakers to seek alternative platforms when mainstream broadcasters decline to air their work. The recognition from Bafta could also embolden journalists to challenge editorial decisions more publicly, potentially leading to greater transparency in how news organizations handle controversial content.

The Lead: A Curated Mix of Music History and Contemporary IssuesThe Guardian’s latest "best podcasts of the week" roundup blends nostalgic music storytelling with hard‑hitting current‑affairs series, offering listeners a weekly dose of cultural insight and global perspective.London Records’ 80s Pop Story Takes Center StageHosted by music writer Siân Pattenden, the five‑part series Hit That Perfect Beat: The London Records Story revisits the label’s chart‑dominating era, featuring interviews with artists like Blancmange, Bananarama, Bronski Beat, All Saints and Shakespears Sister. The oral history highlights queer representation, early Girl Power, and the goth‑pop crossover that defined the decade.Urgent Global Narratives in Podcast FormJournalist Ben Bradford launches Are We Do Doom, a hopeful yet sobering series that examines existential threats from nuclear war to climate change, beginning with an episode on the reality of mutually assured destruction.New Voices and Fresh Angles in True‑Crime and ComedyActor Daniel Mays narrates Gangster Presents: The Story of Ronnie Biggs, blending archive audio with fresh commentary on class politics. Meanwhile, comedian Suzi Ruffell revives her interview show in Attitude Presents: Out With Suzi Ruffell, featuring conversations on trans rights with Drag Race star Tia Kofi.American Current‑Affairs Podcast Expands the Guardian’s ReachThe New York bureau debuts Stateside With Kai and Carter, hosted by journalists Kai Wright and Carter Sherman. With three episodes per week, the series tackles war, authoritarianism and climate crises, positioning the Guardian as a daily voice on US politics.Data Analysis: Release Cadence and Audience AccessibilityAll highlighted podcasts are widely available on major platforms.Episodes for most series drop weekly, while the US‑focused show releases three times a week, increasing touchpoints for listeners.The multi‑genre lineup caters to both nostalgia‑driven audiences and those seeking timely analysis, broadening the Guardian’s podcast demographic.Impact Analysis: Podcasting as a Vehicle for Cultural Preservation and DebateBy revisiting 80s pop through London Records, the series reinforces the era’s influence on contemporary music trends.Series like Are We Do Doom and Stateside With Kai and Carter demonstrate podcasting’s capacity to translate complex global issues into accessible narratives.The blend of music, true‑crime, comedy and politics showcases the Guardian’s strategy to capture diverse listener interests, strengthening brand loyalty.Prediction: A Growing Emphasis on Multi‑Genre Podcast PortfoliosAs audiences gravitate toward on‑demand audio, media outlets will likely expand their podcast offerings across niche histories and urgent news, using frequent release schedules to maintain engagement. The Guardian’s current mix suggests future expansions into more deep‑dive cultural documentaries and real‑time news analysis, positioning podcasts as a core pillar of its digital strategy.

The Rise of Ollie Peake Up-and-coming 19-year-old batter Ollie Peake and all-rounder Liam Scott have been given their first call-ups to Australia’s white-ball squads, but veteran T20 all-rounder Glenn Maxwell was left out. Australia's Tour Schedule Australia will play three one-day internationals against Pakistan in Rawalpindi and Lahore from 30 May before travelling to Bangladesh in June for three ODIs in Dhaka and three T20s in Chattogram. The Impact of Key Player Absences ODI captain Pat Cummins and fellow fast bowlers Josh Hazlewood and Mitchell Starc will miss the tours to rest after playing in the IPL. Twenty20 skipper Mitchell Marsh will captain the ODI team in Cummins’s absence. New Faces in the Squad Peake, who has captained Australia Under-19s, will be blooded at senior level for the first time on the Pakistan leg of the tour. The 25-year-old Scott was named in the ODI squads. Left-arm spinning all-rounder Joel Davies, 22, was named in the T20 squad for the first time. Squad Listings Australia squad for Pakistan ODIs: Mitchell Marsh (captain), Alex Carey, Nathan Ellis, Cameron Green, Josh Inglis, Matthew Kuhnemann, Marnus Labuschagne, Riley Meredith, Oliver Peake, Matthew Renshaw, Tanveer Sangha, Liam Scott, Matt Short, Billy Stanlake, Adam Zampa Australia squad for Bangladesh ODIs: Mitchell Marsh (captain), Xavier Bartlett, Alex Carey, Cooper Connolly, Ben Dwarshuis, Nathan Ellis, Cameron Green, Travis Head, Josh Inglis, Matthew Kuhnemann, Marnus Labuschagne, Matthew Renshaw, Tanveer Sangha, Liam Scott, Adam Zampa Australia squad for Bangladesh T20s: Mitchell Marsh (captain), Xavier Bartlett, Cooper Connolly, Tim David, Joel Davies, Nathan Ellis, Cameron Green, Aaron Hardie, Travis Head, Josh Inglis, Spencer Johnson, Matthew Kuhnemann, Riley Meredith, Josh Philippe, Matthew Renshaw, Adam Zampa The Future of Australian Cricket “It’s always exciting to see new players get an opportunity to play international cricket and be a part of the national team,” national selection chair George Bailey said. “The blend of experienced players coupled with new or returning players will provide a nice mix for these subcontinent tours.”

The Horror Crash That Ended Jay Vine's Giro d'ItaliaAustralian cycling star Jay Vine has suffered a broken elbow and concussion in a horror crash during the Giro d'Italia, forcing him to abandon the race. The UAE Team Emirates rider, who has endured 23 spills in his five-year career, was fortunate to avoid more serious injuries according to his team and wife.Details of the High-Speed CrashThe 30-year-old Vine was involved in a third serious crash in just 13 days of racing when he was brought down by teammate Marc Soler's slipping front wheel with 22km remaining in Saturday's stage. The high-speed crash occurred on a soaking right-hand turn, causing multiple riders to career into a roadside barrier."Unfortunately, we were badly affected by the crash on stage two yesterday," Dr Adrian Rotunno, UAE Team Emirates' medical director, said. "Jay Vine suffered a concussion and an elbow fracture. Marc Soler has a pelvic fracture. At this stage, neither should require surgery."Team leader Adam Yates also abandoned the race after suffering heavy abrasions and a laceration to his left ear, with delayed concussive symptoms appearing after initial clearance.Team Devastated but RelievedUAE Team Emirates, considered the peloton's most powerful outfit, was left decimated by the crash with three of their key members forced to abandon the race. The team expressed relief that the injuries, while serious, were not more life-threatening."Yesterday was honestly really scary," Bre Vine, Jay's wife, wrote on Instagram. "But the main thing is Jay is OK. Considering how bad that crash was, he's been relatively lucky to come away without anything more serious.""Unfortunately in this sport you can do everything right, be in the right position, and still end up on the ground," she added, highlighting the unpredictable dangers of professional cycling.Implications for the Giro d'ItaliaThe crash has significantly weakened one of the pre-race favorites for the overall classification. With Vine, Soler, and Yates all out of contention, UAE Team Emirates faces an uphill battle in the remaining stages of the race.The Giro arrives at its Italian home on Tuesday, following Monday's rest day, with stage four's 138-km ride from Catanzaro to Cosenza. The absence of three key riders from one of the strongest teams will undoubtedly affect the dynamics of the race.Recovery Road Ahead for VineDespite the severity of his injuries, Vine faces a positive recovery prognosis as he will not require surgery. The Australian will now focus on rehabilitation as he travels home to continue his recovery under medical supervision.This latest crash adds another chapter to Vine's accident-filled career, which has seen him endure 23 spills in his five years as a professional cyclist. His resilience will be tested as he works to return to competitive form following this latest setback.

The LeadThe Bafta TV awards 2026 have announced their full list of winners, showcasing the best in British television. Drama Series Winners Code of Silence (ITV1) - WINNER A Thousand Blows (Disney+) Blue Lights (BBC One) This City Is Ours (BBC One) Limited Drama Winners Adolescence (Netflix) - WINNER I Fought the Law (ITV1) Trespasses (Channel 4) What It Feels Like for a Girl (BBC Three) International Winners The Bear (Disney+) The Diplomat (Netflix) Pluribus (Apple TV) Severance (Apple TV) The Studio (Apple TV) - WINNER The White Lotus (Sky Atlantic) Leading Actress Winners Aimee Lou Wood, Film Club (BBC Three) Erin Doherty, A Thousand Blows (Disney+) Jodie Whittaker, Toxic Town (Netflix) Narges Rashidi, Prisoner 951 (BBC One) - WINNER Sheridan Smith, I Fought the Law (ITV1) Siân Brooke, Blue Lights (BBC One) Leading Actor Winners Colin Firth, Lockerbie: A Search for Truth (Sky Atlantic) Ellis Howard, What It Feels Like for a Girl (BBC Three) James Nelson-Joyce, This City Is Ours (BBC One) Matt Smith, The Death of Bunny Munro (Sky Atlantic) Stephen Graham, Adolescence (Netflix) - WINNER Taron Egerton, Smoke (Apple TV) Actor in a Comedy Winners Jim Howick, Here We Go (BBC One) Jon Pointing, Big Boys (Channel 4) Lenny Rush, Am I Being Unreasonable? (BBC One) Mawaan Rizwan, Juice (BBC Three) Oliver Savell, Changing Ends (ITV1) Steve Coogan, How Are You? It's Alan (Partridge) (BBC One) - WINNER Actress in a Comedy Winners Diane Morgan, Mandy (BBC Two) Jennifer Saunders, Amandaland (BBC One) Katherine Parkinson, Here We Go (BBC One) - WINNER Lucy Punch, Amandaland (BBC One) Rosie Jones, Pushers (Channel 4) Supporting Actor Winners Ashley Walters, Adolescence (Netflix) Fehinti Balogun, Down Cemetery Road (Apple TV) Joshua McGuire, The Gold (BBC One) Owen Cooper, Adolescence (Netflix) - WINNER Paddy Considine, MobLand (Paramount+) Rafael Mathé, The Death of Bunny Munro (Sky Atlantic) Supporting Actress Winners Aimee Lou Wood, The White Lotus (Sky Atlantic) Christine Tremarco, Adolescence (Netflix) - WINNER Chyna McQueen, Get Millie Black (Channel 4) Emilia Jones, Task (Sky Atlantic) Erin Doherty, Adolescence (Netflix) Rose Ayling-Ellis, Reunion (BBC One)