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The Hollywood Pop Star Paradox For anyone with even the slightest interest in Hollywood, it is not entirely surprising that Anne Hathaway recently appeared on Popcast, the New York Times critics' podcast that has become a premier destination for music promotion. After all, the actor – whose last appearance in a musical bagged her an Academy Award – is a major part of one of the best recent movies to show pop stardom on screen. The Challenge of Creating Fictional Pop Icons The Idea of You successfully conveyed the idea that Hayes Campbell (Nicholas Galitzine) was the breakout star of a crushable 2010s boyband with a feral fanbase called August Moon. And by "successfully conveyed", I mean the film remixed a string of One Direction-esque iconography – the jaunty rock-lite choruses, fizzy cheerfulness and class clown antics – into actual music videos and convincingly banal bops. The bar is low; many, many films have created bespoke pop stars and/or music for alternate cultural histories, but vanishingly few transcend pastiche. When High Ambition Meets Disappointment I found myself missing the catchy yet entirely forgettable output of August Moon while watching the much more highbrow-aiming Mother Mary, which similarly tries very hard to conjure the magic of a generational pop icon by remixing the recognizable. Diva signatures abound – Mother Mary struts like Taylor Swift, stuns in goddess repose a la Beyoncé and bears the ornate hand tattoos of Ariana Grande. She shares with Lady Gaga an imperial remove, haute styling and maternal forbearance (as well as some biography – Lowery seems more than a little inspired by Gaga's mid-career falling out with Laurieann Gibson, the creative director behind her first two albums.) The Elusive Quality of Authentic Stardom It's certainly not for lack of trying, nor caring. By all accounts, the pop elements of Mother Mary, meant to color a character whose relationship to fandom serves as an overarching metaphor, were made with great reverence for an artform often easily dismissed as, well, easy. On the Popcast, Hathaway waxes poetic about studying pop music like an academic, and Mother Mary certainly appears erudite – speaking nonsense, sure, but well-versed in the precise choreography, deific grace and outsized persona of an archetypical pop star. But the effect is not, as FKA twigs put it in the same interview, "total feeling" despite imperfect approximation. The Real Thing vs. Fictional Creation It helps to bank on the real thing. Though Bradley Cooper's A Star Is Born was ultimately about a fading male rock star, it is Lady Gaga's meta-transformation, from high camp into stripped-down singer-songwriter with glinting ambition, that powered the anthemic Shallow into a crossover hit. The imagination of an alternate, artistically compromised Brat Summer in Charli xcx's satirical mockumentary The Moment was ultimately listless, but the film at least had some of her volatile star power to burn. That prospect of verisimilitude to the real, established thing propels our evergreen fascination with the much more successful genre of musical biopics, from Michael to Rocketman, Bohemian Rhapsody to Springsteen: Deliver Me from Nowhere. When Pop Stardom Works as Backdrop A handful of recent movies have fared better when using pop stardom as a backdrop to the action, rather than thematic engine. The horror films Trap and Smile 2, released in 2024, both staked arena shows for youth-skewing female stars as the focal point for genre conventions, built out with music videos, Drew Barrymore crossover appearances celeb cameos and original music befitting a mid-tier musician. The recessive output of Skye Riley (Naomi Scott) or Lady Raven (Saleka Shyamalan, daughter of director M Night) works, in that it appears as generic to some (say, Josh Hartnett's girl dad / serial killer) as it is indispensable to young fans. The Most Compelling Pop Star Portrayals Each of these carve some vague path through the vast morass of modern celebrity; far fewer have the nerve to actually commit to a corner. Alex Russell's criminally underseen Lurker, released last year, strategically deploys atmospheric, entrancing music, with just enough snippets of video, to pad a portrait of toxic adjacency, in which an obsessive fan wheedles his way into a singer's entourage that got too comfortable laundering trust and envy. But it's Vox Lux, Brady Corbet's 2018 precursor to The Brutalist, that remains the most divisive and compelling pop star movie in recent memory for its pitch-black view of pop music as fundamentally empty, stardom a Faustian bargain. The Future of Pop Stardom on Screen Vox Lux, at least, expressed some irreducible confidence nowhere to be found in Mother Mary's diva-off. For all its posturing, and for Hathaway and Michaela Coel's sincere commitment to chewing scenery, the film is surprisingly weightless – untethered from the real humiliations, the grueling labor, the compromised artistry that makes pop stardom such a potent subject in the first place. Hollywood may continue to try its hand at creating pop stars, but until it understands that the magic cannot simply be manufactured, these portrayals will remain echoes rather than icons.

Parker-less Burnley Remain a Test for Leeds Leeds United faces a significant challenge this weekend as they host Burnley, who are now managerless after Scott Parker's departure. A win for Leeds would put them at 43 points and make relegation highly unlikely. Bowen Primed to Bother Brentford West Ham United's Jarrod Bowen has been in excellent form, providing two assists in their recent win over Everton. Brentford will need to be cautious of Bowen's threat, particularly from set pieces. Howe Faces Striker Conundrum Newcastle United's manager, Eddie Howe, faces a tough decision on which striker to play against Brighton. Will he choose Will Osula, Nick Woltemade, or Yoane Wissa? Sunderland Players Feel the Heat Sunderland's recent 5-0 defeat to Nottingham Forest was a disappointing performance. They will look to bounce back against Wolves and keep their European qualification hopes alive. Pedigree of Jesus Can Boost Arsenal Arsenal's Gabriel Jesus has been limited to just two league starts since returning from injury. However, his experience and pedigree could prove valuable in their upcoming match against Fulham. Rayan on the Rise – But Needs Protection Bournemouth's young Brazilian player, Rayan, has adapted quickly to English football. However, his minutes need to be carefully managed to avoid burnout. First the Points, Then the Pride? Manchester United and Liverpool face off in a crucial match, with both teams looking to secure Champions League football. The match may not have the same level of intensity as previous years, but it's still a significant encounter. Leeds v Burnley, Friday 8pm Brentford v West Ham, Saturday 3pm Newcastle v Brighton, Saturday 3pm Wolves v Sunderland, Saturday 3pm Arsenal v Fulham, Saturday 5:30pm Bournemouth v Crystal Palace, Sunday 2pm Manchester United v Liverpool, Sunday 3:30pm

The Aftermath of Tragedy: A Powerful Theatrical EncounterFran Kranz's 2021 film Mass, featuring two sets of parents whose sons have died in a high-school massacre, was originally written as a play. Restored as such, in Carrie Cracknell's production, it takes place in the backroom of a church where their across-the-table encounter encapsulates a pained instance of restorative justice.Character Portrayals: Navigating Complex EmotionsGail (Lyndsey Marshal) and Jay (Adeel Akhtar) are the parents of Evan, one of 10 children murdered by the teenage shooter, Hayden, the son of Richard (Paul Hilton) and Linda (Monica Dolan), who then killed himself. Evan's parents want to understand why Hayden committed such violence but there is also an unspoken sense of blame buzzing around them. Hayden's parents address this first: we blame ourselves, they say, again and again, yet in one dangerous moment, they posit the notion of separating who their son was, and what he did.Stage Design and Emotional ImpactThe stark, unflinching treatment of this subject matter is well realised on Anna Yates's set, where two office-style storeys stretch across the stage, and it does not sugarcoat the emotionally messy nature of the process. Both sides are explored. One terrible instance of maternal anguish comes from Linda when she speaks about a threatening memory of her son and for this charged moment, the play enters the emotional territory of Lionel Shriver's We Need To Talk About Kevin.Performances: A Masterclass in Emotional DepthIt is hard to beat the force and sensitive performances of Kranz's film but Hilton is masterfully brittle, his entire being sunken with apology, while Dolan is whey-faced and shaky. The always brilliant Akhtar is angrier and edgier than his film counterpart and Marshal brings a moving softness.Theatrical vs. Cinematic ExperienceLike the film, it takes time to build in intensity, with the awkward arrangements of the opening and the small talk. There is not the same reflective space of the film, which pulls away from the claustobia and pain in the room at key moments. Here, there is no looking away.Forgiveness and Polarization: Dual ThemesThe play works on two levels: as a drama of forgiveness and of polarisation. What would happen if any of us sat down with those at the furthest ideological extreme from our own, however unpalatable their views? Listening is the pathway towards empathy for these characters, even if there is desire for vengeance or vindication along the way. By the end, they are all parents who have lost sons, grieving over this tragedy in different ways.Where to Experience This Powerful ProductionAt Donmar Warehouse, London, until 6 June

Al Pacino's Cinematic Journey The Guardian's recent article presents a ranked list of Al Pacino's films, offering a detailed analysis of his acting career. The list includes 20 films, starting from 'Manglehorn' (2014) and ending with 'The Panic in Needle Park' (1971). Standout Performances Manglehorn (2014): Pacino plays a former Little League baseball coach turned locksmith, showcasing his ability to portray complex characters. Scarface (1983): Pacino's iconic performance as Tony Montana, a Cuban refugee turned gangster, is highlighted as a testament to his powerful acting. The Godfather Part III (1990): Pacino's portrayal of Michael Corleone is noted for its emotional depth and complexity. Early Career Highlights The Panic in Needle Park (1971): Pacino's first major film role, where he plays a heroin addict, marking the beginning of his extensive career in cinema. Cruising (1980): Pacino's performance as a cop going undercover in New York's leather scene is praised for its boldness and relevance. A Diverse Filmography Al Pacino's filmography, as presented by The Guardian, showcases his versatility as an actor. From drama and crime to comedy and documentary, Pacino has explored various genres throughout his career. His collaborations with renowned directors like Francis Ford Coppola, Oliver Stone, and Christopher Nolan have resulted in some of his most memorable performances. Legacy and Impact Al Pacino's impact on cinema is undeniable. With a career spanning over five decades, he has established himself as one of the most respected and accomplished actors of our time. The Guardian's ranking serves as a testament to his enduring legacy and the wide range of his artistic contributions to film.

The Lead This documentary profiles Paul Di'Anno, the lead singer of heavy metal act Iron Maiden between 1978 and 1981. Despite being a respectful tribute, the film doesn't shy away from showcasing Di'Anno's difficult personality. Di'Anno's Rise and Fall with Iron Maiden Di'Anno's tenure with Iron Maiden was marked by his gravelly voice, which leaned more towards punk than classic metal. However, his obstreperous nature and difficult-to-love personality often overshadowed his talent. The band went on to achieve massive success with Bruce Dickinson on lead vocals, making Di'Anno somewhat of a footnote in Iron Maiden's history. The Documentary's Focus on Di'Anno's Later Years Director Wes Orshoski follows Di'Anno during a dark time in his life, including a dislocated knee and struggles with the NHS. Croatian superfan Stjepan Juras and his friends crowdfund to bring Di'Anno to Zagreb for cheaper treatment, but his bad temper and narcissistic tendencies strain their efforts. A Complex but Sometimes Frustrating Portrait The film's portrayal of Di'Anno is complex, but his ungrateful and self-pitying nature makes him a challenging figure to watch. The documentary could have benefited from a greater focus on other characters, such as Juras or Di'Anno's Croatian backup band. What's Next for Di'Anno and His Legacy The documentary Di'Anno – Iron Maiden's Lost Singer hits UK cinemas on May 1, offering fans a nuanced look at a pivotal figure in Iron Maiden's history. Despite its flaws, the film provides a thought-provoking exploration of talent, personality, and the highs and lows of a rock music career.

Arsenal and Atletico Madrid walked away from Wednesday’s Champions League semi‑final first leg with a 1‑1 stalemate, a match defined by two penalties and a VAR decision that denied the Gunners a late spot‑kick. The draw leaves both clubs needing a decisive performance in the second leg to secure a place in the final.The Contested Penalty Decisions That Shaped the First LegThe game’s drama began in the 44th minute when Viktor Gyokeres was fouled by David Hancko inside the box, awarding Arsenal a penalty. Julian Alvarez’s spot‑kick for Atletico was cancelled out by Gyokeres’ successful conversion, giving Arsenal a 1‑0 lead at halftime.Atletico equalised in the 56th minute after VAR identified a handball by Ben White from a Marcos Llorente shot, leading to Alvarez’s penalty, which he placed into the top left corner beyond David Raya. Late in the second half, a potential Arsenal penalty was reviewed and overturned by VAR, leaving the score unchanged.Key Numbers: Goals, Penalties, and Possession StatsFinal score: 1‑1Penalty conversions: Arsenal – 1 (Gyokeres), Atletico – 1 (Alvarez)Missed/overturned penalties: Arsenal – 1 (VAR‑overturned late spot‑kick)Crucial moments: 44th minute (Arsenal lead), 56th minute (Atletico equaliser)Upcoming final date: 30 May 2026 in BudapestStrategic Implications for Both Clubs Heading into the Return LegFor Arsenal, the inability to convert a late penalty highlights the fine margins that will define the tie; they must tighten defensive discipline to avoid costly handballs. Atletico Madrid demonstrated resilience by capitalising on VAR, but will need to improve possession dominance early on to prevent Arsenal from threatening again.The winner of this semi‑final will face either Paris St Germain or Bayern Munich in the final, meaning both clubs are likely to adopt a more cautious approach to avoid conceding away goals.What to Expect in the Second Leg and BeyondThe second leg, scheduled for next Tuesday in England, will likely see Arsenal pressing for an early goal to leverage home advantage, while Atletico may aim to absorb pressure and strike on the counter‑attack. A decisive moment could again come from the penalty box, making discipline and VAR awareness critical.If either side secures a narrow win, they will join the PSG‑Bayern final showdown in Budapest, setting up a marquee clash for the 2026 Champions League title.

Leasehold Reform Timeline Extended Until Post-Election A ban on new leasehold properties in England and Wales is unlikely to come into force until after the next election, the housing minister has said, as he defended the government's piecemeal attempts to dismantle the system. The long-promised end will take years to "switch on", Matthew Pennycook confirmed, even though the ban on new houses was passed in 2024 and the government intends to pass one on new flats soon. Government's Gradual Approach to Ending Leasehold System Pennycook was giving a speech defending the government's approach to bringing a de facto end to the feudal-era system, a process that he said needed to be rolled out slowly to avoid undermining housing supply and falling into legal pitfalls. "I think it's highly likely that we don't switch on the ban in this parliament," he told reporters afterwards. "It's really complex, and so what we really want to do on all of these fronts is have all the primary legislation that we need to end leasehold in place... but switching on the ban involves some really quite complex trade-offs with housing supply." Referring to the government consultation on the issue, he added: "What we're trying to get through this consultation is, what's the commencement date where we've got everyone lined up in a way that the transition is going to be really smooth? That's our objective." Political Implications of Delayed Leasehold Ban Pennycook has promised to end the leasehold system since he was in opposition, telling the Guardian last year he intended to bring it to an end before the next election. As part of its overall package of reforms, the government is planning to ban the sale of new leasehold homes, cap ground rents, encourage residents to convert their existing leasehold homes and bring in measures to boost shared ownership schemes. Zack Polanski, the Green party leader, has accused the government of u-turning on its election pledge to end leasehold, putting the issue at the heart of his local election campaign. Pennycook told an audience in London however that bringing an immediate end to the system, which is almost unique to this country, was impossible. "Those advocating for such an approach cannot answer how it would be lawful, how the impact on the mortgage market would be managed, how it would even be feasible for the land to delete millions of leasehold and freehold titles and replace them with commonhold ones overnight," he said. "While our detractors will continue to cry betrayal, and opportunistic populist parties will continue to try to sell false promises to hard-pressed leaseholders across the country, we will continue with the hard graft of doing what is necessary to bring the system to an orderly end in this parliament." Industry Response to Leasehold Reform Delays Harry Scoffin, founder of the campaign group Free Leaseholders, said: "With developers resorting to free furniture and two-year service charge holidays to lure people into buying their new leasehold flats, foot-dragging is only going to worsen the housing crisis." The criticism comes as the government faces increasing pressure to deliver on its housing reform promises amid concerns that delays could exacerbate the UK's ongoing housing crisis. Future Outlook for Leasehold Reform in the UK The government's approach to leasehold reform remains a contentious issue in UK housing policy, with advocates calling for more decisive action while officials emphasize the need for careful implementation. As political parties position themselves ahead of the next election, the fate of leasehold properties and the timeline for their abolition will likely remain a key point of debate in housing policy discussions across the country.

Reed’s Public Rebuttal of the Biopic’s NarrativeIn a Variety interview, Dan Reed—the filmmaker behind the 2019 documentary that chronicled accusations by Wade Robson and James Safechuck—condemned the newly released biopic Michael for portraying the accusers as “liars” without explicitly stating it. Reed argued the film reduces Jackson to an “asexual plastic action doll” and sidesteps the well‑documented allegations of predatory behavior, claiming the movie “flips the truth on its head.”Box‑Office Success Amidst ControversyThe film opened to record biopic numbers, grossing $217 million (£161 million) worldwide in its opening weekend across the US and UK. Despite the financial triumph, critics note the earnings contrast sharply with the fact that the accusers have seen “no penny” from the venture, highlighting a profit disparity that fuels Reed’s outrage.Industry and Cultural RepercussionsReed’s critique underscores a broader tension in Hollywood: the balance between commercial storytelling and ethical responsibility when depicting real‑life figures accused of serious crimes. The director’s comments also revive discussions about racial double standards in media coverage, echoing co‑director Antoine Fuqua’s remarks linking the controversy to systemic bias.Potential Fallout for Future BiopicsAnalysts predict that studios may face heightened scrutiny over narrative framing in biographical projects, especially those involving contested legacies. Legal experts suggest that families of accusers could pursue claims if they can demonstrate that the film’s portrayal materially harms their reputations or financial interests.Looking Ahead: What This Means for Jackson’s LegacyAs the debate intensifies, Jackson’s estate stands to profit substantially, while the accusers’ voices risk being further marginalized. The clash between commercial success and moral accountability may shape how future documentaries and biopics address allegations of abuse, potentially prompting more rigorous fact‑checking and stakeholder consultation before release.

Guardian’s Verdict on “Should I Marry a Murderer?”The Guardian’s review lauds the Netflix series for exposing the extraordinary resilience of Caroline Muirhead, a doctor who risked her life to bring her fiancé Sandy McKellar and his twin brother to justice. While celebrating her courage, the piece condemns the police’s failure to protect her.How the Series Unfolds Caroline Muirhead’s Harrowing TaleThe three‑part documentary follows Caroline from a hopeful Tinder romance to a nightmarish reality after Sandy confesses to a 2023 hit‑and‑run that killed cyclist Tony Parsons. She marks the hidden body with a Red Bull can, endures threats, substance abuse, and constant fear while feeding crucial evidence to investigators.Engagement announced, then the hit‑and‑run confession surfaces.Caroline covertly guides police to the peat‑bog burial site.Police promise anonymity but provide no tangible protection.Viewer Reception and Streaming MetricsExact viewership numbers remain undisclosed, but the series quickly trended on social media upon its 2026 release, sparking debates about victim support in true‑crime narratives. The Guardian notes the show’s “viral” discussion threads as evidence of strong audience engagement.Why the Review Signals a Shift in True‑Crime StorytellingThe critique underscores a growing demand for narratives that center victims’ agency rather than glorify perpetrators. By foregrounding Caroline’s perspective, the series challenges the genre’s traditional male‑centric focus and calls out institutional negligence, especially from Scotland’s homicide division.What Lies Ahead for True‑Crime DocumentariesAccording to the review, future true‑crime productions will likely prioritize ethical storytelling—ensuring victim safety, transparent police cooperation, and nuanced portrayals of trauma. The success of “Should I Marry a Murderer?” may encourage platforms to green‑light more cases where ordinary women confront systemic misogyny.