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The second season of Beef has arrived on Netflix, but it seems to have lost the magic that made the first season so compelling. Critic Lucy Mangan argues that the show has become an unlovable White Lotus rip-off, with a similar premise but lacking the depth and nuance that made The White Lotus so impactful. The new season stars Carey Mulligan and Oscar Isaac as a married couple who oversee the running of a luxury country club. Their characters, Josh and Lindsay, are frustrated with where life has led them – close to wealth but far from achieving it. They are joined by their employees, Austin and Ashley, who become entangled in their problems. As the season progresses, the plot becomes increasingly convoluted with too many characters and complications introduced. The tension, which was so expertly ratcheted up in the first season, becomes diluted. Much is gestured towards but nothing is satisfactorily interrogated, including themes of racial tension, ageing, and the precarity of jobs. The characters themselves are also criticized for being hard to care about. Lindsay is described as a 'cold, hard spoilt brat', while Josh is weak and unconvincing. Austin is a cipher, and even Ashley, who is better served, has actions that feel forced. Overall, Beef season two feels like an entertaining but shallow potboiler rather than the dark march towards truth that the original was. It seems that the show has failed to live up to the standard set by its predecessor and The White Lotus.

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.

Massive Attack has returned with their first single in a decade, 'Boots on the Ground', featuring the iconic voice of Tom Waits. The song is a seven-minute track that showcases the band's signature dark and experimental sound.The song's release marks a significant event in the music world, especially given Massive Attack's influential history in shaping the trip-hop genre with their debut album Blue Lines in the 90s. The band's music has since evolved to incorporate more abstract and disquieting elements, as evident in 'Boots on the Ground'.The track features a haunting intro and coda with Tom Waits's labored breathing, creating an unsettling atmosphere. Waits's vocals are unmistakable, and his presence elevates the song to a new level of intensity. The lyrics are surreal and disturbing, tackling themes of violence and authority.The song's accompanying video features the work of a documentary photographer, showcasing powerful images of Black Lives Matter protests, ICE raids, and homeless veterans. This visual component adds to the song's impact, making it a thought-provoking and timely release.'Boots on the Ground' is a fitting addition to Massive Attack's discography, reflecting the band's continued ability to push boundaries and create music that resonates with the current times. The song's dark and ominous tone, combined with Tom Waits's haunting vocals, makes it a standout track in the band's oeuvre.

German director Christian Petzold, known for his elegant and disquieting films, presents 'Miroirs No 3', a psychological mystery that delves into the complexities of grief and family dysfunction. The film, starring Paula Beer as Laura, a talented pianist struggling with depression, navigates the aftermath of a sudden violent trauma.The story takes a fascinating turn when Laura, who survives a catastrophic car crash, meets Betty, an intense and enigmatic woman, played by Barbara Auer. Betty's character is shrouded in mystery, and her relationship with Laura becomes increasingly complex. As Laura becomes entangled in Betty's family dynamics, the film masterfully crafts an atmosphere of tension and unease.Petzold's direction weaves a narrative that eschews macabre twists and instead, steers towards a redemptive conclusion. The film's use of Maurice Ravel's Miroirs, particularly the third movement 'A Boat on the Ocean', adds a dreamlike quality to the proceedings. This subtle touch showcases Petzold's skill in creating an elegantly contrived study of an unhappy family group.The performances, particularly from Beer and Auer, bring depth to the film's exploration of emotional trauma and the complexities of human relationships. As the story unfolds, the audience is left questioning the characters' motivations and the true nature of their interactions. 'Miroirs No 3' is a thought-provoking and hauntingly beautiful film that solidifies Petzold's reputation as a master of modern European cinema.

Tehran has issued an uncompromising demand for $270 billion in reparations for the devastation wrought by United States and Israeli strikes since the war began on 28 February. The figure, disclosed by government spokeswoman Fatemeh Mohajerani in an interview with Russia’s RIA Novosti, aggregates both direct and indirect losses across a wide range of sectors. Iran’s UN envoy asserted that five regional states must contribute to the compensation, alleging that their territories served as launchpads for attacks on Iranian soil. In parallel, Tehran floated a Strait of Hormuz protocol that would levy a tax on vessels transiting the strategic waterway, earmarking the proceeds for reconstruction. The war has battered Iran’s critical infrastructure: oil and gas complexes, petrochemical plants, steel and aluminium factories, as well as military installations have been repeatedly struck. Damage extends to bridges, ports, railways, universities, research centres, power stations and desalination plants, while countless hospitals, schools and civilian homes have been either damaged or razed. In the aviation sector, Maghsoud Asadi Samani, secretary of the Association of Iranian Airlines, reported that 60 civilian aircraft have been rendered inoperable, with 20 completely destroyed. Iran now operates roughly 160 passenger planes, many of which are decades old and suffer from parts shortages due to stringent US sanctions. The airline industry estimates losses exceeding 300 trillion rials (≈ $190 million) over just 40 days of conflict, compounded by the loss of anticipated revenue from the Nowruz holiday period. Despite the extensive damage, Iranian officials have signalled no willingness to make major concessions in forthcoming negotiations with Washington, including on nuclear enrichment. Hard‑line parliament spokesman Ebrahim Rezaei warned that extending the recent two‑week ceasefire would merely allow the US and Israel to replenish their arsenals, urging the United States to either recognise Iran’s rights—particularly over the Strait of Hormuz—or return to hostilities. Financially, Iran allocated close to $8 billion to its military in 2024, according to SIPRI, and has pledged to triple that budget following previous missile exchanges with Israel. Yet the economy remains strained by years of sanctions, mismanagement and corruption. Compounding the economic strain, the government‑imposed near‑total internet shutdown—affecting over 90 million users—has been estimated to cost the nation up to $80 million per day. Afshin Kolahi of the Iran Chamber of Commerce warned that the blackout equates to losing the output of four B1‑class bridges and two medium‑capacity power plants each day. While a limited “Internet Pro” service is being offered to select users, the majority of the population remains confined to a state‑controlled intranet, prompting widespread calls for internet freedom. These intertwined military, economic and digital pressures underscore the high stakes of the anticipated US‑Iran talks, with Tehran demanding acknowledgment of its losses and a pathway to rebuild a war‑torn nation.

The Blue Trail, directed by Gabriel Mascaro, is a captivating and thought-provoking film that defies easy categorization. Set in the remote north-west of Brazil, the movie follows Tereza, a 77-year-old widow played by Denise Weinberg, as she navigates a dystopian future where older citizens are forced into 'colonies'. This chilling premise serves as the backdrop for a film that explores themes of rebellion, freedom, and the patronization of older people.The film's narrative is characterized by its meandering pace, reminiscent of a road movie or river movie, as Tereza encounters a series of characters who aid her in her escape. These encounters are woven together with fascinating visual compositions, showcasing the Amazonian landscape in a way that is both breathtaking and haunting.One of the most striking aspects of The Blue Trail is its exploration of gerontocide and the dehumanizing treatment of older citizens. The 'wrinkle wagon', a special prison vehicle for errant oldsters, and the humiliating, compulsory adult diapers issued to those being transported to 'colonies' are potent symbols of this theme.Tereza's journey is marked by moments of defiance and resilience, as she forms connections with a riverboat captain, Cadu (played by Rodrigo Santoro), and a woman named Roberta (played by Miriam Socarras), who becomes her friend and potential love interest.The film's use of symbolism adds depth to its narrative, particularly in the form of the 'blue drool snail', whose ecstatic visions offer a glimpse into a world beyond the dystopian reality. This blend of tones, from the bittersweet to the subversive and disquieting, makes The Blue Trail a generic mashup that is both captivating and thought-provoking.The Blue Trail is set to release in UK and Irish cinemas on April 17, making it a must-watch for fans of dystopian fiction and those interested in exploring the complexities of ageism and rebellion.

Kanye West has delayed his scheduled concert at Marseille’s Velodrome following reports that France’s interior minister is actively seeking to prevent the event due to the rapper’s recent antisemitic statements. The artist, who now goes by Ye, posted on X that after careful deliberation he has decided to postpone the Marseille show until further notice, citing the need to reassess the situation. A source close to Interior Minister Laurent Nuñez told AFP that the minister is "highly determined" to stop the 11 June performance and is exploring "all possibilities" to enforce a ban, including discussions with the regional prefect and the city’s mayor. Marseille’s left‑wing mayor Benoît Payan has publicly opposed the concert, stating that the city will not serve as a platform for "hatred and unabashed Nazism". He wrote on X, "Kanye West is not welcome at the Vélodrome, our temple of living together and belonging to all Marseillais." The controversy follows a series of provocations by the 48‑year‑old rapper, including a 2025 track titled Heil Hitler and the promotion of a swastika‑bearing T‑shirt. Major streaming services subsequently removed the song, and West later attributed his behavior to bipolar disorder in a public apology. Internationally, the United Kingdom has already barred West from entering the country, prompting the cancellation of his headline slot at the Wireless Festival. By contrast, the Dutch migration minister, Bart van den Brink, indicated no current plans to prohibit the artist from performing in the Netherlands. In an attempt to mitigate the fallout, West said he is willing to meet with London’s Jewish community to demonstrate genuine change, acknowledging that "words aren’t enough – I’ll have to show change through my actions." – AFP contributed to this report

President Donald Trump asserted that a diplomatic path remains open for Tehran, even as the United States enforces a naval blockade of Iranian ports and Israel deepens its ground offensive in southern Lebanon. Iran’s leadership denounced the blockade as "piracy" and thousands gathered in Tehran to demonstrate against the restriction on maritime traffic through the strategic Strait of Hormuz. The Associated Press reported that diplomatic channels are still active; Pakistan has volunteered to host a second round of negotiations in Islamabad later this week. US blockade and protests: The enforcement of the maritime restrictions has provoked Iranian accusations of illegal action and sparked street protests in the capital. Tehran’s legal stance: Iran’s armed forces labeled the blockade unlawful, warning that targeting its ports could jeopardize broader Gulf shipping. IRGC warning: A Revolutionary Guard spokesperson hinted that Iran retains "unused capabilities" and may adopt new tactics if the confrontation escalates. Parliamentary support for the Pope: Speaker Mohammad Bagher Ghalibaf praised Pope Leo XIV’s condemnation of the war, describing it as courageous. Russian nuclear staff pull‑out: Moscow has withdrawn most of its personnel from Iran’s sole nuclear power plant, a project built with Russian assistance. Qatar’s mediation call: Foreign Minister Sheikh Mohammed bin Abdulrahman Al Thani urged both Washington and Tehran to engage constructively in mediation. Pakistan’s ceasefire assessment: Prime Minister Shehbaz Sharif said the US‑Iran truce is holding, even as weekend talks failed to produce a breakthrough. Shipping disruption: A UN spokesperson warned that there is no military solution and noted that roughly 20,000 vessels are stranded, straining global supply chains, especially for fertiliser. UK push for Lebanese inclusion: London advocated adding Lebanon to the US‑Iran ceasefire framework, which currently omits Hezbollah‑related fighting. US‑Lebanon diplomatic talks: Israeli and Lebanese ambassadors are slated to meet in Washington to discuss halting hostilities. Hezbollah’s rejection: Leader Naim Qassem urged Lebanon to cancel the planned Washington meeting, reaffirming the group’s opposition to any direct dialogue with Israel. Russia’s uranium offer: The Kremlin reiterated its willingness to accept Iran’s enriched uranium as part of a broader US‑Iran settlement, echoing President Vladimir Putin’s statements. Trump on Iranian outreach: The former president claimed Iranian officials have expressed a strong desire to negotiate, though he did not identify the interlocutors. Trump’s stance on the Pope: He dismissed criticism of Pope Leo XIV as unwarranted, labeling the pontiff "weak" on key issues, including Iran. Threat to Iranian vessels: Trump warned that U.S. forces will neutralise any Iranian fast‑attack ships that approach the blockade zone. Domestic political pressure: Senate Democrats, led by Chuck Schumer, are pushing for a new vote to limit the president’s war‑making powers, citing rising U.S. fuel prices. Protester arrests in New York: Approximately 90 demonstrators, including whistleblower Chelsea Manning and actor Hari Nef, were detained during a Manhattan traffic‑stop protest against the war and U.S. arms sales to Israel. Israel’s buffer‑zone push: Israeli forces continue ground and air operations in southern Lebanon, razing structures in border towns such as Naqoura to create a security buffer. Hezbollah retaliation: The group has intensified rocket and drone attacks on Israeli positions in locations like Bint Jbeil and Biyyada. Accusations of a "Greater Israel": Hezbollah chief Hassan Qassem accused Prime Minister Benjamin Netanyahu of pursuing an expansionist agenda backed by the United States. Diplomatic tension with Italy: Israel summoned the Italian ambassador after Italy’s foreign minister condemned Israeli attacks on Beirut as "unacceptable". Casualties in Lebanon: Israeli operations have raised the death toll in southern Lebanon since March 2 to at least 2,089, including a recent drone strike that killed two civilians near Nabatieh. Public opinion in Lebanon: Lebanese citizens are divided, with some weary of the conflict and hopeful for diplomacy, while others distrust Israel’s intentions. Canadian casualty: Canada’s foreign minister confirmed that a Canadian national died in southern Lebanon, though details remain scarce. Energy implications: Reuters reported that a Chinese‑owned tanker, sanctioned by the United States, successfully navigated the Strait of Hormuz despite the blockade, underscoring the challenges of enforcement. Oil market outlook: U.S. Energy Secretary Chris Wright warned that oil prices could keep climbing until "meaningful ship traffic" resumes through the strait.

Celebrating two decades since its West End debut, Avenue Q is back at London’s Shaftesbury Theatre until 29 August, offering a refreshed version of the Broadway‑to‑London hit that originally won Tonys for Best Musical, Book and Score.The revival, billed as a “love letter to the original”, is helmed once again by Jason Moore – the director who first staged the show in 2006. At 55, Moore admits that returning to a work he originally conceived is unusual, but he sees the anniversary as an opportunity to upgrade the show’s scale, technical ambition and cultural sensitivity.Created by composers Robert Lopez and Jeff Marx with book by Jeff Whitty, the musical blends colourful Sesame‑Street‑style puppets with adult themes such as sex, racism, housing crises and existential angst. While the core story remains, the production team has added contextual notes to jokes that might puzzle Gen‑Z audiences – for example, the reference to 1980s sitcom star Gary Coleman is retained but clarified for modern viewers.Moore’s casting criteria emphasise a youthful “innocence” and a strong aptitude for puppeteering. As actor Emily Benjamin explains, performing through a puppet is an “ego death” that forces the performer to shift focus from self to the character, reducing vocal anxiety and deepening emotional honesty.Behind the scenes, puppet director Iestyn Evans coordinates a complex choreography where human actors operate hand‑and‑rod puppets in full view, interacting simultaneously with fellow performers. This layered performance style demands precise timing, especially when tackling songs like “Everyone’s a Little Bit Racist” and “If You Were Gay”, which have sparked whole‑company discussions about their relevance and sensitivity today.Moore acknowledges that the show’s transgressive edge – famously illustrated by “naked puppets having sex” – still feels bold, even as contemporary West End productions such as Oh, Mary! and The Book of Mormon have pushed similar boundaries. He argues that the musical’s core questions – “how do you give your life meaning?” – remain timeless, and that the updated production aims to engage a new generation of audiences.As Benjamin puts it, “they might just be little cloth things, but people can often empathise with something that isn’t real more directly than with a human being telling the same story.” The revival therefore hopes to prove that puppetry can still provoke, entertain and resonate in today’s cultural climate.