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Marine Atlan’s Debut ‘La Gradiva’ Shines at CannesFormer cinematographer Marine Atlan makes a confident entrance into directing with La Gradiva, a debut film that follows a group of French teenagers on a school trip to Pompeii and Naples. The narrative intertwines youthful desire, class dynamics, and a mythic reference to Wilhelm Jensen’s 1902 novella, which fascinated Sigmund Freud.Critical Reception and Festival ExposureThe Guardian’s review highlights the film’s strong visual style, the intelligent performance of Antonia Buresi as teacher Mercier, and the raw chemistry among the newcomer cast. While no box‑office numbers are available yet, the Cannes screening positions the film for international sales and potential awards consideration.Why ‘La Gradiva’ Resonates with Modern AudiencesAuthentic teen voice: The script, co‑written by Atlan and Anne Brouillet, captures the awkwardness and intensity of adolescent relationships.Historical metaphor: The backdrop of Pompeii and the 1980 Irpinia earthquake mirrors the characters’ personal upheavals.Diverse perspectives: Characters like Toni, Suzanne, and Mercier explore themes of sexuality, class, and identity.What Lies Ahead for Atlan and French Teen CinemaIf La Gradiva’s festival momentum continues, Atlan could become a notable new voice in European arthouse cinema, encouraging more stories that blend historical allegory with contemporary teen experiences. Distributors may seek the film for streaming platforms, and the cast’s breakout performances could open doors for further projects.

Anti‑tobacco advocates have condemned Philip Morris International’s (PMI) new global advertising push, arguing the “I AM Marlboro” campaign is a thinly veiled attempt to lure a younger audience while the company touts its transition to smoke‑free products.Global “I AM Marlboro” Campaign Sparks Accusations of Youth TargetingThe campaign features billboards, television ads and online videos that portray young adults climbing mountains, playing in rock bands and competing for branded merchandise such as scooters. PMI has filed or owns trademarks for the campaign in roughly 20 countries, including Indonesia, Morocco, Bangladesh and Germany.Roadside stands in the Philippines offer competitions to win a scooter for buying Marlboro packs.An Indonesian TV spot shows youthful adventure scenes tied to the brand.Critics note the slogan “I AM Marlboro” mirrors a previous “Be Marlboro” campaign that was banned in Germany for appealing to teenagers.Financial Snapshot: Smoke‑Free Products Now Dominate PMI’s RevenuePMI’s own spokesperson highlighted that in Q1 2026 43 % of net revenues came from smoke‑free products, a stark contrast to “essentially zero” a decade ago. Over the past ten years the company reports having sold 240 billion fewer cigarettes, while shipments of alternatives have risen annually.Implications for Tobacco Regulation and Youth HealthPublic‑health experts argue the campaign’s focus on identity, belonging and self‑expression directly targets adolescents, a demographic most vulnerable to nicotine addiction. The use of platforms like YouTube, Instagram and TikTok amplifies reach among youth, raising concerns for regulators in markets where the ads are most visible, such as Indonesia and the Philippines.Mark Hurley, vice‑president of the Campaign for Tobacco‑Free Kids, called the effort “doubling down” on cigarette promotion.Jorge Alday of Vital Strategies warned that genuine commitment to ending cigarettes would preclude any tobacco advertising.What the Future Holds for PMI’s Smoke‑Free TransitionIf regulatory bodies act on the alleged youth‑targeting tactics, PMI may face bans similar to the earlier “Be Marlboro” prohibition in Germany. The company’s claim that its marketing is “restricted to adults” will likely be scrutinized against the campaign’s visual and narrative cues that resonate with younger audiences. Continued pressure could accelerate PMI’s shift toward a fully smoke‑free portfolio, but only if it aligns its branding strategies with public‑health expectations.

The annual Jerusalem Day parade turned violent as Israeli ultranationalists chanted hostile slogans such as “Death to Arabs” and “May your villages burn”, prompting widespread shop closures and confrontations with Palestinian residents and volunteers protecting them. Racist Chants Echo Through Jerusalem’s Old City Thousands of participants—many teenagers and young adults—marched through the Old City, celebrating the 1967 “reunification” of Jerusalem. The route passed densely populated Palestinian neighborhoods where many shopkeepers shut their doors, while some volunteers from Standing Together kept a few stores open under protection. Scale of Participation and Business Closures Tens of thousands of Israelis took part in the march. Most Palestinian shopkeepers removed metal shutters and vacated narrow alleyways by late morning. A small number of shops remained open, guarded by volunteers led by co‑director Rula Daoud. Journalists reported being shoved and blocked from filming by march participants. Escalating Sectarian Tensions Amid Ongoing Conflict The chant‑filled march occurred against the backdrop of Israel’s broader war with Iran and a fragile “ceasefire” in Gaza, marked by frequent violations. International bodies, including the United Nations, continue to deem Israel’s annexation of East Jerusalem illegal under international law, a point underscored by the overtly racist rhetoric on the streets. Potential Fallout and Calls for International Scrutiny Human‑rights observers and local activists warn that the increasing violence each year could draw renewed international criticism and pressure on Israeli authorities to enforce stricter policing of hate speech. If unchecked, the pattern may embolden further attacks on Palestinian businesses and journalists, deepening mistrust between communities and complicating any diplomatic efforts toward a lasting ceasefire.

The Cultural Phenomenon Returns On a chilly morning at a Silvertown studio behind London City airport, the sunburst intro to Jimmy Cliff's The Harder They Come is on repeat. Dancers run through a routine studded with reggae and dancehall moves. "Get high," commands associate choreographer Neisha-yen Jones with a smile. "Get low!" The ensemble rise and dip. They do the bogle and whine around each other as their watchful director Matthew Xia nods along. They circle Natey Jones who breaks out the opening line: "Well, they tell me of a pie up in the sky." In the distance, a plane leaves the ground. From Film to Theatrical Celebration It's eight months since The Harder They Come's full-throttle takeoff at Stratford East, where the musical was so popular that it is now returning for a second run which will also serve as a eulogy for Cliff who died in November. Playwright Suzan-Lori Parks' adaptation of Perry Henzell's 1972 Jamaican film is bolstered by a handful of her own songs as well as classics including Israelites and Wonderful World, Beautiful People – plus every number on the film's monumental soundtrack. Jones is reprising the role of Ivan (played on screen by Cliff and inspired by real-life outlaw Rhyging), who arrives in Kingston from the country and is dismissed and exploited, before becoming both a hit singer and a fugitive. The Evolution of a Cultural Narrative The original was akin to cinéma vérité, directly evoked spaghetti westerns and veered into blaxploitation territory; Ivan's tale has gained greater warmth, humour and protest spirit on stage. It was the best musical I saw in 2025. "The story is a tragedy but the theatrical event is a celebration," says Xia of his production. Twenty years ago, the film was adapted as a musical with a book by Henzell, also at Stratford East. "It all started at Ivan's Nine Night," Xia recalls. "There was a massive poster of Ivan on the wall, with everyone coming, and it was told in retrospect with vignettes." Choreography and Cultural Connection Shelley Maxwell, recently arrived from Jamaica, was watching the musical in the audience one night and has since become the choreographer of the new production. She has fused the folk dance forms of revivalism and pocomania, learned in her childhood, with reggae, dancehall and moves that today's teenagers can recognise. "I wanted to tap into the youth market," she says. It's brought some enthusiastic feedback from audience members who may not know the film. "Like: 'Oh my God, they did that step I always do at a party!' It allows them to form a connection." Authenticity and Cultural Representation Xia, wearing trainers in the Jamaican flag's colours, and Maxwell, whose tracksuit has the same black, green and gold trim, were intent on instantly transporting their audience to Kingston. The opening, says the director, is an "establishing shot" with characters coming and going on Simon Kenny's magnificent multi-level set, accompanied by Toots and the Maytals' hit Funky Kingston. To borrow from its lyrics, you really can believe everything they do. Even each move in the dominoes game we see is scripted, explains Maxwell, who mapped out the market scene with precision: "Where are you going to? How heavy is the item that you're holding? This is the swing of the hips." Social Commentary Through Performance Xia, whose father came to England from Jamaica in the 1970s, praises the freewheeling realism of the film. "Lots of the background performers are just whoever happened to be in the market that day, or walking through the shantytown. Lots of the actors were people that Perry knew, they had no training." Henzell, says Xia, showed "the part of Jamaica that had always been hidden, people living hand to mouth". The musical depicts a "quartet of oppression" against Ivan, as he takes a stand against individuals representing hypocrisies of the church, law, drugs trade and music industry. Universal Themes and Contemporary Relevance The Harder They Come was both a pioneering example of independent film-making for Jamaicans and a portrait of a newly independent country. Maxwell, who grew up glued to Hollywood musicals, says it was empowering to discover a film full of the Jamaican songs she loved. "I was probably way too young when I saw it. But what I saw was the world around me." She traces how different forms of music played a pivotal part in the country establishing its identity, moving from African forms and American R&B; to mento, ska, rocksteady, reggae and the rise of Bob Marley and Jimmy Cliff. Maxwell captures that chain reaction with a tantalizing question: "What's this groove becoming?" Transforming the Narrative for Modern Audiences The musical also makes its hero's actions more understandable. "In the film, Ivan becomes a kind of wanton murderer," says Xia. In the musical, "he accidentally shoots a police officer when he's under threat, is remorseful, yet also knows that if he gives himself in then that's the end of his journey". Another significant change is the depth given to the principal women – Ivan's mother Daisy and Elsa, with whom he falls in love under the eye of her authoritarian guardian, the preacher. "The moral heart of the piece now resides in those two women," says Xia. Maxwell transforms a brief sequence from the film, in which Ivan imagines a tryst with the devout Elsa, into a floor-trembling set piece when the preacher's congregation lose their robes to indulge in lustful fantasy. The male gaze of the original scene is duly excised: "it had to be like it was both of them in partnership in that fantasy world," says Maxwell, who adds that the nature of dancehall – "grinding, gyrating on another body" required her to use her skillset as an intimacy director.

What a “Scientology speedrun” actually isThe term describes a viral TikTok challenge where participants rush into Church of Scientology buildings to see how far they can get inside, often wearing masks or costumes. The stunt blends prank culture with a curiosity about a controversial organization.From a viral LA raid to nationwide TikTok challengesThe phenomenon began in March 2026 when creator Swhileyy filmed himself storming the Los Angeles Scientology headquarters on Hollywood Boulevard. The clip amassed 90 million views before being removed, inspiring copycats across the globe.2026‑03: Original LA video posted, 90 m views.2026‑04‑30: Trend spreads to the UK, with teenagers targeting multiple Scientology sites.2026‑05‑07: Groups gather at Sydney’s Castlereagh Street and Brisbane’s George Street.View counts, arrests and police responses: the numbers behind the crazeTikTok videos of the raids have collectively drawn several hundred million views. Law‑enforcement actions in Australia included:Two arrests in Sydney (19‑year‑old woman, 17‑year‑old girl) for non‑compliance.Two teenagers (15 and 18) charged in Brisbane after a driver‑side car jump and a BMX stunt.Police deployed riot squads to disperse crowds of roughly 100 people in each city.Why the stunt is rattling the Church and sparking wider cultural debateThe Church of Scientology condemned the raids as “dangerous mobs” and announced heightened security. Former members such as Leah Remini criticized the trend for trivialising serious concerns about the organization, while activists like Alexander Barnes Ross warned it could undermine legitimate protest.Beyond the church, the craze highlights TikTok’s power to turn absurd pranks into flashpoints that attract police attention and fuel discussions about religious freedom, public safety, and digital‑era activism.Will the trend fade or evolve into a new form of digital protest?Analysts expect the “speedrun” format to mutate as platforms tighten moderation and law‑enforcement responses increase. The next phase may involve coordinated “virtual protests” that avoid physical trespass while still leveraging the viral mechanics that made the original craze so compelling.

The Revival of Amandaland In a north London TV studio, there's a sense of unpredictability in the air. A gaggle of singing teenagers are on set; there's a dog traipsing around; and – just down the hall in the canteen – Joanna Lumley has paused an interview to politely ask a catering lady not to pack up her tangerine. The Chemistry Between Stars Lumley and her co-star Lucy Punch have a long history, having first worked together on the 2004 film Ella Enchanted. Punch describes Lumley as the 'special sauce' of the show, while Lumley praises Punch's commitment and energy. The Character Dynamics The show revolves around the complex relationship between Amanda, played by Punch, and her mother Felicity, played by Lumley. Punch notes that seeing this dynamic generates sympathy for an unlikable character, while Lumley appreciates the humor in their interactions. The New Season The second series of Amandaland marks a shift for Amanda's kids, who are now teenagers dealing with exams, relationships, and a high-school prom. Amanda has also declared herself a 'v-cel' (voluntary celibate) and Felicity joins a dating app, leading to new challenges and comedic situations. The Importance of Representation Lumley emphasizes the importance of showing an older woman dating, highlighting the need to combat loneliness and encourage social engagement. The show continues to explore themes of family, relationships, and growing up, making it a highly anticipated return for fans.

The Dawn of Accountability in DamascusThe trial of Atef Najib represents a pivotal moment in post-war Syria, signaling the new administration's intent to dismantle the legacy of the Assad regime. As the former head of political security in Deraa, Najib stands at the center of a legal battle that could set a precedent for how the Syrian state handles the atrocities committed during the 14-year civil war.From Deraa to the Dock: The Charges Against Atef NajibFormal Indictment: Najib appeared in the Fourth Criminal Court in Damascus on Sunday, charged with at least 10 crimes including murder, torture, and responsibility for massacres.The Spark of the War: Prosecutors allege Najib oversaw the violent crackdown on antigovernment protesters in Deraa in 2011, specifically citing the arrest and torture of teenagers who wrote graffiti on a school wall—a incident that ignited the broader uprising.Visual Context: The former official appeared in a cage and wearing a striped prison uniform, a stark visual contrast to his former status as a high-ranking security operative.The Numbers of Retribution: 75 Plaintiffs and the Absent DefendantsThe proceedings are not merely a state prosecution but a reckoning with the victims of the conflict. The trial is backed by 75 plaintiffs who have filed cases against Najib and are expected to provide testimony. However, the trial also highlights the challenges of justice, as key figures like Bashar al-Assad and his brother Maher remain tried in absentia, having fled to Russia in late 2024.A Test of Legitimacy for the New Syrian AdministrationThe interim government of President Ahmed al-Sharaa faces immense pressure to deliver on its promise of transitional justice. Critics have long accused the new leadership of delaying accountability, yet the aggressive pursuit of Najib suggests a strategic pivot. By prosecuting a figure as high-profile as Najib, the administration aims to demonstrate that the era of impunity for security officials is over, potentially stabilizing the region by addressing the grievances of the opposition.The Future of Assad-Era Justice: A Precarious Path ForwardWhile the trial of Atef Najib is a historic step, it is likely just the beginning of a broader purge. Analysts predict a wave of similar legal actions targeting former security chiefs and military commanders. However, the success of this process will depend on the fairness of the judiciary and the willingness of the international community to support the new Syrian state in its reconstruction efforts.

Julien Jarjoura's Plan to Relaunch Claire’s on UK High StreetsThe jewellery and accessories chain Claire’s is set to return to the United Kingdom with roughly 50 new stores opening from June. The initiative is led by French entrepreneur Julien Jarjoura, founder of Une Ligne, which already operates Claire’s outlets in France, Austria, Portugal and Spain. Jarjoura secured permission from the US brand owner Ames Watson and is currently signing fresh leases with UK landlords. Scale of the Relaunch: Store Count, Pricing and InvestmentTarget rollout: 4‑10 stores per week starting June.Current European footprint: ~240 Claire’s stores across the continent.UK legacy assets: 356 concessions previously operating in the country.Pricing strategy: items from £1.90 up to £100+, moving away from heavy discounting.Financial approach: the UK operation will be debt‑free, funded personally by Jarjoura, with profitability expected in 3‑5 years. Implications for UK Retail Landscape and EmploymentThe revival follows the closure of Claire’s final UK stores, which eliminated more than 1,000 jobs and ended three decades of presence on British high streets. Jarjoura intends to retain some of the existing 356 concessions and has hired former UK executives, but he will not acquire the Birmingham head office or purchase old stock from administrators Kroll. By positioning the brand as a “fair‑price” retailer rather than a discount outlet, the plan aims to restore consumer confidence while navigating UK challenges such as business rates and employment costs. Outlook: How Claire’s Might Reclaim Its Market PositionIf the rollout proceeds as scheduled, Claire’s could re‑establish itself as a staple for teenagers and tweens, a segment it historically dominated since its UK entry in 1996. Success will depend on delivering a refreshed product mix, maintaining consistent ear‑piercing services, and gradually rebuilding brand perception after years of discount‑driven sales. Analysts suggest that a steady, well‑funded expansion—despite a longer break‑even horizon—could set a template for other legacy retailers seeking a comeback in a competitive high‑street environment.

The Lead: Arctic Monkeys' Humble Beginnings In 2005, Sheffield's music scene was buzzing with energy, enough that NME coined the term "New Yorkshire" to describe the explosion of talent in the region. Among these bands, Arctic Monkeys were just beginning their journey, a group of childhood friends from High Green who would go on to revolutionize British indie music. Their story is one of youthful determination, local influences, and a rejection of the mainstream music industry's expectations. The Sheffield Divide: Art vs. Traditional Indie Sheffield's music landscape in the mid-2000s was characterized by a distinct split between two types of bands. On one side were the more artier, often student-led indie bands like The Long Blondes, who deliberately positioned themselves against the local scene. The Long Blondes famously declared in their press materials: "Our shared influences include the Mael Brothers, Marx Brothers and the Bewlay Brothers. We do not listen to the Beatles, the Rolling Stones, Jimi Hendrix, the Doors or Bob Dylan." This intentional pomposity was perceived as arrogance by some, but represented a deliberate rejection of what they saw as staid, male-dominated music. On the other side were more traditional local indie outfits like Milburn, formed in 2001 by a group of teenagers in their mid-teens. These bands were influenced by the punk ethos of doing it yourself, often with little regard for what came before. As Milburn's Joe Carnall recalled: "If you had said Longpigs to me, I'd have gone, what? And if you'd have said Pulp, I'd have been like, he's a bit poncey isn't he? We were just angry young lads, so everything was shit. Which I think is great because it means you try and do something new." The Regional Rivalry: North vs. South Sheffield The divide in Sheffield wasn't just musical—it was geographical and cultural. As Jon McClure of Reverend and the Makers explained: "Culturally, it's different. I'm from north Sheffield where the accent is different. It's a lot thicker and harder, and the people are more brusque." This regional tension created a competitive environment where bands were suspicious of each other, with Carnall admitting: "It was very regional. We were suspicious of other bands. Like, [arty band] the Long Blondes, what's that? I'm not proud of it but that fuelled what we did." Milburn's Influence: The First Local Success Formed in 2001, Milburn quickly became a significant presence in Sheffield's music scene. They released a demo called "Steel Town" and built a substantial following, selling out the 500-capacity Boardwalk venue (locally known as "The Mucky Duck"). Their success demonstrated that bands from Sheffield could achieve local recognition without being based in London or other major music centers. Arctic Monkeys drummer Matt Helders later acknowledged Milburn's impact: "Milburn were the first people we saw doing it that were kids our age. We didn't think it was a thing that people did where we were from. We had this naive, or even maybe cynical attitude that all bands were just put together in London and that it doesn't happen to people like us." Arctic Monkeys' Formation: From Street Corners to Stage Arctic Monkeys emerged from High Green, a suburb of north Sheffield near the Barnsley border. The band consisted of childhood friends Alex Turner, Matt Helders, and Andy Nicholson (soon joined by Jamie Cook). Their formation was organic and spontaneous, as Helders explained: "This band came about from us hanging out on the street. Instead of deciding which house to go and egg that night, we were like, why don't we start a band? It really came from those kinds of conversations when you're on a field somewhere and people are smoking and drinking cider." Before Arctic Monkeys gained recognition, Helders and Turner briefly played in a funk ensemble called Judan Suki (Japanese for "being kicked in the weak spot") organized by Jon McClure. The experience was formative, even if the band was "fucking horrendous" according to McClure. For Helders, it was crucial: "I can see why Jon looks back and cringes but for me it was really important. And also for Al, because we'd never played onstage before. So it made it seem more accessible and realistic." The Practice Regimen: Building From Scratch Unlike some bands that might have emerged fully formed, Arctic Monkeys dedicated themselves to rigorous practice before performing publicly. They practiced consistently for nearly a year before their first public shows, demonstrating their commitment to developing their craft. This dedication would later pay dividends as they honed their distinctive sound and tight musical chemistry that would become their trademark. The Legacy: How Sheffield Shaped a Global Phenomenon The story of Arctic Monkeys' early years reveals how a specific local environment can nurture unique musical talent. The band's success wasn't just about their songwriting or performance abilities—it was about their authenticity and connection to their roots. They emerged from a vibrant but divided scene, influenced by but distinct from their contemporaries, and maintained their identity even as fame came their way. As the band members themselves acknowledged, they were "stubborn teenagers" who didn't want to be famous—at least not in the conventional sense. This attitude allowed them to create music on their own terms, which ultimately resonated with audiences worldwide and helped redefine what British indie music could be in the 21st century.