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The Verdict on Richard Gadd's Bleakest Work YetRichard Gadd returns to television with 'Half Man,' a project that stands in stark contrast to the psychological thriller of his previous hit, 'Baby Reindeer.' While the show is technically proficient, the Guardian's review suggests it is so relentlessly bleak and violent that it borders on 'torture pornography.' The article argues that despite the intense performances and clever framing, the show lacks the emotional light required to be considered a success in traditional television terms.A Descent into 'Torture Pornography' and Unrelenting ViolenceThe core of the critique centers on the show's brutality. The protagonist, Ruben, is depicted as a mindless thug whose temper reaches violent peaks, with beatings described as 'numerous and graphic.' The review notes that the show is so dark that even its subplot about a suicidal cancer patient is considered one of its 'least depressing aspects.' The characters are trapped in a cycle of misery and self-medication, creating a viewing experience that is difficult to stomach.Half Man as a Referendum on the Baby Reindeer ControversyA significant portion of the analysis focuses on the show's meta-commentary on the 'Baby Reindeer' controversy. The plot involves a character writing a book about his experiences, leading to a press conference where he is frustrated by journalists demanding to know if it is based on a real person. This serves as a 'right of reply' for Gadd, who was stalked and abused in real life. However, the review suggests this self-interrogation is overshadowed by the sheer unpleasantness of the content.The Future of Dark TV: Is Unpleasantness a Substitute for Substance?The article draws comparisons to other dark series like 'Black Mirror' and 'The Leftovers,' noting that while those shows eventually pivoted to irony or absurdism to alleviate the gloom, 'Half Man' remains trapped in its misery. The review concludes that the show feels like it was made by a '14-year-old emo acting out to get noticed,' contrasting it with 'Adolescence' which is described as a show about men made by men. This raises questions about the sustainability of pure, unyielding despair in modern television.

Family’s Quest Amid Ecuador’s Disappearance Crisis The article follows a single Ecuadorian family as they navigate the anguish of a missing relative, seeking answers from authorities, NGOs, and the media. Their personal journey serves as a micro‑cosm of a wider national issue that has left dozens of families without closure. Personal Narrative Highlights Systemic Gaps Initial disappearance reported to local police with limited follow‑up. Family’s outreach to human‑rights groups and international journalists. Repeated requests for forensic investigations met with bureaucratic delays. Emotional toll on family members, including public appeals for information. Broader Human Rights Implications for Ecuador While the story centers on one household, it reflects a pattern of unresolved disappearances that have drawn criticism from regional watchdogs. The lack of transparent reporting mechanisms and insufficient resources for investigations undermine confidence in state institutions and exacerbate public fear. What the Future May Hold for Missing Persons Investigations Experts suggest that increased international attention could pressure Ecuadorian authorities to adopt clearer protocols, improve data collection, and allocate dedicated forensic teams. Continued advocacy by families and NGOs may drive legislative reforms aimed at preventing future disappearances and ensuring accountability.

The Passing of a Literary IconMarjane Satrapi, the French-Iranian artist, film-maker and graphic novelist whose acclaimed memoir Persepolis helped reshape international perceptions of Iran, has died at the age of 56. In a statement provided to French news agency AFP, relatives said she had "died of sadness" after the death of her husband, the Swedish producer Mattias Ripa, who passed away on 8 April last year.A Life of Art and ResistanceBorn in 1969 in Rasht, Iran, near the Caspian Sea, Satrapi was raised in Tehran by her father, an engineer, and her mother, a dress designer. As a teenager, she left Iran after her parents sent her to Europe to continue her education, hoping to spare her from the restrictions imposed under the Islamic Republic. She eventually settled in France, arriving in 1994 and later becoming a French citizen in 2006.Throughout her life, Satrapi was a vocal opponent of Iran's clerical establishment. In 2000 she published Persepolis, a comic book memoir that became an international publishing phenomenon. It told the story of a rebellious and outspoken young girl navigating the upheaval in Iran after the shah is overthrown in 1979 and the establishment of the Islamic Republic.The Impact of PersepolisThe memoir sold millions of copies, established Satrapi as one of the most widely read Iranian authors in the world, and its success challenged many western assumptions about Iranian society and culture. Satrapi later co-directed the animated film adaptation of Persepolis, which became an international hit and earned her a place in Oscar history as the first woman nominated for the Academy award for best animated feature.Satrapi has described how she initially had little expectation that Persepolis would reach publication. At the time, she was still an arts student in Strasbourg and had relatively limited professional experience in comics. "With Persepolis, I didn't even think I'd find a publisher," she said in a 2020 interview. "I thought I'd make 50 photocopies for my friends to read."A Voice for Iranian WomenSatrapi went on to direct five feature films, including Radioactive (2019), starring Rosamund Pike as the pioneering scientist Marie Curie. After leaving comics for years, in 2024, she returned to the medium, coordinating Woman, Life, Freedom, a collaborative graphic work bringing together 17 Iranian and international comic artists alongside academics and researchers. The book examined the protest movement that emerged after the death in custody of Mahsa Amini, a 22-year-old Kurdish-Iranian woman detained in 2022 for allegedly failing to comply with Iran's mandatory headscarf rules.Discussing the book, Satrapi said: "The only thing I can do is cultural work ... This book is a message to the Iranian people to say, listen, you are not alone."A Legacy of Freedom and ExpressionTributes have been paid to Satrapi from across French politics and culture following news of her death. President Emmanuel Macron said Satrapi was "a great artist who turned her Iranian childhood into a universal tale," adding: "With her childlike perspective, her irony, her tenderness, her inner demons, the author created a moving world with which readers identified."French journalist Tristane Banon paid tribute to Satrapi on X, writing: "Marjane ... you won't call me to wish me a happy birthday and 'celebrate those little cheeks that I adore'... and I can't get over it. You were freedom and determination. Courage too. One day, the Iranian people will be free, with you and as much as you."

Heavy gunfire erupted in central Mogadishu on Wednesday as former Prime Minister Hassan Ali Khaire reported an attack by forces commanded by President Hassan Sheikh Mohamud. The clash occurred hours before a planned peaceful demonstration against the president’s decision to extend his term beyond the constitutional deadline of May 15.The Sudden Outbreak of Gunfire Ahead of Anti‑Presidential ProtestsWitnesses filmed panicked residents in the Howl Wadaag district hearing loud gunshots and the occasional roar of rocket‑propelled grenades. According to an AFP journalist, the shooting lasted roughly fifteen minutes before subsiding, but the sound of explosions echoed across neighboring districts. Opposition fighters and Somali police were seen exchanging fire, underscoring the volatility of a capital already strained by clan rivalries and the presence of al‑Shabab.Timeline and Immediate ConsequencesWednesday, early afternoon – Khaire posts on social media that forces loyal to the president launched an attack on his convoy.Approximately fifteen minutes of gunfire and RPG explosions heard in Howl Wadaag.Wednesday evening – President Mohamud declares his term extended for one year, citing a new constitution passed in March.Thursday – Planned peaceful demonstration by opposition leaders and regional figures scheduled in Mogadishu.Political Fallout: Extending the Presidency Sparks Nationwide UnrestThe unilateral extension of President Mohamud’s mandate has reignited long‑standing grievances about power centralisation and clan‑based politics. Opposition leaders, including former President Sharif Sheikh Ahmed, condemned the move as illegitimate, warning that it could fuel further bloodshed. International actors such as the United States and the United Kingdom have previously attempted to mediate, but their efforts have yielded little progress amid deep divisions and the shadow of al‑Shabab.Future Outlook: Election Prospects and International MediationWith the constitutional deadline passed and the president’s term now officially prolonged, the window for organising credible national elections narrows. Analysts warn that continued delays could embolden insurgent groups and exacerbate clan tensions, potentially prompting a broader security crisis. Diplomatic pressure from Western partners is expected to intensify, but any sustainable solution will likely require a negotiated power‑sharing arrangement that addresses both the demand for democratic elections and the security challenges posed by al‑Shabab.

US broadcaster CBS has terminated veteran correspondent Scott Pelley, a 68-year-old face of its 60 Minutes program, following a high-profile clash with new executive leadership. The firing, effective Tuesday, deepens the turmoil at the most influential TV news program in the United States just days after a major leadership overhaul.The Clash Over 60 Minutes' DNAThe conflict escalated during a staff meeting on Monday, where Pelley reportedly accused the new executive producer, Nick Bilton, of having "slender qualifications" for the job. Pelley also reportedly told Editor-in-Chief Bari Weiss that she was "murdering the show" and claimed she was brought in to "kill the news outlet."The Accusations: Pelley stated that 60 Minutes had lost its DNA under new management and accused managers of asking him to "inject falsehoods and bias" into his work.The Response: In a termination notice obtained by The Associated Press, Bilton accused Pelley of carrying out an "ambush" against him, describing his behavior as "remarkable incivility and contempt."The Statement: Pelley claimed the new owner of the network is casting this "legend" aside to curry favor with the Trump administration.A Mass Exodus from the Sunday Night StaplePelley is not the first high-profile departure from 60 Minutes under the new regime. The Sunday news magazine has seen more than half a dozen people depart in recent weeks, including Bilton's predecessor, Tanya Simon, and correspondents Sharyn Alfonsi and Cecilia Vega.The internal strife follows a broader external conflict. Alfonsi previously criticized Weiss for postponing a segment about deportees sent to a maximum security prison in El Salvador, a move linked to President Donald Trump's immigration crackdown.Skydance's Ideological Overhaul of CBSThe leadership changes are part of a broader strategic shift driven by Skydance Media, run by David Ellison, son of Oracle co-founder Larry Ellison. Skydance acquired Paramount in August and installed Weiss in October.David Ellison helped secure regulatory approval for the deal with the promise that the CBS network would reflect the "varied ideological perspectives" of American viewers. This purge of veteran journalists appears to be the implementation of that promise, replacing long-standing editorial voices with new management.The Future of American Journalism Under New OwnershipThe firing of Pelley signals a definitive break from the traditional journalistic standards that 60 Minutes has upheld for decades. With the departure of its most recognizable anchor and a significant portion of its reporting staff, the program faces an existential crisis regarding its editorial independence and legacy.Legal experts noted that Paramount previously paid $16m to settle a lawsuit filed by Trump over a 60 Minutes interview with former Vice President Kamala Harris, suggesting that the network's editorial direction is now heavily influenced by political considerations and ownership interests.

The annual White House Correspondents’ Dinner, a high‑profile gathering of politicians and journalists, was postponed after a gun‑fire incident on April 25. The dinner is now slated for July 24, and President Donald Trump has publicly affirmed his attendance. The Rescheduled Dinner Takes Place on July 24 After the security breach that forced the evacuation of President Trump, his wife Melania Trump, and other officials, the White House Correspondents’ Association announced the new date. Association president Weijia Jiang emphasized that “we will not allow an act of violence to have the last word,” and both she and the president confirmed the plan on social media. Timeline and Numbers Behind the Disruption April 25: Suspect Thomas Cole Allen rushed a security checkpoint, triggering an exchange of gunfire. Injuries: The suspect and a security officer were wounded; the officer’s bullet‑proof vest stopped a round. July 24: Rescheduled date for the dinner, now set to be held at the Waldorf Astoria in Washington, DC. Political and Press‑Freedom Implications The incident underscores the fraught relationship between the Trump administration and the media. Press‑freedom groups have warned that the dinner could become a platform for the president to “berate reporters,” noting a broader pattern of restricting journalist access, including recent Pentagon press‑office restrictions and threats of treason charges. What the Resumption Means for Future White House Events By proceeding with the dinner, the administration signals a willingness to project normalcy despite security threats. Observers suggest the move may set a precedent for future White House gatherings, potentially reinforcing the president’s push for a dedicated ballroom while also testing the limits of press‑freedom advocacy in a highly politicized environment.

A Critical Portrait of George MichaelIn 1998, George Michael was arrested for public lewdness in an LA lavatory, an incident that finally led the singer to publicly come out. The following day, Sathnam Sanghera found himself unable to leave his room at university: the doorway had been mockingly plastered with tabloid newspaper headlines – "ZIP ME UP BEFORE YOU GO-GO!" – by fellow students aware of his longstanding fandom. As a writer, Sanghera is best known for a series of award-winning books on the British empire, which he calls his "specialist subject". Judging by Tonight the Music Seems So Loud – not a biography so much as a miscellany, a set of themed essays that tend to digress in all kinds of intriguing directions – the life and work of one Georgios Panayiotou runs imperialism and its legacy a very close second.The Complex Legacy of a Pop IconIt is an unashamedly partisan book, although not an uncritical one. Sanghera is as alive to Michael's personal and professional failings (whether the naffness of some of his early work as one half of Wham! or his high-handed treatment of the duo's other half, Andrew Ridgeley) as he is in love with his artistic triumphs. These, of course, range from Careless Whisper and Wham!'s annually inescapable Last Christmas to the 1996 solo masterpiece Older, a peculiar and peculiarly effective cocktail of raw grief at the Aids-related death of his lover Anselmo Feleppa and unrepentant horniness.The Evolution of Critical ReceptionSanghera's love for his subject is evidently sharpened by the opprobrium of others. Indeed if the book has a flaw, it's that the author is old enough to remember an era when George Michael was deemed insufferably uncool by some arbiters of taste (incredibly, when Wham! performed at a 1984 benefit show for striking miners, the only mainstream pop act to show support for the cause, they were received stone-faced by the audience and savaged by the music press for their trouble), and thus has a tendency to underestimate how much both he and his music have been critically re-evaluated in the 21st century.The Artistic Journey of George MichaelHe says one of the spurs to write the book was his belief that "most truly popular music is not generally deemed worthy of serious analysis and George Michael's music most certainly is not". That might have been true once, but certainly not of late: when he died, this newspaper alone ran six features by critics analysing different aspects of his music. "He sang so exquisitely about the marrow of life, about the vital, corporeal things", wrote one, which definitely doesn't amount to taking George Michael insufficiently seriously.double quotation markEven as he skinned up in front of journalists and discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed himFamily Background and Cultural IdentitySanghera is very good on the climate of homophobia in the 80s, which might have given any gay public figure serious qualms about coming out, and fascinating on Michael's family background: how growing up embedded in north London's Greek Cypriot community impacted on everything from Wham!'s image – not camp, Sanghera suggests, but "the vision of two children of immigrants imagining a kind of glamour they had not actually experienced before" – to his work ethic and control freakery. His dad made good in England by working exceptionally hard, running such a tight ship at his restaurant that he summarily fired his only son for messing up the drinks orders. The fact that the same son went on to hire 12 different saxophonists before finding one that could play the solo on Careless Whisper to his satisfaction doesn't come as a huge surprise.The Perfectionist and Contradictory ArtistThis my-way-or-the-highway perfectionism could yield hugely impressive results – Careless Whisper's sax hook may well be the most famous in pop history – but it could equally lead to intransigence and self-sabotage. Michael worked incredibly hard to transform himself from a member of a teen pop band into a more adult-facing solo artist, but having sold a staggering 25m copies of his 1987 solo debut Faith, he refused to promote its follow-up Listen Without Prejudice Vol. 1, or even make videos for its singles: a better album than its predecessor, it achieved only a fraction of its sales as a result. It was evidence of a deeply contradictory nature that occasionally has Sanghera throwing up his hands in bewilderment.The Public and Private Faces of George MichaelMichael was a polymath, keen to be duly credited as the sole singer, writer, producer and musician on a succession of tracks, but also had a weird habit of talking down his abilities, claiming he couldn't play instruments he was perfectly capable of playing. He was a Stakhanovite who increasingly worked at an agonisingly glacial pace, endlessly fussing over details, a state of affairs not much helped by his gargantuan appetite for marijuana: coupled with bouts of writers' block, it meant he released only six albums of original material in a career that lasted 34 years. He was a Labour voter, booster of the NHS and famously generous philanthropist who also engaged in tax avoidance. After being publicly outed, he became a notoriously frank interviewee ("as if nothing can embarrass him anymore" the Guardian's Simon Hattenstone suggested when he met him in 2009). But even as he skinned up in front of journalists and freely discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed him.The Decline and Final YearsMichael emerges as a messy, unpredictable but ultimately hugely likable figure, which makes the essay about his demise particularly tough reading. Listed starkly on the page, the facts of his final 10 years make it obvious that he was a deeply unwell man whose life had spun wildly out of control: drug busts, medical emergencies, visits to rehab, rumours of breakdowns and suicide bids and seven incidents in which he either crashed his car or was found comatose at the wheel.The Professional Mask of Personal StruggleThat it somehow didn't appear obvious at the time – that his death at 53 felt like a shock rather than a grim inevitability – seems remarkable, but as Sanghera points out, Michael's professionalism did a lot to paper over the cracks. He was always available to the media and always smart, funny and self-effacing: to use a modern turn of phrase, he controlled the narrative. He was punctilious about his appearance – the star certainly never looked like an ailing drug addict – and unfailingly superb onstage.The Hidden Realities Behind the FameBehind the scenes, it was a different story. He struggled to make new music: at one juncture he booked six months of recording sessions but never turned up to the studio once. His once-acute commercial instincts seemed to desert him: even Sanghera can't muster much enthusiasm for the handful of still-unreleased songs he completed in his final years. He cut off close friends and family who tried to intervene. No one who knew him seems to have been particularly surprised by his death: the list of adjectives used to describe him on his official website now includes not just "icon" "legend" "soul singer" and "philanthropist" but "addict" "repeat offender" and "depressive".An Imagined Alternative LegacyAs the book draws to a close, Sanghera offers a heartbreaking alternative history. He imagines Michael conquering his addictions, coming to a complete accommodation with his musical past (to the end of his life, he was dismissive of Wham!, describing their oeuvre as an exercise in "ignoring my own intelligence" and declining to play most of their hits live) and headlining Glastonbury, "getting pleasure from the audience reaction to Club Tropicana".The Enduring Power of George Michael's MusicIt's affecting because you can imagine it so vividly: the endless succession of hits that anyone with even a passing interest in pop music knows, the pandemonium in the crowd when he breaks out Careless Whisper, the encore of Freedom '90. You don't have to be a fan on Sanghera's level to understand what a triumph it would have been. Tonight the Music Seems So Loud: The Meaning of George Michael by Sathnam Sanghera is published by Picador (£22). To support the Guardian, buy a copy at guardianbookshop.com. Delivery charges may apply.

The Pentagon's Latest Move to Restrict Media Access The United States Department of Defense has barred journalists from its press office, the latest move by the Pentagon to restrict media access since President Donald Trump’s return to the White House. Reasons Behind the Restriction Acting Pentagon Press Secretary Joel Valdez said on Monday that the administration had re-designated the office as a “Sensitive Compartmented Information Facility” due to its use by speechwriters with access to classified government information. “These speechwriters routinely handle classified material and require SIPRNet access,” Valdez said in a statement provided to Al Jazeera, referring to the secure computer network used by the Pentagon to share classified information. Impact on Media Access “As a result, journalists will no longer be permitted to enter the office space. Access to the office of the Assistant to the Secretary of War for Public Affairs and to the Press Secretary remains available by appointment only,” Valdez added, using the Trump administration’s preferred title for Defense Secretary Pete Hegseth. The Washington Post first reported the change. A Pattern of Restrictions The move follows a slew of steps by the Trump administration to curtail the ability of US media outlets to report on the military and other areas of the government. In March, the Defense Department said it would no longer allow media outlets to maintain offices at the Pentagon after a judge sided with The New York Times in a lawsuit challenging the imposition of new rules for obtaining press credentials. The Pentagon also announced that journalists would require an official escort while inside the complex, a policy that The New York Times is seeking to overturn in a separate lawsuit filed in May. Criticism from Journalism Organizations The National Press Club, the main professional organisation for journalists in the US, condemned the latest restrictions as a “troubling escalation” in the Trump administration’s efforts to curtail media scrutiny of the Pentagon. “Independent reporting on the US military is not optional,” National Press Club President Mark Schoeff Jr said in a statement. “When journalists are pushed farther from the institutions they cover, the American people are left with less information, less transparency, and less oversight. Any effort to restrict that access should alarm everyone who values a free and informed society.” The Freedom of the Press Foundation, a nonprofit advocacy organisation, also criticised the move. “It’s rare for anything other than disingenuous spin and outright lies to come out of the Pentagon’s press office these days, so it’s hard to imagine what basis they have to call the space classified,” Seth Stern, chief of advocacy at the organisation, told Al Jazeera. “The only thing sensitive or confidential about the information released by Pete Hegseth’s Pentagon is that it’s not true.”

The Lead: A Questionable Football AutobiographyIn the lead-up to the upcoming World Cup, FIFA President Gianni Infantino released his autobiography 'Forward – The Revolution of Football.' Rather than providing insight into football's future, the book has been met with criticism for being more of a self-promotional mission statement filled with name-dropping and flattering descriptions of world leaders, offering little substantive analysis of the sport itself.The Book's Self-Promotional NatureInfantino's book, published in-house and written by Alessandro Alciato, reads less like a traditional biography and more like an internal directive or alibi. The reviewer notes that despite being described as an 'anecdote-based biography,' the text lacks journalistic detachment, with the author comparing Infantino to both Albert Einstein and Leonardo da Vinci in the introduction. The format is unusual, with text presented in random gobbets resembling biblical verses, and contains excessive references to magic, including repeated mentions of the 'magic ball' that the author claims to play with daily in his office.The FIFA President's ImageThe book reveals much about how Infantino wishes to be perceived rather than providing genuine insight. The cover shows him in a dark suit, white shirt, and clip mic, arms spread in a gesture of 'healing, benevolence, love,' resembling 'a man addressing from the bridge of his personal asteroid of hope.' Throughout the text, Infantino positions himself as a savior figure who single-handedly fought for women's rights in Iran (taking selfies with female spectators) and saved the world from COVID-19 and racism. The numerous photographs in the book, particularly one with Cristiano Ronaldo, show Infantino with 'strangely flat and haunted eyes,' suggesting a man who 'literally cannot believe what is happening to him.'The World Cup ContextPublished just before a 'morally and geographically labyrinthine World Cup,' the book arrives as the closest thing to a guide or press conference from FIFA. However, rather than providing clarity, the book's strange energy and incoherent ramblings leave readers with more questions than answers. The chapter titled 'A Clean Slate,' which promises to address how Infantino rid FIFA of corruption, is disappointingly brief at just four pages, focusing mainly on his decision not to remove Sepp Blatter's old wall safe and his anger about spending on the FIFA museum.The Literary CritiqueFrom a literary perspective, the book falls short of expectations. The reviewer notes that after an interesting anecdote about Infantino's childhood collecting scrap metal on trains, the content becomes increasingly tedious. The book contains incredibly boring travel anecdotes, including a game of football against 40 North Korean children and self-congratulatory stories about how football legends like Diego Maradona changed their tune about FIFA leadership during his tenure. The writing style is described as reading like 'a series of voice notes intoned into the bathroom mirror via a piece of software called dictatorblather.app,' with the text sliding over itself in a display of what the reviewer identifies as 'cognitive dissonance.' Ultimately, the book fails to provide the coherent narrative or genuine insight one would expect from the leader of world football.