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The Return of Quirky Detective DuoDeath Valley returns to BBC One at 8.15pm, bringing back the enjoyably quirky murder mystery comedy featuring retired actor John Chapel (Timothy Spall) and Welsh detective Janie Mallowan (Gwyneth Keyworth). This season, John has a new goatee and girlfriend, which doesn't sit well with Janie, especially since he's now dating her mother. Despite this family complication, they reunite as an unlikely detective duo when a man doing community service is found dead at an outdoor rave site.Adventure in Russia's Far EastAt 7.15pm on BBC Two, Expedition With Steve Backshall begins its second thrilling series at the Kronotsky River in Russia's far-east Kamchatka Peninsula. The explorer and his team of top kayakers attempt a descent that's never been done before, facing additional challenges from active volcanoes and brown bears in this remote wilderness.Documentary on Justice for Rape VictimsBelieve Me airs on ITV1 at 9pm, offering an unrelenting look at the gaslighting and retraumatisation of rape victims as they seek justice. The show continues to follow the case of John Worboys as he continues his attacks while police make glacial progress. Viewers witness the ongoing effects on victims such as Sarah, who has given birth to her second child while navigating the justice system.Amateur Singing Competition Reaches Grand FinalYour Song: The Grand Final on Channel 4 at 9pm brings the amateur singing competition hosted by Alison Hammond to its climax with a sold-out concert at London's Hackney Empire. After heartstring-tugging public heats in Liverpool, Edinburgh, London and Birmingham, five finalists compete for the title. Supportive mentors Sam Ryder and Paloma Faith face the difficult task of deciding the winner.Jools Holland Marks Milestone with New SeriesThe eternal live music show Later … With Jools Holland begins its 68th series on BBC Two at 10pm, coinciding with host Jools Holland turning 68. Despite his age, his passion for new sounds that can be decorated with boogie-woogie piano remains undimmed. The opening episode welcomes Niall Horan, Tomora, Aja Monet, Getdown Services and Jools's old muckers Squeeze to the Ally Pally theatre.Australian Thriller Explores Neighborhood SecretsAt 10.20pm on ITV1, The Family Next Door presents an aesthetically pleasing Australian thriller about secrets hidden in an otherwise idyllic suburb. When Isabelle (Teresa Palmer) rents a home on Pleasant Court cul-de-sac in a seaside town, she becomes obsessed with her neighbors and discovers a mystery to solve.Film Choices Explore Complex Family DynamicsOn BBC Three at 10.40pm, God's Creatures examines how far a mother's love can go when Emily Watson's Aileen faces a life-changing question after her prodigal son, Brian (Paul Mescal), returns home from Australia. When Sarah (Aisling Franciosi), her young colleague at the seafood processing factory, is raped and accuses Brian, Aileen provides him with a false alibi. The claustrophobic drama reveals how tight-knit communities often respond to challenges with denial and exclusion, with women typically bearing the consequences.Following that, at 10.50pm on BBC Two, Brother presents a heartfelt sibling drama about the long reach of trauma. Directed by Clement Virgo, the film follows Lamar Johnson's young Jamaican-Canadian Michael as he ekes out an existence with his grief-numbed single mother, Ruth (Marsha Stephanie Blake). In a parallel timeline, the teenage Michael is guided to adulthood by his older brother, Francis (Aaron Pierre), a charismatic would-be hip-hop musician struggling to rise above police racism, gang violence, and homophobia.Live Sport Action Across Multiple ChannelsSports fans have multiple options tonight, beginning with Women's Six Nations Rugby: Wales v Italy at noon on BBC Two, followed by France v England at 4.25pm on BBC One. Football enthusiasts can catch Premier League matches with Man United v Nottingham Forest at noon on Sky Sports Main Event and Newcastle v West Ham at 5pm.

The Week's Must-See Cinema ReleasesThis week's film offerings range from action thrillers to historical dramas. Normal, directed by Ben Wheatley, stars Bob Odenkirk as an interim sheriff in a small Minnesota town with unexpected secrets involving the yakuza. Also starring Henry Winkler and Lena Headey, this crime thriller promises plenty of intrigue.For horror fans, Obsession offers a literal 'be careful what you wish for' storyline about a music store employee who makes a magical wish for his coworker to love him unconditionally, leading to extreme consequences. Orphan provides a historical drama set in post-revolution Budapest, following a teenager raised on stories of his missing father, while The Christophers is an art world caper from director Steven Soderbergh featuring Ian McKellen and Michaela Coel.Live Music Highlights: From Pop to OperaDoja Cat kicks off her European tour in Dublin, bringing her signature style of 27 songs, high-cut leopard print leotards, and performances inspired by 80s superstars like Prince and Janet Jackson. While her latest album 'Vie' may not have reached the commercial heights of previous work, her live shows remain spectacular.In Sheffield, the Get Together festival features Southend goth overlords the Horrors alongside Welsh-Cornish artist Gwenno and Hot Chip's Alexis Taylor. Other highlights include 'wonk pop' practitioners Lime Garden and London-based noise merchants Factory Floor.For classical music enthusiasts, Glyndebourne opens its summer season with Puccini's Tosca, staged by US director Ted Huffman in the festival's intimate theater. Soprano Caitlin Gotimer leads two rising-star casts under conductor Robin Ticciati.Contemporary Art ExhibitionsIn Colchester, Godfried Donkor presents an exhibition at Firstsite that travels from Colchester to West Africa and the Caribbean. The London-based Ghanaian artist weaves together stories of resistance from Boudicca to Yaa Asantewaa, using collage, painting, and textile to explore how identity, power, and trade shape our world.At the Barbican in London, Colombian installation artist Delcy Morelos presents a major exhibition through July, featuring large-scale muddy installations that challenge perceptions of space and materiality.Stage Performances and Cultural EventsLeeds jazz festival celebrates its fifth year with genre-fluid performances from pianist-organist Kit Downes and sax star Emma Rawicz. The 16-year-old Submotion Orchestra brings their fusion of electronica, jazz, and soulful ambience to the opening night, promising a memorable start to the festival.

Erling Haaland's Acting Debut Manchester City striker Erling Haaland is to make his feature acting debut, in an animated film as the voice of a Viking – called Haaland. The Film Details According to the Hollywood Reporter, the Norwegian international is to play “an animated version of himself” in Viqueens, directed and co-written by Harald Zwart, the Dutch-Norwegian director of The Karate Kid and Agent Cody Banks. The Film's Plot The film’s IMDB synopsis describes Viqeens’ storyline thus: “To return a stowaway, two courageous Viking girls go from Norway to China. Discovering secrets, becoming proficient with dragon kites, fireworks and kung fu, and realising that friendship’s gifts surpass anything taken from adversaries.” The Director's Perspective Zwart said: “Erling has already become a kind of real-life Viking icon around the world – powerful, fearless and uniquely Norwegian. Bringing him into this universe as himself gives the film an unexpected energy and authenticity that felt completely right for this story.” The Film's Cast Zwart has already secured musician Rita Ora and Yellowjackets’ Ella Purnell as its leads, named Hedvig and Ingrid, as well as chatshow host Alan Carr in a smaller role as “a lyrically challenged royal scribe”. Haaland's Current Form Haaland, who joined Manchester City in 2022 from Borussia Dortmund, is leading the race for the Golden Boot, having scored 26 goals so far in the 2025-26 Premier League season. The Film's Release Viqueens is due for release around Christmas.

The Stage is Set for a New Sherlock Holmes Outdoor drama is a pleasure complicated by the plot twists of the season. A day of almost hourly showers left the evening air so ominously moist for Sherlock Holmes that the detective could reasonably have announced: “The rain’s afoot.” A deluge held off but gave way to such coldness that the smoke and dry ice in the production competed with the actors’ breath clouds. Blending Classic and Contemporary Elements Billed as “a new mystery”, the script by Joel Horwood is a sort of bridge between Conan Doyle’s A Study in Scarlet (1887) and The Sign of the Four (1890). The conceit is that we are seeing the “real” events that Dr Watson, frantically transcribing most of the play’s dialogue into a notebook, later published as the second Sherlock Holmes book. A New Perspective on Watson's Narrative But while he faithfully recorded some of the case – including jewels from an Indian Mughal treasure box sent annually to Miss Mary Morstan in London – we see that he falsified elements including the true persona of Holmes. Watson also left out – or Horwood has included – a subplot about stolen government military secrets that did not reach the Sherlock canon until the 1908 short story The Adventure of the Bruce-Partington Plans. Bringing the Characters to Life Joshua James’s perky, petulant Sherlock has some of the canonical props, including pipe and drug apparatus, but passionately embraces theories about the detective’s sexuality and neurodiversity with which earlier performers have only flirted. As Horwood foregrounds Holmes’s deductive outbursts – “That mud on your shoe is only found at the courthouse!” – there are torrents of ratiocination that James delivers with admirable clarity. Jyuddah Jaymes engagingly seizes the opportunities given by a Watson whose agency and braininess have been expanded from his Conan Doyle role of out-thought secretary. A Successful Revival Great characters out of copyright often suffer clumsy slander but, for all the eccentricities such as Sherlock Holmes and the Alien Abduction, the deductive genius has largely been lucky. Like Humphrey Ker and David Reed’s Sherlock Holmes and the 12 Days of Christmas last year at Birmingham Rep, Horwood’s version succeeds in simultaneously teasing and taking seriously the original. At Regent’s Park Open Air theatre, London, until 6 June

The Risks of Sharing Secrets with AI Chatbots The ongoing legal battle between Elon Musk and OpenAI has taken a dramatic turn with the revelation that OpenAI's president, Greg Brockman, kept a diary during the company's founding years. This diary has become central to the case, with one heavily cited extract reading: "Financially what will take me to $1B?" Another scrutinized passage states: "It'd be wrong to steal the non-profit from [Musk]. to convert to a b-corp without him. that'd be pretty morally bankrupt. and he's really not an idiot." The Implications of Chatbot Conversations in Court As millions of people use tools like ChatGPT as a digital confession box or therapist, experts warn that these conversations can be admissible in court. In fact, a lawyer told Axios that "within the next decade," the diary equivalent will be standard discovery in every major executive litigation in the country. This means that you shouldn't trust a chatbot with your secrets, as conversations with AI are not always private and may be retained indefinitely and shared with other humans. The Privacy Concerns of Chatbot Conversations Most chatbot conversations are not private, and users should be wary about sharing sensitive information. A recent case involving a former NFL player who allegedly asked ChatGPT for help after killing his girlfriend demonstrates the potential risks. As David Friedberg, a co-host of the All-In podcast, said: "You're just sitting here at home, like, let me write about the crime I'm committing … and by the way, let me never delete it." The Future of AI and Confidentiality As AI technology continues to evolve, it's essential to consider the implications of sharing sensitive information with chatbots. While chatbots like ChatGPT may seem like a safe space to share your thoughts, they are not a substitute for human therapists or lawyers. In fact, they can be a liability in court. As the use of AI chatbots becomes more widespread, it's crucial to prioritize confidentiality and consider the potential risks of sharing secrets with AI.

The Lead: Carla Simón's Unique Approach to Family DramaFamily reunions in European arthouse cinema are almost always unhappy events, on a scale of strife that ranges from simmering resentment to spectacular score-settling. Carla Simón, however, has a rare gift: she makes you leave the cinema with renewed faith that having relatives and keeping in touch with them may actually be a wonderful thing.No film-maker working in Europe now is as capable of turning birthday gatherings, garden parties or poolside barbecues into thrillingly sprawling canvases of human virtue and vice as this 39-year-old rising star. From a riotous water fight in the Berlinale Golden Bear-winning farming drama Alcarràs to a foul-mouthed dinner table singalong in her new film Romería, Simón directs kinship meetings with the attention to detail that other film-makers may invest in action sequences or dance routines.The Event Details: Romería and the Journey to Self-DiscoveryAmong the tricks Simón employs, she explains, is to ensure her actors only read the script once before the camera starts rolling, so they have to improvise to fill the gaps. She takes her casts to parties, for walks and on shopping trips, and if there are disagreements on the way, so much the better. The ultimate secret sauce, though, is to ignore WC Fields's notorious advice and always work with children and animals."I never get bored of working with kids," she says. "When you are only working with adult actors, shooting becomes more like executing an idea that you have in your mind, and I think that is not interesting. With children, you always have this feeling that that things are going to happen in front of the camera by chance. It keeps things alive."Her new film Romería, meaning "pilgrimage" in Spanish, dives deeper into the story of the biological parents she barely got to know. Eighteen-year-old Marina travels to her relatives in Vigo, in north-western Galicia, purportedly to find the death certificate of her biological father, which she needs to study film-making in Barcelona. The initial reaction is warm, but family is a room with dark corners and locked closets.The Personal Journey: Aids, Loss and Family SecretsSimón's fascination with freewheeling scenes of family life was undoubtedly honed through her own biography. Born in Barcelona in 1986, her father died when she was three and her mother when she was six. Both of them succumbed to Aids. She was 12 when her adoptive mother told her that her parents had been infected with the autoimmune disease through their use of drugs.All of her first three films have been strongly autobiographical: Summer 1993 tells the story of a six-year-old girl who moves to an unspecified location countryside to live with her aunt after the death of her mother, while 2022's Alcarràs is specifically set in the Catalan peach-growing community of her adoptive family.In the film, a cache of letters written by her late mother opens up a portal to the time when her parents met and discovered love – for each other, the Atlantic Ocean and drugs. The letters, Simón explains, are real. "She wrote to her friends and family while she lived in Vigo. Her Catalan is full of mistakes, because teaching Catalan was banned under the Franco regime. But they are the most important thing that I have from my mother, because suddenly I can hear her talking."The Impact Analysis: Spanish Cinema and the Legacy of AidsSpanish cinema has a track record in making films where child actors take centre stage: Ana Torrent's spell-binding turn as a young girl obsessed with the Frankenstein tale in Víctor Erice's 1973 film The Spirit of the Beehive is considered an all-time great performance by a minor, and Simón describes it as "a very, very important film for me".During the transition period after Franco's rule, Madrid gave birth to la movida, a countercultural movement that celebrated lifestyles that had been banned under military rule. "All these kids who were raised under Franco and religious oppression, suddenly freedom arrived and they embraced it", Simón says. "They didn't think much about the future or the consequences of what they were experimenting with. And then the drugs came in."When we talk about this generation in Spain, people sometimes use words like shame and blame, but I feel that's really unfair: people like my parents just had bad luck.The Future Direction: Beyond Family in Simón's Next ProjectHalfway through Romería there is a stylistic shift, from the Eurorealism she favoured in her previous works toward something more magical-realist: there is a mysterious cat you might expect to encounter in a Miyazaki film, and an unforgettable dance number set to Vigo punk rocker's Siniestro Total's song Bailaré Sobre Tu Tumba ("I'll Dance on Your Grave")."These three films I've made are kind of a cycle, because they all talk about my family, adoptive and biological. But since I became a mother a few years ago, I feel that my place in the family changed. When you have kids you feel it's a new period in your life, so I feel like maybe doing something that has nothing to do with my family."Her next film, she confides, is going to be a flamenco musical.

The Genesis of a Masterpiece This week we mark two extraordinary centenaries. Sir David Attenborough's, of course, but only four days after the birth of the bona fide national treasure, Dmitri Shostakovich's First Symphony also first saw the light of day – premiered in Leningrad on 12 May 1926. The 19-year-old's composition was played by the Leningrad Philharmonic, conducted by Nicolai Malko. The Revolutionary Sound The symphony's four-movement structure is just about the only conventional feature it has. The teenage Shostakovich had imbibed all the lessons he could about what orchestral music should sound like and how it should behave, and was bold enough to subvert all those ideas and send them up. There is no forelock-tugging to earlier generations of Russian symphonists and orchestral pioneers; instead, Shostakovich's First resounds with a self-confidence that's both optimistic and deliciously sardonic. A Circus of Sound From the distorted trumpet call that opens the work – a fanfare that thumbs its nose at your expectations of how a symphony should start; not an affirmative flourish, but a snakingly dissonant question mark – Shostakovich sets out on a first movement that's like a circus: a cavalcade of characters who take the stage and exit, more often than not pursued by a cartoon bear, clown or bassoon. The momentum that Shostakovich generates from the way he juxtaposes ideas – cutting from one to the other as if the symphony were a reel of film – continues deliriously in the second movement. Here, a piano part is added to the orchestral texture, and that's where one of the secrets of this music's compositional energy is revealed. As a teenager, Shostakovich played the piano for Soviet silent cinema screenings, and in the symphony's piano solos, he turns his work into a knockabout farce that Buster Keaton would be proud of. A Masterpiece of Unbridled Creativity The movement builds to a climax that is both terrifying – a sudden fanfare that consumes the whole orchestra – and bathetic, in the form of the solo piano's chords, as if the pianist couldn't keep up with the music's pace. There is no hint anywhere in this piece of the bombast and poster-paint ideology of Shostakovich's later symphonies, but there is real feeling here, hinted at in that climax of the scherzo, as the cartoon suddenly shudders into real life. The slow movement that comes next is one of the most unironically passionate that Shostakovich ever wrote, as a solo oboe and solo cello inspire the whole orchestra to a melodic outpouring that feels more Shakespearean drama than circus hijinks. A Legacy of Creative Freedom The final movement somehow brings all of these worlds together, and the symphony ends in a torrent of irresistible energy, a culmination of pure sentiment as well as sheer excitement. This is, surely, the most creatively confident First Symphony by any teenager in musical history (and there is plenty of competition, from Mendelssohn to Knussen, from Rihm to Schubert). It announces a world of possibility in which musical conventions are gleefully turned upside down in a frenzy of modernist creativity that's both funny and profound. It's the sound of a unique symphonic avant garde that might have heralded an era of unfettered creative freedom for Shostakovich and generations of composers. A What-If of History Instead, these are the sounds of what might have been, for Shostakovich and for Russia. In Shostakovich's later symphonies, especially from the mid-1930s onwards, you hear the chilling of that freedom and the daily terror of living in Stalin's Soviet Union. The confidence and joy in his own brilliance that you hear in every page of the First Symphony is a miracle that Shostakovich never quite repeated and which is still strikingly new, a century on.

The Gothic Horror Revival with a Psychedemic TwistWill Maclean's "Solace House" emerges as a bold entry in contemporary gothic horror, blending traditional supernatural elements with psychedelic storytelling. The novel transports readers to the summer of 1993, where protagonist Alex Lane finds himself working at an abandoned asylum called Marshlands, located next to the enigmatic Solace House—a gothic mansion filled with secrets and supernatural occurrences.A Cast of Characters in a Supernatural SettingThe narrative introduces a diverse group of university students tasked with clearing out the asylum: the lonely Alex, the sinister pale boy Adam, and various archetypal characters including the Christian Helen, the stoned Clive, the goth Ruth, the new-age Leo, the beautiful Malcolm, and the bewitching red-haired Ella. Against the backdrop of cheap wine, joint-smoking, and pretentious banter, the group begins to uncover the dark mysteries of Solace House and its former occupant, the reclusive poet Edwin Flayne.Supernatural Elements and Narrative StructureSolace House is portrayed as a "thin place" where supernatural forces bleed into reality. Flayne, who lived to 102 without leaving the house, pursued dark mathematics and magic in his quest for forbidden knowledge. The novel incorporates numerous gothic tropes: a hedge maze, ancient caverns, mysterious telephones, and a labyrinthine interior filled with hoarded artifacts. As the narrative progresses, reality becomes increasingly unstable, leading the characters to consume psychedelic mushrooms and confront the boundaries between dimensions.Literary Influences and ComparisonsMaclean's work draws from a rich tapestry of literary influences. The reviewer compares "Solace House" to TV's "True Detective" while acknowledging the foundational influences of Arthur Machen, Charles Williams, and HP Lovecraft. Other discernible references include Donna Tartt's "The Secret History," Mark Z. Danielewski's "House of Leaves," and Lucy Boston's "The Children of Green Knowe." The novel also shares occult territory with Francis Spufford's "Nonesuch," creating a rich intertextual tapestry that honors its influences while carving out its own identity.Pacing and Narrative ApproachOne of the novel's strengths is its pacing. The 500-plus pages "whip by" as Maclean balances supernatural horror with character development and occasional dark humor. The book opens with a self-aware acknowledgment that "gothic always tries too hard," suggesting a meta-awareness of the genre's conventions. This self-deprecating tone permeates the narrative, creating an engaging reading experience that doesn't take itself too seriously despite its ambitious supernatural scope.Assessment and Critical ReceptionWhile the reviewer praises "Solace House" for its entertainment value and ability to "spook the reader," they note some narrative shortcomings. The novel is described as "a bit overstuffed," particularly in its attempts to convey "ineffable mind-mangling realms beyond time, space and puny human comprehension." However, the reviewer suggests this excess is somewhat inherent to the genre itself. Despite these minor criticisms, the book earns high marks for its clever and satisfying twist ending that even makes sense of Edwin Flayne's "terrible poetry," providing narrative cohesion to the sprawling supernatural tale.

The Genre-Breaking FormulaWidow's Bay presents a unique challenge to traditional television categorization. The 10-part series from Apple TV masterfully combines horror elements with workplace comedy and family drama, creating an intoxicating blend that defies easy classification. Writer-creator Katie Dippold and director Hiro Murai (who helmed the first five episodes) deliver a show that lovingly embraces horror tropes while subverting expectations through sharp humor and character depth.The series follows Mayor Tom Loftis (Matthew Rhys) as he attempts to develop his charming New England island into the next Martha's Vineyard, all while confronting local legends about cannibalism, sea hags, clown killers, and supernatural entities. The show's brilliance lies in its ability to balance these elements—jump scares and gore are measured out beautifully, while the comedic timing and character development receive equal attention.The Performances That Elevate the MaterialMatthew Rhys delivers a career-defining performance that showcases remarkable range. Known for dramatic roles in The Americans and The Beast in Me, Rhys pivots with gorgeous ease between terror and comedy, with actual laugh-out-loud moments throughout the series. His portrayal of Tom—a grieving widower, skeptical mayor, and concerned father—adds emotional depth to the supernatural proceedings.The casting choices throughout are exceptional, particularly Kate O'Flynn as Tom's chief assistant Patricia. O'Flynn brings a glorious combination of deadpan expression with a borderline unhinged aura that perfectly complements the show's tone. The supporting cast, including Stephen Root as the alcoholic fisherman Wyck who serves as the Cassandra figure, creates a fully realized community of eccentric but believable characters.The Island's Supernatural MysteriesWidow's Bay establishes its horror credentials through various supernatural elements: a dark alley full of horrors, a hotel room where time passes differently, flickering lights and power failures at opportune moments, scratches that won't stop bleeding, and coma patients who turn into zombies. The series excels at building tension through these elements while maintaining a sense of humor about the proceedings.What makes the supernatural elements particularly effective is their integration with the small-town drama. The show suggests that there are many ways to be haunted—both literally and figuratively. The supernatural may be the least of the island's problems, as human evil and community secrets provide equally compelling sources of tension.Cultural Impact and Genre InnovationWidow's Bay arrives at a time when television increasingly embraces genre-blending approaches to storytelling. The series can be described as Mare of Easttown meets Schitt's Creek, but with something that makes it singular. Its ability to balance multiple tones while maintaining narrative coherence represents a significant achievement in television writing and direction.The series also benefits from its setting—a remote island that serves as both character and metaphor. The isolation allows the show to explore themes of community, memory, and the past's influence on the present. As one character notes, there are many ways for evil to creep through a community, and Widow's Bay explores these possibilities with nuance and depth.The Future of Genre-Bending TelevisionWith its successful blend of horror, comedy, and drama, Widow's Bay sets a new standard for genre-bending television. The series demonstrates that audiences are ready for stories that defy traditional categorization, offering both thrills and laughs in equal measure.As streaming platforms continue to compete for innovative content, Widow's Bay stands as a testament to the power of creative risk-taking. The show's ability to balance supernatural elements with human drama suggests a promising future for television that embraces complexity and refuses to be confined by genre boundaries.