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A projected ocean backdrop bathed the Hollywood High School auditorium in sunset hues as Mitski opened her five‑night residency, delivering a performance of “Dead Women” from her latest album Nothing’s About to Happen to Me. The stage, arranged like a cozy living room with a writing desk, chaise lounge and warm lamps, amplified the DIY‑style intimacy the artist sought.Addressing the crowd, Mitski quipped, “It’s dark in here – no one can see you. You can cry,” a line that resonated with the mixed‑age audience, prompting genuine emotional responses.The residency coincided with an innovative attendance challenge: students who maintained perfect attendance for two weeks were entered into a raffle for tickets. School staffer Michael Reagan called it “the most effective attendance drive in the district’s recent history.”Beyond the music, Mitski’s agreement to cover the venue’s rental fee will fund caps and gowns for graduating seniors, while she pledged to donate $2 from each ticket to a local youth‑focused music‑education nonprofit.The event attracted students from across Los Angeles and beyond. One senior, Sophia Barrios, traveled by train from the Central Valley after receiving tickets for her 18th birthday, praising Mitski’s genre‑spanning sound and personal lyrics. Fellow attendees echoed the sentiment, noting how the artist’s words gave voice to feelings they struggled to articulate.Former alumna Jessica Torres Vicente, now a therapist, described the experience as “a healthier dose of memory lane,” recalling the unchanged gold‑lettered welcome sign and vintage school‑production posters that still adorn the auditorium.Mitski’s decision to perform in a high‑school setting harks back to the venue’s history of hosting notable acts, such as Morrissey in 2013, and reflects her desire to recapture the raw connection of early‑career punk and DIY shows.The concert retained the hallmarks of a Mitski show—precise, balletic movement, immersive visuals, and a sound that enveloped the crowd—while the unique setting left an indelible impression. When she sang “Two Slow Dancers,” the audience shouted back, “Yes!” in unison, underscoring the shared intimacy of the night.

When screenwriter Daisy Goodwin examined Prince Albert’s habit of selecting Victoria’s bonnets, she wondered whether the gesture signified tender devotion or a more unsettling dominance. The question becomes the backbone of her new stage drama, which recasts the iconic Victorian marriage as a case of coercive control rather than a model partnership. Set in the waning days of Victoria’s reign at Windsor, the production opens with Amanda Boxer portraying an aging monarch—a weary, self‑pitying figure cloaked in black bombazine. Her character, a compulsive diarist, fears that her candid journals might be released after her death, a concern that fuels the play’s tension. Designer Alex Berry creates a slanted, reflective ceiling that acts like a distorted mirror of memory, underscoring Victoria’s claim that her diaries are “the only place where I could be completely honest”. Yet the presence of Albert, played by Rowan Polonski, suggests that even these private pages were never truly safe. Jessica Rhodes brings youthful Victoria to life, initially buoyant as she waltzes with Albert. The romance quickly darkens as Albert’s behavior shifts to manipulating her ambitions and curbing her joy. He pressures her into motherhood—she dismisses the children as “invincibly tedious”—and intrudes on her official duties, from speeches to industrial tours. In a biting line, she accuses him of making “the monarchy so boring that no one was awake enough to start a revolution”. The play’s narrative moves from teasing banter to overt control, with intimate moments on the sofa devolving into fierce arguments over gifts (“You gave me a brooch made of teeth, Albert!”). A poignant scene where Victoria reads from Jane Eyre hints at a gothic destiny that Goodwin imagines Albert may have plotted. While Goodwin’s empathy clearly leans toward Victoria, the production also raises contemporary expectations of royalty, suggesting that public service—not romantic idealisation—should define modern monarchs. Director Sophie Drake’s brisk pacing navigates the play’s contradictions, ultimately unsettling the long‑held myth of a contented, untroubled royal household. The production runs at the Watermill Theatre in Newbury until 9 May, offering audiences a fresh, critical lens on a celebrated historical partnership.

More than two years into Israel's war on Gaza, thousands of families remain in limbo, torn between unverified deaths and secret detentions.In a partially destroyed home in Khan Younis, Tahrir Abu Mady clings to the charred walls that echo the memory of her missing children.Her 20‑year‑old daughter, Malak, a university student and volunteer nurse at Nasser Hospital, vanished after briefly returning home with her 18‑year‑old brother Yousef when Israeli ground forces entered the city in 2024.Forensic teams later recovered human remains in the ruined house, prompting Gaza’s Ministry of Health to issue a death certificate for Malak, while Yousef’s fate stayed unknown.The story took a painful turn when a list of Palestinian detainees released by former prisoners included Malak’s name, marked only with “No information available,” reigniting Tahrir’s anguish.Seeking answers, Tahrir tried to hire a lawyer in Umm al‑Fahm to trace her daughter within the Israeli prison system, but prohibitive legal fees made the effort impossible.Human‑rights groups warn that Malak’s case is far from unique. Israeli forces have detained thousands of Gazans in undisclosed locations, often without charge or legal representation.Euro‑Med Human Rights Monitor researcher Maha al‑Husseini estimates around 3,000 people have been forcibly disappeared, many of whom may be dead or imprisoned, with Israeli authorities refusing to provide any information.Families are left in a state of suspended grief, unable to properly mourn or advocate for their loved ones.Today, Tahrir lives between an official death certificate and a name on a smuggled prisoner list, writing on the scarred walls: “We are still waiting for you, Malak … our white coat girl.”

Apple has launched its latest laptop, the MacBook Neo, which marks a significant departure from its traditional Mac lineup. The Neo is powered by an A18 Pro chip typically found in iPhones, offering a highly performant experience, particularly in everyday tasks.The MacBook Neo starts at £599 (€699/$599/A$899), making it an attractive option for those looking for a budget-friendly laptop without sacrificing performance. The laptop features a 13in LCD screen with a resolution of 2408x1506 and 219 ppi, 8GB of RAM, and storage options of 256GB or 512GB.Despite its lower price point, the Neo doesn't feel like a cut-price machine. The laptop has a high-quality aluminium body, sleek lines, and rounded corners, similar to the MacBook Air and Pro models. The keyboard and trackpad are also top-notch, with the trackpad being mechanical rather than haptic.The Neo's performance is impressive, handling complex edits to multiple large file photos in Affinity and Pixelmator Pro without breaking a sweat. It's also capable of light video editing, making it suitable for everyday tasks.The laptop's battery life is excellent, managing about 13 hours between charges for general browsing, note-taking, image editing, chat, and emails. The Neo also features a 1080p webcam, good mics, and decent speakers.However, there are some limitations compared to the more expensive MacBook Air, such as no wifi 7, no Thunderbolt, no 5K display support, and only 8GB of memory. Nevertheless, the MacBook Neo sets a new benchmark for budget-friendly laptops, making it an attractive option for students and those on a budget.

Roy Hodgson, the veteran English football manager, has made a remarkable return to the sport at the age of 78. He has taken on an interim managerial role at Bristol City for the final seven games of the Championship season. Hodgson, who managed Crystal Palace until February 2024, was tempted out of retirement by Richard Scudamore, the former Premier League chief executive.Hodgson insists that he does not require a 'crutch' to manage the team, despite his advanced age. He believes that his general health is good, and he is probably fitter now than when he left Palace. Hodgson mentioned that he has been doing a lot of work at home, including using a gym and walking, which has helped him lose 5-6kg.The 78-year-old manager acknowledged that he must be cautious about the strains of the job, referencing the recent collapse of 80-year-old Romania head coach Mircea Lucescu. Hodgson joked that he has no intention of 'dying on the bench' like Jock Stein and will take necessary precautions to ensure his well-being.Hodgson's return to Bristol City comes 44 years after he was sacked by the club in 1982. He described his time at the club as a 'fond memory,' despite the financial difficulties they faced back then. Hodgson's second spell at Bristol City begins with a match against Charlton on Good Friday.The veteran manager's decision to return to football was influenced by conversations with his former assistant Ray Lewington. Hodgson emphasized that he aims to enjoy this period and will assess whether he has made the right decision after facing challenges ahead.

A commercial court in France has dismissed Cardiff City's claim for £106m in compensation following the death of Emiliano Sala in a plane crash seven years ago. The court found that Nantes, Sala's former team, was not at fault in relation to the flight that resulted in Sala's death.The 28-year-old Argentine player was traveling from France to begin his career with Cardiff City when the single-engine Piper Malibu aircraft crashed into the sea near Guernsey, killing both Sala and pilot David Ibbotson. Cardiff had sought €122m (£106m) for loss of income and other damages from Nantes, claiming the French club was responsible because the flight was organized by an intermediary, Willie McKay.However, the court rejected Cardiff's contention, finding that McKay served as an agent for Nantes but did not organize the flight and was not aware of its illegality. The court also ruled that Nantes suffered moral damage and ordered Cardiff to pay €300,000 to the French club.Cardiff's lawyer, Céline Jones, expressed disappointment with the decision, stating that the club had initiated the process to uncover the truth and show respect for Sala's memory. In contrast, Nantes welcomed the decision, with their lawyer Jérôme Marsaudon saying the club was not responsible for the incident.This ruling follows previous decisions by Fifa and the Court of Arbitration for Sport (Cas), which have also gone against Cardiff in their legal dispute with Nantes. In 2022, Cas ruled that Sala's transfer had been finalized at the time of his death, and Fifa ordered Cardiff to pay Nantes the balance of Sala's transfer fee, amounting to just over €11m out of a total of €17m.

Mary Rand, a trailblazing British athlete, has passed away at the age of 86. She was a dominant force in the sports world during the 1960s, becoming the first British woman to win Olympic gold in athletics at the 1964 Tokyo Games. Rand achieved this remarkable feat with a world record long jump of 6.76 meters, a performance that cemented her status as a national heroine.Rand's achievements in Tokyo went beyond her gold medal in long jump. She also secured silver in the pentathlon and bronze in the sprint relay, making her the first British athlete to claim three medals in a single Olympic Games. This impressive haul of medals not only showcased her versatility but also her exceptional talent.Born in Wells, Somerset, Rand was brought up in a council house by her parents. Her prodigious athleticism was evident from an early age, leading to her being offered a scholarship at Millfield, a leading public school for sports. She won All England Schools titles and broke the British record for the pentathlon at just 17 years old.Rand's career was marked by both triumph and challenges. She faced criticism after finishing ninth in the long jump at the 1960 Rome Olympics, but she used this as motivation to excel in Tokyo four years later. Her performances were praised by her peers, with fellow athlete Ann Packer describing her as “the most gifted athlete I ever saw”.Rand's legacy extends beyond her Olympic achievements. She was named the BBC Sports Personality of the Year for 1964 and was made an MBE in 1965. In 2009, she was inducted into the England Athletics Hall of Fame, a testament to her enduring impact on the sport.Despite facing challenges in her personal life, including two divorces and the loss of her third husband, Rand remained a beloved figure in the sports world. Her daughters survive her, and her memory will continue to inspire future generations of athletes.

Harry Enfield, known for his portrayal of King Charles in The Windsors, presents a comprehensive review of his career in this Audience With … event. The show is a chronological journey through his 40-plus years in comedy, featuring a vast array of personae, catchphrases, and showbiz anecdotes.Enfield's iconic characters, such as Stavros and Loadsamoney, are revived, along with his DJ alter ego Dave Nice, now a right-wing podcaster. The show also includes fresh sketches and performances of his favorite old sketches, like Mr Cholmondley-Warner and Wayne and Waynetta Slob.The comedian's ability to distill personalities and social types into telling tics, speech patterns, or catchphrases is remarkable. He shares engaging background details and biographical snippets, including stories about his family and celebrity encounters with Whitney Houston, Nelson Mandela, and a drunken session with Paul McCartney and George Harrison.This touring show is a treat, offering a trip down memory lane and showcasing Enfield's enduring comedic talent. He solidifies his claim as the head of our comedy state, with a performance that is both nostalgic and engaging.Harry Enfield is set to tour with his show, with upcoming dates at G Live, Guildford, and the Forum, Bath.

While birdwatching is a well-known hobby, moth-watching is gaining popularity as a fascinating and misunderstood pursuit. A recent study on birdwatching found that becoming an expert birder causes changes to the brain that may help protect against age-related cognitive decline. The study, led by Erik Wing, discovered that expert birders show more activity in brain regions linked to visual processing, attention, and working memory when identifying difficult species. The author, a self-proclaimed moth enthusiast, argues that moths are orders of magnitude more difficult to distinguish than birds, with over 2,500 species in the UK alone. The author participates in the Garden Moth Scheme, a citizen science project that has been running since 2008, and has found that moths play a vital role in the natural world, pollinating plants, providing food for wildlife, and contributing to nutrient cycling. Despite their importance, moths are often misunderstood and maligned, with many people viewing them as pests. However, the author highlights the beauty and diversity of moths, with some species having intricate patterns and colors that rival those of butterflies. The author also notes that moths are harbingers of environmental change, with many species declining in abundance due to habitat loss and climate change. The Garden Moth Scheme has revealed a troubling trend of declining moth populations, with half of UK garden moth species showing a decrease in abundance. This decline has significant implications for the balance of the natural world. The author concludes that moth-watching, like birdwatching, can be a mindful and rewarding hobby that not only promotes appreciation for nature but also supports brain health.