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The Artist's Journey Through Love and LossFalling in and then out of love is a universal experience that often brings sadness, grief and heartbreak, and with time, hope and healing. Photographer Diana Markosian used her camera lens to document these complex feelings in her new project, Replaced.She brings the viewer on her journey of having, losing and reclaiming love, in a project that blurs documentary and fiction. "[The moments] no longer existed in the way they had, and I wanted to reclaim them," she says. "I wanted to feel that I could exist in my own story again."Recreating Intimate Moments Through ArtTo document their relationship, Markosian and her team worked with an actor to play her ex-partner. Each intimate image from the series, taken over three months, is a replica of an exact moment once shared with her ex and now shared between her and the actor. Her connection to him deliberately led to his being cast as her partner in the series so that the experience would feel as real as possible.With the actor, she visited Miami, Paris, Naples, Capri and Nice, all places she had once traveled to with her ex-partner. "These locations carry an existing weight of romantic myth," she says. "They are already shaped by cultural narratives of love, desire and idealized experience."The Emotional Toll of ReenactmentShe stayed at the same hotels and did the activities they had once done together, describing the experience as painful but cathartic. "It hurts so much, watching myself be replaced, watching those memories erased, and I didn't want to live in this any more," she says. "I'm so grateful that the project happened quickly."One of the most tender moments she recreates with the model appears in an image of them seated in a bathtub, holding one another with a red light glowing around them. Their vulnerability allows the viewer to reflect on a delicate moment between two people whose past love no longer exists, fostering empathy and prompting the audience to reflect on their own past relationships.Art as a Tool for Processing EmotionsCreating these intimate photographs enabled her to contemplate her journey. "I wanted to acknowledge how these same spaces can be reoccupied," she says, before adding: "If anything, [the project] just showed me how much I loved this person."For the past 16 years, Markosian has not let go of her camera, often using it to reach back and understand her past. "Art has given me a way of processing. I was studying writing, and suddenly found myself holding a camera and not wanting to let go of it; it became just a friend in my life," she says.A Career Built on Memory and ReconnectionShe first picked up a camera at 20, during graduate school at Columbia University. After graduating with a master's degree in journalism, she wanted to see the world, so she moved back to Moscow, Russia, where she was born. There she taught herself how to use the camera.Today, her lens serves as a tool for reconnecting with her past life and reclaiming it as her own. In her previous, highly regarded photo monograph Inventing My Father, she demonstrates her unique ability to reveal the unseen past through her images. Working on the book for 10 years, she depicts her journey of finding her father after 15 years of no contact, following her move to California in 1996 from Armenia, where he lives."Father, my previous work of the past decade, it's all rooted in memory, and I think what's beautiful about memory, there's a blend of fiction, interpretation, and it's very subjective," she says. "So I think I love existing in that territory because none of it is really real."

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.

Morning Snapshot: UK Bond Market Bruised by Political Turbulence Good morning, and welcome to our rolling coverage of business, the financial markets and the world economy. The UK bond market is bruised this morning after a day of political turbulence drove up Britain’s borrowing costs. Rising Yields: 10‑Year Gilt Above 5% – Highest Since 1998 UK long‑term bond yields hit their highest levels in 28 years on Tuesday, pushing the 10‑year gilt yield back above 5%, the highest level since 1998. Numbers at a Glance: Yield Spike and Borrowing Cost Implications 10‑year gilt yield: > 5% (first time above 5% since 1998) Yield rise triggered by fears of a left‑leaning Labour government and potential fiscal expansion. Higher yields mean investors demand greater compensation, increasing the cost of borrowing for the UK Treasury. Political Shockwaves: Labour Leadership Uncertainty and Reform’s Rise Investors are wary that a shift to the left under Keir Starmer could lead to higher spending and larger deficits. At the same time, the prospect of Nigel Farage entering Downing Street after Reform’s gains in the recent local elections adds another layer of uncertainty. Senior analyst Ipek Ozkardeskaya of Swissquote notes that the market is "grappling with their own political shakeups" and that the combination of fiscal concerns and inflation outlook is driving yields up. Market strategist Bill Blain of Wind Shift Capital cautions that investors may not view Reform as a "safe pair of hands" for managing the bond market and public spending. Looking Ahead: What the King’s Speech Could Mean for Debt Markets The UK government will outline its legislative agenda in the King’s Speech later today, which could provide some respite for Keir Starmer amid ministerial resignations and calls for his departure. 10am BST: IEA monthly oil market report 10am BST: Eurozone GDP report (latest estimate for Q1 2026) 1.30pm BST: US producer prices inflation report for April 3pm BST: Bank of England policymaker Catherine L. Mann to release speech on “The UK’s international exposures and vulnerabilities”

The Orbital Data Center Partnership Google and SpaceX are in talks to launch orbital data centers in space, according to a report from The Wall Street Journal citing sources familiar with the matter. This potential collaboration comes as both tech giants position themselves at the forefront of next-generation computing infrastructure. SpaceX's Ambitious IPO Strategy The potential deal coincides with SpaceX's preparations for its $1.75 trillion IPO later this year. The company is selling investors on the vision that data centers in space will become the most cost-effective locations for AI compute within the next few years. This orbital data center concept represents a significant shift from traditional ground-based infrastructure to space-based solutions. Financial Implications and Previous Investments SpaceX's orbital data center ambitions follow its recent deal with Anthropic to use computing resources from xAI's data center in Memphis, Tennessee, with potential future collaboration on orbital facilities. (SpaceX acquired xAI in February.) Meanwhile, Google has previously invested $900 million in SpaceX back in 2015, according to regulatory filings, demonstrating the long-term strategic relationship between the two companies. Google's Broader Space Infrastructure Plans Google is reportedly in discussions with other rocket-launch companies beyond SpaceX, indicating a multi-faceted approach to space-based infrastructure. The company has also announced Project Suncatcher, an initiative with plans to launch prototype satellites by 2027. This suggests Google is hedging its bets and exploring various pathways to space-based data solutions. The Economics of Orbital vs. Terrestrial Data Centers Elon Musk has actively created hype around orbital data centers, claiming they are cheaper to operate than their Earth-based counterparts. Proponents also highlight that space-based facilities would be free from the local community backlash that often accompanies U.S. ground-based data center expansions. However, as TechCrunch recently reported, today's terrestrial data centers remain significantly more cost-effective than orbital ones when satellite construction and launch expenses are factored into the equation. The Future of Space-Based Computing As the race for AI compute resources intensifies, the concept of orbital data centers represents both a bold vision and significant technical challenges. While current economics favor ground-based facilities, advances in rocket technology and satellite manufacturing could potentially shift this balance in the coming decades. The discussions between Google and SpaceX underscore the growing interest in space as a frontier for technological infrastructure development.

The Lead: Race Shakeup in Italian AlpsEcuador's Jhonatan Narváez (UAE Team Emirates XRG) powered to the line, claiming victory on stage four of the Giro d'Italia, outpacing Orluis Aular, with home rider Giulio Ciccone taking over the leader's pink jersey after crossing the line in third. The first shakeup in this year's race coincided with its arrival home in Italy following the opening three stages in Bulgaria.The Technical Breakthrough: Mountain Classification ShiftThe 138km ride from Catanzaro to Cosenza only kicked into gear when the stage reached the foot of the long climb to Cozzo Tunno, 80km into the day, and the peloton was broken up, leaving a reduced bunch of 40 riders to fight for the stage. This mountain section proved decisive as the race favorites were separated from the main pack.The Standings Analysis: Four-Second AdvantageThe four bonus seconds Ciccone picked up for finishing third was enough to lift him into the overall lead, four seconds ahead of Jan Christen, Florian Stork and Egan Bernal. This narrow margin sets up a tightly contested race for the remainder of the 109th edition of the Giro.The Race Dynamics: Italian Rider Takes ChargeWith the race now fully on Italian soil, the home crowd celebrated as Ciccone seized the pink jersey. The transition from Bulgarian stages to Italian terrain has clearly favored the climbers, with the reduced field in today's stage indicating that the general classification contenders are beginning to emerge.The Future Outlook: Mountain Challenges AheadWednesday's fifth stage could further shake up the general classification standings. It features nearly 4,000 meters of climbing and hardly any flat sections on the 203km route from Praia a Mare to Potenza. With the race now entering its mountainous phase, riders like Ciccone will need to defend their positions against stronger climbers as the Giro progresses toward its conclusion in Rome on May 31.

The Rise of Brighton Women's Football As Brighton’s old song goes, “Hark to the merry bugles”, because there is something in the air in Sussex by the sea. A purpose-built women’s team stadium is in the offing, a second consecutive top-half Women’s Super League finish is on the cards and the women’s side are heading to Wembley for the first time. The fans have never had it this good. Overcoming Adversity It took something special for Brighton to overturn a two-goal deficit in Sunday’s FA Cup semi-final victory at Liverpool and they left it late – very late – as Nadine Noordam settled a classic, five-goal thriller with her 95th-minute winner, but reaching this final is something the club have been building towards. In 2022, Brighton set out a bold vision to become a “top-four WSL club” and last summer the head coach, Dario Vidosic, was unafraid to discuss even higher targets, speaking in a determined, bullish and unwaveringly ambitious tone during an interview with the Guardian. The Team's Success The former Australia international mentioned wanting to “challenge the establishment”, win a trophy and “be the best of the best”, rather than being satisfied with last year’s fifth-placed league finish. They were strong words and many outsiders were probably sceptical but the signs are that he can walk the walk as well as talk the talk. Brighton are unbeaten in seven games, during which they have defeated Arsenal and their upcoming Cup final opponents, Manchester City, and demonstrated neither of those results were a fluke by drawing with Arsenal and Manchester United. The Key to Success They are also doing it with a playing style pleasing on the eye. Vidosic was almost purring when asked whether Sunday’s second-half display was emblematic of the way he wants his team to play. “It was a joy to watch,” he said. “We created so many chances. We were dominant, we were calm on the ball, we were moving it around and we made it very, very tough for Liverpool.” The Future The final on 31 May will be a special day for the entire club. Brighton’s men’s only FA Cup final appearance came in 1983, before a generation of their supporters were born, and neither of the first teams have won a major trophy. When Brighton’s women’s team were founded in the late 1960s, the squad was almost entirely made up of telephonists – switchboard operators who could connect callers to their requested phone line. Were they operating today there would surely be only one connection requested: the ticket office, as fans get excited about their trip to Wembley and a chance to see the next chapter in this promising journey.

The Art Revolution That Started in a Car Park It's hard to imagine now, but there was a time when rooftop bars weren't really a thing. A time before pop-ups and contemporary outdoor sculpture parks. A time even, if you can bear to think of it, before immersive art. Way back in 2007, there was none of that – the UK was an experiential art wasteland. And then Bold Tendencies showed up, chucked a whole load of sculptures in a multi-storey Peckham car park, painted a staircase bright pink, built a cocktail bar on the roof, and changed everything. Two Decades of Transformative Art Now going into its 20th summer season, Bold Tendencies is celebrating two decades of sometimes sun-drenched, often windswept and drizzly arts programming. In that time, it has welcomed more than 3 million visitors into its concrete edifice behind Peckhamplex cinema, commissioned dozens of new artworks, hosted countless recitals and performances, built an auditorium and a concert hall, and drawn the roadmap for countless art experiences that have come in its wake. The Artistic Legacy And the art's not been too bad, either. Anthea Hamilton built a doorway to heaven through a man's splayed legs in 2010. Jess Flood-Paddock parked Del Boy's three-wheeled van on the roof in 2011. James Bridle flew a black balloon filled with wifi routers from the roof in 2014. Adam Farah-Saad installed a decorative retro water fountain in 2024. There have been piles of raw pigment, fluttering flags, wobbly walkways, heads on spikes. Almost all newly commissioned, and all free to see. Transforming the Cultural Landscape You can't overstate just how different, not only Peckham was in 2007, but the whole cultural landscape of the country. This was years before the likes of The Vinyl Factory or Frameless, and long before the Hayward and Tate were racing to the bottom to find the most TikTok-ready, Instagram-friendly exhibitions possible. The only large-scale sculptural commissions around back then were the fourth plinth and the Tate's annual Turbine Hall and Duveen projects. There wasn't really anywhere else to see new sculptural work by young artists. The Peckham Effect There also wasn't a lot going on in Peckham at the time. But what the area did have was a handful of project spaces, a single dive bar called Bar Story, seriously cheap rents and – thanks to being squeezed between Camberwell College of Arts and Goldsmiths – a lot of artists. Combined with a relative sense of isolation in the days before the London Overground, it boasted a fairly unique set of circumstances. "I found it to be a place of great possibility," says Barry. "And it still feels like that." The Visionary Behind the Movement Barry had been putting on exhibitions in a semi-derelict house on nearby Lyndhurst Way, and struck up a relationship with the people responsible for property in Southwark council. The council realised that artists could act as caretakers of empty, derelict buildings awaiting redevelopment, and Barry figured that those buildings could be used for art exhibitions. It's a model still followed today by other cultural charities, one that some consider the forward battalion in a wave of gentrification that has engulfed the city ever since. The Future of Public Art "Part of our responsibility in doing a project like this is to offer up the joy of feeling welcome to as many people as possible," says Hannah Barry, the driving force behind Bold Tendencies and owner of Peckham's longstanding Hannah Barry Gallery. "People come here for all sorts of different reasons and they may stay for a short time or stay for a long time. What matters is that they're curious enough to come." As Bold Tendencies enters its third decade, it continues to push boundaries and redefine what public art can be, proving that sometimes the most revolutionary ideas come from the most unexpected places.

The Film's Unique Narrative Structure Directed by Patrick Leung, Ciao UFO is a Hong Kong drama that employs a non-linear narrative, jumping between different time frames. The film follows a group of childhood friends as they grow up in a working-class Hong Kong housing estate. The Story of Friendship and Growth The story centers around four kids: Kin, Heem, Hoyi, and Little Brother, who share a life-changing experience in 1985 when they see a UFO in the sky. As they grow up, their paths diverge, with each character pursuing different goals and facing various challenges. The Impact of Hong Kong's Changing Landscape The film is set against the backdrop of Hong Kong's transformation, particularly the 1997 handover to China. This significant event serves as a pivotal moment in the characters' lives, influencing their decisions and futures. A Blend of Realism and Melodrama Ciao UFO is not a sci-fi film, but rather a multi-stranded realist drama that explores the complexities of human relationships and the city's evolution. The film features a cast of colorful characters, including a spaced-out uncle and a superstitious grandfather. A Long-Awaited Release Despite being made in 2019, Ciao UFO is only now receiving an international release due to distribution issues. The film still feels fresh and relevant, particularly in today's volatile economic climate.

The new BBC Two documentary Children of the Blitz brings together the last surviving witnesses of Britain’s wartime bombing, delivering a moving, unflinching portrait of childhood under fire.Documentary Captures First‑Hand Voices of Blitz SurvivorsDirected to mark the 85th anniversary of the Blitz’s end, the film follows interviewees from Liverpool, Coventry, Cardiff and Sheffield as they recall daily life, loss and the strange normality that followed nightly raids. Their stories are interwoven with present‑day scenes of grandchildren, yoga classes and quiet moments, underscoring how the past still shapes their identities.A Century‑Old Witnesses: Ages, Reach and Broadcast DetailsInterviewees range from 100‑year‑old Ernie Gaskell to survivors now in their late 80s.Filmed across multiple UK cities, the documentary aired on BBC Two on 12 May 2026 and is available on iPlayer.Running time: 60 minutes, featuring over 30 individual testimonies.Reframing the “Blitz Spirit” for Modern AudiencesThe programme questions the myth of a stoic, unbreakable national character, revealing instead a coping mechanism born of psychological crisis. Voices like Monica White and David Rawdon describe a forced silence that mirrors today’s war‑zone children in Gaza, Ukraine and Sudan, linking historic trauma to contemporary conflict.Why Wartime Oral Histories Will Remain VitalAs the final generation of eyewitnesses passes, the film serves as a crucial archival record. Its intimate approach suggests future documentaries will increasingly rely on personal narratives to humanise large‑scale tragedies, ensuring that the lessons of the Blitz stay relevant for decades to come.