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The mockumentary, a once-thriving film genre, seems to be losing its luster. Charli XCX's 'The Moment' and 'Spinal Tap II: The End Continues' are recent examples of films that have failed to recapture the magic of their predecessors.Historically, mockumentaries were a staple of comedy, with directors like Christopher Guest and Rob Reiner pushing the boundaries of the genre. Films like 'This Is Spinal Tap' and 'The Rutles: All You Need Is Cash' remain classics, celebrated for their improvisational style and satirical humor.However, the current crop of mockumentaries seems stale, relying on celebrity cameos rather than genuine comedic innovation. Even 'Spinal Tap II,' starring Guest, feels like a nostalgia exercise, struggling to recreate the original's charm.In contrast, smaller, independent projects like 'Rap World' and 'Nirvanna the Band the Show the Movie' are breathing new life into the genre. These films, made on shoestring budgets, use mockumentary techniques to create authentic, humorous stories that resonate with audiences.The decline of the mockumentary genre raises questions about its future. Can it be revitalized, or has it become a relic of the past? Only time will tell, but for now, it seems that the mockumentary needs a fresh perspective to regain its former glory.

The chief executive of the British Horseracing Authority (BHA), Brant Dunshea, announced that the sport is prepared to consider more direct‑action protests as it confronts the government’s proposal to introduce affordability checks for punters. Last September’s one‑day strike, which forced the cancellation of four meetings, proved decisive: it helped the government abandon a planned increase in betting tax from 15% to 21%, a rise the BHA estimated would have cost the industry £330 million. Following the “Axe the Racing Tax” campaign, the BHA is now urging the government to rethink the affordability checks that could require up to 120,000 regular gamblers to provide personal documentation, according to the Betting and Gaming Council. Independent modelling by EY suggests that as many as 44,000 bettors might migrate to black‑market operators, eroding the industry’s betting turnover by tens of millions of pounds. Betting turnover has already fallen by £2 billion since 2021. The Gambling Commission is slated to decide on the checks next month, while more than 400 racing figures – including trainers and MPs – have signed an open letter to Culture Secretary Lisa Nandy demanding intervention. “Our campaign will continue, and direct action is part of our broader strategy, though we will not discuss specifics publicly,” Dunshea said. He highlighted the power of collective action, noting that the industry’s cultural and economic significance was recognised in the government’s recent budget announcement. Recent pilot schemes, involving three credit‑reference agencies, produced inconsistent outcomes for the same individuals, raising concerns that the checks could push more punters toward illegal markets. Data from Yield Sec shows that the share of the UK gambling market held by black‑market operators surged from 0.43% in 2020 to 9% last year, with £379 million wagered on unlicensed platforms that do not contribute to the exchequer. Dunshea stressed that any affordability measure must be truly frictionless. “Consumers are price‑sensitive and protective of their personal data; any intervention that feels invasive will drive them elsewhere,” he warned. Amid the upcoming Grand National at Aintree, Dunshea expressed surprise at recent comments from the RSPCA regarding horse deaths at Cheltenham, reaffirming the BHA’s commitment to a collaborative relationship with the animal‑welfare charity. He noted that over the past 25 years, the industry has invested £60 million in equine welfare, reducing fatality rates to 0.22% of runners, and emphasized that the BHA will continue to work constructively with the RSPCA despite recent tensions.

Footage captured on the streets of Tehran shows small groups of citizens gathering around Enghelab Square – a historic rally point for pro‑regime supporters – some waving Iranian flags, others draped over their backs. The atmosphere is far from uniform; debates and arguments erupted shortly after the ceasefire announcement, reflecting a spectrum of emotions from shock to tentative hope.The video, posted by Majid Nouri – son of former prison official Hamid Nouri – includes his running commentary. He notes that the discussions began around 3 a.m. and continued into the morning, with participants expressing both anger and disbelief. "In no way do we trust America," Nouri declared, echoing a sentiment he says is shared by virtually every Iranian.Pro‑government demonstrators were heard chanting "Death to America, death to Israel, death to compromisers!" and burning U.S. and Israeli flags, according to the Associated Press. The chants persisted despite attempts by organizers to calm the crowd, underscoring the depth of anti‑Western feeling among hardliners.While the ceasefire halted active hostilities, the war has already claimed at least 1,900 lives in Iran. With internet services largely blacked out, gauging the broader public mood is challenging, but pockets of Tehran reported subdued celebrations in the early hours of Wednesday.Local resident Ali, a 31‑year‑old, summed up the prevailing uncertainty: "Most people here don’t trust the US and still don’t know exactly what is going to happen, so they are unsure whether they should be happy or worried." He warned that the ceasefire’s two‑week duration offers no guarantee of lasting peace.Business owners are beginning to test the waters. Hamid, a 43‑year‑old shopkeeper whose grocery and cleaning‑supplies store closed after the February bombings, said, "Today feels like there is no war," and he has reopened his shop, hoping to recover lost income for his family.Iranian officials are framing the pause as a diplomatic victory. Former foreign minister Ali Akbar Velayati posted on X that the conflict has reshaped the global power balance, positioning Iran within a new multipolar order. President Masoud Pezeshkian praised the ceasefire as the fruit of the blood of Iran’s “great martyred leader” and the collective will of the people.Strategically, the ceasefire highlights Tehran’s ability to disrupt the vital Strait of Hormuz, a chokepoint for global oil shipments. Analysts note that this leverage could bolster Iran’s negotiating stance, even as former U.S. President Donald Trump previously warned that a full‑scale clash would threaten "a whole civilisation." As sunrise illuminated the capital, daily life resumed with shops reopening and traffic returning to the streets, yet the prevailing mood remains a blend of exhaustion, cautious optimism, and lingering mistrust of the United States.

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

Courtney Lawes has confirmed a one‑year deal with the Sale Sharks, a move that reignites hopes of a return to the England squad after two seasons in France’s Pro D2 with Brive.Approaching his 38th birthday in February, Lawes retired from Test rugby following the 2023 World Cup but insists he can still compete at the highest level. Sale’s director of rugby, Alex Sanderson, expressed enthusiasm about the former Northampton stalwart joining the Manchester‑based side.Sanderson emphasized that the signing was not driven by a paycheck: “He’s still got the ability and experience to play great rugby this season and possibly beyond.” He added that Lawes is “robust, dynamic around the park and hits hard, but his skill set makes him far more than a mere banger.”Lawes’ résumé includes 105 caps, participation in four World Cups, two Premiership titles, two Challenge Cup trophies, and three Six Nations championships. The veteran believes his body feels “good” and that retiring now would be a regretful decision.Speaking on his “un‑retirement” from international duty, Lawes said, “I’d love to play for England again, but first I want to perform well for Sale and see what happens afterward.”Sale, however, faces a potential manpower crunch ahead of their Champions Cup quarter‑final in Dublin against Leinster. England internationals Luke Cowan‑Dickie and Bevan Rodd are sidelined for the rest of the season, and hooker Nathan Jibulu awaits the outcome of a disciplinary hearing after being cited for biting former Harlequins teammate Will Hobson.The alleged incident occurred during Sale’s 26‑17 victory over Harlequins at the Twickenham Stoop. If Jibulu is suspended, Sale’s forward options will be further depleted, with brothers Tom and Ben Curry already unavailable.Despite the controversy, Jibulu remains a contender for England’s summer tour, as head coach Steve Borthwick evaluates his options ahead of the Nations Championship clash with South Africa in Johannesburg on 4 July. Sanderson praised the 23‑year‑old, noting, “He’s good now, he’ll be brilliant – he has the attributes to be an international hooker.”

Parts of Asia are already feeling the strain of the Iran war, with fuel supplies tightening and prices rising. Some countries are warning that their stocks may run out, revealing just how fragile the global energy system is.The impact of the war is being felt far from the battlefield, with the threat to oil flows causing immediate concern. This has raised questions about the resilience of the global energy system and its ability to withstand geopolitical tensions.Vina Nadjibulla, vice-president of Research and Strategy at the Asia Pacific Foundation of Canada, provides insight into the situation.

At Augusta National, Justin Rose’s name appears twice on the bronze winner’s list beside the victories of Sergio García (2017) and Rory McIlroy (2025) – both wins coming after playoffs that Rose lost. Only Ben Hogan shares the dubious distinction of losing two Masters playoffs, though Hogan later won the tournament twice outright.Rose’s record also includes a second‑place finish in 2015, four strokes behind Jordan Spieth. The only player with more runner‑up finishes without ever winning is Tom Weiskopf, who was second four times in seven years.Now 45 years old and entering his 21st Masters, Rose cannot predict if he will ever get as close again as he did last year, when McIlroy’s birdie putt on the 18th sealed a one‑stroke playoff defeat.“When you realise you’re that close, you can taste the victory,” Rose says. “I lived it as if I’d won, but without the real positive emotion – I sensed everything.” He acknowledges the mental rehearsal of the “what‑if” scenario while maintaining that he “did everything he could” and can live with the result.Rose explains his mental formula: “You can’t make a major win too important in the moment,” because a career inevitably includes “a little bit of heart‑ache and heartbreak.” He believes that to win, a player must also be prepared to be on the losing side.Despite the setbacks, Rose feels he has already demonstrated the necessary skill set. “I’ve pretty much done what it takes to win. I just haven’t walked over the line,” he asserts, emphasizing that he does not feel the need to change his approach.Recent form offers optimism. Earlier this year Rose set a new course record at Torrey Pines and became the first player in 71 years to win the Farmers Insurance Open wire‑to‑wire. He notes that eight players have captured the Masters after finishing second the previous year, suggesting his odds improve when the field is considered.Rose is also mindful of external narratives. “People are wishing me well and thinking it’s my year,” he admits, adding that he must manage expectations and craft his own story rather than buying into others’ predictions.

House of Gloss invites viewers into the modest flat of Opal and Lana, a young trans femme couple living in Dundee. The walls are lined with photographs of spontaneous outings and vibrant sketches by Lana, a graffiti artist, while Opal’s makeup table holds an array of wigs that enable her drag performances after dark. Despite confronting pervasive discrimination outside, the couple’s home functions as a sanctuary of affection and mutual support.Director Mark Lyken adopts a gentle, slice‑of‑life visual style that feels less like a documentary and more like a personal visit. Intimate close‑ups and domestic scenes—cooking together, washing dishes—elevate ordinary moments into powerful expressions of love, especially given the pair’s history of family rejection. These simple gestures, captured with quiet reverence, underscore the resilience of their bond.The film also challenges conventional notions of family and home. In a striking sequence, Opal walks to a venue in full drag, confronting jeers and hostile stares that reveal lingering intolerance. By contrast, the documentary showcases the liberating atmosphere of queer club nights: neon lights, Lana at the DJ deck, and Opal dancing amid pulsating electronic beats. These scenes illustrate how safe, communal spaces serve as a vital “chosen family” for LGBTQ individuals.House of Gloss premieres on the True Story platform on 10 April, offering audiences a tender yet candid portrait of a modern queer partnership navigating love, identity, and community.