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The Dark Side of the Plate: What It's Like to Be a Dictator's Personal Chef Kim Jong-il loved pepperoni pizza. Saddam Hussein couldn’t resist a fish barbecue. Idi Amin reportedly had the capacity for an entire roasted goat. The menus may have differed, but the appetite was the same. For history’s most notorious strongmen, the dining table doubled as a stage for power. For the cooks who served them, every meal came with extraordinary stakes. The Lives of Dictators' Chefs In his latest film, How to Feed a Dictator, which premieres at the Tribeca film festival, five private chefs recount their intimate experiences serving some of the world’s most feared dictators and the ever-present dangers that came with the job. Based on the 2020 book by the Polish journalist Witold Szabłowski, the 95-minute documentary probes the fraught terrain between morality and survival, asking viewers to consider the choices these chefs made – and the choices they never really had. The Moral Complexity Much like the menu on offer, the perspectives vary wildly. We meet Keo Samoun at the unkempt gravesite of her former boss, the Cambodian dictator Pol Pot, laying out a spread of fish, fruit and rice for a man she still regards almost as a god. Famed pizzaiolo Ermanno Furlanis, by contrast, recalls the terror of making pies for Kim Jong-il – his life under surveillance, his passport under guard, the state apparatchik who barged into his kitchen to ensure the olives on one pizza were spaced just so. The Price of Loyalty No chef is as tormented by their service as Ugandan Charles Otonde Odera. He describes his early days working for Ugandan despot Idi Amin as life-changing – a poor villager scraping by one day, and the next driving a Mercedes, supporting eight wives, and living in extraordinary comfort as Amin terrorized and brutalized the local masses. For all the chefs, comfort was the trade. By most measures, theirs was a great gig – logic that can excuse almost anything. The Future of Accountability The dissonance appears to bring Samoun to a breaking point. “Even though he made mistakes, it couldn’t all be bad,” she says, weeping. The film implicitly makes clear that the thought of playing the hero and poisoning a dictator never occurs to these chefs. Entry into a dictator’s inner circle requires a level of deep trust that also ensures distance from those on the outside.

Tonight’s Prime‑Time TV SnapshotThe Guardian’s TV guide for 9 June outlines a packed evening of drama, reality and sport across the UK’s main broadcasters. The headline draw is the American spin on Doc Martin, airing at 8 pm on Sky One, followed by a mix of design, baking, genealogy and drama programmes.US Version of ‘Doc Martin’ Debuts on Sky OneAdapted from Martin Clunes’s beloved British series, the US comedy follows Martin Best—a gruff doctor in a Maine fishing village—who struggles with demanding locals and his own bedside manner. Lead actor Josh Charles delivers a suitably lugubrious performance, setting the tone for a series that aims to capture the original’s quirky charm while appealing to an American audience.Scheduling and Audience Reach Overview8 pm, Sky One – US ‘Doc Martin’8 pm, BBC One – Interior Design Masters with Alan Carr (final at Longleat)8 pm, Channel 4 – Bake Off: The Professionals (final‑six showdown)9 pm, BBC One – Who Do You Think You Are? (Joe Swash genealogy episode)9 pm, Channel 5 – The Fortune (penultimate drama episode)10.40 pm, BBC One – England 2006: The Golden Generation (football documentary)7.30 pm, ITV1 – Women’s international football, England v Ukraine (World Cup qualifier)Prime‑time slots on the major free‑to‑air channels (BBC One, Channel 5, ITV1) dominate the schedule, while Sky One and Channel 4 provide niche‑appeal content aimed at specific audience segments.Implications for Transatlantic Comedy AdaptationsThe launch of a US‑made version of a distinctly British comedy signals broadcasters’ confidence in cross‑market formats. Success could encourage further adaptations, especially as streaming services continue to blur regional boundaries. However, the show must balance the original’s dry wit with American sensibilities to avoid alienating core fans.What’s Next for This Season’s Line‑upWith design and baking competitions reaching their finales, viewers can expect heightened drama and viewer voting in the coming weeks. The genealogy series, bolstered by celebrity involvement, is likely to maintain steady ratings, while the drama ‘The Fortune’ heads toward its climax. Sports coverage will remain a staple, anchoring the evening’s schedule with live events.

The Creative Slump of Adulthood As a child, the author couldn't wait to be an adult, dreaming of an exciting life with exotic pets, bright pink walls, and staying up all night. Now in their mid-30s, adulthood has lost its lustre. While not depressed, there's a sense of going through the motions with predictably dull days: gym, work, cook, clean, collapse on the sofa. The author struggles to identify what they've actually done beyond "computer" and finds attempts to shake up their routine quickly fizzle out. Austin Kleon's Creative Journey Austin Kleon, 42, author of "Steal Like an Artist" and other illustrated guides to creativity, has turned his DIY creative experiments into a career. Starting with a popular blog in the mid-2000s, he demystifies art and makes it accessible to all. His first hit project was fashioning poetry from marked-up newspaper articles, and his viral college talk led to his breakout book. His five books have been translated into over 30 languages and sold more than 2 million copies in English alone. The Middle-Aged Creative Crisis Despite his success, Kleon experienced his own creative slump after more than a decade. He felt disconnected from his motivation, questioning why he started doing what he does. This "middle-aged place" and sense of "Well, now what?" led him to apprentice himself to his young children, whose energy, fearlessness, and lightness of touch highlighted what was missing from his creative practice. Don't Call It Art: The New Philosophy Kleon's experiences with his children inspired his sixth book, "Don't Call It Art," which suggests exercises, prompts, and approaches "to create like a kid again." The book took seven years to make and challenges the notion that kids are the antithesis of creative work. Instead, Kleon sees them as "a great catalyst, an energy source that you can plug into." The book focuses on "making stuff, messing around and following your nose" rather than traditional art. Becoming a Beginner Again Kleon's approach differs from structured self-help books like Julia Cameron's "The Artist's Way." Instead of a step-by-step course or soul excavation, he offers creative "booster shots" to be devoured and then acted upon. The author's stagnation may stem from the weight of adult awareness and expectations. Kleon challenges adults to return to "explore mode" rather than just "exploit mode," as kids naturally do. The explore mode, he argues, is "the fun part" that requires constant return. The Power of Playful Creation Kleon prescribes "daily playtime" free from digital distractions, equipped with pens, paper, and craft supplies. He suggests sitting for 15-20 minutes daily and allowing boredom to eventually lead to creation. The author attempts this but finds resistance, even with a dedicated space. Kleon explains that feeling silly is actually beneficial, which is why he wears his "ridiculous" apron in his studio - to signal to his brain that it's playtime. Hands-On Creativity To overcome creative blocks, Kleon suggests bypassing the blank page entirely. Inspired by his "blackout poems," the author takes a newspaper and a permanent marker, covering some words while leaving others exposed to transform their meaning. This hands-on approach demonstrates how physical creation can unlock creativity without the pressure of starting from nothing. The Future of Adult Creativity Kleon's philosophy suggests that adults can rediscover creativity by embracing childlike approaches to making and playing. As more people seek meaning and joy in their daily lives beyond work obligations, this accessible, non-intimidating approach to creativity may become increasingly valuable. The future likely holds more integration of play and creativity into adult routines, not as separate activities but as essential components of a fulfilling life.

Executive Summary of the NAO FindingsNational Audit Office investigation reveals that several senior royals receive highly subsidised or rent‑free accommodation, with private income generated from sub‑letting crown estate properties.Detailed Property Arrangements Across the Royal FamilyPrincess Beatrice & Princess Eugenie: live rent‑free in royal palaces; rent set at 68% and 64% of open‑market value respectively; funded by King Charles from the Duchy of Lancaster.Duke and Duchess of Edinburgh (Edward & Sophie): pay a pepper‑corn rent for Bagshot Park after a £5 million upfront lease payment; generated private income by sub‑letting the stable complex.Prince and Princess of Wales (William & Catherine): pay £307,200 annually for Forest Lodge plus £19,800 for Staff Lodge 1; crown estate covered £396,993 of refurbishment.Prince and Princess Michael of Kent: rent of an apartment now 63% of 2026 market value, a 34% increase since 2020; historically a pepper‑corn £69‑per‑week lease.Princess Alexandra & Marina Ogilvy: ground rent £1,500 for Thatched House Lodge after a £670,000 premium; Marina pays £17,436 annual rent for a Windsor cottage.Financial Scale of the ArrangementsKing Charles covers accommodation costs for non‑working royals, sourced from private Duchy of Lancaster income.Up‑front lease payment for Bagshot Park: £5 million; restoration spend: £1.38 million.Annual rent for Forest Lodge: £307,200; crown‑funded repairs: £396,993.Rent‑free palace apartments are maintained by the sovereign grant, offset by the above private rents.Implications for Public Accountability and Royal FinancesThe report highlights a blend of private income and public funding that blurs the line between personal benefit and taxpayer support, prompting calls for clearer reporting and potential reform of crown estate leasing practices.Looking Ahead: Potential Reforms and Ongoing ScrutinyParliamentary committees may demand tighter oversight of crown estate leases, and future NAO audits are likely to focus on ensuring that any rent‑free or subsidised arrangements are fully transparent and justified against public interest.

Quick Take: A Darkly Comic Look at Mortality in Chinese CinemaBeing Towards Death opens in UK cinemas on 5 June, offering a chaotic first half‑hour before settling into a bittersweet ensemble piece about a hospital’s “Ward 10 Fearless Squad.” Director Chen Sicheng trades his blockbuster Detective Chinatown formula for a meditation on entropy, using humor to explore how patients confront the end of life.How Chen Sicheng Marries Hospital Humor with Existential QuestionsThe plot follows caregiver Xiaobing (Jiang Long), who teeters on a rooftop after a failed robot‑care scheme, only to be recruited by the hospital director into a mental‑health study for terminal cancer patients. He joins a motley crew – property mogul Mau (Cai Ming), obedient first‑born Bowen (Huang Yi), and the scheming poppet Little Bing (Ye Quanxi) – and convinces aspiring director Dao (Wang Zichuan) to document their lives. The film’s self‑referential moments, including Dao’s constant quoting of Chen and a cameo by sixth‑generation auteur Jia Zhangke, underscore its meta‑commentary on Chinese filmmaking.Box‑Office Prospects and Release WindowWith a limited UK release beginning 5 June, the film targets both art‑house audiences and fans of Chen’s earlier commercial work. No official budget or opening‑week figures have been disclosed, but the combination of a recognizable director and a timely, socially conscious premise positions it for modest box‑office returns and potential festival circulation.Why the Film Signals a Shift in Mainland Comedy‑DramaBy placing comedy inside a hospice, the movie challenges the genre’s traditional escapism, reflecting a growing appetite for stories that blend levity with serious social issues. Its focus on mental‑health interventions and the humanization of terminal patients may encourage other Chinese creators to tackle health‑related narratives, expanding the thematic range of mainstream cinema.What to Expect from the Film’s Journey Beyond ChinaIf domestic audiences respond positively, Being Towards Death could secure wider Asian distribution and possibly a streaming deal, amplifying its discussion of mortality to a global viewership. Critics will likely continue to compare Chen’s tonal shift with the work of auteurs like Jia Zhangke, watching to see whether the film’s “bittersweet” ambition matures into a new sub‑genre of Chinese hospital comedy‑drama.

The Life and Legacy of Kanya King Kanya King, the entrepreneur and tireless champion of Black British music who founded the Mobo awards, has died aged 57 from colon cancer. The news was announced by the Mobo Organisation, which said she died on Wednesday “after a courageous and characteristically determined battle” with her illness. The Impact of Mobo Awards “The music world has lost one of its most fearless champions,” the statement continues. “What Kanya created was never simply an awards ceremony. It was an act of cultural justice. Mobo did not just celebrate Black music; it legitimised it, amplified it, and demonstrated its commercial and creative power to a world that had too often chosen not to see it.” Tributes from the Music Industry Idris Elba was among those paying tribute to her, writing: “You inspired me. Your dedication is unmatched.” Born to a Ghanaian father and Irish mother in Kilburn, north London, King was working as a TV researcher when she set about filling a gap in the marketplace: an awards ceremony that would celebrate the Black British musicians who were sometimes overlooked by other industry events. The Evolution of Mobo Awards She remortgaged her house to raise the money for the first Mobo awards, held in 1996, eventually turning it into an arena-filling event that has celebrated artists such as Stormzy, Dave and Olivia Dean in recent years. The Mobos were sometimes criticised for spotlighting white artists such as Ed Sheeran and Jessie J, while jazz and rock artists complained that there were no awards to accommodate their styles. A Lasting Legacy In a 2020 interview with the Guardian, King described her work as a “labour of love”. “I’ve put my life and soul into this fight over the years, while being told that, you know, inequality is fine and there’s no problem,” she said. “I’ve been fighting for a long time to try to break down barriers … it’s been challenging and isolating.” She was awarded a CBE in 2018 for her contributions to music and culture.

The Appointment of Dawn Airey Dawn Airey, a veteran television executive known for her bold leadership and commercial instinct, has been appointed chair of Arts Council England (Ace). She will replace Nicholas Serota in August and has been tasked with supporting, nurturing, and protecting the arts. A Career Defined by Boldness and Commercial Instinct Airey's career in television spans over three decades, with senior roles at Channel 5, Sky, and ITV. She is known for her decisive leadership and ability to drive popular programming. Her appointment as chair of Ace follows an independent review by Margaret Hodge, who warned that the arm's-length public body must ensure funding is protected from politicization and simplify its application process. The Challenges Ahead Airey has identified artificial intelligence as a key challenge for the arts sector. She has called her appointment "an honour" and emphasized the importance of the council in championing art and culture, saying that the sector has "never been more vital to our nation". Airey's Background and Experience Airey has a strong background in broadcasting, having occupied senior roles in British television. She made her name in the 1990s as part of the founding team at Channel 5 and later became its head. She has also held roles at Sky and ITV, and has served as interim chair of Channel 4 and deputy chair of its board. Reaction to Airey's Appointment Ben Fenton, a veteran media consultant who worked with Airey at Channel 4 and her independent production company Moon&Back;, described her as "a wonderful person" and "the best thing that can happen to the arts in England". Peter Bazalgette, a former ITV chair and Ace chair from 2013 to 2017, praised Airey as "clever, completely fearless, and fun to work with".

Kimi Antonelli turned a pole position into a historic victory at the 2026 Monaco Grand Prix, holding his nerve through two restarts after a late‑race red flag and extending his championship lead.Antonelli's Commanding Drive from Pole to FlagThe Italian rookie led from the start, pulling away into Turn 1 while Max Verstappen stalled on the grid. He built a gap of nearly 30 seconds by the first pit‑stop window, untouched by the penalties that later affected George Russell and Lewis Hamilton. The win marks his fifth consecutive victory of the season and makes him the youngest Monaco winner, breaking Lewis Hamilton's 2008 record.Championship Points Realignment After MonacoAntonelli gains 25 points, extending his lead over Russell to 68 points.Hamilton moves to second in the standings, now 66 points behind Antonelli.Russell finishes 13th, earning only 3 points after two penalties.Verstappen retires with a technical failure, scoring zero.Red Flag Drama and Track Surface FailureWith two crashes at the final corner caused by the track breaking up, race control deployed a red flag for a 35‑minute repair. The restart saw a standing start; Antonelli maintained his lead while Charles Leclerc crashed out, prompting the stoppage.Implications for Mercedes and Emerging TalentMercedes’ strategy paid off as the team capitalised on Antonelli’s composure and avoided the penalties that hampered their rivals. The performance underscores the team’s confidence in nurturing young talent, positioning Antonelli as a potential long‑term lead driver.Outlook for the Rest of the SeasonWith the championship now clearly tilted toward Antonelli, rivals will need to address reliability issues—especially Red Bull’s technical gremlins—and tighten penalty discipline. The next races will test whether Mercedes can sustain this momentum and if the young Italian can convert early dominance into a full‑season title.

Cold‑Hearted Victory in Monaco’s Chaotic RaceKimi Antonelli stayed ice‑cool after a red‑flag interruption to claim a historic win at the Monaco Grand Prix, extending his season‑long winning streak to five races. Race Resumption After Red Flag and Antonelli’s Commanding FinishThe race was halted for roughly 40 minutes to repair a crumbling surface at the final corner following Charles Leclerc's crash. Once the standing start resumed, Antonelli, who had started from pole, pulled away and secured victory, becoming the youngest driver ever to win Monaco. Points Gap Widens: Antonelli Leads Championship by 66Antonelli – 1st place, earning 25 pointsLewis Hamilton – 2nd place, 18 pointsIsack Hadjar – provisional 3rd place, 15 pointsChampionship lead: 66 points ahead of Hamilton Youngest Monaco Winner Signals Shift in F1 Power BalanceAt just 19, Antonelli’s triumph marks a generational change, challenging the long‑standing dominance of teams like Ferrari and Red Bull. His back‑to‑back victories for Mercedes suggest the German outfit is regaining its competitive edge in a season that has already seen five different winners. What’s Next for Antonelli and the 2026 Season?With five straight wins, Antonelli looks poised to cement his lead, but the championship remains open as rivals such as Lewis Hamilton and Isack Hadjar close the points gap. Upcoming races in Europe and the United States will test whether Mercedes can sustain its momentum or if challengers will disrupt Antonelli’s streak.