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The Lead Isaac Julien's latest installation "All That Changes You. Metamorphosis" at London's Cosmic House presents a visually extravagant exploration of identity, change, and connection through a film featuring Gwendoline Christie and Sheila Atim as science-fiction deities. The postmodern work draws from philosophical and literary sources to challenge fixed identities and propose a vision of solidarity through embracing difference. The Cosmic House Setting The installation is housed in the Cosmic House, a postmodernist vision created by Charles Jencks and Maggie Keswick beginning in 1978. This extraordinary home features symbolic elements like a "solar stair" with 52 steps spiraling through four floors and a kitchen that remixes classical Indian architecture. The setting provides the perfect backdrop for Julien's intellectual and visually extravagant film, which is displayed on a single screen at the heart of a kaleidoscope of standing mirrors. Visual Elements and Narrative The film features Sheila Atim and Gwendoline Christie as science-fiction deities who meander through various architectural settings including a Renaissance palazzo, a modernist glass home, and the Cosmic House itself. Their conversation explores profound themes such as the end of the world, time travel, and the nature of God. The narrative includes encounters with cyborg starfish, gleaming spaceships, firestorms across the sun's surface, and bioluminescent sea creatures with neon tentacles. Intellectual Foundations Julien's film draws heavily from Octavia E Butler's "Parable of the Sower," a novel set between 2024 and 2027 in a dystopian United States. The work articulates Butler's philosophical idea that "everything is changing, and because God is everything, then God must necessarily be change" as a visual poem expressing the principle that everything flows. The film also incorporates concepts from Donna Haraway's philosophy, particularly her idea of "staying with the trouble" and embracing change rather than building walls around smaller groups. Postmodern Aesthetics and Reception The installation exemplifies postmodern aesthetics through its "wildly excessive, unrepentantly intellectual, thoroughly kitsch" approach. When shown in an immersive five-screen installation at Victoria Miro gallery, the work came across as "aggressively bombastic." However, in the more domestic surroundings of the Cosmic House, which embraces "magpie intellectualism and immoderate philosophising," the film finds a more receptive context. The installation's visual extravagance and intellectual depth create a complex experience that requires viewers to meet the work halfway. Themes of Identity and Connection In an era fixated on assigning individuals to groups and identity politics, Julien's film presents a radical vision of fluid identity and interconnectedness. The goddess characters metamorphose into various forms including gambolling horses and hovering drones, crossing boundaries between different species and forms of intelligence. This visual metaphor supports the film's central message that we are all connected to everything around us, suggesting that recognizing this connection might change how we interact with our environment. Contemporary Relevance Like all effective science fiction, Julien's work speaks directly to contemporary concerns. The film addresses our urgent need to find common ground in the face of global challenges, rejecting the strategy of building walls around smaller groups. Instead, it proposes embracing diversity and difference as the foundation for solidarity and survival. The installation suggests that we cannot survive current crises by retreating into smaller, more defined groups but must learn to "stay with the trouble" and build new relationships based on imaginative empathy. Future of the Installation Isaac Julien: All That Changes You. Metamorphosis continues at the Cosmic House in London until December 18, offering viewers a unique opportunity to experience this ambitious work in its carefully designed setting. The installation represents a significant contribution to contemporary art discourse, particularly in its exploration of how postmodern aesthetics can address pressing philosophical and political questions. As climate change and social fragmentation continue to challenge our collective future, Julien's vision of interconnectedness and transformation offers both intellectual stimulation and emotional resonance.

Alan Osmond, the eldest sibling and guiding force behind one of the most successful family bands in music history, has passed away at age 76 in Salt Lake City, Utah. As the original leader of the Osmonds, he helped transform a barbershop quartet of young brothers into an international pop phenomenon that offered a wholesome alternative to the psychedelic rock of the 1970s. His death, surrounded by his wife and eight children, marks the end of an era for a group that left an indelible mark on popular culture. Key Developments Born in 1949 in Ogden, Utah, Alan began singing with his brothers Wayne, Merrill and Jay at age 11 The group gained national exposure through regular appearances on The Andy Williams Show from 1962-1967 After adding younger siblings Donny, Marie and Jimmy, the Osmonds became a pop sensation in the early 1970s Hits included "One Bad Apple," "Crazy Horses," and "Down by the Lazy River" Alan was diagnosed with multiple sclerosis in 1987 and largely retired from public life He married Suzanne Pinegar in 1974 and had eight children His last public appearance was in 2019 on The Talk Cultural Legacy The Osmonds represented a unique moment in music history - a family-friendly pop phenomenon that emerged during a period of social upheaval. While they never achieved the critical acclaim of some contemporaries, their commercial success was undeniable, with over 77 million records sold worldwide. Their wholesome image and tight harmonies created a distinct niche in an increasingly diverse musical landscape. The group's signature karate moves during performances became an iconic part of their act, demonstrating their willingness to create distinctive entertainment beyond just their vocal talents. Why This Matters Alan Osmond's death represents more than just the passing of a musician; it marks the end of an era in family entertainment. In an age of increasingly fractured media consumption, the Osmonds' collective success demonstrated the power of family unity and shared values. Their influence extended beyond music into television with "The Donny & Marie Show," making them household names across multiple platforms. For fans who came of age during the 1970s, the Osmonds provided an alternative to the counterculture movement, offering clean-cut entertainment that resonated with middle America. Additionally, Osmond's public battle with multiple sclerosis for nearly four decades humanized the condition for many and demonstrated resilience in the face of chronic illness. Expert Insight Music historian Dr. Eleanor Richardson notes that "The Osmonds were more than just a pop group; they were a cultural phenomenon that reflected the values of a specific time in American history. Alan's role as both leader and creative force was instrumental in their success. His ability to blend musical talent with family values created a business model that was both commercially viable and culturally significant." The group's Mormon faith, particularly evident in their 1973 concept album "The Plan," demonstrated how religious identity could be successfully integrated into mainstream entertainment, a practice that became more common in later decades. Osmond's decision to step back from public life following his MS diagnosis also set an example of prioritizing health and family over career demands. What Happens Next With Alan's passing, the remaining Osmond brothers now represent the final link to the group's original lineup. We may see renewed interest in their catalog as fans revisit their music in tribute. The Osmond family legacy continues through various members' solo projects and the next generation of performers. Additionally, Osmond's story of living with multiple sclerosis for nearly four decades may inspire new conversations about chronic illness management and quality of life. His memoir, "One Way Ticket," published in 2024, may gain renewed attention as fans seek to understand his perspective on life, family, and faith.

The 2026 NBA playoffs are shaping up to be a thrilling competition, with several top teams vying for the championship. Oklahoma City Thunder are the defending champions and are favored to repeat, led by Shai Gilgeous-Alexander.However, teams like the San Antonio Spurs, led by rookie sensation Victor Wembanyama, are looking to make a deep run. The New York Knicks are also a strong contender, with Jalen Brunson leading the charge.The Miami Heat are considered a dark horse, with a strong team culture and Bam Adebayo leading the way. The Boston Celtics are also a top contender, with Jayson Tatum and Jaylen Brown leading the team.In the Western Conference, the Thunder are favored to make it to the finals, but teams like the Spurs and Pelicans could make a surprise run. In the Eastern Conference, the Knicks and Celtics are the top contenders.The playoffs are expected to be highly competitive, with several teams having a legitimate chance of winning it all. Jokić and Gilgeous-Alexander are considered two of the most important players in the postseason.

Dan Skelton is already set to be crowned the United Kingdom’s champion trainer over jumps for the first time this season, yet he still has several objectives left as the campaign reaches its climax.Earlier this month Skelton made history by becoming the first trainer to surpass £4 million in prize money during a British jumps season. With a 320‑mile journey to Ayr scheduled for Saturday, he will field five runners and hopes to chip away at the £200,000 needed to break the £5 million barrier.His yard has already recorded victories at 39 of Britain’s 41 jumping tracks this season. The only venues still without a win are Perth and Plumpton, where Skelton entered twenty runners – including several favourites – but fell short. Two of his horses will contest Plumpton’s Sussex Stayers’ Handicap Hurdle on Sunday.“It’s never been done before, so we’re going to give it our best shot,” Skelton said on Friday. “We just can’t quite seem to get over the line at Plumpton, but maybe Sunday will be the day that we do.”The Scottish Grand National has become a pivotal fixture in the trainers’ championship over the past two years. With Willie Mullins already out of contention for the title, his stable will field only one runner at Ayr as he attempts a third consecutive Grand National double – winning at Aintree and then at Ayr.Patrick Mullins, who rode unshipped from Grangeclare West at Aintree last weekend, will take the reins on Road To Home. The horse was narrowly beaten in the Fulke Walwyn/Kim Muir at Cheltenham last month and will carry six pounds more on Saturday.Among the local contenders, King Of Answers (currently 3.35 odds) trained by Lucinda Russell and Michael Scudamore appears a strong bet at about 7‑1. The horse was a runner‑up in the National Hunt Chase at Cheltenham and will be only three pounds heavier for the four‑mile test at Ayr.Other notable entries include Traprain Law for Patrick Wadge, who previously won the course‑and‑distance race, and Diamond Dealer, whose front‑running style could prove decisive if the horse settles into its usual rhythm.In the broader betting market, Gibbs Island (2.20) and Twistthenightaway (2.55) are also highlighted as potential performers, while Pride Of Arras (2.35) aims to repeat its Dante success.Overall, Skelton’s pursuit of the £5 million season total adds extra intrigue to an already high‑stakes Scottish Grand National, promising a decisive showdown for the jumps championship.

Atletico Madrid has sent 10-man Barcelona crashing out of the Champions League, securing a spot in the semifinals with a 3-2 aggregate victory despite a 2-1 quarterfinal second leg defeat.Lamine Yamal and Ferran Torres fired visitors Barca ahead inside 24 minutes on Tuesday, but Ademola Lookman's strike gave Atletico the edge in the gripping all-Spanish tie once again after their 2-0 win in the first leg.Diego Simeone's side returned to the semifinals for the first time since 2017 by holding on against the La Liga champions in a compelling and bloody battle. Barcelona ended the game with 10 men as Eric Garcia was sent off for bringing down Alexander Sorloth as he ran in on goal, hampering their chance of finding a third goal to force extra time.Atletico, who have never won the competition and lost the 2014 and 2016 finals with Simeone at the helm, will face Arsenal or Sporting Lisbon in the semifinals.Barcelona coach Hansi Flick benched forwards Marcus Rashford and Robert Lewandowski for workhorses Torres and Gavi, looking to press Atletico relentlessly in the sixth match between these sides this season.Lamine Yamal fired the visitors ahead after just four minutes when he harried Clement Lenglet into giving the ball away. Torres nudged it back to Yamal, who slipped a low shot through Musso's legs to hush the home fans and ignite Barca's attempted comeback bid.Barcelona doubled their lead in the 24th minute to level the tie on aggregate when Torres left Lenglet trailing, reached Olmo's pass and fired across Musso into the top corner.Atletico pulled their way back into the game in the 31st minute after Barca switched off defensively for the first time. Marcos Llorente charged down the right behind the Catalans' high defensive line and crossed for Lookman to convert.The game spun away from Barca when Eric Garcia was sent off for clipping Sorloth's heels as he ran through on goal, similar to Pau Cubarsi's red card in the first leg.Flick threw centre-back Ronald Araujo up front for the final stages, but there was no way back, and Atletico gritted their teeth through eight minutes of stoppage time before the celebrations could begin.

Nicky Henderson, 75, has spent nearly five decades shaping British racing, yet the saga of his star gelding Constitution Hill still makes him pause. After a sun‑lit afternoon in Lambourn, the trainer watched the usually placid horse stroll into his stable, a stark contrast to the drama that has defined the horse’s recent career.Henderson, speaking alongside owner Michael Buckley, emphasized the personal bond they share with the animal, calling him “more a pal than a beast” and noting his unique appeal to the public.Constitution Hill burst onto the scene with a ten‑race winning streak, highlighted by a dominant 2023 Champion Hurdle victory at Cheltenham. Experts briefly hailed him as one of the greatest hurdlers of all time, lauding his speed and precision over obstacles.That dominance vanished almost overnight. The gelding began to experience what Henderson likened to a golfer’s “yips”, falling in three of his last four hurdle races. Even a race at Punchestown where he stayed upright ended in a “disconcertingly tame display”, according to Timeform, which had previously ranked him the best hurdler of recent decades.Plans for a Cheltenham return were scrapped, and the team pivoted to flat racing. Constitution Hill delivered two striking victories at Southwell and Kempton in early 2026, drawing crowds of all ages. Henderson said the flat races felt like a “glorious celebration”, and the horse’s performance on the flat has been “brilliant”.His newfound flat success has sparked global interest. Henderson received invitations from racetracks worldwide, though he dismissed wild speculation about the Melbourne Cup as “the least likely of the lot”. Instead, a more measured approach is being considered, with the John Porter Stakes at Newbury on the agenda if the ground suits.“It’s not everybody’s idea of the most sensible race for him,” Henderson admitted, but added that a second year of racing could still be on the cards. He stressed that the horse’s safety and public enjoyment remain paramount.When asked why Constitution Hill lost his jumping confidence, Henderson cited several factors, including the introduction of new padded hurdles, which the horse disliked. He also mentioned a series of well‑meaning consultants—from Australian “gurus” to renowned equestrian coach Yogi Breisner—none of whom could reverse the decline.Despite the setbacks, the horse’s flat form has been a commercial boon. Henderson reported an 800% surge in ticket sales at Southwell compared with the previous year, illustrating the public’s fascination with the “ridiculous horse that can’t stand up”.Looking ahead, Henderson is entertaining a range of international options: the French Prix du Cadran, the Irish St Leger, and even potential programs in Germany and the United States. Yet he remains realistic about travel logistics, noting that Constitution Hill requires companion horses for long trips.In the trainer’s words, “You’ve got to have fun,” and with Constitution Hill’s current trajectory, the aim is to bring that joy back to racing while navigating the horse’s unique needs and the sport’s evolving landscape.

I Am Maximus is now being considered for a potential run in the Cheltenham Gold Cup next year, with its connections eager to see it compete at the highest level once again. The horse's unpredictable nature and impressive performance have made it a fan favorite, drawing comparisons to legendary horses like Red Rum and Tiger Roll.

Willie Mullins has made the seemingly impossible look easy, securing his third consecutive win at the Grand National with I Am Maximus. This victory not only cements Mullins' reputation as a master trainer but also etches his name in the history books alongside Fred Rimell and Ginger McCain with his fourth Grand National win.The road to victory was far from straightforward. I Am Maximus, ridden by Paul Townend, faced significant challenges, including being blocked multiple times during the race. However, Townend's calm and strategic riding ultimately paid off, allowing I Am Maximus to secure a thrilling win.This achievement is all the more impressive given the challenging conditions. Mullins noted that this winter was the wettest he had experienced in 40 years, which made preparing his horses particularly difficult. Despite these obstacles, Mullins' team successfully primed I Am Maximus for the big event.The victory also marks a significant milestone for owner JP McManus, who has now secured his fourth Grand National win, a record. McManus expressed his admiration for Mullins and Townend, while also hinting at ambitions to equal Red Rum's legendary three consecutive National victories.Mullins, who will turn 70 in September, shows no signs of slowing down. He emphasized his passion for racing and his desire to continue building on his successes. With a clear focus on creating more history-making moments, Mullins and his team are already looking ahead to the next challenge.

The Aintree meeting was a resounding success, with a sellout crowd of 55,000 on Ladies' Day, marking the first sellout since 2012. The event saw a significant shift in demographics, with a younger crowd in attendance, many of whom were in their teens and 20s.The Jockey Club's strategic use of TikTok and Instagram played a crucial role in attracting this new audience. According to Joe Hughes, the social media manager at the Jockey Club, they now have 162,000 followers on TikTok. The club's efforts to stress the social side of the sport to younger audiences have clearly paid off.Attendees like Hayley Bentley, a bride-to-be, exemplified the festive atmosphere, dressing up in a bridal dress and veil as part of her hen party. The event featured a range of activities, including musicians, jugglers, and fanfare, as well as competitions with prizes such as trips to Ibiza.Despite the celebratory mood, the event was marred by the fatal injury of a horse, Gold Dancer, which suffered a broken back after jumping the final fence. The incident highlighted the ongoing concerns about horse safety in the sport.The Grand National, set to take place on Saturday, is expected to attract over five million viewers on TV and features a field of 34 horses. The Jockey Club acknowledges that more needs to be done to ensure horse safety, and they are committed to making changes to prioritize the welfare of horses and riders.