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The Lead: Perry's Raw Return to Center Stage Linda Perry, the iconic singer-songwriter behind 4 Non Blondes and hitmaker for stars like Christina Aguilera and Pink, is stepping back into the spotlight after years working behind the scenes. Her new documentary "Linda Perry: Let It Die Here" and accompanying album capture her journey through breast cancer, the death of her abusive mother, and her complex emotional landscape as she reclaims her artistic identity. The Event Details: Cancer, Loss, and Creative Resilience The documentary, directed by Don Hardy who had been filming Perry at work, captures her just over a week after a double mastectomy, walking gingerly into her studio while carrying surgical drains she calls "blood grenades." As Perry recovered from surgery, her elderly mother—who had physically and mentally abused her as a child—became ill and died three months later. Perry took her mother into her home for her final months, setting up a bed next to hers, reflecting that "the best gift my mom gave me was a peaceful death." The Creative Process: From Personal Pain to Artistic Expression Perry's new solo album, her first in 27 years, is a visceral, propulsive work about her mother's death and the complex feelings it unearthed. Songs include "I Am Daughter," "Now That She's Gone," "Liberation," and "What Lies With You," in which she calls her mother "the villain and the muse." The documentary shows Perry's songwriting prowess in action as she jams with Dolly Parton and Kate Hudson, while also capturing her hosting an event at South By Southwest for EqualizeHer, an organization she co-founded to promote gender equality in the music industry. The Industry Impact: A Voice for Gender Equality Perry has long been an advocate for gender equity in music. Early in her career, she was famously denied a producer credit on "What's Up," the track that sent 4 Non Blondes stratospheric. She let it go at the time but vowed it would never happen again. Through EqualizeHer and her own experiences, Perry continues to challenge the industry's gender disparities. The documentary also captures her re-formed 4 Non Blondes performing at the BottleRock festival, where she insisted on performing new material rather than just their old hits, stating "I want to play something new." The Personal Journey: Confronting Trauma and Finding Strength The documentary offers intimate glimpses into Perry's personal struggles, including a scene where she's captured dancing goofily in her closet to Supertramp's "Take the Long Way Home," which triggers deep emotional release. Another powerful moment shows her ripping open her shirt during a photoshoot in the desert to reveal her surgical scars, describing it as "ad-lib, a kind of a 'fuck-it' moment" that felt powerful afterward. Perry admits she's a workaholic who finds safety in creating: "Like most people who are in trauma, I am afraid to be left alone. Creating, working and music is where I feel safe." The Future Outlook: New Music and Continued Advocacy Perry's re-formed 4 Non Blondes are working on a new album due out early next year, based on material she wrote specifically for festival performances. She continues to collaborate with other artists, including Paris Jackson and Mike Campbell of Tom Petty's Heartbreakers. While the documentary was difficult for Perry to watch—"It was like watching a horror movie"—she recognizes its therapeutic value: "I think maybe the film helped me process and see something I didn't know I was doing." As she walks into the distance at the end of the documentary, Perry reflects: "Everything I've just experienced is going to change my life drastically. Life and death happened just now, so let's see what happens from here."

The Psychic: A Return to Supernatural TheatreSheila Gold, supposedly Britain's most accurate psychic, wants to be taken seriously by her new clients. "This is not theatre," she warns them, as she lights seven candles for a seance. This is an insider joke, as theatre is exactly what it is—a carefully constructed illusion designed to make audiences question what they believe to be true.The Creative Minds Behind the Spiritual IllusionThe Psychic marks the return of Jeremy Dyson and Andy Nyman after the spooky stage and screen success of Ghost Stories. Now the writer-directors are unnerving audiences again with grinding sound effects and sudden lighting bursts, toying with us to believe and yet not believe in voices from beyond the grave. Where Ghost Stories was an all-male affair, this one is a female-centred tale in which 18-year-old Tara tries to inherit Sheila's fairground wisdom, while matriarch Rosa does all she can to undermine the daughter she schooled.Performances That Bridge Belief and DoubtIn the lead role, Eileen Walsh does an excellent job switching from glitzy entertainer in sparkling pink jacket and matching heels to hard-bitten operator, building on the received wisdom of 10 generations of fortune tellers. The script is littered with the language of showmen, from the jossers whose fortunes they read to the oojas who mentor them, adding to the impression of ancient knowledge being passed down. This creates a rich tapestry of performance that balances skepticism with genuine supernatural possibility.A Tale of Two Halves: Strengths and ShortcomingsDyson and Nyman request that the audience keep the plot twists secret. This is reasonable in the first half where nothing is what it seems. But in the second, the ideas dry up. With little to surprise us beyond the odd jarring sound effect, the play drifts towards Victorian melodrama: too much expository dialogue, too little tension and an ending that is uncharacteristically predictable. The Psychic ultimately delivers medium-strength storytelling that entertains but doesn't fully satisfy.The Place of Spiritual Theatre in Contemporary CultureIn an age of increasing scientific skepticism, plays like The Psychic serve an important cultural function by exploring the human desire to connect with something beyond the material world. The Psychic's exploration of spiritual fraud versus genuine supernatural possibility taps into timeless questions about belief, deception, and the power of suggestion. While this particular production may not achieve the heights of Ghost Stories, it continues a tradition of theatrical supernatural storytelling that continues to captivate audiences.

The Ultimate Wizard Showdown When asked who would win a fight between Gandalf and Dumbledore, the iconic actor who portrayed both legendary wizards didn't hesitate with his answer. "Why on earth would they be fighting? But Gandy, of course, would win. The original wizard," McKellen declared, settling the debate that has captivated fantasy fans for years. A Life in Theater Reflecting on his more than six decades in acting, McKellen lamented the decline of repertory theater in the UK. "My first job, in 1961, was at the Belgrade theatre in Coventry," he recalled. "Every city of similar size had a repertory company, presenting a new production every two weeks, and crucially providing employment for tyro actors in need of a prolonged apprenticeship." Today, he noted, there is not a single rep company in the UK, a system he credits with helping develop new talent. Personal Reflections McKellen shared insights into his personal beliefs, explaining that while he was raised with gospel stories, he stopped worshipping in his teens. "Since then, Quakers are the religious society I most admire, for their adherence to the sixth commandment and for being the first Christians to support gay rights in the UK." He also discussed how his father's preaching style influenced him, though it was actors who first captivated him rather than religious figures. Behind the Scenes of Middle-earth The actor revealed that Peter Jackson never confirmed which stars turned down the role of Gandalf in Lord of the Rings. "I've never managed to persuade Peter to confirm who turned down the wizard part of a lifetime," McKellen shared. He speculated that David Bowie's striking looks and voice might have emphasized the supernatural side of Gandalf rather than the character's humanity that attracted him to the role. Beyond Middle-earth Beyond his iconic fantasy roles, McKellen discussed his appreciation for pantomime as a uniquely theatrical art form. "Pantomime uses every possible theatrical device to tell its moral tales – slapstick, sentiment, song, dance, verse, cross-dressing, community singing, extravagant costumes and scenery, audience participation," he explained. "My patriotism is rooted in Shakespeare and panto." He also mentioned his recent Glastonbury performance with the Scissor Sisters, describing the experience as "heady stuff, parading in front of a band's enthusiastic fans."

The Gothic Horror Revival with a Psychedemic TwistWill Maclean's "Solace House" emerges as a bold entry in contemporary gothic horror, blending traditional supernatural elements with psychedelic storytelling. The novel transports readers to the summer of 1993, where protagonist Alex Lane finds himself working at an abandoned asylum called Marshlands, located next to the enigmatic Solace House—a gothic mansion filled with secrets and supernatural occurrences.A Cast of Characters in a Supernatural SettingThe narrative introduces a diverse group of university students tasked with clearing out the asylum: the lonely Alex, the sinister pale boy Adam, and various archetypal characters including the Christian Helen, the stoned Clive, the goth Ruth, the new-age Leo, the beautiful Malcolm, and the bewitching red-haired Ella. Against the backdrop of cheap wine, joint-smoking, and pretentious banter, the group begins to uncover the dark mysteries of Solace House and its former occupant, the reclusive poet Edwin Flayne.Supernatural Elements and Narrative StructureSolace House is portrayed as a "thin place" where supernatural forces bleed into reality. Flayne, who lived to 102 without leaving the house, pursued dark mathematics and magic in his quest for forbidden knowledge. The novel incorporates numerous gothic tropes: a hedge maze, ancient caverns, mysterious telephones, and a labyrinthine interior filled with hoarded artifacts. As the narrative progresses, reality becomes increasingly unstable, leading the characters to consume psychedelic mushrooms and confront the boundaries between dimensions.Literary Influences and ComparisonsMaclean's work draws from a rich tapestry of literary influences. The reviewer compares "Solace House" to TV's "True Detective" while acknowledging the foundational influences of Arthur Machen, Charles Williams, and HP Lovecraft. Other discernible references include Donna Tartt's "The Secret History," Mark Z. Danielewski's "House of Leaves," and Lucy Boston's "The Children of Green Knowe." The novel also shares occult territory with Francis Spufford's "Nonesuch," creating a rich intertextual tapestry that honors its influences while carving out its own identity.Pacing and Narrative ApproachOne of the novel's strengths is its pacing. The 500-plus pages "whip by" as Maclean balances supernatural horror with character development and occasional dark humor. The book opens with a self-aware acknowledgment that "gothic always tries too hard," suggesting a meta-awareness of the genre's conventions. This self-deprecating tone permeates the narrative, creating an engaging reading experience that doesn't take itself too seriously despite its ambitious supernatural scope.Assessment and Critical ReceptionWhile the reviewer praises "Solace House" for its entertainment value and ability to "spook the reader," they note some narrative shortcomings. The novel is described as "a bit overstuffed," particularly in its attempts to convey "ineffable mind-mangling realms beyond time, space and puny human comprehension." However, the reviewer suggests this excess is somewhat inherent to the genre itself. Despite these minor criticisms, the book earns high marks for its clever and satisfying twist ending that even makes sense of Edwin Flayne's "terrible poetry," providing narrative cohesion to the sprawling supernatural tale.

The Rediscovery of a Harlem Renaissance OutsiderEric Walrond was a defining yet vanishing figure of the Harlem Renaissance, a Guyana-born writer who navigated the complexities of migratory identity and racial politics in the early 20th century. His death in 1966 went largely unremarked, and for decades, he slipped into obscurity. However, the centenary of his magnum opus, Tropic Death, has reignited interest in a body of work that challenged the literary establishment of his time.The Gothic Counter-Pastoral of 'Tropic Death'Published in 1924, Tropic Death is a trailblazing collection of 10 stories set in the Panama Canal Zone and the Caribbean. Walrond rejected the pastoral tradition, instead employing a gothic lens to expose the brutality of colonialism and the caste systems that governed the region. The stories are visceral and macabre, featuring a laborer shot by a drunken marine, a boy devoured by a shark, and a plantation owner killed by a vampire bat.Key Themes: The inversion of the 'tropical paradise' fantasy.Style: Use of phonetic vernacular and regional dialects.Reception: Initially controversial among contemporaries like Marcus Garvey and Claude McKay.Deconstructing the 'Tropical Paradise' MythWalrond’s work is significant because it directly countered the sanitised narratives of tourist literature commissioned by corporate interests. By foregrounding the violence and supernatural decay inherent in the landscape, he revealed the 'nightmare buried beneath the surface' of the colonial idyll. His characters—farmers, sex workers, and sailors—were not primitives, but complex individuals caught in a web of racial and extractive capitalism.The Cost of Exile and ObscurityDespite critical acclaim and a Guggenheim award, Walrond struggled with a sense of rootlessness that stifled his creativity. His migration from New York to Paris, then London, and finally to the isolated town of Bradford-on-Avon, marked the end of his literary output. Struggling with mental health and the color bar, he spent his final years in anonymity, dying in an unmarked grave. His story serves as a poignant reminder of the erasure of non-white voices in literary history.

The Master Photographer's Lens Steven Meisel, a name synonymous with high-fashion photography, has unveiled a stunning collection of portraits in London, featuring some of the most iconic figures of our time. Faces of Fashion and Art The exhibition showcases Meisel's incredible skill in capturing the unique essence of his subjects, including supermodel Twiggy and designer Bella Freud. His photographs are not just images; they are narratives that speak volumes about the people and the era they represent. A Photographic Legacy Meisel's work is a testament to his enduring influence on photography and fashion. His ability to convey the personality and story of each subject through his lens has made him a legend in his field. This exhibition is a must-see for anyone who appreciates the art of photography and the culture it represents. The Intersection of Art and Fashion This collection in London is a celebration of the intersection between art, fashion, and photography. It invites viewers to explore the spaces where these worlds collide and to appreciate the beauty and significance of Meisel's work. A Lasting Impact As visitors leave the exhibition, they carry with them not just memories of the images they saw, but also a deeper understanding of the power of photography to capture the human experience. Steven Meisel's portraits are more than just pictures; they are a window into the souls of the people who have shaped our culture.

The 'Closing the Chapter' ProposalA sweeping overhaul of the Federal Emergency Management Agency (Fema) is on the horizon, with a panel appointed by Donald Trump recommending that the agency effectively close its doors on its current form. The 12-member Fema Review Council, co-chaired by Homeland Security Secretary Markwayne Mullin and Defense Secretary Pete Hegseth, has delivered a final report urging a fundamental shift in the nation's disaster response doctrine. The core philosophy of the proposed changes is the maxim: “Disaster response should be locally executed, state or tribally managed, and federally supported.”Reduced Federal Role: The report casts Fema into a more supportive role rather than a primary responder.Higher Thresholds: States would face stricter requirements to qualify for federal disaster declarations.Cost Capping: Payouts to homeowners and renters would be severely limited.The Financial Fallout and Stock SurgeThe proposal comes at a critical financial moment for the nation's disaster infrastructure. According to data from Dr Adam Smith, the first half of 2025 saw weather and climate disasters totaling over $101bn in damage, marking the most costly first half on record since 1980. Despite these escalating costs, the council's recommendations focus on cutting federal spending rather than increasing resilience.The financial implications extend beyond government budgets into the private sector. The proposal to privatize parts of the National Flood Insurance Program (NFIP), which carries over $20bn in debt, has already impacted the market. Neptune Flood, an insurance company advocating for private sector involvement, saw its stock surge 22% following the report's release.The Climate Blind Spot and Staffing CrisisExperts argue that the proposed reforms are dangerously out of step with the reality of the climate crisis. The 74-page report contains only a single mention of the word “climate,” failing to address how supercharged extreme weather events are straining the system. Furthermore, the council’s composition has been criticized for lacking diversity; the panel consists largely of officials from Texas, Mississippi, Louisiana, Florida, and Virginia, with limited representation from minority communities that disproportionately bear the brunt of disasters.The administration's actions are also degrading the agency's internal capacity. Before Trump took office, federal analysis advised investing in the disaster workforce to curb burnout. Instead, the administration cut hundreds of millions in national preparedness funding and lost roughly one-third of Fema's full-time staff to firings, retirements, and resignations last year.The Future of US ResilienceThe shift in policy suggests a future where local governments are forced to shoulder the burden of catastrophic events without adequate federal support. With small municipalities often lacking dedicated emergency management departments, the reliance on federal expertise is expected to diminish, potentially leaving vulnerable communities without the resources needed for recovery. The move to cap payouts and limit federal oversight signals a transition toward a system where individual responsibility and private market solutions are prioritized over federal safety nets.

The Director's Supernatural EncountersMulti-Oscar-winning director Guillermo del Toro has revealed his lifelong fascination with the supernatural, from childhood ghost sightings to a UFO encounter at age 14. The filmmaker, currently in the UK to receive a BFI fellowship, shared his belief that these experiences 'cause a crack' in our perception, allowing 'the mystery of the universe' to rush toward us.From Family Hauntings to Hammer HorrorDel Toro's supernatural journey began at age 11 when he first sensed a spectral presence at his family home in Guadalajara, Mexico – which he believes was his late uncle keeping a promise. This experience inspired Santi, the sighing ghost-boy in his 2001 film The Devil's Backbone. The director has since encountered numerous paranormal phenomena, including surround-sound ghostly disturbances in a New Zealand hotel while scouting locations for The Hobbit.'There are certain magical lands for me,' del Toro explains, 'and the land of ghosts is England.' He is currently looking to purchase a haunted house in the UK to house his extensive collection of silicone figures and memorabilia.The Influence of British CinemaThe BFI fellowship holds special significance for del Toro, who cites British cinema as a major influence on his work. He particularly reveres the 'reveries of Powell and Pressburger or Ken Russell' and the entire Hammer horror legacy, including Terence Fisher's Frankenstein films which partly informed his own 2025 adaptation of Mary Shelley's novel.'The 1974 Hammer film Frankenstein and the Monster from Hell had the worst makeup but the most delicate Creature,' del Toro notes. 'As the movie progressed, the Creature became more of an innocent and the Baron more of a pure villain.' This approach shaped his interpretation featuring Jacob Elordi as the Creature.A Legacy of Monsters and Misunderstood BeingsDel Toro has always portrayed monsters as complex beings capable of tenderness alongside violence, reflecting his belief that 'precisely like us.' This philosophy has resonated with fellow artists, including Taylor Swift, who has cited his films as inspiration. After becoming a fan of The Shape of Water, Swift explored his back catalogue during the pandemic, declaring herself 'dazzled' by The Devil's Backbone and Pan's Labyrinth.The influence is mutual, with Swift later invoking Del Toro-esque imagery in her hit single Anti-hero, picturing herself as 'a monster on the hill … slowly lurching toward your favourite city.' This artistic connection demonstrates how del Toro's vision has permeated popular culture beyond cinema.The Future of Fantastic CinemaAs a BFI fellow – joining the ranks of Martin Scorsese, David Lean, Akira Kurosawa, and Orson Welles – del Toro continues to champion the potential of horror and fantasy genres. His teenage years saw him running a film society in Guadalajara, sourcing controversial works like Powell's 1960 serial-killer classic Peeping Tom from the BFI itself.With his upcoming projects and continued exploration of the supernatural, del Toro remains committed to expanding our understanding of the unknown, both on screen and in his personal life. As he puts it, these experiences 'dislocate your sense of self,' revealing the mysteries that exist just beyond our everyday reality.

The $4m Lifeline for ZamalekFinancially embattled Egyptian club Zamalek are on the brink of securing a massive financial lifeline by winning the CAF Confederation Cup final against Algerian side USM Alger. A victory would not only secure a record $4m prize but potentially stabilize the club's precarious financial situation, which is currently estimated at $6.5m in debt.The Record-Breaking Final ShowdownThe two-legged final kicks off on Saturday in Algiers with a 50,000-strong crowd, setting the stage for a high-stakes battle between former winners. The return leg is set for May 16 in Cairo, pitting the White Knights against the Red and Black.First Leg: USM Alger vs. Zamalek (Saturday, Algeria).Second Leg: Zamalek vs. USM Alger (May 16, Cairo).Prize Pool: $4m for winners, $2m for runners-up.The Financial Math of a TitleWhile the $4m prize is a record high, it barely scratches the surface of Zamalek's liabilities. The club owes significant amounts to former coaches like Swiss Christian Gross and Portuguese Jose Gomes, as well as Ukrainian club Oleksandriya for the transfer of Brazilian striker Juan Bezerra.Potential Prize: $4m (Record high).Current Debt: ~$6.5m.Additional Bonus: $500k for winning the subsequent CAF Super Cup.North Africa's Unrivaled DominanceThis final confirms the stranglehold North African clubs have on the second-tier of African football. North African teams have won 17 of the last 22 CAF Confederation Cup finals. This season, six of the eight quarterfinalists and all four semifinalists came from the region.Future Implications and QualificationRegardless of the outcome, both clubs secure continental qualification for next season. Zamalek, currently leading the Egyptian Premier League, will aim to leverage this prize money to clear outstanding debts and strengthen their squad for future campaigns.