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The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.

Transport think‑tanks and the RAC Foundation are urging UK policymakers to adopt tram networks as a cost‑effective way to ease urban congestion, citing evidence from Vienna and recent UK studies.Why Trams Are Being Pitched as Britain’s Congestion CureIn March, Create Streets, Freewheeling and the Campaign for Better Transport released the Towns and Trams report, which promotes tram adoption to unblock city traffic, mirroring Vienna’s model.The report highlights that the Leeds tram project has been postponed until the late 2030s due to funding and planning uncertainties.Cost‑Benefit Numbers Highlight Tram EfficiencyTrams deliver roughly 90% of metro benefits while costing only 10% of the investment.For the price of the Elizabeth line, London could fund a world‑class tram network exceeding 1,000 km, more than double the current tube length.Department for Transport data shows 25% of tram passengers have left a car at home, indicating a shift toward greener travel.Bus ridership in London is falling by about 1.5% per year, underscoring the need for alternative mass‑transit options.Policy Setbacks and Regional Delays Threaten MomentumLegal and institutional obstacles remain for the Southwark pilot line linking London Bridge to Denmark Hill, a route that would serve three major hospitals.Without clear national funding pathways, projects like Leeds’ tram remain on ice, risking loss of public and political support.What the Next Five Years Could Hold for UK Tram ProjectsContinued advocacy from groups such as the RAC Foundation may pressure the Department for Transport to allocate dedicated tram funding.If the Southwark trial demonstrates measurable congestion relief and passenger uptake, it could become a template for other cities.Delays in Leeds could be mitigated by integrating tram planning into broader “green recovery” initiatives tied to post‑pandemic infrastructure spending.

The LeadA new poll by the AFL-CIO reveals that US workers overwhelmingly support pro-union policies on artificial intelligence, viewing labor unions as the most reliable protectors against AI's potential workplace impacts. The survey shows strong support for human oversight, transparency, and accountability in AI implementation.Union-Backed AI Policies Garner Strong Worker SupportThe poll, conducted with David Binder Research from April 14-22, surveyed 1,588 workers across the United States and found remarkable consensus on AI workplace policies. More than nine out of ten workers surveyed expressed support for policies that labor unions may advocate for, including:95% support requiring a human to be the final decision maker on issues affecting individual workers and their employment92% support advanced guardrails against harmful uses of AI in workplaces94% believe workers should be informed if AI is monitoring their work75% support expanding opportunities for workers to form unions to protect their jobs from AITrust in Unions vs. Other InstitutionsWhen asked which institutions they trust most to protect workers from AI, 38% of workers selected labor unions, significantly more than any other option. Only 17% chose Democrats, 10% Republicans, 6% employers, and 18% selected none of the options. This data indicates a clear preference for worker representation through collective bargaining rather than traditional political channels or corporate oversight.Current AI Implementation and Worker ConcernsThe poll revealed a significant gap between AI implementation in workplaces and transparency to workers. Only 7% of workers reported that their employers disclosed how and when their work is monitored by AI, while 70% said their employers have not disclosed this information. Despite this lack of transparency, 78% of workers rated it as extremely or very important that action be taken to protect them from potential AI harms.Real-World Examples of AI Protection EffortsThe poll results align with recent labor actions where workers have successfully negotiated AI protections in collective bargaining agreements. Anna Iovine, former unit chair of the Ziff Davis Creators Guild, noted how their union won AI protections in their 2024 contract, including editorial integrity safeguards, transparency requirements, and protections against layoffs due to AI implementation. Similarly, Hannah Drummond, a registered nurse with National Nurses United, fought to include AI provisions in her contract to ensure technology affecting patient care would require union approval and wouldn't undermine professional judgment.Future of Labor Relations in the AI Era"These results make it clear: our Workers First Initiative on AI is not just a set of principles, but a mandate to deliver," said Liz Shuler, president of the AFL-CIO. The strong worker support for union-backed AI policies suggests that labor movements will play a central role in shaping how AI is implemented in workplaces. As AI continues to transform industries, collective bargaining agreements may become the primary mechanism for ensuring technology serves workers rather than displacing them. The poll indicates a clear mandate for labor unions to take the lead in establishing workplace AI governance frameworks that prioritize human oversight, transparency, and worker protections.

Google announced on Tuesday a new Android feature called “Create My Widget” that lets users describe a desired widget in plain language and have Gemini generate a functional, personalized widget instantly. Google Introduces AI‑Powered ‘Create My Widget’ for Android The tool works by interpreting natural‑language requests—e.g., “suggest three high‑protein meal prep recipes every week”—and building a dashboard widget that can be resized and placed on the home screen. It can also pull data from the web and sync with Google apps such as Gmail and Calendar to create context‑aware widgets, like a travel‑planning board for a family reunion in Berlin. Projected Adoption and Device Rollout Initial launch on Samsung Galaxy and Google Pixel phones slated for summer 2026. Feature leverages the Gemini Intelligence platform, which also powers upcoming AI autofill and voice‑dictation upgrades for Gboard. Targeted at both casual users seeking quick info snippets and power users who want highly tailored data streams. How AI‑Generated Widgets Could Redefine Android Home Screens By allowing on‑the‑fly creation of widgets, Google removes the need for developers to pre‑build and publish widget templates. This democratizes customization, potentially increasing user engagement and time spent on the home screen. It also deepens the role of AI assistants, turning them from query responders into proactive UI designers. Future Outlook: Generative AI as a Core Mobile OS Layer Ben Greenwood, Director of Android Core Experiences, described the feature as “asking your personal assistant a question and having them just bring you the answer on repeat.” As competitors race to embed generative AI, Google’s move suggests future Android updates will embed AI deeper into system UI, possibly expanding to dynamic icon design, adaptive layouts, and real‑time context‑aware shortcuts.

Sharikadze's 11‑Year Ban Sets a New Precedent in Rugby Anti‑Doping EnforcementThe World Rugby investigation concluded that Merab Sharikadze's clean urine was used by three teammates in 2022‑2023, leading to the longest ban ever imposed in the sport: 11 years. The former captain, who earned over 100 caps and led Georgia to a historic win over Wales, now faces the end of his rugby career and a shift to MMA.Operation Obsidian Exposes a Coordinated Urine‑Swapping NetworkLaunched before the 2023 World Cup, the four‑year probe, conducted with the World Anti‑Doping Agency, uncovered systematic sample substitution to hide non‑performance‑enhancing substances such as cannabis and tramadol. No direct evidence of performance‑enhancing drug use was found, but the manipulation of testing protocols was deemed a serious breach.Ban Spectrum and Financial Repercussions for Georgian RugbyMerab Sharikadze – 11‑year suspensionNutsa Shamatava (former chief medical officer) – 9‑year banFive players – bans ranging from 9 months to 6 yearsThe Georgian Rugby Union has been charged with misconduct and must pay an undisclosed fine while upgrading its anti‑doping education and testing infrastructure.Broader Implications for Global Rugby Anti‑Doping PoliciesWorld Rugby CEO Alan Gilpin highlighted the case as proof of the need for a “robust, science‑led anti‑doping programme” with coordinated biological profiling and long‑term sample storage. The scandal reinforces the sport’s zero‑tolerance stance and may prompt stricter oversight across other national unions.Outlook: Georgia’s Path Forward and the Future of Anti‑Doping in RugbyDespite the bans, Georgia’s eligibility for upcoming tournaments, including the 2027 World Cup in Australia, remains intact. The union’s mandated reforms aim to restore credibility, but the episode serves as a cautionary tale that could accelerate worldwide adoption of more rigorous anti‑doping frameworks.

The Incident A lorry has become stuck in a sinkhole on a rural road in Somerset after being sent to fix it. Contractors from a company called Stabilised Pavements were sent to fix holes on Butleigh Drove, near Walton, when the ground gave way. The Lorry's Condition The lorry was left stuck at a near 45-degree angle, forcing the workers to abandon it. A council spokesperson said the lorry was due to be recovered. The Road Network Concerns Lucy Trimmell, an opposition councillor in Somerset, told the Times the council’s approach to road repairs was like “trying to darn a pair of fishnet tights” and the road network was “rapidly deteriorating”. Richard Wilkins, the portfolio holder for transport and waste services, said council contractors had been working to fix the damage caused by Storm Chandra in January, as well as other weather events. The Council's Response A spokesperson for Somerset council said: “Planned highway works are taking place on Butleigh Moor Drove (also known as Butleigh Drove) near Walton, and these works are being delivered by contractors. The road is constructed on peat and has experienced significant movement and rutting. Issues of this nature can occasionally arise when carrying out works in these conditions. A lorry involved in the works is due to be recovered. The site will then be assessed to determine the most appropriate approach to complete the repairs.”

The Unexpected Path to EurovisionSam Battle never set out to be a Eurovision contestant. A casual email to the BBC turned into an invitation to write a song for the contest, and he soon discovered he would be performing it himself as the UK entry.From Furby Synths to the Megadrone: Battle’s Museum of Resurrected TechBattle’s public space, This Museum (Not) Obsolete in Ramsgate, is a labyrinth of repurposed gadgets – Game Boys, Sega Megadrives, even a vacuum‑cleaner‑turned‑flamethrower. Its centerpiece, the Megadrone, is a modular synth built from roughly 1,000 oscillators that fills an entire side of the museum.Original project began after his indie band Zibra split in 2016.Over 700,000 YouTube subscribers follow his weekly builds.The Megadrone was later mini‑scaled into the portable Kosmo synth for the BBC writing session.Numbers Behind the Noise: YouTube Reach and Eurovision Odds700,000+ YouTube subscribers – a sizable fanbase for a niche creator.Song “Eins, Zwei, Drei” selected as the official UK entry after a 12‑hour studio marathon.Eurovision betting markets currently list the UK entry at 12th place out of 37, reflecting both curiosity and skepticism.Why a DIY Synth Maestro Matters for Britain’s Pop CultureBattle’s win‑or‑lose outcome will signal whether Britain’s music scene can embrace avant‑garde, maker‑culture acts on a mainstream platform. His blend of humor, DIY engineering, and nostalgic synth sounds challenges the formulaic pop that usually dominates Eurovision, potentially inspiring a new wave of “tech‑musician” artists.What’s Next for Look Mum No Computer After Vienna?Tour the Megadrone across Europe as a live‑performance installation.Expand the museum with interactive workshops for schools, leveraging the Eurovision spotlight.Potential collaborations with major labels seeking fresh, hardware‑centric sounds.

The Return of a Snooker ClassicThe BBC has announced the revival of the beloved snooker gameshow Big Break after a 24-year hiatus. The show, which originally aired from 1991 to 2002, will return with seven-time world champion Stephen Hendry joining presenter and comic Paddy McGuinness as co-hosts. The revival comes as part of a trend of 1990s game shows making a comeback on British television.New Format with Familiar FacesIn the new series, Hendry will take on the trick-shot challenges previously performed by the late John Virgo, while McGuinness will fill the shoes of original host Jim Davidson. The BBC promises a "reimagined" version of the show with "an addictive mix of fast-paced snooker frames with a relaxed, comedic atmosphere." Each episode will feature three contestants competing for cash prizes, with professional snooker players providing assistance.Nostalgia Meets Modern EntertainmentThe revival of Big Break reflects a growing trend of networks capitalizing on nostalgia while updating classic formats for contemporary audiences. The BBC recently found success with another 1990s favorite, Gladiators, while ITV has also brought back darts gameshow Bullseye. This strategy allows broadcasters to leverage built-in audience recognition while potentially attracting new viewers with updated production values and presentation styles.Legacy and Future of Snooker on TelevisionStephen Hendry's involvement adds significant credibility to the revival, as he appeared in the first episode of Big Break in 1991. His participation not only honors the show's history but also connects with the current generation of snooker fans. The show's return comes at a time when snooker continues to maintain popularity in the UK, with China emerging as a growing force in the sport through players like Wu Yize.What's Next for the Revived GameshowWith 20 half-hour episodes commissioned for BBC Two and iPlayer, Big Break is positioned to become a regular daytime fixture. The show's success will likely depend on its ability to balance nostalgia with fresh elements that appeal to both original fans and new viewers. If successful, the revival could pave the way for more classic gameshows to return to British television, continuing the current trend of reimagining beloved formats for modern audiences.

The LeadHelen Charlston, a strikingly original talent in the classical music world, has released "A Poet's Love," an innovative album that reimagines Robert Schumann's classic Dichterliebe cycle. The mezzo-soprano's latest recording pushes into unexpected territory by complementing Schumann's work with other Heine settings by early-19th-century German contemporaries and presenting the first recording of Knight's Dream, a new piece by composer Héloïse Werner.A Fresh Interpretation of DichterliebeThe album centers on Schumann's Dichterliebe, a cycle on poems by Heinrich Heine that remains relatively unusual territory for the female voice. Charlston and pianist Sholto Kynoch offer a decidedly individual interpretation, taking time to land their points. Their approach begins with a trancelike start in "Im wunderschönen Monat Mai," stretching certain phrases to the limit. The duo returns to this mood frequently, surprising listeners with elongated measures and delivering an uncommonly elastic "Ich grolle nicht." Charlston's honeyed middle register draws the ear throughout, complemented by Kynoch's perceptive handling of Schumann's postludes.Complementary Works and New CommissionCharleston enhances the Schumann cycle with other Heine settings by early-19th-century German contemporaries, including both Felix and Fanny Mendelssohn. The album also features the first recording of Knight's Dream, commissioned as a companion piece for the Schumann from composer Héloïse Werner. The latter tells of a gallant lover blundering about in an enchanted fever dream. Charlston relishes Werner's haunting, folk-inflected vocal lines, her wine-dark mezzo-soprano savoring every nuance. Kynoch proves an exceptional collaborator, embellishing the narrative by speaking, humming, and even knocking on the piano.Vocal and Artistic BrillianceThroughout the album, Charlston's voice flows like molten lava, with every word crystal clear. This same resourcefulness breathes life into Loewe's Die Lotosblume and Fanny Mendelssohn's Schwanenlied. The mezzo-soprano's distinctive vocal style—characterized by her wine-dark timbre and honeyed middle register—creates a compelling listening experience. Kynock's accompaniment is equally impressive, demonstrating thorough understanding of the repertoire and exceptional sensitivity to the texts.The Future of Artistic Innovation in Classical Music"A Poet's Love" represents the kind of innovative programming that can revitalize classical music for contemporary audiences. By juxtaposing established masterworks with new commissions and exploring repertoire less commonly performed by female voices, Charlston and her collaborators demonstrate how tradition and innovation can coexist. This approach not only honors the past but also creates space for new voices and perspectives in the classical music landscape, suggesting a promising direction for the future of the art form.