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The Lead: A Darkly Bright Review of Shaffer’s FarceThe Guardian’s latest stage review celebrates the Orange Tree Theatre’s revival of Peter Shaffer’s *Black Comedy*, highlighting how the production’s inventive lighting turns darkness into the show’s main character.Lighting as the Star: How the Play Turns Darkness into ComedyInspired by a Chinese‑theatre lamp gag, the production stages a power cut with blinding brightness to represent total darkness, and vice‑versa. When a match is struck the lights dim; a switch flicked on triggers an instant blackout, forcing actors to navigate the tiny stage blind and then stumble about as if they can’t see each other while the audience watches the chaos unfold.Key Production DetailsVenue: Orange Tree Theatre, Richmond, LondonRun: Until 11 July 2026Director: Caroline SteinbeisLighting Designer: Elliot GriggsPhysical Comedy Consultant: John NicholsonCritical Reception and Box‑Office SnapshotWhile the review does not provide hard numbers, the production’s limited 75‑minute run and its pairing with the Menier Chocolate Factory revival of *Equus* suggest a strategic centenary push that is likely to attract both Shaffer enthusiasts and farce lovers, bolstering ticket sales during the summer season.Reviving Shaffer: The Play’s Relevance in Modern TheatreThe piece, set in a post‑World‑War‑II context, unintentionally resonates with today’s fragile power‑supply anxieties. Historical touches—Directory Enquiries, antique fuse boxes, and two “comedy Germans”—are balanced by contemporary direction, such as a Caribbean‑styled cleaning‑lady routine that updates Maggie Smith’s original mockney lines.Looking Ahead: The Future of Farce on Post‑Pandemic StagesWith *Black Comedy* proving its staying power alongside the high‑brow *Equus*, the Guardian predicts a renewed appetite for technically inventive farces that blend physical comedy with modern staging tricks. Directors may increasingly lean on lighting and set design to create immersive, laugh‑inducing spectacles that compensate for smaller venue capacities.

The Lead: This Week's Entertainment HighlightsThis week's entertainment landscape offers a diverse array of critically acclaimed shows and films, from hilarious comedies to chilling horror. Channel 4's "Make That Movie" stands out as one of the funniest shows of the year, while Netflix's "The Four Seasons" returns with a brilliant second season. Horror fans can explore the disturbing world of "Backrooms," while Marvel offers a stylish take with "Spider-Noir."TV Comedy Gold: Make That MovieChannel 4Summed up in a sentence Last One Laughing finalist delivers one of the funniest shows of the year, with this mockumentary about a director who makes awful films.What our reviewer said "So ostentatiously silly that it deserves to be paraded around the streets." Stuart HeritageRead the full reviewFurther reading "People are like: you're a crackpot": how Sam Campbell became comedy's oddball superstarNetflix Triumph: The Four Seasons ReturnsNetflixSummed up in a sentence Tina Fey triumphs again with the return of this comedy about a group of middle-aged friends who reunite during holidays throughout the year.What our reviewer said "Even more perspicacious, poignant and hilarious than the first." Chitra RamaswamyRead the full reviewMarvel's Stylish Take: Spider-NoirPrime VideoSummed up in a sentence In Marvel's witty homage to the hard-boiled films and fictions of the 40s – which can be watched in colour or black-and-white – Nicolas Cage plays Ben Reilly, who gave up being superhero "the Spider" five years ago.What our reviewer said "Everything is shot with style and confidence." Lucy ManganRead the full reviewFurther reading The life of PIs: the strange case of 2026's resurgence of hard-boiled detectivesHidden Gem: PoniesNow/Sky AtlanticSummed up in a sentence Emilia Clarke and Haley Lu Richardson have heaps of fun as two widows who become cold war spies in this espionage comedy-drama.What our reviewer said "It's a mashup of genres and tropes, but it is its own thing too – and an unexpected treat at that." Lucy ManganRead the full reviewHorror Innovation: BackroomsIn cinemas nowSummed up in a sentence A debut from 20-year-old director Kane Parsons that examines memory, reality and fear in an icily disturbing horror, in which Chiwetel Ejiofor accesses an infinite series of hidden rooms that all feel creepily askew.What our reviewer said "Backrooms progressively raises its game towards the big finish with jump scares, squirm scares and tiny shiver scares. There is real fascination in exploring this vast, invisible city state of fear." Peter BradshawRead the full reviewFurther reading Are you sitting uncomfortably? How Backrooms upended the horror movieMusic and Bromance: Power BalladIn cinemas nowSummed up in a sentence Nick Jonas and Paul Rudd star in a comedy of bromance and betrayal from Irish writer-director John Carney that brilliantly brings together Rudd's washed-up wedding singer and Jonas's insecure ex-boyband superstar.What our reviewer said "Power Ballad is about making it and dreaming big, about every busker never giving up on hopes of one day being mega. But as so often with Carney, it's about something else, usually left unacknowledged in movies about music or any sort of show business: the terrible binary of success and failure." Peter BradshawRead the full reviewUnexpected Pairing: TunerIn cinemas nowSummed up in a sentence Playing a piano tuner with super-sensitive hearing, Leo Woodall's relationship with Dustin Hoffman is a tender highlight in this safe-cracking thriller.What our reviewer said "What a pair they are; they are a real pleasure to watch in an easy, unforced drama that mixes romcom moments with a relaxed crime thriller. It's like the Safdie brothers in chill-out mode." Cath Clarke

The Masterpiece of John Woo The title of this 1990 John Woo extravaganza might lead the uninitiated to expect a chillingly focused, targeted assassination. Actually, there are innumerable bullets and innumerable heads in this over-the-top gonzo spectacle. It is a crime thriller, a wartime action film set in Vietnam, but it offers something other than the usual Hollywood perspective; it is a parable of greed comparable to The Treasure of the Sierra Madre, and even a kind of romantic melodrama. The Symbolic Bullet There is, however, one key bullet in a head, a literal bullet lodged in the skull of someone who achieves a macabre zombie-like semi-survival, the bullet being symbolic of the way violence takes root in the brain, dehumanising its victim. The final “boardroom” scene disclosing this image is toweringly mad and strange. Yet in this movie, as in so many other Woo films, we can see how the director counterintuitively uses sad music – harmonica, woodwind – over grisly, brutal action sequences, as if what he wants us to register is not the violence or the shock but just how poignantly futile and pathetic it all is. The Plot Unfolds The setting is – initially – late 60s Hong Kong; Tony Leung plays Ben, a young guy getting married to his sweetheart Jane (Fennie Yuen), and on hand are his buddies Frank (Jacky Cheung) and Paul (Waise Lee). This trio are involved in a gang war with a rival mob who corner Frank when he has gone to get cash from the local moneylender to pay for the wedding. The confrontation ends in violence and, simply to get away and avoid the heat – Woo has a cameo as a police inspector – the three guys accept a crooked job from a local gang boss smuggling contraband pharmaceuticals in Vietnam. The Climax In Saigon, all their plans explode in pure anarchy; they are at first arrested under suspicion of working for the Vietcong, then upgrade their strategy to cynical arms smuggling for the North Vietnamese, and stealing the gold belonging to the local wiseguy who was supposed to be distributing their drugs. They make contact with a worldly fixer called Luke (Simon Yam), who has a Catherine Deneuve poster in his apartment, and also gallantly undertake to rescue a Hong Kong singer Sally (Yolinda Yam), who has been trafficked to Vietnam to sell sex. They end up on the spectacular field of battle itself (with helicopters, explosions, burning villages), where Paul, increasingly obsessed with the gold, finds himself at a key moment at mortal risk of detection if he cannot keep the wounded Frank quiet, whose cries of pain might alert the enemy to their position. The Legacy It’s an extraordinary, uninhibited barnstormer from Woo, who takes us from regular, domestic crime to military chaos with confidence and sweep. One moment, in which someone stands in front of a tank, even appears to echo the Tiananmen Square protests. No one else could have made it. The Release Bullet in the Head is in UK cinemas from 1 June, and on 4K UHD and Blu-ray from 22 June.

The Meteorite Impact: A Cataclysmic Event What would it have been like to have lived through the meteorite impact that wiped out the dinosaurs 66m years ago? Writing in the Conversation, Michael Benton, of the University of Bristol, and Monica Grady, of the Open University, describe in vivid detail how it might have felt. The Initial Blast and Its Immediate Effects The first sign that something was amiss would have been a new star visible for about a week before the event. Upon its arrival, all living creatures near the impact site would have seen the bright fireball, heard its crackling noise and experienced a sonic boom before being swiftly incinerated. The Global Devastation Five minutes later, 100-metre-high mega tsunamis rolled across the Gulf of Mexico and, combined with the overheating, earthquakes, hurricanes and fires, wiped out everything within a 1,200-mile (2,000km) radius. The Long-Term Consequences Dinosaurs roaming forests on the other side of the world were still oblivious, but not for long. Within an hour, dust had circled the planet and skies had darkened. Within a day, global temperatures were dropping, and by the end of the week the world was 5C cooler. A ferocious winter lasted for more than a decade, eliminating about 75% of all species. A Warning for the Future Our ancestors were some of the lucky survivors but, sadly, Benton and Grady suggest our penchant for burning carbon is setting the scene for a similar scale of planetary catastrophe.

The Bank of England's Cautious Approach The Bank of England is in no rush to raise interest rates while the outcome of the Iran war remains uncertain and the UK's growth rate stays weak, the governor, Andrew Bailey, said. Interest Rates and Inflation Dynamics In a signal that borrowing costs will remain at 3.75% at least during the summer, Bailey said it was tolerable for inflation to stay above the Bank's 2% target during the current crisis. However, that would change if a more permanent increase in prices began to take effect. Bailey emphasized that the Bank's tolerance for above-target inflation would weaken if signs of second-round effects begin to emerge. He noted that financial markets had initially expected the Bank to cut interest rates twice this year to 3.25%, but now a rise of 0.25 percentage points to 4% before December is forecast. Economic Uncertainty and Global Context Speaking at a conference in Reykjavik organised by Iceland's central bank, the governor said the economic situation had deteriorated since the start of the bombing of Iran by the US and Israel. Bailey stressed the need to monitor the situation in the Middle East and its effects on the UK economy and inflation closely. He noted that central banks worldwide have struggled to cope with shock increases in energy costs sparked by the Iran war. Monetary Policy and Market Reactions Bailey mentioned that one reason the Bank was prepared to wait was that borrowing costs had risen for homeowners and businesses without the central bank needing to adjust interest rates. Mortgage costs had increased since hostilities broke out as lenders reversed their expectations of rate cuts, dampening the housing market. Hedge funds and other financial institutions that lend money to businesses had also increased borrowing rates. Future Outlook and Preparations Bailey indicated that the central bank was better prepared now to assess the likely impact of rising energy costs on the economy and inflation after adopting scenario planning. The Bank now highlights the wide range of factors that could turn a temporary increase in inflation into something more permanent. Bailey assured that the Bank would take swift action if there's a repeat of the previous inflation increase.

The Rise of Machine-Generated Traffic Cloud infrastructure has long been designed around humans who search, click, scroll, and stream in a steady and predictable fashion. However, AI agents behave differently. They can unleash a swell of activity, spinning up multiple sub-agents that query hundreds of databases, search documents, and call APIs in seconds and then disappear as quickly as they arrived. AWS's Next-Gen OpenSearch Serverless Under that premise, Amazon is redesigning a core piece of its cloud infrastructure. On Thursday, AWS launched its next generation of OpenSearch Serverless, a fully managed search and vector database — essentially a system for storing and retrieving information at scale — that's designed specifically for agentic workloads. AWS says the new system can instantly scale up when agents trigger tasks and scale back down to zero when idle. The Data Analysis Cloudflare says bots accounted for 31% of overall HTTP traffic over the last six months. AI crawlers, search engines, and assistants made up roughly a quarter of all bot requests during that period. 'Non-human traffic will exceed human traffic sometime in the first half of 2027,' said Lai Yi Ohlsen, senior product manager at Cloudflare. The Impact Analysis The launch reflects a growing realization across the tech industry: Infrastructure originally designed for a human-driven internet doesn't work as well in a world increasingly populated by agents. As AI agents still represent a relatively small portion of internet activity, machine-generated traffic is already significant, and poised to grow. The Prediction As a result, cloud providers and infrastructure companies have been reckoning with how to adapt systems built for humans to a world of agents that are constantly and autonomously retrieving information, invoking tools, and generating machine-to-machine traffic. The more companies deploy AI agents, the more pressure there will be to redesign infrastructure around machine-generated workloads, which in turn could make agents cheaper and easier to deploy at larger scales.

Spotify's AI Music Strategy Spotify's chief executive has defended the company's move into AI-generated music, claiming it offers users and creators a better alternative to piracy and unregulated AI slop. The New Feature Last week, the platform announced a new feature in which premium users will be allowed to create their own, AI-generated remixes and song covers using music from participating artists. The feature comes as a part of a deal with Universal Music Group that sent Spotify's shares up 16% last week. The Data Analysis Spotify's feature will cost extra money, and allow 'one song to become 10,000', said Norström. There appears to be clear demand for AI-generated music, with three AI-generated songs topping music charts last year, including Spotify's. The Impact Analysis Ed Newton-Rex, a composer and campaigner for protecting artists' copyright, said: 'I think if you are going to have AI music, it's clearly better that you have AI music that is rooted in consent.' However, he also warned that the feature could lead to human artists facing greater competition from AI-generated work. The Prediction Newton-Rex said Norström's decision to frame Spotify's move as a choice to prioritise curated AI content over AI slop elided the more real, pressing competition between human artists and AI-written music. 'The framing is absolutely AI music versus human music. Whenever someone listens to AI music on Spotify, they are not listening to a song that is simply made by a human. There are only so many hours that you listen to music in a day.'

The Art of Provocation T Venkanna's paintings are like a sucker-punch. His first institutional solo show at London's Studio Voltaire features an overbearing altarpiece, modified by two squat side panels, depicting an orgasmic thicket of desire. The artwork is a commentary on the disparity between puritanical religious doctrine and licentious reality. The Intersection of Myth and Reality Venkanna's work is a way to consider many things, including the myth of religions. He draws inspiration from ancient Indian temples, where people touch the breasts of sculptures, making them smooth and shiny over time. His paintings are not about shocking, but about showing things around us. The Impact of Upbringing Venkanna's childhood in a small town in south-central India, where his father was a Hindu priest, had a significant impact on his work. He grew up in a one-room home with five other family members, and village people would come to ask about rituals and expectations of appropriate behavior. However, Venkanna discovered that these rules had a convenient degree of flexibility. The Evolution of Style Venkanna's artistic journey began with painting and drawing naked figures at home. He was sent to train as a drawing teacher and later enrolled in a fine art college, where he learned printmaking, miniature painting, and how to make and work with tempera. His early work was met with criticism, but he has since gained recognition, including a gold medal and support from teachers who donated their spare materials. The Future of Art Venkanna's work continues to push boundaries, exploring themes of intimacy, isolation, consent, and violation. His paintings are a counterpoint to gender inequality and prejudice, foregrounding women's experiences and depicting them as satiating their sexual appetite. As Venkanna says, 'I don't want to shock. What I'm showing are things around us.' T Venkanna: Sculpture Garden is at Studio Voltaire, London, until 23 August

The Remix of a Classic Words, words, words. Can Hamlet retain its tragic force without using most of them? This hour-long dance-theatre remix by the late South African choreographer Dada Masilo preserves few speeches and its opening is not auspicious, crashing straight into “To be, or not to be” shorn of context and characterisation. The Dance of Ophelia and Hamlet There follows, as is customary, a meeting between the prince and Ophelia, but Masilo replaces the usual cruel encounter with stolen moments amid a ceremony, as if they are meeting anew like Romeo and Juliet at the Capulet ball. Matching each other’s movements, amid clapped hands, thrusting shoulders and rippling chests, they grow closer with a hint of tango footwork. From this flashback, Masilo practically fast-forwards their choreography with a sense of doom. The Emotional Depth of Gertrude Letting the pair share a tender duet reinforces their romance but also heightens the violence of the nunnery scene where they are traditionally first seen together. Masilo adds another new scene to show Gertrude’s despair upon receiving news of Old Hamlet’s death rather than introducing her as sanguinely remarried to his brother. We see her seek strength amid grief, supported by courtiers whose pulsing, grounded movement is a message of persistence. This is dancing felt in the gut. The Impact of Movement and Music Wooed offstage, Gertrude returns for a convivial ceremony where a young couple are ticked off for getting too raunchy on the dancefloor. Movement styles across generations and cultures are blended by Masilo, who drew attention for remoulding ballet’s classics. Her ensemble is often an industrious force, driven by relentless percussion, as each scene breaks like a wave against Thuthuka Sibisi’s compositions. The Tragic Conclusion The latter stages lose focus but the choreography’s omnipresent sense of returning to the earth foreshadows a climax where all are struck down by the kingdom’s collective sickness, stressed by the lighting of Suzette le Sueur (who also provides some of the elegant costumes). It’s a collection of often piercing scenes that never quite establish full collective power – a tragedy out of joint. At Sadler’s Wells, London, until 26 May