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Reviving a Forgotten Cult ClassicThe summer of 2026 sees the return of Mary Harron's 1996 film I Shot Andy Warhol, a queer cult favorite that had slipped into obscurity after a chain of bankrupt distributors left it available only via a battered YouTube upload.The 4K Restoration and New Theatrical ReleaseJanus Films has overseen a meticulous 4K restoration, giving the film a fresh theatrical run after decades of limited access. Harron explains that the project took six to seven years, driven by a desire to bring the film back into circulation and to let contemporary audiences reassess its themes.Restoration partner: Janus FilmsRelease format: 4K theatrical screeningDirector’s comment: "I’d been trying for about six or seven years to get the film back in circulation."Box‑Office Prospects and Distribution LandscapeWhile concrete box‑office forecasts are unavailable, the film’s limited‑release strategy mirrors that of other restored independents, relying on art‑house venues and streaming windows to recoup restoration costs. The scarcity of prior distribution underscores the financial risk but also the cultural payoff of reviving a work that has become a reference point for 90s biographical drama.Cultural Relevance in the Era of Gender PoliticsHarron believes the film’s treatment of gender and power resonates more strongly today, as societies grapple with “male dominance and authoritarian regimes.” The story of Valerie Solanas—her radical manifesto, the 1968 shooting of Andy Warhol, and her complex legacy—offers a lens onto contemporary debates on feminism, trans‑exclusionary radicalism, and the politics of isolation.Key themes: gender politics, artistic agency, radical feminismHistorical context: 1968 shooting, subsequent media eclipse by Robert Kennedy’s assassinationFuture Outlook for Restored Indie FilmsThe successful re‑release could encourage further investments in restoring overlooked independent titles, especially those with “cult” status. As streaming platforms seek distinctive content, 4K restorations may become a viable pathway to both preserve film heritage and generate new revenue streams.

The Enduring Legacy of Peter Asher Peter Asher, a name synonymous with the evolution of popular music, has led a life that reads like a history book of rock 'n' roll. From his early days as part of the duo Peter and Gordon to his influential work as a producer for iconic artists like James Taylor and Carole King, Asher's contributions to music have been profound. Early Life and Career Born into a family of intellectuals and creatives, Asher's journey into music was almost predestined. His mother, an accomplished oboe player, and his father, an endocrinologist, instilled in him a love for music and a logical approach to life. This blend of artistic inclination and analytical thinking would later define his approach to music production. The Asher Family's Connection to The Beatles The Asher family had a unique connection to The Beatles, with George Martin, the band's producer, taking oboe lessons from Asher's mother. Paul McCartney, in particular, had a close relationship with the family, often seeking refuge in their home and writing songs like 'Yesterday' there. This connection played a pivotal role in launching Asher's career in music. Rise to Fame with Peter and Gordon Asher's music career began in earnest when he formed a duo with Gordon Waller, known as Peter and Gordon. Their No 1 hit 'A World Without Love,' penned by Paul McCartney, catapulted them to fame in 1964. This success allowed Asher to quit school and pursue a career in music, much to his parents' initial dismay. Venturing into Production Asher's transition into music production was marked by his work on Paul Jones's debut solo album in 1966. However, it was his signing of James Taylor to Apple Records and producing Taylor's self-titled album that truly showcased his talent. Though the album's orchestration overshadowed Taylor's intimate style, it cemented Asher's role as a producer. The Impact on Music History Asher's influence on music history extends beyond his productions. He played a crucial role in shaping the 'LA sound' and elevating the status of session musicians. His work with artists like Carole King and James Taylor not only produced iconic music but also helped define the soft rock genre of the 1970s. A Lasting Legacy Today, Asher's legacy continues to inspire new generations of musicians and producers. His story, as told in the documentary 'Everywhere Man,' is a testament to the power of innovation, collaboration, and a passion for music. Asher's contributions to the music industry have been invaluable, making him an 'Everywhere Man' in the truest sense.

In a cluttered east‑London studio, surrounded by paint‑splattered racks and stacks of art monographs, Caragh Thuring serves tea and offers a stark assessment of the times: “We are living through a moment of hellish, mind‑less destruction.” Her latest body of work fuses erupting volcanoes, military aircraft, and Elon Musk’s swaddling Starlink satellites into massive canvases that feel both prophetic and chaotic. The Interview: A Glimpse into Thuring’s Turbulent Studio The conversation opens beside a seven‑foot‑high painting where a B‑52 morphs into a medieval knight, its wing turning into a sword‑hilt. Thuring explains that she does not pre‑plan her pieces; instead, she lets the brush capture the “movement of her imagination,” allowing each canvas to evolve organically. She cites recurring motifs—submarines, volcanoes, tartan patterns, brick walls—and notes that her lack of preparatory sketches forces a dialogue between the artist and the work as it unfolds. Why Thuring’s Apocalyptic Imagery Resonates in a Tech‑Saturated Age Thuring’s paintings juxtapose ancient symbols with contemporary threats, linking the roar of a B‑52 to the silent orbit of Starlink satellites that “swaddle us in broadband and occlude the night skies.” This visual tension mirrors broader cultural anxieties about surveillance, climate change, and perpetual conflict. By placing a rocket‑like spermatozoon beside the satellite sphere, she suggests a fertilisation of humanity’s future by technology—an unsettling yet inevitable convergence. War & Peace: Military aircraft merge with chivalric knights. Nature & Catastrophe: Volcanoes from Þríhnúkagígur to Vesuvius recur as symbols of uncontrollable forces. Technology & Surveillance: Starlink constellations dominate the sky, hinting at a new digital veil. Urban Chaos: London’s “radical”, self‑reconstructing energy fuels the paintings’ restless energy. These layers compel viewers to bring their own narratives, rejecting the expectation of a single, comforting message. Thuring argues that art should act as “little triggers or sparks,” igniting personal reflection rather than delivering doctrine. What Lies Ahead for Thuring’s Provocative Practice Looking forward, Thuring plans to extend her exploration of “mundane to cosmic” juxtapositions, likely incorporating emerging geopolitical events and further technological developments. As satellite constellations multiply and global tensions persist, her canvases may become even more densely packed with symbols, challenging audiences to navigate an increasingly complex visual landscape. The ultimate hope, she says, is that each spark she creates “can start a fire” in the viewer’s imagination.

The Exhibition's Concept The 'Project a Black Planet' exhibition at the Barbican in London aims to explore the concept of Panafrica through art and culture. The exhibition features works by various artists, including Lynette Yiadom-Boakye, El Anatsui, and Abdias Nascimento. The Artistic Vision Lynette Yiadom-Boakye's contribution to the exhibition is notable, with her paintings of fictional people that resemble portraits. Her work invites viewers to ponder the connections between young contemporaries and idealized ancestors. The Problem with Theory The exhibition has been criticized for prioritizing academic theory over artistic vision. The curators' approach has been described as 'leaden prosaicness,' with the artworks chosen to illustrate arguments rather than evoke emotions. The Impact of Négritude The exhibition explores the concept of Négritude, a French cultural movement that emerged in the early 20th century. The movement sought to assert Blackness and validate the legacy and traditions of Africa. The Future of Panafrica The exhibition's focus on Panafrica raises questions about the future of the concept. While the idea of a utopian continent is compelling, the exhibition's execution has been criticized for being overly theoretical and lacking in artistic flair.

The Legal Battle at Williams F1 On the track, the Williams Formula One team are attempting to revive former glories through their talented driving team of Alex Albon and Carlos Sainz and the team principal, James Vowles. However, away from the track, the team and their parent company, Dorilton, are embroiled in a messy dispute with a former executive, Claudia Schwarz, who was dismissed in 2022. In court filings, she alleges she was fired after raising concerns about sexism towards her and racism, with claims drawing in Lewis Hamilton's foundation and the artists Wyclef Jean and Shaggy. Allegations of Fraud and Misconduct Schwarz was fired as Williams's chief marketing officer in November 2022. According to Schwarz, who is sharing her side of the story for the first time with the Guardian, no reason was given for her dismissal at the time. She says she agreed to a severance package shortly after that, which was never fulfilled, and a few months later she sued for breach of contract. In May 2023, the dispute escalated when Dorilton filed a lawsuit in New York claiming Schwarz illicitly took $6.9m in expenses and inflated fees and that Darren Fultz, CEO of the race team's holding company, looked the other way on the alleged fraud. These were costs such as flight and hotel reservations and fees she billed Dorilton for services provided by her own agency, Stilus. The Question of True Ownership The ultimate ownership of the Williams team is questioned by the former executive, who makes a hotly contested claim that the team are controlled by Peter de Putron, a billionaire based in Jersey with close links to the Conservative party. They in turn accuse the executive of fiddling her expenses, charging inflated fees and defrauding the company in cahoots with a former CEO of Williams's parent company. Schwarz claims in her lawsuit she was fired after clashes with Dorilton executives and De Putron. She alleges De Putron is the real owner of Dorilton and its subsidiary, Williams Grand Prix Racing. Dorilton's position is that De Putron, a donor to the Conservative party and Eurosceptic thinktanks, is a passive investor in its motorsport holdings. Defamation and Industry Fallout A few months after Dorilton sued her, the UK-based Business F1 magazine published a story headlined: "A vixen who infiltrated Williams". She was described in terms more suited to National Enquirer-style scandal sheets. "Dark haired, displaying a vixen like attractiveness combined with extreme confidence, she uses her feminine wiles to get a foot through the door and when she has a man in her sights they had better look out because when in charm mode she has an irresistible aura," the magazine wrote. Schwarz says that when Business F1 published allegations "the consequences for me were immediate. I lost the business I had built over 25 years and had to let go of everyone working in my companies." In August 2023, Schwarz filed a lawsuit in Florida for defamation against Dorilton, Business F1 and the Formula One company itself for apparently licensing its name to the publication. F1 later settled Schwarz's case under terms that remain confidential. Future Legal Proceedings In late 2025, Schwarz countersued Dorilton over her dismissal and added De Putron as a defendant, claiming he interfered with her contract and oversaw the Business F1 piece because she declined to carry out orders from her that she considered discriminatory and kept asking questions about Williams Racing's Bermuda operations. There are two cases going on in the same New York state court. In one, Dorilton is suing Schwarz for breach of contract and fraud, alleging she improperly charged them $6.9m (£5.13m). In the other, Schwarz is suing Dorilton, De Putron and Williams IP Holdings for libel and complaints arising from her dismissal and the Business F1 piece. In April, Schwarz revived her action against Business F1, filing a standalone libel lawsuit in Florida. The Florida court has scheduled a trial date in June 2027.

The LeadMilo Rau, once the enfant terrible of continental European theatre, finds himself in an uncomfortable position. As the artistic director of Vienna's Wiener Festwochen festival, he has done something he explicitly hates: canceling a guest. The Swiss theatre-maker first invited, then disinvited American tech billionaire Peter Thiel, calling it a decision that made a wall visible. This controversy has placed Rau's own moral judgment on trial, raising questions about the boundaries of political theatre in an increasingly polarized world.The Political Theatre ExperimentSince taking over the Vienna festival in 2023, Rau has transformed one of Europe's major multi-arts festivals into a highly politicized forum for debate. While concerts, dance performances, and traditional theatre still form the core of the program, Rau has rebranded the Festwochen with a conceptual framework as the "Free Republic of Vienna." At its core sits a format he invented almost two decades ago with his production company The International Institute for Political Murder: the "tribunal." Rather than putting on conventional plays, Rau organizes staged hearings featuring real witnesses, real arguments, and symbolic judgments handed down at the end.The power of Rau's early tribunals was founded in the Brechtian idea of the dramatic stage as a forum for critical thinking: theatre, it asserted, can provide a more structured arena for debate than talkshows or podium discussions. "Theatres are not only reserved for art," says Wolfgang Höbel, theatre critic of Der Spiegel. "In that sense Rau is the most important political theatre-maker in Europe today."The Thiel ControversyThe motto of this year's Vienna festival is "Republic of Gods." Peter Thiel, the German-born co-founder of PayPal and Palantir, a longstanding supporter of Donald Trump's political universe and a man with a taste for apocalyptic theology and far-right ideas, initially seemed a perfect fit for the theme. However, many disagreed. "I was faced with the threat of boycotts," Rau admits. Several productions threatened to pull out if Thiel were to attend. "I had to react to that as festival director, so I cancelled my own panel and disinvited Thiel."The Austrian weekly Falter called it a fiasco. Exactly who threatened to boycott the Vienna festival in the event of a Thiel appearance remains a mystery. Vienna's cultural politics are dominated by the Social Democrats, and many of their more conservative voters certainly did not relish the prospect of a Trump-supporting tech billionaire being welcomed at a publicly funded festival. Rau has said that his advisory body, the Council of the Republic, supported the invitation and did not want to cancel it.The Evolution of Rau's MethodRau's tribunal format became his calling card, but more recently it has started to look like the cause of perennial trouble. At the 2013 Moscow Trials, he brilliantly exposed the absurdity of Putinist justice by turning the show trial against Pussy Riot back on itself. The feminist punk collective had been sentenced to two years in a Russian penal colony for performing a protest song against Vladimir Putin in Moscow's Cathedral of Christ the Saviour. "It was a surreal experience to see Putin's priests and gay activists sit next to each other on stage," remembers Rau: "Today this would be impossible."In 2015, the Congo Tribunal was rough, experimental theatre with a political charge: a grassroots civil court investigating war, extraction and the involvement of mining companies in eastern Congo. The Guardian called the Congo Tribunal one of the most ambitious pieces of political theatre ever. A mining minister and an interior minister of one of the Congo provinces resigned after the performance.The Critics' PerspectiveNot everyone has been convinced by Rau's approach. Esther Slevogt, editor in chief of the online theatre magazine Nachtkritik, called it "artivism." Rau himself has placed his tribunals in the tradition of the Nuremberg trials. "I found his arrogance striking," says Slevogt today. "These are different things." She is troubled by a format that, in her view, blurs the line between fiction and reality. "In times when everything is already simulation, we don't need more of it."Recently, not just the relationship between Rau and theatre critics but also with his audiences seems to have soured. In Hamburg this winter, his Trial Against Germany at the Thalia theatre became a scandal in its own right. Rau had assembled a jury that was asked to consider over three days whether the far-right Alternative für Deutschland (AfD) party was unconstitutional and should be banned. But the jury included many familiar faces who already get to regularly air their views on television and in print, as well as a former co-leader of the AfD, Frauke Petry. Rather than using the theatre to concentrate debate, it seemed to amplify the hubbub of content swirling around outside it.The Future of Political TheatreRau seems to have answered his critics by becoming even more productive. While in the middle of his third year as festival director in Vienna, he is also trying to attend performances of The Pelicot Trial, which he developed with the French dramaturg Servane Dècle. The production is now touring, with dates in Bergen, Oslo and Copenhagen. It pays tribute to Gisèle Pelicot, who, Rau says, has become "an icon of resistance" against sexual violence committed by men. He claims that the real Pelicot came to see the performance in New York and told him: "The actress plays me better than I could do it myself."Not all French reviewers have applauded his re-enactment. "I saw the research and the synthesis, but I did not see a reflection," says Anne Diatkine, a theatre critic for the French daily Libération. She found the production "superficial and opportunistic … He did not add anything to what we knew already from the real trial."Still, Rau's mock trials run and run. The debates are real, and the stage gives radically different voices a curated setting in which no opinion is excluded. Except now Peter Thiel's, of course. The acclaimed Austrian film-maker Ruth Beckermann, listed as a member of Rau's advisory council, admires his tribunal concept but believes he should have stuck with the invitation. "Rau should have stuck with the invitation of Peter Thiel and not buckled," she says. "She would have liked a debate in which Thiel had to discuss his ideas on equal terms with others."

Opening Snapshot: Adoption at the Heart of ‘Attachment’Julia Cranney’s latest monologue, ‘Attachment’, opens at the Everyman Theatre in Liverpool, centring on Mat (played by Paislie Reid) as she navigates the fraught journey toward adoption. The piece aims to expose the emotional terrain of the care system, positioning the adoption process as a marathon‑like endurance test.Narrative Structure and Pacing: A Marathon Condensed into a SprintThe script jumps quickly through pivotal moments—Mat’s isolation, her romance with James, the birth‑family return risk—leaving little breathing room for the audience. Critics note that over half of the 70‑minute runtime is spent before the adoption conversation even begins, compressing what could be a gradual emotional build‑up into a hurried sprint.Quantitative Snapshot: Runtime, Dates, and Audience ReachRuntime: 70 minutesRun dates: Until 13 June 2026Venue capacity: Approximately 300 seats at Everyman TheatreThese figures illustrate the limited window for audience engagement, heightening the importance of narrative clarity.Cultural Resonance: How the Play Shapes Perceptions of AdoptionBy foregrounding the adoption process, the production contributes to public discourse on foster‑to‑adopt pathways. However, the heavy‑handed confetti metaphor and uniform delivery risk flattening the nuanced realities of care‑system dynamics, potentially reinforcing simplistic views rather than fostering deeper understanding.Looking Ahead: The Future of Adoption Stories on StageFor theatre to serve as a catalyst for social awareness, future works may need to balance artistic ambition with narrative pacing, allowing audiences to fully inhabit the emotional marathon of adoption. A more measured tempo could transform “Attachment” from a promising sketch into a lasting, impactful commentary on family formation.

The Life and Legacy of Kanya King Kanya King, who has died aged 57 of colon cancer, was co-founder of the Mobo awards, which were set up in the UK in 1996 to celebrate music of Black origin. As CEO of the Mobo Organisation, which runs the awards and its various offshoots, King became one of the highest profile champions of Black music in the UK, while the awards themselves were credited by many Black artists with raising their profiles and boosting their careers – some even gave Mobo name-checks in their songs. The Birth of the Mobo Awards Modest in size to begin with, the first Mobos, which gave a best album award to Goldie, best jazz act to Courtney Pine and best international act to the Fugees, made an immediate impact. They were televised from the outset, with Lionel Richie performing and the soon-to-be prime minister Tony Blair in attendance at the first ceremony. The Growth and Impact of the Mobos Within a couple of years the event had a regular spot at the Royal Albert Hall in London, and with moves between Channel 4, the BBC and ITV over the years, global viewing figures touched 250 million, making the venture a financial success as well as delivering on its cultural aims. Kanya King's Approach and Legacy King would add or subtract categories year by year to reflect directions of travel, always keen to encourage and recognise new talent and developments. She was known for her warm, humble approach; something that put her in demand as a mentor and for public speaking at community, educational and corporate events. Tributes and Recognition She was made MBE in 1999, advanced to CBE in 2018. She was diagnosed with cancer in 2024, but was able to attend the 30th anniversary Mobo awards in March this year.

The Royal Academy's Summer Exhibition: A Mixed Bag of Art This year's RA Summer Exhibition is less awful than usual. It's still full of some of the worst art you've ever seen – way too many Michael Craig-Martins and Bob and Roberta Smiths – but its awfulness is definitely a bit less awful. The Event Details Ryan Gander, the conceptual artist who is the coordinator of this year's exhibition, has brought a little bit of strangeness to this stuffy old show, a bit of weird discomfort to the world's oldest open submission exhibition, where amateurs get to have their tiny drawing of a flower totally eclipsed by a massive Tracey Emin nude. The Data Analysis The exhibition features a wide range of artworks, including paintings, sculptures, and installations. Some notable pieces include: Two paintings of cars on fire by Harry Hill A video of a bloke doing Bowie karaoke A disembodied corpse sits on a chair A pair of silver boots have been dumped on a plinth The Impact Analysis The Summer Exhibition is an anachronistic exercise in cramming as much art and as many viewers into a space as possible. A mix of the awful and less awful is exactly what you'd expect. The Prediction The Summer Exhibition 2026 is at the Royal Academy, London, from 16 June to 23 August. If you're looking for a unique art experience, this might be worth a visit.