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The Mismatch of Mythologies This expensively rendered, eye-searingly bright animated feature from China rests on a truly weird premise. Tom and Jerry, the cartoon foes of yore, are chasing each other around a museum in present-day New York City when they are supernaturally transported, thanks to a magic compass doodah, to a quasi-medieval China where humans mix freely with gods and cryptozoological animals including phoenixes, gargoyles and talking rats. The Cultural Mashup So Tom and Jerry fall out of the sky in this brave new world, and the local residents of Golden City assume at first they must be gods, and Tom at least isn’t in any rush to disabuse them of this notion. Partly it’s because his newfound fame has helped catch the attention of Jade (voiced in the English dub by Janice Kawaye), a white-furred, blue-eyed opera cat in a red cheongsam dress. A Lack of Inventiveness Ultimately, this iteration of Tom and Jerry owes more to Kung Fu Panda and its orientalist coevals from the contemporary animated feature slop machine, and has none of the relentless inventiveness and pleasing amorality of the originals. Instead, we get lots of didactic lessons wrapped in candy-coated visuals about community and collectivist philosophy, eased down with a lot of frenetic action. The Climax and Conclusion The climax is all airborne dragons and fireworks; the fact it makes little sense doesn’t matter because it’s all about sensationalism, stimulating the amygdala with bright colours and noise to the point of overload. Tom and Jerry: Forbidden Compass is in UK and Irish cinemas from 22 May.

The Lead: Whistler’s Sound‑Inspired Vision Takes Center Stage at TateThe James McNeill Whistler exhibition opening at the Tate London re‑examines the painter’s habit of titling canvases as arrangements, symphonies, harmonies and nocturnes, underscoring a deep, reciprocal relationship with music that continues to echo in contemporary art discourse.Whistler’s Musical Nomenclature and the Tate ExhibitionWhistler deliberately borrowed musical terminology to frame his visual work:Arrangement in Grey and White No 1 – portrait of his mother.Symphony in White, No 1: The White Girl – depiction of mistress Joanna Hiffernan.Harmony in Grey and Green – portrait of Miss Cicely Alexander.The series of Nocturnes – Thames twilight scenes named after Chopin’s piano nocturnes.These titles were not mere gimmicks; Whistler argued that “painting is the poetry of sight” just as music is “the poetry of sound,” urging viewers to experience colour and form without narrative constraints.Lack of Quantitative Metrics – A Qualitative ExplorationThe article provides no sales figures, visitor counts, or market data for the exhibition. Consequently, the impact is assessed through critical reception, scholarly references, and the observable resurgence of interdisciplinary programming in major museums.Reverberations Across Art and Music: Modernist DialogueWhistler’s approach prefigured modernist ideas of abstraction, prompting critics like Jonathan Jones to ask whether he was “the first absolute modernist.” The painter’s influence looped back to music: Claude Debussy titled his 1899 orchestral Three Nocturnes after Whistler’s paintings, describing them as impressions of light—mirroring the visual effect of Whistler’s nocturnal canvases.Beyond Debussy, the article notes contemporary singers such as Felicity Lott whose performances embody the same “visionary and abstract” qualities, linking auditory and visual experiences across centuries.Future Cross‑Disciplinary Curations and Musical HomagesGiven the renewed scholarly interest, museums are likely to design more exhibitions that pair visual art with corresponding musical works, fostering immersive “sound‑color” environments. Anticipated projects may include live orchestral accompaniments to Whistler’s nocturnes or digital installations that translate colour palettes into sonic textures, further blurring the line between sight and sound.

The US-Israel Plan for Regime Change The United States and Israel went into war on Iran intending to replace the regime’s leadership with hardline former President Mahmoud Ahmadinejad, The New York Times reported. Quoting US officials who were briefed on the “audacious plan”, the newspaper said things “quickly went awry”, and Ahmadinejad’s “current whereabouts and condition are unknown”. The Background on Ahmadinejad After the killing of Ayatollah Ali Khamenei, US President Donald Trump mused that it would be best if “someone from within” Iran took over the country, the Times reported. “To say that Mr Ahmadinejad was an unusual choice would be a vast understatement,” the newspaper said. “While he had increasingly clashed with the regime’s leaders and had been placed under close watch by the Iranian authorities, he was known during his term as president, from 2005 to 2013, for his calls to ‘wipe Israel off the map’. He was a strong supporter of Iran’s nuclear program, a fierce critic of the United States and known for violently cracking down on internal dissent.” The Plan Goes Awry The US-Israeli plan, which Ahmadinejad had been consulted about, “quickly went awry”, according to the US officials who spoke to the Times. Ahmadinejad was reportedly wounded on the first day of the war by an Israeli strike on his home in Tehran, which was intended to free him from house arrest, American officials told the Times. Ahmadinejad survived the strike, they said, but after the near-miss, he changed his mind about the regime change plan, and he has not been located since. The Aftermath An article in the Atlantic in March said the attack on the house was “in effect a jailbreak operation”, citing anonymous associates of Ahmadinejad. After that article, the Times said it received confirmation from an associate of Ahmadinejad that he recognised the air strike was an attempt to free him. The associate said the Americans believed Ahmadinejad could lead the country and had the ability to manage “Iran’s political, social and military situation”.

The American Museum of Natural History has launched “For the Win,” a new exhibition that treats championship hardware—rings, medals, trophies—as artifacts of cultural history, offering fans a tangible connection to the moments that define sport. The For the Win Exhibition Marries Sports Lore with Museum Craftsmanship Located in the museum’s dedicated gems and minerals space, the show was timed to the upcoming 2026 World Cup and curated to highlight the artistry behind each piece. Senior adviser Rich Kleinman describes the objects as “artifacts from history,” emphasizing their dual role as symbols of victory and objects of fine workmanship. Historical Highlights: From 1877 NYPD Medal to Owens’s Gold 1877 NYPD Medal of Valor – its interlocking “N” and “Y” inspired the New York Yankees logo. Jesse Owens’s 1936 Berlin Olympic gold medal – later sold for a record $1.4 million at auction. 2024 WNBA champion Breanna Stewart’s diamond‑encrusted ring and matching earrings. Kevin Durant’s 2024 Olympic gold medal and 2017 NBA championship ring (on loan for the exhibit). Joc Pederson’s pearl necklace from the 2021 World Series run. John McEnroe’s 1983 Wimbledon trophy displayed beside a velociraptor skull to underscore the museum’s scientific context. Why Showcasing Trophies Matters for Fans and Culture According to cultural critic Vikki Tobak, trophies act as “proxies for the road to becoming great,” resonating across genres and generations. The exhibition gives fans a “contact high” that they normally only experience during fleeting victory parades, while also preserving the craftsmanship of each piece for future study. Future of Sports Memorabilia in Public Institutions With the World Cup trophy currently touring the United States and other iconic items (such as the Heisman Trophy) remaining tightly guarded, “For the Win” sets a precedent for museums to collaborate with athletes and collectors. The success of this show could inspire similar partnerships, expanding public access to sports heritage and reinforcing the narrative that athletic achievements belong in the historical record.

Holy Pop opens at Somerset House in London, turning fan‑made shrines into museum‑grade displays and challenging the stigma around obsessive fandom.The Rise of “Holy Pop”: A New Museum Space for Fan ShrinesCurated by Tory Turk, the exhibition gathers personal collections ranging from Alice Hawkins’s Dolly Parton shrine to a cabinet of Prince memorabilia, positioning fan artefacts alongside traditional art.From Dolly Parton Shrines to Prince Cabinets: The Objects on DisplayAlice Hawkins’s Dolly Parton shrine – books, hair extensions, garden leaves.Prince memorabilia cabinet.Spice Girls soft‑drink cans collection.George Michael religious‑icon piece.Marc Bolan sycamore branch from his crash site.Reframing Fandom: Cultural Impact of the ExhibitionThe show argues that collecting offers emotional purpose, countering narratives that label fans as “nerdy losers” or “toxic online mobs”. It highlights how citizen curators preserve pop‑culture history that institutions have ignored.What’s Next for Pop‑Culture Curation?Turk hopes the success of Holy Pop will inspire more institutions to embrace fan‑driven collections, potentially reshaping museum practices and legitimising fandom as a vital cultural force.

The Return of Brazil's Star PlayerWhen coach Carlo Ancelotti read aloud the list of players who made the cut to Brazil's World Cup squad, one name earned the loudest cheers: Neymar Jr. After months of sweating over his fitness, the 34-year-old forward breathed a sigh of relief as he earned a place in Brazil's 26-man squad for the tournament in North America, which begins on June 11.His return to the national team, following a two-and-a-half-year hiatus, has come with its own share of drama and doubts. Brazil coach Ancelotti said he chose Neymar among the nine attackers after seeing an improvement in his fitness levels.The Fitness ControversyNeymar da Silva Santos Jr is Brazil's all-time leading scorer. But his selection to the squad was considered doubtful after a series of injuries kept him out for much of the Selecao's qualifying campaign for the 2026 tournament, where they are aiming for a record-extending sixth title."We evaluated Neymar throughout the year and noticed that recently he has been playing consistently and has improved his physical condition," Ancelotti told reporters during Monday's squad announcement in Rio de Janeiro. "He has the same role and responsibilities as everyone else, but he is an experienced player. It's true that in some positions we prioritised experience."The simple answer to the controversy is injuries. Neymar struggled to return to top fitness and had not been part of the national team since suffering a serious knee injury – an anterior cruciate ligament (ACL) tear – in October 2023. An injury-marred spell at Saudi club Al Hilal and an underwhelming return to his boyhood club Santos last year further cast doubts over the veteran's inclusion.World Cup Records and StatisticsThe 2026 tournament will be Neymar's fourth World Cup. He played at the 2014 edition on home soil, followed by Russia 2018 and then the last World Cup in Qatar four years ago. In 13 games across three World Cups, Neymar has scored eight times and registered four assists.He also boasts the impressive record of being Brazil's highest scorer with 79 goals, a feat he achieved by surpassing Brazilian great Pele, who was their outright leading marksman for 60 years. His four goals and two assists in the Brazilian Serie A 2026 – following his return from surgery in February – are a far cry from his usual top form, one that once saw him win two La Liga titles and a Champions League trophy with Barcelona, and five Ligue 1 crowns with Paris Saint-German (PSG).National Celebration and SupportDespite being away from the national team since late 2023, Neymar still holds a special place in the hearts of Brazil fans and players alike. As World Cup selections were revealed, hundreds of fans gathered outside Rio de Janeiro's Museum of Tomorrow, holding up their phones, frantically waiting for Ancelotti to announce the name of their beloved superstar.And when Neymar's inclusion was finally confirmed inside the venue, a party-like atmosphere swept across parts of the football-crazy South American nation. Players, too, have been vocal about their support for Neymar. Marcelo, the former Brazil defender, celebrated Neymar's inclusion with a post on Instagram, punching his fist in the air after seeing the announcement on a TV screen, while Barcelona star Raphinha, who was also called up, told TV Globo earlier this month that Neymar is "the guy to take us to our sixth World Cup title".Captain Marquinhos was at the forefront of the players' public lobbying for Neymar's inclusion, saying to Brazilian website UOL in March: "As teammates, as Brazilians and as fans, we want him at the World Cup".A Final World Cup Appearance?With his history of injuries and fitness issues, a declining skill set, as well as his mounting age (he would be 38 by the 2030 tournament), it's highly unlikely that Neymar will feature at another World Cup. Whether Ancelotti's decision to include him for the 2026 tournament will backfire or prove to be another coaching masterstroke by the Italian manager remains to be seen.

Seattle Seahawks wideout Jaxon Smith‑Njigba was handed a trophy that mistakenly labeled him the league’s Defensive Player of the Year, prompting a candid Instagram video where he called the error “disrespectful.”Misprinted Trophy Triggers Public FrustrationDuring the post‑season ceremony, Smith‑Njigba’s award was engraved with the phrase “Defensive Player of TheYear.” The 24‑year‑old, who actually secured the NFL’s Offensive Player of the Year honor, highlighted the typo in a video, saying, “Defense? Come on, bro,” and mused about returning the misplaced trophy.Smith‑Njigba’s Offensive Milestones in Numbers119 receptions – franchise record for a single season1,793 receiving yards – also a franchise highThree tackles recorded on defenseFour‑year, $168.6 million contract extension signed in the offseasonPotential Repercussions for the NFL’s Award ProcessThe slip‑up puts the league’s internal checks into focus, especially as the mistake was publicized on social media. Fans and analysts are questioning whether the NFL will issue a corrected trophy, offer an apology, or adjust its award‑verification protocols to avoid similar blunders.What’s Next for the Misengraved Trophy?While Smith‑Njigba hinted at keeping the trophy “in the history books,” the NFL is expected to respond quickly to mitigate brand damage. A likely outcome is a replacement award accompanied by a public statement, and possibly a review of the engraving workflow ahead of future ceremonies.

The Cannon's RediscoverySixty years after Clint Eastwood used a cannon to fell a fleeing Eli Wallach in The Good, the Bad and the Ugly, the iconic weapon has been found in a museum in south-east Spain. The artillery piece, a 75mm cannon made in Manchester by Whitworth in 1873, was lent to Sergio Leone's production team by the Spanish military and was returned to the army museum in Madrid after filming.The Cannon's HistoryThe Sad Hill Cultural Association, a group of volunteers dedicated to restoring the graveyard near Burgos, northern Spain, built for the climax of the film, tracked down the cannon. They came across images of the cannon in a book on the film and set about trying to trace some of the weapons used in preparation for the 60th anniversary of the movie's release later this year.The Data AnalysisThe cannon was made in Manchester by Whitworth in 1873.The cannon is now on display at the military history museum in Cartagena, south-east Spain.The Impact AnalysisThe rediscovery of the cannon has generated significant interest, with the city council using its fame to draw more visitors to the museum. The museum's director, Lt Col Ernesto Terry, said the cannon's fame was already causing a stir, with many people ringing to ask about it.The PredictionWhile the Sad Hill Cultural Association would love to borrow the cannon and temporarily reinstall it in the Burgos landscape, where it last stood 60 years ago, its protected heritage status means that will not be in time for the anniversary. However, they plan to try to get hold of the piece and bring it to Burgos in the future.

The LeadIn a photographic self-portrait taken not long after she was diagnosed with squamous cell bladder cancer in 2020, Tracey Emin's iPhone shrouds her right breast as our line of vision descends from her catheter to her urostomy bag to her disposable knickers. Her body is fragile here in this hospital mirror, yet her gaze is anything but. It looks us dead in the eye as if to say: I matter, this matters – a sureness that challenges the notion of subjugation in times of ill-health.The Art of Bodily AutonomyEven now, six years after her life-saving surgery, Emin refuses to conform to what may, or may not, make us feel comfortable when it comes to her post-operative body. As well as losing her bladder, Emin also lost her uterus, ovaries, lymph nodes, part of her colon, her urethra and part of her vagina. And yet she has found a striking autonomy in documenting the changes in her body. "This is mine, I own it," she affirmed in an interview not long after her surgery.The Personal Becomes PoliticalWould I have taken these photographs if it wasn't for Emin? Probably not. In the weeks that led up to my own life-saving surgery, I became increasingly fixated on the ways in which her no-holds-barred Polaroids, like the squares of her autobiographical blankets, were urging us to look at her in ways that perhaps we'd rather not. Twenty-seven years after her sculptural work My Bed catapulted her to tabloid fame in the late 1990s, Emin is still challenging us to acknowledge the things we tend to pull away from. Only these days her bleeding nudes are centred squarely on the presence of non-visible disability and what Harry Weller, creative director of Emin's studio, calls "her wild scramble for existence".Challenging the "Confessional" Label"Back in the 90s, people used to say it was confessional art," Emin recently mused to Maria Balshaw, director of the Tate. Only it wasn't. "I wasn't confessing anything at all to anybody," she corrected her past critics – and maybe even her present fans. I thought of Emin's vital reframe only a few weeks ago when I visited her landmark show at Tate Modern and contemplated her 2023 painting, I watched Myself die and come alive. In it, her red-swabbed body is splayed out on a table, she is watched over by the black cloak of death, and her mother's ashes are resting in a casket behind her bloody hair. Like most of Emin's artworks, this painting isn't asking for a certain kind of gaze from us – it exists for itself alone, and that's what makes it so corporeally present.The Legacy of Frida KahloCall it visceral, call it personal. But, like Emin, I too struggle with the word "confessional" in relation to women's expression of their experiences. The implication being that there is something guilt-inducing and therefore even shameful about a woman drawing attention to herself both in her life and art. As if by doing so, she needs to beg pardon for it. Only Emin has never subscribed to this falsehood. Come to think of it, neither did Frida Kahlo over the course of her all-too-short life (Kahlo died when she was only 47) – another autobiographical artist whose retrospective is set to appear at Tate Modern next month.Transforming Trauma into TranscendenceWith an anatomical eye on her wounds, Kahlo would redraw what she called her "body's landscape" on her own terms, making her disabilities into something transcendental, a devotional act that helped her transform the mundanity of her physical limitations into something extraordinary. As Kahlo's biographer Hayden Herrera remarked in 1983, Kahlo's art has a particular intensity and strength "that can hold the viewer in an uncomfortably tight grip". We can see this for ourselves in her 1944 artwork, The Broken Column: a valiant self-portrait of chronic pain that evokes the Saint Sebastian paintings of the Christian faith.