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On a recent weekday evening, a special bus tour whisked art lovers through over twelve galleries and museums that stayed open until midnight, offering a late‑night glimpse of the Abidjan Art Week programme.The after‑hours event, dubbed the Night of the Galleries, was first trialled in January 2024 alongside the Africa Cup of Nations – a tournament that Côte d’Ivoire both hosted and won – and has become a staple of the festival’s third edition, which ran from Tuesday to Sunday.Since its inception, the week has broadened its footprint, moving beyond the city centre to include venues such as the La Rotonde des Arts contemporary‑arts hub in the Plateau district and the Adama Toungara Museum of Contemporary Cultures (MuCAT) in the working‑class neighbourhood of Abobo.Local collectors are emerging in force. MuCAT has hosted the Africa Foto Fair each year since 2022, and the Marché des Arts du Spectacle d’Abidjan – the city’s answer to the Dakar Biennale – is set to launch its 14th edition later this month.A graffiti festival launched two years ago has transformed the perception of street art, with vibrant murals now adorning the façade of the La Pyramide building and several upscale hotels in Plateau.Organisers stress that the festival’s growth should be independent of external validation. This year’s roster featured artists from Cameroon, the Democratic Republic of the Congo and Mali, and the number of participating galleries more than doubled compared with previous editions.Founder Yacouba Konaté, who also directs La Rotonde des Arts, highlighted the festival’s commitment to accessibility, arguing that art should not be seen as an elite pastime.The opening tribute honoured Simone Guirandou‑N’Diaye, a pioneering Ivorian art historian whose legacy lives on through Galerie LouiSimone Guirandou, now run with her daughter Gazelle.Among the week’s highlights, MuCAT presented Murmures d’Archives, a quieter, archival‑focused exhibition that concluded with an artists’ workshop and a DJ set.In the upscale Cocody district, New York‑based artist Ouattara Watts staged a solo show at Galerie Cécile Fakhoury, drawing the Ivorian diaspora into dialogue with the local scene. Watts explained that his work aims to transcend borders, describing it as “a vision that goes beyond any map – it is the cosmos that I paint.”

Sam Neill, the veteran actor celebrated for his memorable performances on screen, is set to answer readers' questions in an upcoming interview with The Guardian. Neill's iconic roles include his portrayal in Jurassic Park, where he famously removes his sunglasses and gazes at a towering Brachiosaurus, a scene that has become etched in cinematic history.Born in Northern Ireland and raised in New Zealand, Neill's diverse filmography showcases his versatility as an actor. He has appeared in a range of films, from period dramas like My Brilliant Career to thrillers such as Dead Calm, which is set to be released in 4K later this year. His recent projects include Godzilla x Kong: Supernova, alongside Kaitlyn Dever and Matthew Modine.Neill's career has been marked by his ability to take on idiosyncratic, director-led projects, often playing characters with a unique blend of gruffness and warmth. His performances in Sweet Country and Rams have been particularly noted for their depth and nuance.In addition to his film work, Neill has also made headlines for his memoir, Did I Ever Tell You This?, in which he openly discusses his experience with stage-three blood cancer and his journey towards remission. When asked about his mortality, Neill expressed a pragmatic view, stating, “I’m not afraid to die, but it would annoy me”.Readers are invited to post their questions for Sam Neill by 6pm BST, Thursday 16 April, and The Guardian will publish his answers in their reader interview series. This provides a unique opportunity for fans to engage with one of cinema's most beloved actors and gain insight into his life and career.

Rachel Zegler has hailed the accessibility of Evita's free balcony scene, which became a landmark moment for London sightseers during the show's run last summer. The scene, which featured Zegler performing 'Don't Cry for Me Argentina' from the balcony of the London Palladium to crowds gathered on the street below, was a groundbreaking moment in theatre. At the Olivier awards on Sunday night, Zegler delivered the song again – this time on the stage of the Royal Albert Hall – and took home the award for best actress in a musical. Host Nick Mohammed noted that Zegler had become 'a new landmark for London sightseers' during Evita's run, allowing people who hadn't bought a ticket to watch the performance live for free on a giant screen. Zegler described Evita's director, Jamie Lloyd, as a 'genius' for staging the scene in such a way, giving 'a piece of theatre, just in the street' to young people who may not be able to afford West End ticket prices. 'It's so beautiful that Jamie Lloyd made such an accessible moment of theatre for people to walk by and witness something really, really cool,' she said. The actor, whose musical films include West Side Story and Snow White, praised Londoners for making her feel welcome and described those who had waited outside to watch the balcony scene as being 'so giving with their energy and love'. Zegler also acknowledged the difficulty of replicating the balcony scene, but she and Andrew Lloyd Webber have spoken of their hope that Evita will transfer to Broadway. Evita picked up two awards from five nominations at the Olivier awards, with choreographer Fabian Aloise also recognised for his work. The show was beaten to the prize for best musical revival by Into the Woods at the Bridge theatre.

‘Departures’ arrives in UK and Irish theatres on 17 April, offering a sharply observed portrait of a man navigating the aftermath of a breakup. The story centers on Benji, a thirty‑something who, after parting ways with his charismatic trainer Jake, plunges into a haze of parties, substance use and fleeting encounters in an attempt to dull the ache of lost love. The film tackles weighty subjects—body‑image insecurity, familial rejection and the pressures of toxic masculinity—yet it avoids sentimentality by leaning into a darkly comic tone and a poppy visual palette. Its elliptical editing stitches together present‑day self‑destruction with fragmented memories of Jake, creating a nonlinear rhythm that mirrors the disorienting experience of a broken heart. Ey​re‑Morgan not only co‑writes and co‑directs but also embodies Benji, delivering a performance that feels both self‑deprecating and raw. His on‑screen chemistry with David Tag’s Jake provides the emotional anchor of the film, allowing the audience to glimpse the genuine connection that fuels Benji’s subsequent turmoil. Despite its strengths, the movie leans heavily on voice‑over narration, which at times hampers momentum, especially during emotionally charged scenes. The tendency to verbalise feelings rather than let the cinematography speak can feel redundant, and the multiple flashbacks occasionally drift into over‑exposition. Overall, ‘Departures’ stands as a thoughtful exploration of love, identity and the search for authenticity, while also showcasing the burgeoning talent emerging from northern England’s film scene.

Australian sprint prodigy Gout Gout stunned the athletics community on Sunday at the national championships in Sydney, clocking a legal 19.67 seconds over 200 m. The performance not only smashed his own previous national record of 20.02 seconds but also made him the first Australian to dip below the coveted 20‑second barrier. Gout’s coach and mentor, Di Sheppard, summed up the achievement with a wry grin: “How long’s a piece of string?” – a nod to the seemingly limitless potential the teenager now displays. The run placed Gout ahead of his compatriot Aidan Murphy, who finished a close second, and sparked immediate comparisons with Jamaican legend Usain Bolt. While Bolt’s all‑time best stands at 19.19 seconds (set in 2009), Gout’s 19.67 at the age of 18 already eclipses the Jamaican great’s performance at the same age, according to his camp. Only one other under‑20 athlete has ever posted a faster time – Erriyon Knighton – whose 2022 effort remains unratified after a subsequent ban. James Templeton, the 18‑year‑old’s manager, said the result was “thrilling but not shocking”, recalling that Gout ran 19.84 seconds the previous year with a marginal wind assistance, a time the team always considered his realistic benchmark. Gout himself has been fixated on breaking the sub‑20 mark ever since an illegal run earlier in his career. “I wrote down 19.75 and kept telling myself I’d hit it,” he explained. “Then I hit 19.67 – gotta love it.” Despite the historic run, the teenager shows no intention of slowing down. “I’ve just turned 18, so I definitely think I can go faster,” he said. “It’s about building consistency and there’s no pressure – I’m the only one out there.” Looking ahead, Gout will compete in the under‑20 junior championships this week, opting to skip the 200 m in Queensland and focus on the 100 m. He will then travel overseas for a high‑profile showdown with Olympic champion Noah Lyles over 150 m at the Golden Spike meet in Ostrava, scheduled for June. Should Gout continue his upward trajectory, the athletics world may soon witness a new challenger to Bolt’s long‑standing age‑group record, reshaping expectations for the next generation of sprint talent.

The highly anticipated third and final season of Euphoria premieres on Monday at 9pm on Sky Atlantic. The series, created by Sam Levinson, follows the lives of a group of high school students as they navigate love, friendship, and identity.The new season stars Zendaya, Jacob Elordi, and Sydney Sweeney, who have all become major Hollywood stars since the show's debut. The story picks up five years after high school, with the characters now in their early 20s. Previews are scarce, but it's known that Cassie and Nate are married, Jules is in art school and is a 'sugar baby', and Rue is involved in some shady business in Mexico.Other TV shows airing tonight include Miriam Margolyes Made Me Me on BBC Two, Great Japanese Railway Journeys on BBC Two, Missed Call on Channel 5, Charmain and the Prophet on BBC Two, and DTF St Louis on Sky Atlantic.

A heartfelt tribute has been paid to Dame Jenni Murray, a renowned figure in British radio, known for her exceptional broadcasting skills and generosity of spirit. The author recalls her kindness and guidance when they appeared as a guest on Woman's Hour in the 1990s, discussing their novels on topics such as motherhood and dieting. Dame Jenni shared valuable insights into the art of radio broadcasting, including the importance of not discussing the main topic in the green room to save the best lines for the show. She also emphasized the need to turn off mobile phones before entering the studio, a lesson she occasionally forgot herself, much to the frustration of her producers. Her warm and approachable nature made her a beloved figure, both on and off the air. The author fondly remembers her staying on for a glass of wine in the BBC canteen after shows and her remarkable charity work, particularly with the Young Oncology Unit at the Christie hospital in Manchester. Dame Jenni's infectious humor and big-heartedness inspired others to get involved in charitable initiatives, leading to successful fundraising dinners and a significant impact on the community.

The Artemis II astronauts received a thunderous welcome home on Saturday after completing a record-breaking flyby of the moon. The crew of four, consisting of commander Reid Wiseman, pilot Victor Glover, Christina Koch, and Canada's Jeremy Hansen, arrived at Ellington Field near NASA's Johnson Space Center and Mission Control in Houston. During their nearly 10-day mission, the astronauts voyaged deeper into space than the moon explorers of decades past, reaching a maximum distance of 252,756 miles (406,771km) from Earth. They also captured views of the lunar far side never witnessed before by human eyes. The mission revealed a new side of our planet with an Earthset photo, showing our blue marble setting behind the gray, pockmarked moon. Koch described the experience, saying, "Honestly, what struck me wasn’t necessarily just Earth, it was all the blackness around it. Earth was just this lifeboat hanging undisturbedly in the universe," Koch said. "Planet Earth, you are a crew." The homecoming was poignant, as they returned to NASA's Houston base on the 56th anniversary of the launch of Apollo 13. The Artemis II mission is a crucial step towards NASA's goal of landing astronauts on the moon by 2028. Wiseman issued a rallying cry to the rows of blue-flight-suited astronauts at Saturday's celebration, saying, "It is time to go and be ready – because it takes courage. It takes determination, and you all are freaking going and we are going to be standing there supporting you every single step of the way in every possible way possible."

The play 'Dear Jack, Dear Louise' presents a refreshing take on love in the digital age, set against the backdrop of World War II. This epistolary story revolves around Jack, a military doctor, and Louise, a dancer aspiring to Broadway, who are brought together by family members hoping they might make a match. Written by Ken Ludwig in 2019, the play is a delightful romantic comedy that unfolds through letters, capturing the intimacy and anticipation of a bygone era. The narrative progresses from a formal courtship to a genuine relationship, all without the characters having met, as their first date is continually deferred due to circumstances. The production shines with its simplicity, featuring two actors delivering remarkably honest performances from opposite sides of the stage. This setup fosters an incorrigible warmth for the characters as they strive for happiness amidst the turmoil of war. Directed by Simon Reade, the play balances sweetness, humor, and poignancy, leaning into its nostalgic spirit. While a twist towards the end attempts to introduce unnecessary emotional tension, the overall story remains an irresistible heart-warmer. The play effectively conveys the romance of letters, highlighting the intimacy and physicality of handwritten communication. 'Dear Jack, Dear Louise' is set to run at the Arcola theatre, London, until May 2, offering audiences a chance to experience this charming and moving theatrical production.