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The Cultural Phenomenon Returns On a chilly morning at a Silvertown studio behind London City airport, the sunburst intro to Jimmy Cliff's The Harder They Come is on repeat. Dancers run through a routine studded with reggae and dancehall moves. "Get high," commands associate choreographer Neisha-yen Jones with a smile. "Get low!" The ensemble rise and dip. They do the bogle and whine around each other as their watchful director Matthew Xia nods along. They circle Natey Jones who breaks out the opening line: "Well, they tell me of a pie up in the sky." In the distance, a plane leaves the ground. From Film to Theatrical Celebration It's eight months since The Harder They Come's full-throttle takeoff at Stratford East, where the musical was so popular that it is now returning for a second run which will also serve as a eulogy for Cliff who died in November. Playwright Suzan-Lori Parks' adaptation of Perry Henzell's 1972 Jamaican film is bolstered by a handful of her own songs as well as classics including Israelites and Wonderful World, Beautiful People – plus every number on the film's monumental soundtrack. Jones is reprising the role of Ivan (played on screen by Cliff and inspired by real-life outlaw Rhyging), who arrives in Kingston from the country and is dismissed and exploited, before becoming both a hit singer and a fugitive. The Evolution of a Cultural Narrative The original was akin to cinéma vérité, directly evoked spaghetti westerns and veered into blaxploitation territory; Ivan's tale has gained greater warmth, humour and protest spirit on stage. It was the best musical I saw in 2025. "The story is a tragedy but the theatrical event is a celebration," says Xia of his production. Twenty years ago, the film was adapted as a musical with a book by Henzell, also at Stratford East. "It all started at Ivan's Nine Night," Xia recalls. "There was a massive poster of Ivan on the wall, with everyone coming, and it was told in retrospect with vignettes." Choreography and Cultural Connection Shelley Maxwell, recently arrived from Jamaica, was watching the musical in the audience one night and has since become the choreographer of the new production. She has fused the folk dance forms of revivalism and pocomania, learned in her childhood, with reggae, dancehall and moves that today's teenagers can recognise. "I wanted to tap into the youth market," she says. It's brought some enthusiastic feedback from audience members who may not know the film. "Like: 'Oh my God, they did that step I always do at a party!' It allows them to form a connection." Authenticity and Cultural Representation Xia, wearing trainers in the Jamaican flag's colours, and Maxwell, whose tracksuit has the same black, green and gold trim, were intent on instantly transporting their audience to Kingston. The opening, says the director, is an "establishing shot" with characters coming and going on Simon Kenny's magnificent multi-level set, accompanied by Toots and the Maytals' hit Funky Kingston. To borrow from its lyrics, you really can believe everything they do. Even each move in the dominoes game we see is scripted, explains Maxwell, who mapped out the market scene with precision: "Where are you going to? How heavy is the item that you're holding? This is the swing of the hips." Social Commentary Through Performance Xia, whose father came to England from Jamaica in the 1970s, praises the freewheeling realism of the film. "Lots of the background performers are just whoever happened to be in the market that day, or walking through the shantytown. Lots of the actors were people that Perry knew, they had no training." Henzell, says Xia, showed "the part of Jamaica that had always been hidden, people living hand to mouth". The musical depicts a "quartet of oppression" against Ivan, as he takes a stand against individuals representing hypocrisies of the church, law, drugs trade and music industry. Universal Themes and Contemporary Relevance The Harder They Come was both a pioneering example of independent film-making for Jamaicans and a portrait of a newly independent country. Maxwell, who grew up glued to Hollywood musicals, says it was empowering to discover a film full of the Jamaican songs she loved. "I was probably way too young when I saw it. But what I saw was the world around me." She traces how different forms of music played a pivotal part in the country establishing its identity, moving from African forms and American R&B; to mento, ska, rocksteady, reggae and the rise of Bob Marley and Jimmy Cliff. Maxwell captures that chain reaction with a tantalizing question: "What's this groove becoming?" Transforming the Narrative for Modern Audiences The musical also makes its hero's actions more understandable. "In the film, Ivan becomes a kind of wanton murderer," says Xia. In the musical, "he accidentally shoots a police officer when he's under threat, is remorseful, yet also knows that if he gives himself in then that's the end of his journey". Another significant change is the depth given to the principal women – Ivan's mother Daisy and Elsa, with whom he falls in love under the eye of her authoritarian guardian, the preacher. "The moral heart of the piece now resides in those two women," says Xia. Maxwell transforms a brief sequence from the film, in which Ivan imagines a tryst with the devout Elsa, into a floor-trembling set piece when the preacher's congregation lose their robes to indulge in lustful fantasy. The male gaze of the original scene is duly excised: "it had to be like it was both of them in partnership in that fantasy world," says Maxwell, who adds that the nature of dancehall – "grinding, gyrating on another body" required her to use her skillset as an intimacy director.

In a recent Guardian column, Jonathan Liew reframes Sir David Attenborough as a quiet radical whose public persona masks a long‑standing critique of capitalism and a call for wealth redistribution, juxtaposing this stance with the largely apolitical tone of his 2026 centenary celebration.Attenborough’s Radical Economic Vision RevealedDuring a 2020 BBC interview, the 100‑year‑old naturalist argued for a “utopian future” where “those who have a great deal, perhaps, will have a little bit less, and those that have very little will have a little more.” This stance aligns with broader eco‑socialist ideas and contrasts sharply with the profit‑driven narrative of contemporary capitalism.Centenary Broadcast: Celebration Over Substance?The BBC One tribute featured celebrity tributes, a royal birthday letter delivered by CGI fauna, and a polished showcase of Attenborough’s wildlife footage, yet the climate crisis was not mentioned once. The event’s focus on spectacle over policy underscores how his radical views are often sidelined in mainstream media.Quantifying Attenborough’s Media Reach and TrustPolls repeatedly rank Attenborough as the most trusted figure in the United Kingdom, granting him a unique platform to shape public opinion. However, the absence of concrete policy advocacy in his high‑profile appearances limits the translation of that trust into measurable political pressure.Implications for Environmental Advocacy and Public DiscourseAttenborough’s depoliticised image makes him an appealing messenger for a broad audience, but it also allows powerful interests to co‑opt his environmental narrative without demanding systemic change. The tension between his activist instincts and the sanitized public persona raises doubts about whether his influence can drive the “tough and bloody compromises” needed for climate mitigation.Future Role: From Symbolic Figure to Policy Catalyst?As Attenborough enters his eleventh decade, the key question is whether future broadcasts will integrate his radical economic ideas with concrete climate policy proposals. If his platform begins to foreground systemic redistribution alongside biodiversity storytelling, he could shift from a symbolic guardian of nature to a catalyst for substantive environmental legislation.

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.

The Lead: Australia's Spin Strategy for World Cup RedemptionAustralia's women's cricket team has unveiled a squad for the T20 World Cup with a clear focus on spin bowling, featuring captain Sophie Molineux's return alongside world-class spinners Ashleigh Gardner, Alana King, and Georgia Wareham. The team aims to bounce back from recent semi-final exits in major tournaments with this strategic selection.The Spin Selection DilemmaThe return of a fully fit Sophie Molineux from a lower back issue has created a selection squeeze for Australia, who already boast a formidable spin trio. Molineux, who has succeeded retired captain Alyssa Healy, will be a lock in the side despite the abundance of spin options. Chief selector Shawn Flegler confirmed that all four spinners could potentially play in the same side, with conditions determining the final combination.The Spinners' CredentialsAustralia's spin options are exceptionally strong. Alana King took a record 7-18 against South Africa in last year's 50-over World Cup and was player of the series after collecting 23 wickets in last year's Ashes triumph. King returned to the side after being left out of the India tour and took five wickets at an average of 11 in the West Indies, conceding just 5.5 runs an over while bowling in the powerplay.The Pace Attack ChangesThe pace bowling options have seen changes, with 20-year-old left-arm quick Lucy Hamilton included in the 15-player squad, while Darcie Brown was the surprise omission. Hamilton, who debuted in all three formats for Australia in March, brings a rare left-arm pace option in women's cricket. Coach Shelley Nitschke praised Hamilton's ability to get good bounce and bowl a heavy ball, noting it's a real point of difference for the attack.Squad Composition and ExperienceThe squad blends experience with new energy. Ellyse Perry will feature in her 10th T20 World Cup, having been part of every edition since the inaugural tournament in 2009. Allrounder Nicola Carey returns after a three-year absence, while Grace Harris is back after being left out of the recent West Indies tour. Annabel Sutherland also returns after missing the West Indies tour.Tournament Preparation and OutlookAustralia will play five warm-up games in England and Wales before their T20 World Cup campaign begins against South Africa on June 13. They'll play three warm-up matches at Arundel Castle against South Africa, starting on May 31, before a pair of practice games against England in Cardiff. The team is motivated by recent semi-final exits in major tournaments and aims to perform better in those crucial moments.

The Lead A recent study has provided evidence that crickets may experience pain in a similar way to humans and other animals. Researchers at the University of Sydney have found that crickets exhibit behaviors that resemble pain responses when injured, such as stroking and grooming a sore antenna. Cricket Pain Response Study Associate Professor Thomas White, an entomologist from the University of Sydney, led the study, which was published in Proceedings of the Royal Society. The researchers applied a heated soldering iron to the antennae of dozens of crickets, causing a temporary but unpleasant sensation. The crickets that received the hot probe 'overwhelmingly' directed their attention to the affected antenna, grooming it more frequently and for a longer period than those that did not receive the treatment. The Data Analysis The study found that: Crickets that received the hot probe directed their attention to the affected antenna. They groomed the antenna more frequently and for a longer period. The soldering iron was set to 65C, hot enough to be unpleasant but not causing lasting harm. The Impact Analysis This research has significant implications for our understanding of insect cognition and pain. The study's findings suggest that insects may be capable of experiencing pain, which challenges traditional views of their cognitive abilities. This has important implications for animal welfare, particularly for insects that are farmed for food, feed, and research. The Prediction As science continues to reveal more about insect brains, behavior, and experiences, it is likely that our understanding of their capacity for pain and consciousness will evolve. This may lead to changes in animal welfare laws and our treatment of insects in various industries. Ultimately, this research encourages us to reevaluate our relationship with insects and consider their well-being.

The Media Revolution The news industry is once again experiencing a revolution, one that is reshaping news for a new generation of consumers. This disruption transcends all news brands, impacting all journalists and all journalism, everywhere. The Shift in Consumer Behavior We're witnessing a significant shift in how consumers access news. TV news audiences have declined by nearly 4 million people in the past five years, while YouTube has seen a trebling of its news audience and TikTok a 10-fold increase. This shift is not just about platforms; it's about the rise of independent journalists and personalities. The Rise of Creator Journalism Independent journalists like Joe Rogan, Piers Morgan, and Emily Maitlis have built massive audiences on platforms like YouTube and Substack. Joe Rogan has 20.9m subscribers on YouTube, while Piers Morgan's Uncensored YouTube channel has gained significant traction. This creator journalism is not a sideshow; it's becoming the main event. The Data Analysis The global podcast market is projected to grow from $32bn to $114bn by 2030. The UK is Substack's second-largest and fastest-growing market, with over half a million people paying subscriptions directly to writers. The Impact Analysis This revolution matters because it's driven by commentary and conversation, and the established media has yet to break into this new world at scale. The challenge is clear: will we wake up to the existential nature of this great shift in our industry, or will we be left behind? The Prediction The established news media has everything it needs to succeed in this new world, including talented journalists, experienced experts, and brands that have meaning for audiences. However, success is conditional on whether the established media is willing to deploy those assets to win and not be left behind. The priorities are clear: restore trust, reconnect through authenticity, and reinvent the newsroom.

The Lead: Historic VAR Decision Changes Title RaceHoward Webb, the chief officer of Professional Game Match Officials, has publicly defended the VAR process that led to West Ham's equalizer against Arsenal being overturned. The decision, described as the most consequential in VAR history, has significantly impacted the Premier League title race by preserving Arsenal's lead.The Event Details: Foul on Goalkeeper Proves DecisiveIn a match with massive title implications, Pablo's foul on Arsenal goalkeeper David Raya was deemed sufficient to rule out Callum Wilson's late equalizer. Webb confirmed that the contact with the goalkeeper's arms constituted a clear violation of the rules, explaining that officials had specifically warned players against such actions throughout the season.The Technical Analysis: VAR Process Under ScrutinyThe VAR check process, led by Darren England and assistant VAR Akil Howson at Stockley Park, lasted more than four minutes. Webb emphasized that officials were aware of the significance of the moment and took their time to review the incident thoroughly. Despite initial difficulty in seeing the foul due to the crowded penalty area, the video evidence provided a clear view of the infringement.The Impact Analysis: Title Race Dynamics ShiftThe decision to disallow the goal has handed Arsenal a distinct advantage in their pursuit of the Premier League title. With the season reaching its critical phase, such high-stakes decisions can have lasting consequences for teams' championship aspirations. Webb's defense of the process aims to maintain confidence in the VAR system despite ongoing debates about its implementation.The Future Outlook: VAR's Role in Modern FootballThis incident highlights the increasing importance of VAR in determining crucial match outcomes. Webb's detailed explanation suggests that officials will continue to emphasize specific types of fouls, particularly those involving goalkeepers. As the technology and processes evolve, the balance between maintaining game flow and ensuring accurate decision-making remains a key challenge for football authorities.

The Warning Anthropic has updated its website to warn investors that a slew of private and secondary investment platforms offering access to shares in the AI company are not authorized to do so. The company named Open Doors Partners, Unicorns Exchange, Pachamama Capital, Lionheart Ventures, Hiive, Forge Global, Sydecar and Upmarket as companies that are not authorized to provide access to buy or sell its shares. Unauthorized Share Sales "Any sale or transfer of Anthropic stock, or any interest in Anthropic stock, offered by these firms is void and will not be recognized on our books and records," the company's blog post reads. Anthropic's preferred and common stock are subject to transfer restrictions, which means any share sale or transfer not approved by its board of directors will be considered invalid. The Rise of Secondary Markets The update comes alongside a rise in the number of investment platforms offering exposure to AI companies' shares (and thus their growth) via secondary markets where existing shareholders sell their shares, "tokenized" securities, special purpose vehicles (SPVs), or secondary market holdings. Anthropic, rumored to be raising fresh funding at a $900 billion valuation, has especially been in demand. The Impact on Investors Over the past year, some crypto companies, like crypto exchange OKX, have spun up investment products selling exposure to AI companies. These often take the form of pre-IPO perpetual futures contracts, which are derivative instruments that track the value of private companies on secondary markets but don't offer ownership of actual shares. SPVs are different from those derivative systems, offering investors a chance to buy shares of an entity that holds at least some stake in Anthropic. The Future Outlook Anthropic says it does not permit special purpose vehicles (SPVs) to acquire Anthropic stock and any transfer of shares to an SPV are void under its transfer restrictions. "Offers to invest in Anthropic's past or future financing rounds through an SPV are prohibited."

The Lead: Google's Android Show Unveils AI-Powered FutureGoogle's virtual "Android Show: I/O Edition" event revealed a comprehensive update to its Android ecosystem, featuring new hardware, AI enhancements, and user experience improvements. The announcements underscore Google's strategic focus on integrating its Gemini Intelligence across devices while expanding its hardware partnerships.Googlebooks: Redefining Laptops with AI at the CoreGoogle introduced Googlebooks, a new line of laptops designed from the ground up for Gemini Intelligence. The company is collaborating with major manufacturers including Acer, Asus, Dell, HP, and Lenovo to create these devices launching this fall. Googlebooks will feature "Magic Pointer" - a cursor with built-in Gemini capabilities, seamless integration with Android phones, and custom widget functionality.Vibe-Coded Widgets: Personalization Through Natural LanguageGoogle unveiled "Create My Widget," a feature allowing users to generate custom widgets using natural language descriptions. This innovation will first roll out on Samsung Galaxy and Google Pixel phones this summer. Users can simply describe what they want - such as "suggest three high-protein meal prep recipes every week" - to create personalized dashboard widgets that can be added and resized on their home screens.Android Auto: Enhanced Experience with Video SupportAndroid Auto is receiving a significant refresh with more personalization options, widgets, and an edge-to-edge interface adaptable to various screen shapes. Media apps like YouTube Music and Spotify are being redesigned for easier in-car use. Notably, Android Auto will support 60fps full HD video playback on YouTube in supported cars later this year, with BMW, Ford, Genesis, Hyundai, Kia, Mahindra, Mercedes-Benz, Renault, Škoda, Tata, and Volvo among the first manufacturers to implement this feature.Gemini Intelligence Expands Across Android EcosystemGoogle is broadening Gemini's presence across its platforms, with the assistant now capable of performing multistep functions across apps. Users can take a photo of an event flyer and ask Gemini to find that event on booking sites, or invoke the assistant with a grocery list to build a cart in their preferred shopping app. Gemini is also coming to Chrome on Android, allowing users to summarize content and ask questions about webpages, with an experimental auto-browse feature capable of completing tasks like booking tickets.Enhanced Security and Privacy FeaturesGoogle is expanding its default-on theft protections to all Android users globally. These features, including Remote Lock and Theft Detection Lock, will be enabled by default on new Android 17 devices, freshly reset devices, or those upgraded to the latest OS. The company is also reducing the number of PIN/password guess attempts a thief can make and increasing wait times between failed attempts. Additionally, Pixel users with Advanced Protection Mode now have access to Intrusion Logging to investigate suspected spyware attacks.The Future of Android: Seamless Integration and AI AssistanceGoogle's announcements signal a future where AI seamlessly integrates into daily tasks across devices. The company is working to break down barriers between platforms, with Quick Share expanding to work with iPhones from various manufacturers and a new iOS-to-Android transfer feature allowing users to import passwords, photos, messages, and more. The introduction of features like Rambler in Gboard, which converts speech to cleaned-up text by removing filler words, demonstrates Google's commitment to natural interaction with technology.