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The planet is in the grip of an unprecedented climate emergency. The past three years rank as the hottest on record, emissions remain at historic highs and the world is edging ever closer to the critical 1.5°C threshold that scientists warned must not be crossed. In response, a trio of creators – actor Megan Prescott, filmmaker Bree Essrig and self‑described “climate narrative strategist” Jessica Riches – have launched Headline Newds, a series of bite‑size videos released through the non‑profit arm of Adam McKay’s Yellow Dot Studios. The series pairs climate data with the visual style of OnlyFans models, aiming to capture attention where traditional messaging has struggled. The concept echoes McKay’s own gamble with The Big Short (2015), where he hired Margot Robbie to explain complex mortgage‑backed securities while bathing. By swapping finance for climate, the creators hope to avoid the “long, boring explanation” that often alienates viewers. The debut episode, titled The Sun is Daddy, features Prescott gradually disrobing while arguing that solar power could satisfy global energy demand using less land than the fossil‑fuel sector. She frames the argument with the line “Daddy is a giver,” blending sensuality with a factual claim. Provocation is intentional. The Yellow Dot website admits the clips are likely to be taken down on Instagram and YouTube for breaching content policies, but they will remain accessible on OnlyFans, a platform perceived as more tolerant of adult‑oriented material. That platform may also be where the series makes its biggest splash. While mainstream users might approach the videos with a pre‑formed understanding, OnlyFans subscribers are less likely to expect in‑depth climate analysis, potentially making the stark facts about “impending global collapse” more memorable. Only the first episode is currently live, and critics note that the solar‑energy message is already widely accepted, questioning whether the series is reaching beyond basic awareness. Future installments promise sharper focus. An upcoming episode, Spank Banks, will see dominatrix Eva Oh name the banks that profit most from fossil‑fuel projects while delivering a literal spanking. Another short clip features model Sabrina Jade outlining the oil industry’s tactics to downplay its environmental impact, all within a two‑minute runtime that includes more “pelvic grinding” than typical educational content. Whether Headline Newds proves a catalyst for change remains uncertain. It has already generated the media buzz it sought, but its capacity to translate provocation into concrete climate action will likely be judged by any follow‑up series and measurable shifts in audience behaviour. Headline Newds can be watched on YouTube, Instagram and OnlyFans.

Ian Cheshire steps into the helm of Ofcom with a comprehensive 2026‑27 plan that spans telecoms, broadband, postal services, broadcast media and the digital sphere. While the breadth of responsibilities is vast, the regulator’s work on the Online Safety Act (OSA) is set to dominate his tenure.The OSA, the UK’s flagship legislation governing social‑media, search and video platforms, has become a flashpoint between internet‑safety advocates and free‑speech proponents. Campaigners such as Ian Russell – father of Molly Russell, whose tragic suicide highlighted online harms – and filmmaker Beeban Kidron are urging a tougher regulatory stance.Last year, Russell publicly called for a change in Ofcom’s leadership, citing the watchdog’s failure to block an online suicide forum accessible to UK users. At the same time, Technology Secretary Liz Kendall wrote to Ofcom expressing “deep concern” over delays in rolling out key OSA provisions.Although updating the act is a parliamentary responsibility, Cheshire’s close ties to government could accelerate ministerial action. The OSA, passed in 2023, only began substantive implementation under chief executive Dame Melanie Dawes, with the introduction of rigorous age‑gating measures last year marking the first tangible impact on users.Beyond online safety, Ofcom must continue its core duties established in 2003: supervising public‑service broadcasting, ensuring impartial news, maintaining universal postal delivery six days a week, and monitoring broadband and mobile‑phone coverage across the UK. The government’s expectation is clear – the regulator must move faster on digital safety without neglecting these legacy functions.A looming test of the OSA’s strength is the investigation into the partial nudification of women and girls by Elon Musk’s AI tool Grok. The outcome will signal how effectively Ofcom can enforce the act against emerging AI‑driven harms.The 2026‑27 plan lists projects such as preventing illegal content from going viral, measuring harmful material encountered by children, and assessing the effectiveness of age‑gating. Additional measures targeting major platforms like Google and Instagram remain stalled due to ongoing court proceedings.Recent incidents – from misinformation spikes following the Southport killings to AI‑generated misogyny on X – underscore the urgency. While the legislation provides Cheshire with a framework, the patience of campaigners and policymakers is wearing thin.

Arthur Rosenfeld, 73, and Meryl Tankard, 70, open the performance by introducing themselves as “sprightly old geezers,” setting a tone of candid humor that runs through the evening. The production, ‘Kontakthof – Echoes of 78,’ is a fresh staging of Pina Bausch’s iconic 1978 work, now re‑imagined by Australian choreographer Meryl Tankard. Unlike the 2010 London run that split the piece between teenagers and senior amateurs, this rendition features the eight surviving members of the original cast—all now in their late sixties to early eighties—performing the very roles they created half a century ago. A ninth dancer was absent due to illness. Their live movements are mirrored on a large screen by the black‑and‑white film of the 1978 performance, creating a visual palimpsest where past and present dance together. The choreography, set to 1930s dance‑hall songs, remains a wry commentary on courtship, power dynamics and consent. Tankard’s direction emphasizes the passage of time, allowing audiences to witness the same steps executed by bodies that have aged, yet retain a striking vitality. Dancers such as Josephine Ann Endicott, now in her seventies, glide across the stage in silk dresses, their frames more fragile but their confidence undiminished. Moments of poignancy arise when the film shows cast members who have since passed away. Onstage, John Giffin reaches for his late partner’s face, only to grasp empty air—a visual metaphor for loss that resonated deeply with the audience. Personal revelations punctuate the performance: Beatrice Libonati, 71, describes herself as “paranoid and a misanthrope,” while Tankard admits, “I wish I’d had children; I miss my mother every day,” underscoring the undercurrent of longing that runs through the piece. Beyond its narrative, the production offers a meditation on continuity. Bausch’s signature walking patterns—slow circles and linear traverses—are repeated, suggesting that despite changing bodies, the human species continues to tread familiar social routes. The music, unchanged from the original, carries on until the final dancer pauses, symbolising the inevitable end of the dance of life. The show runs at Sadler’s Wells, London through 11 April, offering a rare glimpse into how art can bridge generations and celebrate the endurance of the human spirit.

Rob Reiner’s 1986 film ‘Stand by Me’ transforms Stephen King’s novella The Body into a quintessential American coming‑of‑age story, echoing the timeless tone of Mark Twain’s tales. The movie, now entering its 40th anniversary, has acquired a fresh layer of melancholy following the 2025 homicide of Reiner and his spouse, Michele Singer Reiner. The narrative follows four twelve‑year‑old boys in a fictional Oregon town during the late 1950s, embarking on a secret trek to locate the body of a missing peer rumored to lie beside a railway line. Their perilous journey—marked by near‑misses with a train, a drowning episode, and a hostile junkyard dog—serves as a conduit for exploring the fragility of youth and the inevitable confrontation with mortality. At the heart of the quartet are Chris (River Phoenix), the tough leader; Teddy (Corey Feldman), scarred by an abusive father; Vern (Jerry O’Connell), the clumsy sidekick; and the introspective Gordie (Wil Wheaton), an aspiring writer haunted by his older brother’s accidental death. As an adult, Gordie is portrayed by Richard Dreyfuss, who reflects on his past while typing the story that has defined his life. The film’s moral undercurrent emphasizes that, despite the boys’ rough edges, an innate decency persists—perhaps reinforced by the looming presence of the dead boy whose fate they seek. A standout meta‑scene features Gordie’s fictional tale The Revenge of Lard‑Ass Hogan, a miniature film‑within‑a‑film that mirrors the real‑world cruelty, voyeurism, and fear the characters experience. Reiner’s direction is complemented by a soundtrack that weaves in period hits by the Chordettes and Buddy Holly, reinforcing the nostalgic atmosphere. While the story glosses over certain darker possibilities—such as the anticipated retribution from the local bully Ace (Kiefer Sutherland)—its portrayal of childhood innocence remains remarkably resonant. ‘Stand by Me’ returns to UK cinemas on 10 April 2026, offering both longtime fans and new audiences a chance to revisit a film that continues to grip hearts, now underscored by the real‑world sorrow surrounding its creator.

The horror market has finally recognised women as a core audience, a shift reflected in the latest teen‑focused feature The Cure. Directed by Nancy Leopardi and penned by Jonathan Bernstein and James Greer (known for Unsane), the film blends gothic dread with a biting commentary on wealth and longevity. The story follows Ally Braun (Samantha Cochran), a lupus‑stricken teenager confined to a Malibu mansion owned by her billionaire parents, Jeff (David Dastmalchian) and Georgia (Ashley Greene). When the couple hosts a gathering for investors interested in a private island designed as an apocalypse refuge, Ally slips away to the beach and befriends a mysterious newcomer, Brooke (Sydney Taylor). Their uneasy friendship triggers a series of dark revelations that expose helicopter parenting, clandestine life‑extension research, and society’s obsession with youth and beauty. While the premise brims with clever ideas, the execution falters in its final act. Narrative threads are hurried, and the climax resolves with a brief burst of violence that feels more like a budget‑driven shortcut than a satisfying payoff. The film’s limited locations and dim lighting betray a modest production budget, even as it depicts extravagant wealth. Nevertheless, the youthful ensemble injects the story with genuine charisma. Their performances provide the film’s most compelling moments, keeping the audience engaged despite the structural shortcomings. The Cure becomes available on digital platforms from 13 April.

Joe Eszterhas, the swaggering pitchman of 80s and 90s Hollywood, has lived a life of excess and creativity. He wrote hits like Jagged Edge and co-scripted Flashdance, earning a then-record $3m for his Basic Instinct screenplay.Eszterhas's life story is a harrowing, rollicking immigrant's tale that whisks its hero from his birth in war-torn Hungary through the refugee camps of Allied-occupied Austria to the US rust belt. He covered the Kent State massacre as a cub reporter and interviewed Charles Manson in prison.Now 81, Eszterhas is plotting a Hollywood comeback with a rebooted Basic Instinct. He received a reported $2m from Amazon MGM studios for his script and stands to make a further $2m if and when it is filmed. The new story juggles copycat serial killers with elements of the supernatural.Eszterhas has always relished a good public scrap, and his reboot is described as anti-woke. This has sparked concerns that he may be co-opted and become a political football. However, Eszterhas insists that he is not afraid of controversy and sexuality.Despite his past struggles with drinking and drugs, Eszterhas has been clean and sober for decades. He has written a 750-page memoir, Hollywood Animal, and told his Tinseltown war stories on a recent multi-part media podcast, Ugly, Irresponsible, & Childish.

The Greatest Showman, the hit 2017 film starring Hugh Jackman as PT Barnum, has been transformed into a high-flying, hammer-juggling, banger-filled spectacular on stage. The musical, premiering in Bristol's Hippodrome, brings to life the story of the American showman and entrepreneur, with a sold-out eight-week run.The film's iconic soundtrack, which includes the Oscar-nominated 'This Is Me,' has been retained, with new songs by the original composers, Benj Pasek and Justin Paul. The production features Oliver Tompsett as Barnum and Samantha Barks as his wife, Charity.The stage adaptation aims to celebrate the world of circus and theatre, while acknowledging the controversial history of PT Barnum, who was criticized for exploiting people and animals. The musical's producers have chosen not to cast a performer with dwarfism in the role of Charles Stratton, but instead focus on showcasing vulnerable characters and promoting inclusivity.The production features sophisticated digital technology, with a 'sky pit' above the stage and a half-circus ring design. The team behind the musical hopes to create a sense of community among audience members, but stops short of encouraging sing-alongs to the hit songs.

Anna Wintour, the legendary global editorial director of Vogue, has graced the cover of the fashion magazine alongside her Hollywood counterpart, Meryl Streep. The striking image, captured by renowned photographer Annie Leibovitz, features Wintour and Streep, who is famously known for her portrayal of Miranda Priestly in The Devil Wears Prada.In a candid interview with Greta Gerwig, Wintour expressed her admiration for Streep, calling it 'such an honour to be played by Meryl.' However, she noted that the character of Priestly was 'distant' from her real self, describing it as an 'extraordinary gift.'Wintour also shared her thoughts on aging, stating, 'I like my age. I feel as alive, excited and aware as ever, and I like to learn from my children and from all my teams around the world. It’s always exciting.'When asked about swapping roles with Streep, Wintour humbly replied, 'There’s no way. I have no gifts. I have absolutely no gifts at all.' The film The Devil Wears Prada, based on the novel by Lauren Weisberger, was a critical success and cemented Streep's portrayal of the ruthless fashion editor.Interestingly, a genealogy report by Ancestry claims that Wintour and Streep are sixth cousins, adding a fascinating twist to their long-standing connection.

On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.