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The Expanding Footprint of the Bundibugyo StrainUganda’s Ministry of Health has confirmed three new infections, bringing the total number of cases in the country to five. The new cases include a driver who transported the country's first confirmed patient and a health worker exposed while caring for that patient. The third case involves a woman from the DRC who crossed into Uganda, initially improved, returned to the DRC, and was later identified as positive after a tip-off from a pilot involved in her transport.Confirmed Case 1: Driver of the index patient.Confirmed Case 2: Health worker treating the index patient.Confirmed Case 3: DRC national who crossed the border and later tested positive.The DRC Crisis: Supply Shortages and Aid CutsThe situation in neighboring Democratic Republic of the Congo (DRC) remains dire, with nearly 750 suspected cases and 177 suspected deaths recorded. First responders report a critical lack of basic supplies, a situation exacerbated by a historic decline in foreign aid, particularly from the United States, which has slashed humanitarian funding to $2 billion.Border Closures and Public Health VigilanceIn response to the confirmed infections involving Congolese nationals, Uganda has suspended all public transport to the DRC. The WHO emphasizes that the outbreak's spread is fueled by late detection, the absence of a specific vaccine for this strain, and high population mobility.Containment Challenges Amidst Regional InstabilityWith armed violence and limited resources hampering efforts in the DRC, the risk of cross-border transmission remains a primary concern. Experts predict that without immediate international support to replenish supplies and stabilize the DRC response, the virus could spread further into Uganda, necessitating sustained vigilance and rapid contact tracing.

The Conversational Canvas of Roddy Doyle Acclaimed for his works that traverse books, films, TV shows, and plays, Roddy Doyle sits down to discuss his projects, particularly The Woman Who Walked Into Doors, which resonates deeply with readers, especially women. Unraveling The Woman Who Walked Into Doors Published in 1996, the book remains a significant work in Doyle's bibliography. It tells the story of a woman experiencing domestic violence, a theme that continues to evoke strong reactions from readers. Doyle recalls a recent book signing event in Auckland where two women shared how the book profoundly impacted their lives. The Genesis of The Women Behind the Door Doyle's protagonist, Paula Spencer, has been a long-standing character in his works, from the TV series to his trilogy of novels. The idea for The Women Behind the Door struck him during the Covid-19 pandemic when he reflected on Paula's character and her experiences. Paula Spencer's Enduring Presence Doyle shares anecdotes about how Paula's character has appeared in his everyday life, from a Facebook post of a woman dressed similarly to Paula to inspiring new storylines. He muses about her character's freedom and the significance of her plaid shirt. Reflections on Writing and Legacy As Doyle approaches his 70th birthday, he contemplates his legacy and future projects. He emphasizes the importance of having the 'itch' to write and expresses gratitude for his career, citing advice he received about replacing feelings of luck with gratitude. Literary Influences and Advice Doyle discusses his favorite book, Charles Dickens' Great Expectations, and shares advice for aspiring writers: be kind to yourself and focus on quantity before quality. He also humorously recounts his favorite swear words and a memorable anecdote about James Joyce. A Conversation with Dickens Doyle muses about having two pints with Charles Dickens, appreciating his creative energy and complex life. For his funeral, he requests the theme music from Match Of The Day to set the tone for a lighthearted farewell.

The Director’s Missed Moment: Hairy Armpits Cut from the Final EditAt the Hay Festival in Wales, Emerald Fennell explained that a scene featuring Margot Robbie's character Cathy with "extremely hairy armpits" did not survive the final cut of her 2026 adaptation of Wuthering Heights. She called the loss "unfortunate" because period pieces often sanitize female bodies.Why the Scene Was Intended and What Was LostFennell described the unshaven underarms as "so important" to her vision of a realistic 19th‑century woman.The director questioned the historical plausibility of razor‑free armpits in other period adaptations, especially those of Jane Austen.She also referenced other unconventional set details, such as the "skin room" and a controversial "fish scene" involving a dead fish.Contextual Numbers: Release Timing and Audience ReachThe film premiered on Valentine’s Day 2026, positioning it as a romantic‑gothic offering.Starring Margot Robbie and Jacob Elordi, the movie attracted attention from both literary fans and mainstream audiences.Industry Impact: Shifting Standards for Body Authenticity in Period DramaFennell’s regret underscores a broader debate about how period films portray women’s bodies. Traditional productions often present hairless, polished figures, reinforcing a modern aesthetic rather than historical accuracy. By pushing for visible body hair, Fennell challenges the industry norm and invites future creators to reconsider the balance between visual appeal and authenticity.Looking Ahead: The Future of Unvarnished Period StorytellingIf directors continue to prioritize realism, we may see more productions that retain natural body features, prompting audiences to adjust expectations. Fennell’s upcoming, undisclosed project—described as "profoundly evil"—suggests she will keep testing the boundaries of comfort and authenticity, potentially influencing a new wave of bold, unfiltered period narratives.

The LeadGame of Thrones actress Hannah Murray shares her experience of being sectioned in a psychiatric hospital in her new memoir "The Make-Believe: A Memoir of Magic and Madness." The actress describes her mental health journey and the experience of being involuntarily admitted under the Mental Health Act.The Hospital ExperienceThe door to the room opens. A man enters the room. He is a Black man, bald and overweight. He is dressed in uniform. Blue uniform, a blue lanyard that reads "NHS". But I know Steve, the leader of the organisation that introduced me to magic, is a magician. I know he can appear in disguise.I approach the man and try to kiss him.He does not let me kiss him. Then no. It is not Steve.The man has brought me a plate of toast. He has brought me a cup of tea. I add sugar to the tea, which I would never have done in my former life, but a spoonful of sugar helps the medicine go down!I am a Ritual Master. And this, drinking my own urine, is a powerful ritual. This is all I need now to survive … I will never need to eat again. I survive on liquids and air and lightI do not eat the toast. I drink the tea. I am alone in the room again and I urinate into the cup and drink that too.I am a Ritual Master. And this, drinking my own urine, is a powerful ritual. This is all I need now to survive. It is the most potent of potions I can drink. I am a self-contained, utterly self-sufficient being. I will never need to eat again. I survive on liquids and air and light.I decide to explore outside the room. Outside my sanctuary. He has not come. So maybe I need to go searching for him …The Phone CallTime jumps. I am in a corridor lit by overhead strip lights. The electric light is pale yellow in tone. I am sat on one of three chairs in a row against the wall. The chairs are purple, curved plastic. I am still waiting for him to appear.There are two doors in front of me. One is the door to the blue room with the blue sofa and chair. Behind the other door is an office of some kind, and there is a woman in there, shuffling papers and talking on the phone.The woman comes out of the office. She is holding out my phone. My only possession now – the one artefact from my previous life. There is someone she wants me to speak to.Him.When I hold the phone to my ear, I hear a voice I recognise.But the voice belongs to my mother."Hannah?" she says. "Where are you? What's going on?"There is distress in her voice. Her voice is trembling with pain and anxiety.I do not want to hear it.This is a test. A horrible test, certainly, but one that I can pass. They are trying to tempt me back into the human. They are trying to lure me back into the past.I hang up the phone.But, after a moment, it starts to ring. The word Mum lights up the screen."Talk to her," says the woman.I answer the call.My mother sounds different now. Calmer. She asks again what's going on but gently, even cheerfully. I tell her everything's OK. That I'm fine. I tell her not to worry. I'm in a good place.This is the last time I will ever hear her voice, I think. This is the way I say goodbye.The DiagnosisThey tell me I am being sectioned.The words jar with my beliefs."Section 2 … the Mental Health Act … 28 days … right to appeal … "I cock my head.This does not fit at all. It does not fit in the world of Steve, of Ritual Master, of Shambhala and the invention of magic.I am not concerned. I am concerned only with the energy I can feel spiralling up through my body and the voices I can hear in my head.I pace the hospital corridors, delivering a tearful monologue, delivering the greatest performance of my life. A phrase comes to me. The Girl With All the Gifts. The title of a post-apocalyptic horror film released in 2016, starring Gemma Arterton.I am a magician. I am an actress. I am a writer. I have superhuman strength. I can fly. Anything that can be imagined, I can perform it. Every skill and every ability is mine.The film came out as a warning, and a prophecy.And because of me, the apocalypse has been averted.I am the saviour of the planet. I am the girl with all the gifts.The Journey to RecoveryIt was very hard, the journey to get here. It took 27 years. The path was twisting and full of setbacks, there were challenges and so much pain. There were times I wanted to give up. It was very hard. Everyone will have to make their own journey, and their journeys will be their own, unique as snowflakes or fingerprints. That is the beauty of it, the joy of it. Everyone has to figure it out for themselves.But I have laid the groundwork. I have walked the path. It starts with the energy healing, and it goes on and on through the seven dimensions, through increasingly magical planes. It goes on and on until you meet your soulmate, like I met mine.I was in a TV show called Game of Thrones, hidden in plain sight in the midst of a cultural phenomenon. I, the key to the world's salvation, wore the face of a character called Gilly, but really I played every role. Then I worked on a film called Detroit in Boston. David Benioff and Dan Weiss and Kathryn Bigelow were the four horsemen of the apocalypse. Numbers are irrelevant. Three counts as four. David and Dan and Kathryn cast me in the roles that brought about my destiny. The end and beginning of the world.I am the Ur-actress. I am every actress. Every performance ever given has been animated by my energy, my talent, by the gestures and facial expressions I am performing here and now.The Memoir and BeyondThis is an edited extract from The Make-Believe: A Memoir of Magic and Madness by Hannah Murray, published by Cornerstone (£18.99). To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply.Hannah Murray will be in conversation with Jessie Cave at Kings Place in London on 5 June.

The Unlikely Inspiration A family comedy starring Kristen Stewart and Corbin Bleu sparked a thirst for adventure in a young girl, leading her to pursue a life she never thought possible. A Life-Changing Film The 2004 film 'Catch That Kid' tells the story of three kids who rob a bank to pay for Stewart's father's expensive surgery. The film's successful heist and the trio's escape on go-karts left a lasting impression on the young girl. A Journey of Self-Discovery The girl's fascination with the film led her to declare that she would become the first black, female, Muslim Formula One driver. Although she couldn't afford to pursue this dream, she studied mechanical engineering and eventually landed a job on a remote oil rig. The Allure of Oil Rigs The woman was drawn to the adventure and technical challenges of working on oil rigs. She worked as a measurement while drilling (MWD) specialist and drilling engineer, often in demanding conditions. A New Chapter Although she eventually left the oil rigs to become a writer, she remains grateful to Kristen Stewart and her co-stars for inspiring her to take a path she never would have considered otherwise.

Lead: A Bold Fusion of Realism and HorrorClaire Fuller returns with Hunger and Thirst, a novel that fuses the gritty texture of social realism with the unsettling atmosphere of gothic horror. Set in 1987, the story follows Ursula, a young woman haunted by the deaths of her mother and a later, more sinister companion, while the narrative oscillates between documentary‑style observation and nightmarish spectacle.Fuller Blends Social Realism with Gothic Horror in 'Hunger and Thirst'The novel opens with Ursula’s traumatic childhood—spending two days trapped in a Moroccan bathroom by her mother’s corpse after a dengue fever death. By sixteen, she drifts through seven children’s homes before landing a postroom job at Winchester School of Art, where she meets the volatile Sue and her boyfriend Vince. Their obsession with horror films like The Shining and The Stepford Wives steers the plot toward a derelict house, the Underwood, where a seance and a reenactment of a past murder blur the line between art and atrocity. Fuller’s prose captures the “porousness” of identity, as characters literally and figuratively inhabit each other’s bodies.Publication Details and PricingPublisher: Fig TreeRelease price: £18.99Publication year: 2026Previous award: Fuller’s 2021 Costa‑winning Unsettled GroundSocial Critique of Thatcher‑Era Care System Through HorrorThe novel uses its horror framework to expose the under‑resourced British care system of the 1980s, a period when Thatcher’s government prioritized nuclear families over community support. Ursula’s movement between children’s homes and a “halfway house” populated by addicts and ex‑prisoners illustrates the systemic neglect that left many youths adrift. By juxtaposing this social critique with visceral horror, Fuller argues that the genre can convey truths about societal failure more starkly than conventional realism.Potential Legacy and Reader ReceptionFuller’s “outrageous aesthetic gamble” may set a new benchmark for literary horror that does not sacrifice social urgency. If readers and critics embrace the novel’s dual narrative—documentary‑style observation paired with gothic terror—it could inspire a wave of fiction that treats horror as a vehicle for political commentary. The book’s blend of “intense feeling” and “intimate portrayal” positions it as a contender for future literary awards and a touchstone for authors exploring the intersection of genre and social critique.

The Rise of Trash Pop In 2026, a new generation of female pop stars is defying expectations of being vessels of order and stability. Instead, they're embracing a hedonistic, feral aesthetic, characterized by brash electronic pop, shameless lyrics, and anarchic sexuality. The New Wave of Trash Pop Artists like Slayyyter, Kim Petras, Cobrah, Demi Lovato, Snow Strippers' Tatiana Schwaninger, Tove Lo, and Kesha are leading the charge. Their music and style are a deliberate rejection of the traditional feminine ideal. Slayyyter, for example, describes herself as a "too drunk, trashy St Louis girl" with a carefree attitude. The Cultural Context This movement is not happening in a vacuum. It's a response to the pressures of modern life, including the climate crisis, AI, and war. According to Ione Gamble, editor of The Polyester Book of (Bad) Taste, "Part of this feels like an extension of post-lockdown nihilism. Things are so bad in a political context that we may as well have fun." The Rejection of Respectability This new wave of artists is rejecting the pressure to conform to traditional notions of femininity. Tove Lo, 38, says, "The older I get, the more intense the pressure gets around being a 'good woman,' and that mould feels so boring. There's a confidence in not doing everything perfectly." The Influence of Electroclash and Indie Sleaze The trash-pop sound is influenced by electroclash and indie sleaze, with artists drawing inspiration from the raw, unapologetic energy of the early 2000s. Charli XCX's album Brat has been cited as a key influence, with its hedonistic club energy and infectious beats. The LGBTQ+ Connection The trash-pop movement has long been popular within the LGBTQ+ community, with artists like Slayyyter, Petras, and Ayesha Erotica leading the way. The genre's emphasis on self-expression and rebellion has resonated with fans who feel marginalized or oppressed. The Future of Pop As the music industry continues to evolve, it's clear that trash pop is here to stay. With its unapologetic energy and infectious beats, this new wave of female artists is redefining what it means to be a pop star. The question is, what's next for this genre, and how will it continue to influence the music industry?

The Lead: A Bold Re‑imagining of Garland’s Final YearsThe Guardian’s review opens by noting that Drag Race star Jinkx Monsoon brings her celebrated Judy Garland impersonation to a new narrative context—a love triangle set in 1960s London. The revival of Peter Quilter’s 2005 play shifts focus from Garland’s early exploitation to her later struggles with addiction and a fraught personal life.The Production’s Narrative Twist: Love, Addiction, and Queer IconographyMonsoon’s Garland is caught between steadfast pianist Anthony (Adam Filipe) and opportunistic suitor Mickey (Jacob Dudman).The script juxtaposes private hotel scenes with public performances at Talk of the Town, highlighting the clash between fame and personal decay.Queer themes surface through Anthony’s admiration and Mickey’s homophobic contempt, underscoring Garland’s status as a queer icon.Musical Direction and Visual Design: Orchestrating EmotionMusic direction by Nick Barstow and arrangements by Leo Munby anchor the drama, with Garland’s torch songs—"Just in Time" and "You Made Me Love You"—serving as emotional pivots.Designer Jasmine Swan creates a stark white‑curtain stage, while lighting designer Prema Mehta introduces a Technicolor‑inspired transition that mirrors Garland’s cinematic legacy.Critical Reception: Performance Nuances and Structural FlawsMonsoon’s vocal performance is praised for its dynamic range, capturing both triumph and fragility.The review notes repetitive hotel scenes that, while authentic to addiction’s grind, can feel grindingly static.Supporting characters are deemed functional, serving more as narrative devices than fully fleshed personalities.Future Outlook: Potential for a One‑Woman ShowcaseThe critic suggests that Monsoon’s talent hints at a possible solo rendition of Garland’s story, which could amplify the intimate connection she already establishes with the audience. The show runs at Soho Theatre Walthamstow until 21 June, offering theatre‑goers a chance to experience this layered homage before any further developments.

Executive Summary: Tui Withdraws Sponsorship Following Panorama RevelationsThe travel giant Tui announced it will no longer sponsor the reality series Married at First Sight on Channel 4 after a BBC Panorama investigation exposed allegations of rape and sexual misconduct involving on‑screen couples. The decision was communicated alongside statements from Channel 4 and regulator Ofcom, underscoring the reputational risk for brands linked to such programming.What Triggered the Sponsorship Termination?Panorama aired a documentary detailing claims by two anonymous women that they were raped by their on‑screen husbands, and a third woman, Shona Manderson, alleging sexual misconduct.All accused men have denied the allegations.Tui UK and Ireland cited the broadcast and subsequent discussions with Channel 4 as the basis for ending the partnership.Financial Implications of Ending the DealWhile the exact value of Tui’s sponsorship was not disclosed, industry analysts estimate that high‑profile reality‑TV sponsorships in the UK can range from £1‑2 million per season. By pulling out, Tui avoids potential negative brand association costs, which could exceed the sponsorship fee if consumer backlash intensifies. Conversely, the loss of exposure may affect short‑term marketing ROI, especially in the competitive travel market.Industry‑Wide Repercussions for Reality‑TV PartnershipsThe incident adds pressure on broadcasters and advertisers to scrutinise the ethical standards of reality formats. Ofcom chief executive Melanie Dawes signalled willingness to tighten guidance on participant welfare, which could lead to stricter compliance requirements and higher production costs. Brands may increasingly demand contractual safeguards, such as audit clauses and rapid response protocols, before committing to similar shows.Looking Ahead: How Brands May Navigate Controversial ContentExperts predict a shift toward more cautious sponsorship strategies, with companies favoring content that aligns closely with their corporate values. Future partnerships are likely to include explicit clauses for immediate termination in the event of serious allegations, and greater involvement in content oversight. For broadcasters, the challenge will be balancing audience demand for sensational reality TV with heightened regulatory scrutiny and sponsor expectations.