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A projected ocean backdrop bathed the Hollywood High School auditorium in sunset hues as Mitski opened her five‑night residency, delivering a performance of “Dead Women” from her latest album Nothing’s About to Happen to Me. The stage, arranged like a cozy living room with a writing desk, chaise lounge and warm lamps, amplified the DIY‑style intimacy the artist sought.Addressing the crowd, Mitski quipped, “It’s dark in here – no one can see you. You can cry,” a line that resonated with the mixed‑age audience, prompting genuine emotional responses.The residency coincided with an innovative attendance challenge: students who maintained perfect attendance for two weeks were entered into a raffle for tickets. School staffer Michael Reagan called it “the most effective attendance drive in the district’s recent history.”Beyond the music, Mitski’s agreement to cover the venue’s rental fee will fund caps and gowns for graduating seniors, while she pledged to donate $2 from each ticket to a local youth‑focused music‑education nonprofit.The event attracted students from across Los Angeles and beyond. One senior, Sophia Barrios, traveled by train from the Central Valley after receiving tickets for her 18th birthday, praising Mitski’s genre‑spanning sound and personal lyrics. Fellow attendees echoed the sentiment, noting how the artist’s words gave voice to feelings they struggled to articulate.Former alumna Jessica Torres Vicente, now a therapist, described the experience as “a healthier dose of memory lane,” recalling the unchanged gold‑lettered welcome sign and vintage school‑production posters that still adorn the auditorium.Mitski’s decision to perform in a high‑school setting harks back to the venue’s history of hosting notable acts, such as Morrissey in 2013, and reflects her desire to recapture the raw connection of early‑career punk and DIY shows.The concert retained the hallmarks of a Mitski show—precise, balletic movement, immersive visuals, and a sound that enveloped the crowd—while the unique setting left an indelible impression. When she sang “Two Slow Dancers,” the audience shouted back, “Yes!” in unison, underscoring the shared intimacy of the night.

Xavier Giannoli's latest film, 'Rays and Shadows,' has ignited a firestorm of controversy in France with its portrayal of Jean Luchaire, a French journalist and press baron who collaborated with the Nazis during World War II. The film, told from the perspective of Luchaire's daughter Corinne, a former actress known as 'the new Garbo,' delves into the moral compromises and betrayals of occupied France.The film's depiction of Luchaire as a disillusioned spendthrift rather than a diehard ideologue has sparked criticism from left-leaning critics, who argue that it relativizes the actions of those who willingly served the Nazi killing machine. Historian Laurent Joly also questions the film's portrayal of Luchaire, suggesting that his path to collaboration was driven by amorality and venality rather than pacifism.Despite the controversy, the film has drawn over 300,000 spectators in its opening week in France, sparking important discussions about the Vichy period and the complexities of human behavior during times of war. Giannoli's goal was to strike a balance between fascination and indignation, and to explore the traps that a human being can fall into when faced with difficult choices.

PSV Eindhoven were crowned Dutch champions for the 27th time on Sunday, with five matches left in the season. This came after second-placed Feyenoord drew 0-0 with Volendam. The Eindhoven-based team bounced back from successive defeats with a 4-3 victory against Utrecht on Saturday, solidifying their position at the top of the table with a 17-point lead. Under the management of Peter Bosz, PSV quickly took control of the title race this season, dropping just four points before the winter break. This victory marks their third successive title for the first time since 2008. Feyenoord, the previous champions in 2023 under Arne Slot, now managing at Liverpool, were unable to catch up. Meanwhile, Dutch giants Ajax, who sit fifth this season, have gone four years without lifting the trophy. PSV's latest title guarantees them a place in the Champions League league phase next season.

Iran carried out the execution of Abolhassan Montazer and Vahid Baniamerian on Saturday morning, following a Supreme Court ruling that confirmed their death sentences for membership in the outlawed People’s Mojahedin Organization of Iran (PMOI/MEK) and involvement in "armed rebellion" through multiple terrorist acts. The two men were hanged after a Revolutionary Court sentenced them in late 2024, a case that underscores Tehran's intensified crackdown on dissent amid the US‑Israeli war on Iran that began on February 28. This latest execution follows the hanging of four other PMOI members—Mohammad Taghavi, Akbar Daneshvarkar, Babak Alipour and Pouya Ghobadi—on March 30‑31, bringing the total number of executed opposition figures to six since the conflict escalated. The PMOI condemned the hangings in an April 2 statement, labeling Tehran's actions a "futile" attempt to suppress opposition and warning that such brutality will only fuel the resolve of Iran’s youth to challenge the regime. Human‑rights groups have also decried the executions. Amnesty International reported that the men were allegedly tortured while in custody and transferred to an undisclosed location shortly before their deaths. The organization warned that additional protesters—some sentenced to death for participation in the January anti‑government demonstrations—could face execution after being moved from Ghezel Hesar prison. Amnesty’s deputy regional director for the Middle East and North Africa, Diana Eltahawy, said, "It is unconscionable that even as the population endures mass bereavement from aerial bombardments, the Islamic Republic continues to weaponize the death penalty to eradicate dissenting voices and terrorise its people." The wave of hangings also includes the case of Kouroush Keyvani, a dual Iranian‑Swedish national convicted of spying for Israel, whose execution sparked outrage in Stockholm and the European Union. Another individual convicted of acting on behalf of Israel and the United States during the protests was executed on Thursday. These developments occur against a backdrop of intensified military confrontations, with Iran reporting the downing of U.S. aircraft and ongoing aerial bombardments by Israel and the United States, further complicating the nation’s internal security landscape. International observers warn that the continued use of capital punishment as a tool of political repression not only violates human‑rights norms but also risks deepening regional instability as the war persists.

An Iranian missile attack has reportedly hit residential districts in central Israel, according to the latest reports. The strike targeted civilian areas, prompting immediate emergency responses and heightening diplomatic tensions across the Middle East.Authorities are assessing the damage and potential casualties, while regional leaders condemn the incident and call for restraint to prevent further escalation.

Leeds United travel to West Ham for an FA Cup quarter‑final that both clubs would prefer to avoid, yet manager Daniel Farke is clear about his priorities. With an MA in economics and a diploma in sporting directorship, he stresses that Premier League survival is the club’s "bread and butter" and must come first.Off the pitch, the German‑born coach unwinds by immersing himself in literary fiction, counting Gabriel García Márquez’s One Hundred Years of Solitude among his favourites.Farke’s dual role as a tactician and a storyteller raises the question of whether he can engineer a season that delivers both survival and cup glory. A successful double could make it hard for the Elland Road hierarchy to deny him the new contract he desires."I’m a big believer in cup competitions," Farke said, emphasizing that Leeds will approach the West Ham tie "very, very seriously". He added that the squad will start strong unless a player shows a physical issue, in which case they will be protected.The risk of fielding a first‑choice XI against a relegation rival mirrors the 2013 Wigan experience, when the club won the FA Cup but suffered relegation three days later – a bittersweet double that highlighted the fine line between triumph and disaster.Leeds have failed to win any of their last six Premier League matches, drawing four, a run that has stalled momentum. A victory could act as a catalyst to change the narrative as the season draws to a close.Injury concerns loom over striker Dominic Calvert‑Lewin, who is undergoing a hamstring scan. The England international, who netted seven goals in six games at the end of 2025, has managed only two league goals this season. A fit Calvert‑Lewin could revive Leeds’ hopes of reaching their first FA Cup semi‑final since 1987 and keep his World Cup aspirations alive.The goalkeeping position also remains unsettled. After losing his starting spot to Karl Darlow, Lucas Perri has featured solely in the FA Cup this year, leaving the decision on who starts for the West Ham tie open.Financial pressures add urgency to Farke’s decisions. Leeds’ latest accounts reveal a £49.2 million pre‑tax loss for the year ending June 2025, and a costly stadium expansion project that would be jeopardised by relegation. This backdrop explains the psychological blow of a 1‑0 loss to an under‑strength Sunderland side earlier in the month.Farke believes a deep FA Cup run could erase lingering self‑doubt. "If we secure Premier League survival and go further in the FA Cup, we can write a special chapter for this club," he said, urging his squad to seize the chance to make history.

Former Iranian foreign minister Mohammad Javad Zarif urged Tehran to declare victory and pursue a diplomatic settlement after a rapid escalation of hostilities between Washington and Tehran. U.S. President Donald Trump warned that the U.S. military has not even started dismantling what remains of Iran’s infrastructure, a statement made in the wake of a strike that demolished the country’s largest bridge. In retaliation, Iran’s armed forces cautioned that they would destroy U.S. regional assets if the United States and Israel intensify their attacks, signaling a willingness to broaden the conflict. Tehran’s latest wave of strikes hit a desalination plant in Kuwait and the Habshan gas facility in the United Arab Emirates, extending the battlefield across the Gulf region. Analysts interpret Zarif’s call for a victory proclamation as a strategic pivot toward seeking a negotiated deal, even as military rhetoric on both sides remains fierce.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

Alan Cumming’s latest theatrical venture – The High Life: The Musical, Still Living It! – bursts onto the stage as a gleeful, pantomime‑style extension of the cult 1994 TV sitcom. Co‑written by series creator Johnny McKnight alongside Alan Cumming and Forbes Masson, the production is deliberately overloaded with jokes, ranging from references to Andrew Mountbatten‑Windsor to a tongue‑in‑cheek nod to Sheena Easton. The show’s panto DNA runs deep. Audiences are addressed directly, invited to sing along, and treated to an underwater neon‑tube dance. The set, a whimsical take on a Brigadoon‑style hotel, features tartan wallpaper designed by Colin Richmond, a life‑size dog, and multiple costume changes that heighten the spectacle. Returning to the stage, Cumming reprises the role of flight attendant Sebastian Flight, while Masson appears as his counterpart Steve McCracken. They are joined by a “legacy cast” that includes Siobhan Redmond as the exacting supervisor Shona Spurtle and Patrick Ryecart delivering a delightfully unhinged performance as Captain Hilary Duff. Supporting them are high‑energy performers Rachael Kendall Brown, Louise McCarthy and Kyle Gardiner, who navigate Masson’s clever, rhyming songs that swing from Broadway flair to Eurovision sparkle. Beyond the slapstick plot – a cartoonish battle over the fictional airline Air Scotia and a detour to the “Lower Largo Triangle” – the musical hints at deeper questions about ageing, national identity and the need for cultural renewal, echoing themes raised in earlier Scottish adaptations. Directed by Andrew Panton, the production is a joint effort between Dundee Rep and the National Theatre of Scotland. It runs at Dundee Rep until 4 April before embarking on a UK tour that concludes on 23 May. In the end, the show is less a philosophical treatise and more a big, joyous laugh‑fest that celebrates the spirit of pantomime.