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The LeadLast week came the news that Gen Z are big fans of going to the cinema. Now here's a Gen Z romcom from Working Title, the company behind Bridget Jones's Diary and Notting Hill. Directed by Alicia MacDonald from a script by Rachel Hirons, Finding Emily shares DNA with Richard Curtis's comedies – the same warm heart and charm, plus levels of cheesiness that some may find cringe. In the end, I found it impossible to hate, though one or two performances felt a bit lacking in comic flair.The Campus Romance UnfoldsIt's set in Manchester, where indie singer-songwriter Owen (Spike Fearn) meets undergraduate Emily (Sadie Soverall) at the student union. They click, but when Emily taps her number into his phone, she misses out a digit. Is it a drunken error, or has she wrong-numbered him? Owen is convinced it's a mistake and sticks up posters around campus to find her. After a tipoff, he waits outside a lecture hall for psychology student Emily (Angourie Rice). She's American, and not his Emily, but she offers to help, suggesting Owen emails every Emily enrolled at the university – all 318 of them. Owen accidentally sends the email to all rather than BCCing, creating an email group of Emilies who are divided in their reactions. Is he some kind of creepy virgin "incel"? Or a diehard romantic? Owen becomes a meme: "email guy".Social Media SatireSome of the funniest scenes are the reactions on social media after Owen appears on a college YouTube channel with a guitar playing a song he wrote for Emily. "It's like Ed Sheeran on Crimewatch," someone writes. Another coins the hashtag #ratboysummer. This is a very gentle, light-touch send-up of campus culture wars and social media pile-ons. In fact, psychology student Emily has an ulterior motive for helping Owen: she wants to use him as a case study for her thesis that being in love is temporary insanity. "He is just data," she says, protesting too much.Supporting Characters and PerformancesBut, like in Curtis's films, the supporting characters are the most fun. Prasanna Puwanarajah is very funny as Emily's professor, a celebrity psychologist with a rampant ego. Distractingly, Owen is the spitting image of the young Liam Gallagher and at certain angles, Rice's Emily is a dead ringer for Taylor Swift. In a couple of scenes of them together, the effect is plain weird.Release TimelineFinding Emily is out on 21 May in Australia, on 22 May in the UK and on 28 August in the US. The film's release strategy appears to be targeting international markets sequentially, with the UK release following closely after Australia but before the US market.

Alexander Zeldin’s latest work, ‘Care’, opens at the Young Vic and immediately immerses the audience in a locked‑down dementia ward where the invisible lives of the elderly surface with stark clarity. Through characters such as Joan (played by Linda Bassett) and the compassionate carer Hazel (Llewella Gideon), the play interrogates autonomy, love, and institutional neglect.Zeldin’s ‘Care’ Puts Dementia Front‑and‑Centre on the Young Vic StageThe opening scene captures Joan’s disorientation, while her daughter Lynn (Rosie Cavaliero) and grieving sons struggle to bridge the widening emotional gap. Supporting residents—Agnes, Paula, and the Beckett‑like John—populate the ward with fragmented memories that oscillate between humor and profound sorrow. Set designer Rosanna Vize creates a dank, institutional atmosphere that underscores the play’s thematic weight.Critical Reception and Audience ResponseCritics praise the “gruelling, intense and true” performances, especially Bassett’s portrayal of a woman clinging to fleeting autonomy.Audience reactions range from uneasy laughter at confused dialogue to palpable silence during the hug between Joan and John, highlighting the play’s emotional volatility.The production runs until 11 July, indicating strong box‑office demand for a socially charged drama.Why ‘Care’ Challenges Societal Views on Elder CareBeyond personal stories, the play subtly exposes systemic issues: chronic understaffing, the slow passage of days, and the emotional toll on both residents and carers. By juxtaposing moments of accidental humour with stark loneliness, Zeldin forces a reassessment of how society values its oldest members and the responsibility of care institutions.Future Outlook: Dementia Stories on the British Stage‘Care’ may signal a shift toward more honest, medically informed narratives about ageing in theatre, encouraging playwrights to tackle dementia without sentimentality. As audiences respond to its raw honesty, producers are likely to commission further works that blend artistic expression with social advocacy, potentially influencing policy discussions around elder care.

Sardar Azmoun, Iran's second‑leading scorer, posted an emotional message on social media after being left out of coach Amir Ghalenoei's preliminary World Cup 2026 squad, declaring his unwavering love for his country and wishing the team success.Azmoun’s Heartfelt Social Media Message Amid Squad OmissionThe 31‑year‑old striker wrote that many misunderstandings have led to premature judgments about him, referencing earlier accusations of disloyalty after a photo with Dubai’s ruler. He emphasized his pride in representing Iran, his Turkmen heritage, and his commitment to the fans, especially children in remote towns.Statistical Snapshot: Azmoun’s International Record57 goals in 91 appearances for IranPart of Iran’s last two World Cup finals squadsSecond‑leading scorer in the nation’s historyThese numbers underscore his on‑field importance despite the current exclusion.Potential Ripple Effects on Iran’s World Cup CampaignAzmoun’s public affirmation may bolster fan morale and counteract narratives of disloyalty that have circulated in Iranian media. However, his absence could affect the attacking depth of a squad that will face New Zealand, Belgium, and Egypt in the United States, placing greater pressure on forwards like Mehdi Taremi.What Lies Ahead for Team Melli and AzmounTeam Melli continues its preparation at a training camp in Turkey, with travel to the U.S. slated for early June. While Azmoun remains sidelined for the tournament, his message may influence future selection decisions and highlights the broader conversation about ethnic minorities and national identity in Iranian sport.

The Symbolic SummitThe hopes and dreams of Palestinian children from Gaza have reached the top of the world as a kite bearing their handwritten messages was carried to the summit of Mount Everest by a team of mountaineers. The group summited the world's highest peak at 10:48am local time (05:03 GMT) on Thursday, Jordanian Palestinian mountaineer Mostafa Salameh, who was spearheading the expedition but did not summit, confirmed in a social media post.The Humanitarian MissionA team of Nepali Sherpas – led by Italian filmmaker and explorer Leonardo Avezzano – carried the kite to ensure that the dreams of children in the besieged Strip could make it "to the top of the world", Salameh told Al Jazeera from the Everest base camp last week. The 56-year-old climber launched this expedition to raise $10m towards medical aid for children in the Strip and draw global attention towards the difficulties they have faced during the Israeli genocide in Gaza.A Personal Connection to Palestine"After months of preparation, sacrifice, training, fear, hope, prayers, and carrying the weight of a message much bigger than themselves… the kite carrying the dreams of the children of Gaza is now flying above the highest point on Earth," Salameh said in a video posted to Instagram. "From the rubble and pain of Gaza … to the roof of the world. A dream refused to die," he wrote in the caption.The Climbers' JourneySalameh, who has previously summited Everest, stayed at the first base camp due to frostbite and a blood clot in his left hand. "Tonight, at 8,848 metres (29,029 feet) in the death zone where every step feels like a battle between life and exhaustion, Leonardo carried that kite with courage, heart, and purpose," Salameh added. "I am so proud of my brother Leonardo for believing in this mission and for carrying the voices, names, hopes, and dreams of children who deserve to be seen by the world."The Explorer's LegacySalameh is one of 20 people to have completed the Explorer's Slam – the accomplishment of reaching the North and South poles and climbing the highest peaks on all seven continents. He has summited Everest four times, the first being in 2008, the year he was honoured with knighthood by King Abdullah II of Jordan. "What I do best is climb mountains," he told Al Jazeera in an interview last week from the base camp. "I did promise lots of people in my life not to go back to Everest, but this is worth it. As a mountaineer, what I can do is bring the story and suffering of every Palestinian child all the way to the top of the world."From Darkness to LightSalameh acknowledged the immense risks – including death – that come with scaling Mount Everest at 8,000 metres with only 15 percent oxygen, but insisted it was "absolutely nothing" compared with what the Palestinians in Gaza have endured. "This time is very personal for me," Salameh said in another video. "This one hits home for the child in me, because I know what it feels like to be a child at a refugee camp, and I feel for the children of Gaza and what they go through."The Path ForwardSalameh said the "mission [was] not accomplished yet" since summiting Everest was only the halfway point; returning to base camp safely was the next goal for Leonardo and his team. "Tonight, the kite flies above Everest; tonight, the dreams of Gaza touched the sky," Salameh said, ending the video with a chant of "Free, Free Palestine". He emphasised that the summit was not only about climbing a mountain but about humanity, hope, and proving that "even from darkness, something beautiful can still rise into the sky."

Executive Summary: A Block of Empty Flats and Unyielding TenantsIn a striking illustration of the UK housing crunch, a 20‑storey tower block in London has 164 of its homes sealed off while a small group of residents continues to occupy their units. The council’s attempts to clear the building have met with legal challenges and community push‑back, raising questions about how authorities manage vacant social housing.The Block’s Current State: 164 Boarded‑Up Units and a Few HoldoutsLocation: South‑East London, council‑owned tower block built in the 1970s.Vacancy: 164 apartments boarded up after safety inspections deemed the building uninhabitable.Occupancy: Approximately 8 residents remain, many of whom have lived there for over 30 years.Council Action: Issued eviction notices, scheduled compulsory purchase, and commissioned structural repairs.Financial Implications: Cost of Vacancy and Potential RevenueEstimated repair cost: £12 million to bring the building up to current safety standards.Annual loss of rental income: £1.8 million from the vacant units.Projected market value after refurbishment: £25 million, offering a potential return on investment for the council.Broader Impact: What This Standoff Says About London’s Housing LandscapeThe situation underscores several systemic challenges: the difficulty of repurposing large blocks of social housing, the legal protections afforded to long‑term tenants, and the social cost of leaving entire communities in limbo. It also fuels debate over whether councils should prioritize demolition, refurbishment, or conversion to mixed‑use developments.Looking Ahead: Possible Scenarios for the Tower BlockFull refurbishment: Council secures funding, completes safety upgrades, and re‑lets the apartments, restoring revenue.Partial demolition: Unviable sections are demolished, with remaining parts converted to affordable micro‑units.Continued stalemate: Legal battles prolong vacancy, increasing costs and eroding community cohesion.Stakeholders—including residents, housing advocates, and local officials—are expected to convene a public inquiry within the next six months to decide the block’s fate.

Why “Hen” Stands Out in Contemporary Animal‑Centric CinemaThe Guardian’s review frames Hen as a rare mainstream entry from director György Pálfi, whose oeuvre usually leans toward avant‑garde pastiche. In a market saturated with CGI‑heavy animal protagonists, the film’s reliance on real poultry and a trained fox gives it an authentic, almost documentary texture while delivering a surprisingly uplifting survival narrative.György Pálfi’s Unconventional Storytelling in “Hen”Pálfi, known for works like Final Cut: Ladies and Gentlemen and Taxidermia, applies his surrealist‑formalism to a plot that follows a hen from a Greek battery farm to a rundown seaside restaurant. Key storytelling beats include:Escape from a battery farm where the hen is a lone black speck among yellow chicks.Near‑death encounter with a trucker planning to turn her into dinner.Chase by a real trained fox that ends in a classic “cross‑the‑road” moment.Co‑habitation with an elderly restaurateur (Yannis Kokiasmenos) and exposure to human trafficking subplot.The film balances dark themes—human trafficking, animal cruelty—with a light tonal touch, avoiding overt anthropomorphism.Box‑Office and Distribution SnapshotWhile specific revenue figures are not disclosed, the review notes the film’s release schedule:UK and Irish cinemas from 22 May 2026.Limited theatrical run, typical for art‑house European titles.Given the niche appeal and festival‑circuit pedigree, expectations center on critical acclaim rather than blockbuster returns.What the Film Says About Human Exploitation and Animal AgencyBeyond its quirky premise, Hen mirrors human suffering through animal experience. The hen’s survival instincts parallel the plight of refugees hidden in the restaurant’s dark rooms, underscoring a thematic link between animal and human exploitation. The film’s disclaimer—no animals were harmed—reinforces a humane production ethic that resonates with contemporary audience sensitivities.Future Prospects for Animal‑Led Narratives in European FilmThe positive critical response suggests a growing appetite for stories that place animals at the narrative core without resorting to CGI. Pálfi’s success may encourage more European directors to explore:Real‑animal training techniques to achieve authentic performances.Hybrid storytelling that blends social commentary with animal perspectives.Distribution strategies targeting art‑house circuits and streaming platforms seeking distinctive content.If the trend continues, we can anticipate a richer, more diverse slate of animal‑centric films that challenge both cinematic form and ethical storytelling.

Lead: Reeves' Rapid Response to a Petrol Station HecklerA short video released on social media shows Rachel Reeves being challenged by a passer‑by at a petrol station and delivering a pointed reply. The footage quickly amassed thousands of views, sparking debate about the Labour Party's messaging and the personal resilience of its front‑benchers.Heckler Confrontation at a Petrol StationLocation: A service station on the outskirts of London, captured on a weekday morning.Incident: A driver shouted a criticism of Labour's energy policy; Reeves responded with a concise rebuttal emphasizing the party's commitment to affordable fuel.Aftermath: The exchange was recorded by a by‑stander, uploaded to YouTube, and shared across Twitter and TikTok.Polling Snapshot After the IncidentRecent YouGov and Ipsos polls released earlier this week show Labour's national support hovering in the low‑30 % range, with no significant swing detected since the video’s circulation. Analysts note that while the clip generated a spike in social media engagement, it has not yet translated into measurable changes in voter intention.Political Ramifications for Labour and the OppositionThe incident underscores the heightened scrutiny of Labour front‑benchers as the election campaign intensifies. Rachel Reeves's composure is being framed by the party as evidence of readiness for leadership, while opponents argue the exchange highlights perceived disconnects over energy costs.Labour's narrative: Positioning the party as proactive on fuel affordability.Conservative response: Critics claim the rebuttal sidesteps deeper policy details.Media coverage: Broad coverage across UK outlets, amplifying the story beyond the original video.What Comes Next for Reeves and the Election CampaignPolitical strategists expect Rachel Reeves to leverage the moment in upcoming town‑hall meetings, using the footage to illustrate her willingness to engage directly with voters. The Labour leadership is likely to incorporate the clip into broader campaign advertising, while the Conservatives may seek counter‑messages focusing on long‑term energy strategy.

The Chancellor's Composure Amidst Political HecklingDuring a broadcast interview at a Leeds petrol station where she announced the scrapping of a planned fuel duty rise, Chancellor Rachel Reeves demonstrated remarkable composure when confronted by a foul-mouthed heckler. The incident, which quickly gained attention across political divides, showcased Reeves' commitment to maintaining civility in public discourse even when faced with aggressive opposition.The Heckling Incident: A Display of Political FrustrationThe heckler, identified as a Reform UK supporter, approached the chancellor while shouting expletives and demanding that Keir Starmer be "fucking out." As he left in his van adorned with St George's flags, he continued his tirade, questioning whether displaying English flags would lead to arrest and repeatedly denouncing the Labour government as "useless." Despite the aggressive nature of the confrontation, Reeves maintained her composure, responding with a firm but measured statement about the importance of good manners in British society.Unexpected Political Alliances Form Around DecorumWhat made this incident particularly noteworthy was the unexpected cross-party agreement on the importance of civil discourse. Conservative politicians including shadow chancellor Mel Stride and Tory peer Daniel Hannan publicly defended Reeves' response, emphasizing that political discourse should remain civil and polite. Stride specifically stated that "civility matters in politics and if we stop policing the boundaries, things slide very quickly," while Hannan commended Reeves for not tolerating such behavior.Political Divides Emerge Over Heckler's BehaviorThe incident highlighted deepening political divides, with Reform UK members taking a markedly different stance. Party leader Nigel Farage appeared to endorse the heckler's behavior, posting on social media that he'd "like to buy this man a pint" and asking how to find him. Reform spokesperson Robert Jenrick claimed the man "sounds British to me" and criticized Reeves for "rarely leaving her bunker in Westminster." Home affairs spokesperson Zia Yusuf went even further, offering the heckler a peerage for his "outstanding public service."The Future of Political Discourse in BritainThis incident reflects broader tensions in British political discourse, where increasingly aggressive confrontations are becoming more common. The fact that even Conservative politicians are defending the importance of civility suggests a growing concern about the tone of political debate. As the next election approaches, the ability of political leaders to maintain composure while facing public criticism may become an increasingly important factor in how voters perceive their temperament and suitability for office.

The Gritty Evolution of British Skateboarding A new photographic collection from The Guardian documents the raw and authentic evolution of UK skateboarding during the 1980s and 1990s. Unlike the polished American skate scene that dominated media at the time, British skate culture developed its own distinct identity characterized by rougher conditions, DIY ethics, and a unique social commentary through the lens of camera lenses. Documenting the Underground Movement The photography collection showcases how British skateboarders adapted to their urban environment, transforming mundane architectural elements into creative skate spots. With fewer dedicated skate parks compared to the US, UK skaters developed innovative techniques to navigate stairs, handrails, and other urban obstacles, creating a style that was both technically impressive and contextually unique to British surroundings. A Visual Contrast with American Skate Culture While American skateboarding of the era often presented a more commercialized and aspirational image, the UK scene captured in these photographs reveals a more authentic, working-class aesthetic. The images depict skaters in everyday locations, often in less-than-ideal conditions, highlighting the movement's roots in counter-culture and rebellion rather than corporate sponsorship. The Social Fabric of Skate Communities Beyond the technical aspects of skateboarding, the photographs reveal the tight-knit communities that formed around the sport in British towns and cities. These images capture not just the act of skateboarding itself, but the social dynamics, fashion, and music that surrounded the scene, providing a comprehensive cultural snapshot of a generation finding its identity through alternative sports. Legacy and Influence on Modern Skateboarding The influence of this gritty UK skate aesthetic can still be seen in contemporary skate culture, particularly in the emphasis on street skating and creative use of urban environments. As skateboarding continues to evolve, these historical photographs serve as an important reminder of the sport's authentic roots and the unique cultural contributions of the UK scene during its formative decades.