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The Dreamed Adventure debuted at the Cannes Film Festival, delivering a beautiful but deliberately opaque look at Bulgaria’s mountainous past and present. Director Valeska Grisebach blends archaeological intrigue with lingering war memories, leaving viewers to piece together meaning from atmospheric detail.Grisebach’s Opaque Bulgarian Drama Premieres at CannesThe film follows Veska (played by Yana Radeva), an archaeologist who uncovers more than ancient artifacts when an old acquaintance, Saïd, reappears with a shady diesel‑fuel deal. Set in the remote town of Matochina, the narrative weaves together local folklore, post‑communist decay, and a looming criminal enterprise.Artistic Choices and Narrative AmbiguityGrisebach continues her signature approach of casting non‑professionals for intimate, table‑side conversations that feel organic rather than plot‑driven. While the story adheres loosely to Chekhov’s gun principle, the climax avoids typical arthouse violence, opting instead for an unresolved, dream‑like conclusion that challenges conventional storytelling.Director: Valeska GrisebachLead Actress: Yana RadevaSetting: Matochina, southeast BulgariaFestival Premiere: Cannes Film Festival, May 2026Key Themes: Memory, exploitation, post‑communist transitionPotential Impact on the European Art‑House LandscapeThe film’s visual richness and refusal to provide tidy answers may resonate with festivals and niche audiences seeking contemplative cinema. However, its narrative opacity could limit broader commercial appeal, positioning it more as a critical darling than a box‑office contender.Future Prospects for Distribution and Audience ReceptionGiven its Cannes exposure, The Dreamed Adventure is likely to secure limited releases across European art‑house circuits and streaming platforms that specialize in auteur cinema. Audience reaction will hinge on tolerance for ambiguity; viewers drawn to atmospheric storytelling may champion it, while others may find the lack of clear resolution frustrating.

The Lead: A New Kind of Celebrity Hot SeatThe Assembly brings together a 28‑strong panel of autistic, neurodivergent and learning‑disabled interviewers to grill high‑profile guests for up to three hours. The result is a mix of raw emotion, humour and unexpected intimacy that has quickly become ITV's most talked‑about chatshow. How "The Assembly" Merges Neurodiversity with Celebrity InterviewsThe format, adapted from France’s Les Rencontres du Papotin, opens each episode with a clear rule‑set: no question is off‑limits and every guest must answer honestly. Rylan Clark’s first appearance set the tone with blunt queries like “Are they your real teeth?” and “Did you ever consider having a real suntan?”. Subsequent guests—including Danny Dyer, David Tennant, Jade Thirlwall and Stephen Fry—have faced probing topics ranging from personal trauma to sexual preferences, often leaving them laughing, crying or both. Viewership, Awards and International Roll‑outHalf‑million YouTube views for Danny Dyer’s debut episode, the series’ most‑watched clip.Series nominated for a Bafta and winner of an RTS award.Commissioned in 20 countries across Europe, North America and Australasia.Three‑hour recording windows give guests space for genuine connection, a stark contrast to the typical 10‑minute segment on traditional chatshows. Why the Show Is Shaking Up the Talk‑Show LandscapeBy handing editorial control to neurodivergent interviewers, the programme challenges the “sound‑bite” culture of mainstream TV. Viewers report increased awareness of autism and learning disabilities, while celebrities appreciate the chance to be seen beyond PR‑driven narratives. The blend of entertainment and representation has created a “cult following” that even attracted selfies from Bafta‑winning stars. What’s Next for "The Assembly" and the Wider TV IndustrySeason 2 has already featured Stephen Fry, whose outrageous questions sparked viral moments. Producers hint at future political guests such as Keir Starmer and Tony Blair, and a possible spin‑off with former Scottish First Minister Nicola Sturgeon. If the current trajectory holds, the format could inspire a new wave of inclusive programming, prompting rival broadcasters to experiment with longer‑form, unscripted interviews that prioritize authenticity over commercial sell‑through.

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.

Google has officially joined the glitterati of app icon design, rolling out disco-ball themed icons for Pixel devices in a move that blurs the line between functional UI and digital kitsch. This follows Spotify’s controversial 20th-anniversary icon, which initially drew heavy criticism before evolving into a meme-worthy moment. The Disco Ball Rollout: From Tease to Reality The feature was teased by Android ecosystem head Sameer Samat on X, who asked, "Should we make this icon pack happen on Android?" The answer was a resounding "yes," with the icons now available on Pixel devices via the custom icons feature introduced in March's Pixel Drop. Feature Origin: Part of the "Pixel Drop" update series. Creator: Android head Sameer Samat. Availability: Currently rolling out to Pixel users. Analyzing the "Ugly" Aesthetic: User Sentiment While Spotify's temporary icon sparked complaints about "glitter not being for everyone," Google’s full rollout suggests a shift in consumer tolerance—or preference—for maximalist design. The reaction has been polarized, with users calling it "awful" yet "taking it," indicating a complex emotional response to the change. The Rise of Whimsy in UI Design This move highlights a significant cultural shift in digital aesthetics. As reported by The New York Times, Zillennials are increasingly favoring "whimsical" designs as a playful response to a difficult world. Google’s embrace of the disco ball aligns with this trend, moving away from sterile, uniform iconography toward personalized, expressive interfaces. The Future of App Icon Customization Google isn't the only player in this space; tools like Lovable are already offering disco-ball effects for logos. We predict that as AI-generated design tools become more accessible, the line between "functional app icon" and "digital art" will continue to dissolve, leading to more frequent, bizarre, and highly personalized home screens.

The Grand Slam Protest Aryna Sabalenka, the world's No 1 tennis player, led a group of top players in a protest at the French Open, demanding better pay and welfare for lower-ranked players. The players limited their media duties to 15 minutes, a symbolic figure representing the roughly 15% of average revenue allocated to player prize money by the grand slams. The Players' Demands The players are seeking a greater financial contribution from the grand slams to improve the welfare of lower-ranked players, who struggle to make a living in the tennis world. They also want to create a grand slam player council to give players a greater say in the event. The Protest in Action The top players, including Sabalenka, Jannik Sinner, Iga Swiatek, and Coco Gauff, among others, capped their media duties at 15 minutes, split between a 10-minute press conference and a five-minute interview with the host broadcaster. While some players, like Daniil Medvedev, graciously answered additional questions, others, like Gauff, used a timer to keep to the 10-minute mark. The Impact on the Tennis Community The protest highlights the growing tensions between top players and grand slam organizers over issues of pay and welfare. With the emergence of the LIV tour in golf, tennis players are looking to learn from the fractured nature of golf and find a more unified voice to improve the structure and future of their sport. The Future of Tennis The protest shows that top players are united in their cause, with Medvedev describing it as the most unified he has seen the top players. As tennis continues to evolve, it remains to be seen how the grand slams will respond to the players' demands and whether the sport can find a more equitable solution for all players.

The Fashion Revolution of Pep GuardiolaIn 2016, when Pep Guardiola took his place in the dugout for his first game in charge of Manchester City, the fashion plates in the Premier League included José Mourinho, in a quarter zip and mac at Manchester United and Arsène Wenger, dapper in his suit and unzippable puffer jacket at Arsenal. Guardiola, dressed like an overgrown school boy in v-neck, shirt, tie and blazer, didn't seem as if he was going to be that much of a sartorial threat. But 10 years down the line he is the undisputed champion of dugout style.The Transformation of Managerial FashionGuardiola can be credited as the man to relax the unwritten manager dress code, which swung between wedding-worthy smart suits or club-issued tracksuits. Instead, he chose clothes that worked beyond that small patch of grass managers stand in: blouson jackets, nice brogues, three quarter coat. By 2019, his style was a talking point – and he had a hand in making cardigans a trend for men. He wore a £1200 "lucky" grey knit 30 times in the season Man City won the treble.How Guardiola Redefined Football StyleGuardiola's loosening up continued – he brought sneakers to the dug out, preferring baseball boots by catwalk designer Rick Owens as well as combat-style trousers and Stone Island jackets. If he was increasingly praised for what he wore, in 2022 he credited his then-wife, Cristina Serra, as the person to pick his outfits. "Absolutely, ever since I met her," he told Sky Sports "before I was a disaster, now I'm elegant, thanks to her."When Football Fashion Went ViralWhen Guardiola wore a slacker-style checked shirt by Swedish brand Our Legacy to a Champions League game in March, the look – which GQ described as "cool stoner" – went viral across fashion and football time lines. Some speculated the look was the influence of his Gen Z daughter, others suggested he had hired a stylist. Whatever the backstory, he has followed it up with elegant polo necks and pleated trousers that wouldn't be out of place on the front row of the menswear shows.Guardiola's Fashion Legacy in FootballGuardiola may be saying goodbye to the Premier League but football always needs style champions to show managers – and men - life beyond the quarter zip. His fashion evolution has not only transformed how managers dress but has also influenced broader menswear trends, proving that style and substance can coexist even in the high-pressure world of professional football.

The Growing Rift at Roland GarrosA simmering dispute between players and the Grand Slams over revenue sharing intensified at the French Open, with Novak Djokovic warning the sport risked further fragmentation as leading players pressed for a greater voice in shaping its future. Several players limited their appearances at Friday's traditional pre-tournament media day to 15 minutes and declined additional multi-media interviews in a coordinated display of discontent.Player Demands Beyond Financial ConcernsThe tensions have been building for weeks, but the rhetoric sharpened in Paris, where players, such as Taylor Fritz, insisted that their grievances were not just about "wanting more money". "It's about just wanting what's fair," the American added. "As the tournaments make more money, we obviously want to see the revenue shared back to the players reflect that."Players have pointed to pensions, tournament expansion, scheduling and late-night finishes among the issues fuelling frustration, alongside what several described as a persistent lack of dialogue from organizers. Russian Andrey Rublev painted a picture of a widening disconnect: "When you try to communicate for so many years ... they don't hear you. They don't answer," Rublev said. "When you send the mail in, no one responds to official mail for months."The Financial Divide in TennisWhile top ATP and WTA events redistribute around 22 percent of revenues to players, the Grand Slams are estimated to return closer to 15 percent, a gap that has become a central source of tension. French Open organizers have been arguing that tournament profits fund entire national tennis ecosystems, not just prize money. They are expected to meet player agents on Friday as discussions continue over revenue sharing and player representation.Industry-Wide ImplicationsWorld number one Aryna Sabalenka cast the debate as a struggle on behalf of the sport's lesser lights rather than its leading stars. "It's not about me. It's about the players who's lower in the ranking, who is suffering," she said. "But as the world number one, I feel like I have to stand up and to fight for those players."Djokovic emphasized the broader structural issues facing tennis: "We tend to forget how little is the number of people that live from this sport." He pointed to golf and the divisions caused by the emergence of LIV Golf as a warning for tennis: "Let's learn from that. Let's try to be a bit more united and have a unifying voice into finding better structure and better future for our sport."Path Forward for Tennis GovernanceEven so, players adopted a more cautious tone over the prospect of a boycott after Sabalenka raised the possibility earlier this month in Rome. "I don't know if I want to start throwing around the 'B' word," Fritz said. "It's a really big deal, and I don't think we as players should really make big threats like that unless we're fully ready to do it."French Open tournament director Amelie Mauresmo expressed regret over the reduced media access: "It's always regrettable because media day is an important moment for the tournament, for journalists who come from all over the world and also for the fans through the media coverage," Mauresmo told reporters. "We understand that there are discussions and concerns from the players, but dialogue is always preferable."

The Disco Legend Returns to the SpotlightLost in Music, He's the Greatest Dancer, Thinking of You and We Are Family – many artists would long for just one of these songs at any time in their career, but for Sister Sledge they all appeared on a single side of one of their albums. As she brings these and the rest of the disco group's still-sensational catalogue to the Electric Paradise festival this summer, Kathy Sledge will be joining us to answer your questions.The Rise of Sister SledgeKathy is one of four Sledge sisters along with Debbie, Joni and Kim, who formed the group as children in the mid-1960s, picking up gigs at churches and local events in their home city of Philadelphia as the Sledge Sisters. After flipping the name around, they got a record deal and their first chart success came in the UK in 1973, with the Top 20 hit Mama Never Told Me.The Chic Collaboration That Defined an EraFurther commercial success eluded them for a few years – though that's no reflection on the quality of early disco material such as Pain Reliever – until their label paired them with Chic's Nile Rodgers and Bernard Edwards. Sister Sledge's poise and charisma shone from the aforementioned hits the pair wrote for them, collected on the album We Are Family. The title track reached No 2 in the US and it, along with the others, endure as pinnacles of the disco era.Chart Success Through the DecadesRemixed versions of those songs came back around in 1984 and 1993, each to great success particularly in the UK, though the group's only UK No 1 single was in a very different style in 1985, with the swaying neo-60s pop of Frankie.A Solo Career and Continued PerformancesKathy took the lead vocal on some of their biggest hits, and after Sister Sledge went on hiatus in 1987, she had a solo career interspersed with occasional Sister Sledge reunions, and later – amid some legal wrangles with her sisters – solo tours of Sister Sledge material. Next up she'll perform at Electric Paradise in Milton Keynes, on 8 August, alongside other legends of the era such as Grace Jones, Candi Staton, Kool and the Gang and more.Your Questions for the Disco IconNow 67, Kathy has been in countless nightclubs and recording studios around the world across her multi-decade career, so there's plenty to ask her. Post your questions in the comments below before 6pm GMT on Wednesday, and we'll publish her answers later in the week.

Google’s AI‑First Search Redesign at I/O 2026At the Google I/O 2026 keynote, Google unveiled a complete overhaul of its search product, introducing an optional AI mode and embedding an AI Overview chat box directly into results. Elizabeth Reid, head of Search, called it “the biggest upgrade to our iconic search box since its debut over 25 years ago.” The new experience aims to let users enlist AI agents for tasks such as automatic tour notifications for favorite bands.Pricing and Feature Shifts Highlight User ConcernsAI Overviews will appear even for non‑AI mode searches, adding a chat‑style interface.Google’s ad‑supported model remains unchanged, but the AI layer raises questions about data usage.Early feedback labels the change as “another AI‑forced adjustment,” recalling the controversial “stare into the sun” rollout.Why Users Are Turning to Alternative Search EnginesThe backlash stems from two main pain points: intrusive AI features and growing distrust of Google’s market dominance, reinforced by a 2024 U.S. District Court ruling on monopoly practices. Users seeking privacy, ad‑free experiences, or simple AI‑free results are exploring other options.Top Alternatives and Their Unique Value PropositionsKagi – Subscription‑based ($5/month or $10 for unlimited searches). Ad‑free, customizable “lenses” for academic or niche queries, and optional AI “Quick Answer” summaries.DuckDuckGo – Free, ad‑supported but privacy‑first; no tracking of search, browsing, or purchase history. AI answers can be disabled in settings.Startpage – Acts as a proxy to Google, stripping personal data before forwarding queries. Offers AI toggle and a more private Google experience.&udm;=14 – Open‑source script (available on GitHub) that appends a parameter to Google searches to suppress AI Overviews automatically.Brave – Chromium‑based browser with its own search engine; supports “Goggles” to filter results by source type and lets users enable or disable AI features.Ecosia – Chrome‑compatible, ad‑supported, and pledges ~80% of revenue to global reforestation projects, with transparent financial reporting.Looking Ahead: The Future Landscape of SearchIf Google’s AI integration continues to alienate a segment of its user base, the market share of privacy‑centric and subscription‑based engines could grow, pressuring Google to refine its approach or offer clearer opt‑out mechanisms. The competition may also accelerate innovation in AI‑free search experiences and sustainable monetization models.