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A Critical Portrait of George MichaelIn 1998, George Michael was arrested for public lewdness in an LA lavatory, an incident that finally led the singer to publicly come out. The following day, Sathnam Sanghera found himself unable to leave his room at university: the doorway had been mockingly plastered with tabloid newspaper headlines – "ZIP ME UP BEFORE YOU GO-GO!" – by fellow students aware of his longstanding fandom. As a writer, Sanghera is best known for a series of award-winning books on the British empire, which he calls his "specialist subject". Judging by Tonight the Music Seems So Loud – not a biography so much as a miscellany, a set of themed essays that tend to digress in all kinds of intriguing directions – the life and work of one Georgios Panayiotou runs imperialism and its legacy a very close second.The Complex Legacy of a Pop IconIt is an unashamedly partisan book, although not an uncritical one. Sanghera is as alive to Michael's personal and professional failings (whether the naffness of some of his early work as one half of Wham! or his high-handed treatment of the duo's other half, Andrew Ridgeley) as he is in love with his artistic triumphs. These, of course, range from Careless Whisper and Wham!'s annually inescapable Last Christmas to the 1996 solo masterpiece Older, a peculiar and peculiarly effective cocktail of raw grief at the Aids-related death of his lover Anselmo Feleppa and unrepentant horniness.The Evolution of Critical ReceptionSanghera's love for his subject is evidently sharpened by the opprobrium of others. Indeed if the book has a flaw, it's that the author is old enough to remember an era when George Michael was deemed insufferably uncool by some arbiters of taste (incredibly, when Wham! performed at a 1984 benefit show for striking miners, the only mainstream pop act to show support for the cause, they were received stone-faced by the audience and savaged by the music press for their trouble), and thus has a tendency to underestimate how much both he and his music have been critically re-evaluated in the 21st century.The Artistic Journey of George MichaelHe says one of the spurs to write the book was his belief that "most truly popular music is not generally deemed worthy of serious analysis and George Michael's music most certainly is not". That might have been true once, but certainly not of late: when he died, this newspaper alone ran six features by critics analysing different aspects of his music. "He sang so exquisitely about the marrow of life, about the vital, corporeal things", wrote one, which definitely doesn't amount to taking George Michael insufficiently seriously.double quotation markEven as he skinned up in front of journalists and discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed himFamily Background and Cultural IdentitySanghera is very good on the climate of homophobia in the 80s, which might have given any gay public figure serious qualms about coming out, and fascinating on Michael's family background: how growing up embedded in north London's Greek Cypriot community impacted on everything from Wham!'s image – not camp, Sanghera suggests, but "the vision of two children of immigrants imagining a kind of glamour they had not actually experienced before" – to his work ethic and control freakery. His dad made good in England by working exceptionally hard, running such a tight ship at his restaurant that he summarily fired his only son for messing up the drinks orders. The fact that the same son went on to hire 12 different saxophonists before finding one that could play the solo on Careless Whisper to his satisfaction doesn't come as a huge surprise.The Perfectionist and Contradictory ArtistThis my-way-or-the-highway perfectionism could yield hugely impressive results – Careless Whisper's sax hook may well be the most famous in pop history – but it could equally lead to intransigence and self-sabotage. Michael worked incredibly hard to transform himself from a member of a teen pop band into a more adult-facing solo artist, but having sold a staggering 25m copies of his 1987 solo debut Faith, he refused to promote its follow-up Listen Without Prejudice Vol. 1, or even make videos for its singles: a better album than its predecessor, it achieved only a fraction of its sales as a result. It was evidence of a deeply contradictory nature that occasionally has Sanghera throwing up his hands in bewilderment.The Public and Private Faces of George MichaelMichael was a polymath, keen to be duly credited as the sole singer, writer, producer and musician on a succession of tracks, but also had a weird habit of talking down his abilities, claiming he couldn't play instruments he was perfectly capable of playing. He was a Stakhanovite who increasingly worked at an agonisingly glacial pace, endlessly fussing over details, a state of affairs not much helped by his gargantuan appetite for marijuana: coupled with bouts of writers' block, it meant he released only six albums of original material in a career that lasted 34 years. He was a Labour voter, booster of the NHS and famously generous philanthropist who also engaged in tax avoidance. After being publicly outed, he became a notoriously frank interviewee ("as if nothing can embarrass him anymore" the Guardian's Simon Hattenstone suggested when he met him in 2009). But even as he skinned up in front of journalists and freely discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed him.The Decline and Final YearsMichael emerges as a messy, unpredictable but ultimately hugely likable figure, which makes the essay about his demise particularly tough reading. Listed starkly on the page, the facts of his final 10 years make it obvious that he was a deeply unwell man whose life had spun wildly out of control: drug busts, medical emergencies, visits to rehab, rumours of breakdowns and suicide bids and seven incidents in which he either crashed his car or was found comatose at the wheel.The Professional Mask of Personal StruggleThat it somehow didn't appear obvious at the time – that his death at 53 felt like a shock rather than a grim inevitability – seems remarkable, but as Sanghera points out, Michael's professionalism did a lot to paper over the cracks. He was always available to the media and always smart, funny and self-effacing: to use a modern turn of phrase, he controlled the narrative. He was punctilious about his appearance – the star certainly never looked like an ailing drug addict – and unfailingly superb onstage.The Hidden Realities Behind the FameBehind the scenes, it was a different story. He struggled to make new music: at one juncture he booked six months of recording sessions but never turned up to the studio once. His once-acute commercial instincts seemed to desert him: even Sanghera can't muster much enthusiasm for the handful of still-unreleased songs he completed in his final years. He cut off close friends and family who tried to intervene. No one who knew him seems to have been particularly surprised by his death: the list of adjectives used to describe him on his official website now includes not just "icon" "legend" "soul singer" and "philanthropist" but "addict" "repeat offender" and "depressive".An Imagined Alternative LegacyAs the book draws to a close, Sanghera offers a heartbreaking alternative history. He imagines Michael conquering his addictions, coming to a complete accommodation with his musical past (to the end of his life, he was dismissive of Wham!, describing their oeuvre as an exercise in "ignoring my own intelligence" and declining to play most of their hits live) and headlining Glastonbury, "getting pleasure from the audience reaction to Club Tropicana".The Enduring Power of George Michael's MusicIt's affecting because you can imagine it so vividly: the endless succession of hits that anyone with even a passing interest in pop music knows, the pandemonium in the crowd when he breaks out Careless Whisper, the encore of Freedom '90. You don't have to be a fan on Sanghera's level to understand what a triumph it would have been. Tonight the Music Seems So Loud: The Meaning of George Michael by Sathnam Sanghera is published by Picador (£22). To support the Guardian, buy a copy at guardianbookshop.com. Delivery charges may apply.

The Red Carpet and the Private RoomThe Academy Museum of Motion Pictures in Los Angeles has unveiled 'Marilyn Monroe: Hollywood Icon,' a new exhibition that promises to peel back the layers of the silver screen's most enduring myth. While the entrance hall features a red carpet and a massive video screen where Monroe blows kisses, the true depth of the exhibition lies in the juxtaposition of high glamour with intimate personal effects.Pink Dress: The iconic pink dress from 'Diamonds Are a Girl's Best Friend' takes pride of place, though it has rarely been seen publicly.Madison Square Garden Outfit: An elaborately sequined outfit with a feathered tail, worn during her announcement of her new production company on an elephant.Domestic Items: Simple pyjamas from 'The Seven-Year Itch' and a pair of jeans, highlighting her role in popularizing women's denim.From Gowns to Diaries: The Shift in Curatorial FocusCurator Sophia Serrano has moved beyond the typical display of costumes to include items that offer a raw look at Monroe's internal world. The exhibition features a collection of her belongings, including a telephone, marked-up scripts, a wine glass, and an address book. However, the most compelling artifacts are the personal letters and notes.Items on display include handwritten pages of free-associative musings, such as her fears of being perceived as trying to flatter others, and a letter to director John Huston declining a role in a film about Sigmund Freud due to family disapproval. These artifacts provide a psychological profile that contrasts sharply with her public persona.Deconstructing the 'America's Sweetheart' MythThe exhibition captures the tension between Monroe's public image as 'America's sweetheart' and her private struggles with fame. A restored audio recording of her final interview, published in Life magazine the day before her death, encapsulates this duality. In it, she admits, 'I like people, but the public scares me,' revealing a profound anxiety about the loss of privacy.The Future of Celebrity MuseumsThis exhibition, alongside others in London, signals a broader trend in the entertainment industry: a move toward psychological depth in celebrity retrospectives. Future museums are likely to prioritize personal diaries, raw audio recordings, and domestic items over just costumes, offering visitors a more empathetic understanding of the human cost of stardom.

The Blockbuster Trade The Cleveland Browns are set to trade star edge rusher Myles Garrett to the Los Angeles Rams for linebacker Jared Verse, a 2027 first-round draft pick and other draft compensation, multiple outlets reported Monday. Garrett's Career Highlights Garrett, 30, is a two-time NFL Defensive Player of the Year and seven-time Pro Bowl selection. Since the Browns selected him with the No 1 pick in the 2017 draft, he has emerged as one of the league’s best defensive players. He has the most sacks (125.5), pressures (413) and tackles for loss (149) of any player in that span. In 2025, he set the single-season sacks record with 23. The Trade Details The Browns had slumped to a 3-14 record in 2024, leading Garrett to request a trade, saying he wanted to play for a team with a realistic shot at a championship. A month later, he signed a four-year, $160m extension with the Browns. The deal pays an average annual salary of $40m, $122.8m in guaranteed money and has a total value of $204.8m. Impact on the Rams The Rams, who lost to the eventual champion Seattle Seahawks in last season’s NFC championship game, are no strangers to big-swing trades. In 2021, they traded Jared Goff and acquired Matthew Stafford in a blockbuster quarterback swap with the Detroit Lions. Stafford then led LA to a Super Bowl victory in his first season. What's Next for Garrett? Garrett will join a Rams team looking to make a deep playoff run. With his impressive skills and experience, he is expected to make a significant impact on the team's defense.

The Unbearable Loss I woke up beneath the rubble, surrounded by darkness, dust, collapsed concrete and the screams of my six-year-old son Nasser crying hysterically above the ruins, trying to reach my buried fingers. In those moments, I believed I was dying. What I did not yet know was that a part of me had already died. The Fate of My Children When I emerged, I discovered that my 51-day-old baby Ryan had been recovered lifeless after spending more than an hour trapped under the debris. His body was so small that I wrapped him in part of my own clothing, afraid he would feel cold. I was told Yaman, my seven-year-old, had suffered only minor injuries and had been taken to the hospital. The truth, however, was that my little boy had died before reaching it. A World That Failed Like countless mothers in Gaza, I had feared hunger for my children. I had feared displacement, terror and interrupted education. But despite everything, I never dared to think of death. Ryan never had the chance to grow up and enjoy his childhood. The Data of Loss 21,000 Palestinian children massacred Thousands of other Palestinian mothers have had to bury their children since January 2024 The Impact on Survivors My surviving son, Nasser, became an only child after losing both his brothers. He spends long hours staring silently at photographs of Yaman on a mobile phone as though he is trying to understand how a child can disappear so suddenly. A Call to Action Why have all of these special days, organisations and laws when they do nothing to stop the massacres of children? Ryan and Yaman were taken away from me in January 2024. Thousands of other Palestinian mothers have had to bury their children since then.

Chancellor Rachel Reeves is actively exploring ways to draw private‑sector capital into the UK government’s ambitious new‑town agenda, aiming to speed up the delivery of large‑scale housing and community projects across England.Private‑Sector Partnerships Target New Town DevelopmentThe Treasury has opened talks with some of Britain’s biggest banks and investment funds to set up public‑private partnerships (PPP) for the construction of new towns. A research paper commissioned from the British Infrastructure Taskforce will outline how extensive private contracts—covering homes, amenities and related infrastructure—could underpin the seven sites announced by ministers, including Thamesmead, Tempsford, and regeneration schemes in Leeds and Manchester.Financial Scale and Funding Mechanisms Highlighted£725 billion earmarked for UK‑wide infrastructure over the next decade, with £16 billion allocated to new homes.PPP model positioned as a successor to the criticised PFI era, but distinct from it.Recent projects such as the £4.6 billion Thames Tideway tunnel and the Sizewell C nuclear power station were financed via a regulated asset base (RAB) approach.The Highways (Financing) Bill expands RAB to road projects, signalling broader acceptance of private‑finance models.The £10 billion Lower Thames Crossing still seeks more than £6 billion of private backing.Political and Market Reactions Shape the Road AheadLabour MPs on the left have voiced opposition, recalling past difficulties with private‑funded public projects, especially after the 2018 collapse of Carillion. Private investors remain cautious, given the legacy of PFI criticism and the need for clear, long‑term revenue streams under RAB arrangements. Planning restrictions, rising material costs and skilled‑labour shortages further complicate progress.Outlook for PPP‑Driven Town Building and InfrastructureWhile the Treasury insists it is not reviving the old PFI model, its new accounting rules allow the financial returns of private partners to be spread over a project’s lifespan, freeing up public cash for additional initiatives. If private capital can be secured, the new‑town programme could become a catalyst for regional economic growth, but its success will hinge on overcoming political resistance, securing reliable revenue mechanisms and addressing supply‑chain constraints.

Lead: Israel’s Latest Tactical Gain in Southern LebanonIsrael announced on June 1, 2026 that its forces had taken control of Beaufort Castle, a medieval fortress perched 700 m above sea level. The operation follows days of intense fighting and air strikes, marking a significant escalation in the cross‑border conflict with Hezbollah.Israel Seizes Medieval Beaufort Castle in Southern LebanonBeaufort Castle, known locally as Qalaat al‑Shaqif, was built by Crusaders in the 12th century and has changed hands many times over its nine‑century history. After the 1982 Israeli invasion, the site served as a Palestinian base before Israel withdrew in 2000. The recent assault placed the Israeli flag atop the hill, signaling a renewed security zone near the city of Nabatieh.Location: 700 m elevation, overlooking the Litani River and western Bekaa ValleyHistorical owners: Crusaders, Ottoman Empire, Palestinian fighters, Israeli forces (1982‑2000)Current status: Occupied by Israeli troops and the Golani BrigadeCasualties and Territorial Gains Since March 2According to the Lebanese Ministry of Public Health, the conflict that intensified on March 2, 2026 has resulted in 3,412 deaths and 10,269 injuries in Lebanon. On the day of the castle’s capture, Al Jazeera reported at least 12 killed and 35 wounded across 36 attacks in southern Lebanon. Israeli forces now control roughly 2,000 sq km (about one‑fifth of Lebanon’s territory), including the strategic ridge surrounding Beaufort.Strategic Ramifications for Hezbollah and Regional SecurityThe high ground offers Israel an observation point over Nabatieh, the western Bekaa Valley, the occupied Golan Heights, and northern Galilee. Analysts say this “significant tactical advantage” could enable more precise targeting of Hezbollah’s infrastructure and limit the group’s ability to launch rockets into Israel. Hezbollah, backed by Iran, has already responded with rockets, missiles, and drones aimed at Israeli positions, raising the risk of a broader regional flare‑up.What the Capture Means for the Next Phase of the ConflictPrime Minister Benjamin Netanyahu has instructed the military to “deepen and expand” its grip on Lebanese territory, suggesting further advances beyond the castle’s ridge. Forced displacement orders for seven southern villages indicate a possible push to create a wider security buffer. Observers warn that unless diplomatic channels reopen, the battle for Beaufort could become a focal point for an extended Israeli‑Hezbollah confrontation, potentially drawing in regional actors.

Kane Parsons' Historic Achievement Kane Parsons has become the youngest film-maker to open a film at number one at the North American box office for his directing debut Backrooms. The Success of Backrooms Parsons, 20, is seven years younger than the previous record holder, Josh Trank, who was 27 when his debut Chronicle recorded a $22m opening in 2011. Backrooms stunned industry observers by taking $81m in its first weekend in North America – which was also a record for its studio, A24. The Film's Background Backrooms, described by the Guardian’s chief critic Peter Bradshaw as “an icily brilliant and genuinely disturbing conceptual horror film” is based on Parsons’ YouTube series of the same name, inspired by the “creepypasta” of the same name, referring to a fictional space of infinite, interconnected spaces. Addressing Controversy Parsons’ age has led to claims online that he did not in fact direct the film, with actor Mark Duplass responding: ““Hmmm, with all due respect I don’t remember seeing you on set. When I was there, Kane was 100% in control. More so than many directors 3x his age.” Parsons himself also commented on the rumours, saying: “This is actually all true. They don’t tell you this, but 96% of all movies released in North America and Europe are actually directed by the same person. They call him ‘The Older Gentleman’. He has had all of Hollywood in a chokehold for decades now.” Comparison with Other Low-Budget Horror Films Backrooms' box office success follows that of another low-budget horror film, Obsession, directed by Curry Barker. Barker, at 26, is six years older; his film was released on 15 May with a $17.1m opening weekend in North America, and has now recorded $104.7m after four weeks.

The Champions League Team of the Season This year, the Champions League team of the season has been carefully selected with a unique format: only one player per team. This approach provides an overall view of the Champions League season, highlighting exceptional players from various clubs. Goalkeeper: David Raya (Arsenal) David Raya, the Arsenal goalkeeper, had a remarkable season, making heroic saves and maintaining high standards throughout. He closed the Champions League campaign with nine clean sheets, conceding just five goals in 14 matches. Right-back: Pedro Porro (Tottenham) Pedro Porro, a Spurs player, made the cut with his impressive skills as an overlapping full-back. His performance was key in Tottenham finishing fourth in the group stage. Centre-back: Alessandro Bastoni (Inter) Alessandro Bastoni, Inter's centre-back, was instrumental in their defensive success, conceding just seven goals in the group stage. He served as the team's organiser and deep-lying playmaker. Centre-back: Odin Bjørtuft (Bodø/Glimt) Odin Bjørtuft, the Norwegian centre-back, was a standout player for Bodø/Glimt, helping the team beat top clubs like Manchester City and Atlético Madrid. He ranked third in ball recoveries with 81. Left-back: Matteo Ruggeri (Atlético Madrid) Matteo Ruggeri, the Italian left-back, was a key player for Atlético Madrid, helping the team reach the semis for the first time since 2016-17. He successfully defended against Barcelona's Lamine Yamal in a crucial quarter-final match. Defensive midfielder: Morten Hjulmand (Sporting) Morten Hjulmand, Sporting's Danish captain, was at the fulcrum of their Champions League success. He will be heavily featured in summer transfer talk due to his impressive performances. Central midfielder: Aleix García (Bayer Leverkusen) Aleix García, Bayer Leverkusen's central midfielder, was a key player in their run to the last 16. He completed 91.25% of his passes and scored a spectacular goal against PSG. Central midfielder: Dominik Szoboszlai (Liverpool) Dominik Szoboszlai, Liverpool's Hungarian midfielder, was among the exceptions in an otherwise disappointing season. He scored five goals in 12 Champions League matches and was star man in a 4-0 win against Galatasaray. Left-wing: Khvicha Kvaratskhelia (PSG) Khvicha Kvaratskhelia, PSG's left-winger, was one of the best players in the competition this season. His blend of orthodox wing play and explosive power made him a standout performer. Right-wing: Lamine Yamal (Barcelona) Lamine Yamal, Barcelona's young talent, showed moments of brilliance despite injuries and growing pains. His skills and creativity on the field made him an inevitable choice for the team of the season. Striker: Harry Kane (Bayern Munich) Harry Kane, Bayern Munich's striker, had an impressive season with 14 goals. He showed another side of his game, understanding and creativity with Bayern's wingers, making him a worthy successor to Robert Lewandowski.

The Historical Clean SweepNew South Wales has secured the first whitewash in Women's State of Origin since the series shifted to three matches in 2024, after grinding out a 12-4 victory over Queensland on the Gold Coast in game three. The scoreline flattered the home side, who were clearly second best against the shield holders, and have now lost back-to-back series. But they hung with the Blues until Jayme Fressard's try with 17 minutes to go which proved to be the match-winner.The Decisive MomentThe Blues' fifth-tackle spread looked to be going nowhere, but when the imperious Isabelle Kelly off-loaded to her winger, Fressard capitalised on the Maroons' tired defense. She surged down the inside, slicing up the Queenslanders and sliding across to trigger the Blues' celebrations. The winger told Channel Nine she wanted to make up for an earlier missed opportunity. "I'd seen a few Queenslanders and a big space, and I thought, you know, just back yourself, you've got the speed, so I wasn't bombing that one," Fressard said.Series Statistics and PerformanceThe series result represented an unfortunate opening to the Origin coaching career of Queensland's Nathan Cross, who was brought in this year to replace Tahnee Norris. Despite the 3-0 result, the Maroons were in each contest, and the combined margin across the three matches was just 17 points. Instead, the sweep was another endorsement for John Strange, who has now won five of six matches in the series.Impact on Women's Rugby LeagueEven after Fressard's try pushed the lead to eight, the Blues still had work to do. With seven minutes to go, the Maroons had three successive sets on the Blues line, and both Blues wingers – Fressard and Jaime Chapman – prevented the Maroons from turning grubbers into tries. Though her fellow Blues forward Yasmin Meakes won the player of the series award, lock Olivia Kernick had a night to remember, topping counts for tackles (33) and run metres (199).Future Outlook for Both TeamsDespite the result, the Maroons can have cause for optimism. Five-eighth Chantay Kiria-Ratu only became more confident in her first Origin series, and on Thursday her ball-playing and running began to match her already elite kicking and defense. NSW dominated the first half but took 26 minutes to find the opening try, with Kelly – named player of the match on Thursday – crossing after Southwell ran deep into the Maroons' retreating goalline defense.