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Acclaimed director Ken Loach revisits his 2016 film I, Daniel Blake, a poignant portrayal of poverty and the struggles faced by those in need. The film, which sparked controversy upon its release, shed light on the cruel realities of a system that vilifies the vulnerable.Loach reveals that the film was born out of a time of 'mean-spiritedness,' where those who needed support were met with punishment. The story follows Daniel Blake, a character who desperately wants to work but is thwarted by a system designed to fail him.The film's screenwriter, Paul Laverty, conducted extensive research, including a visit to a Glasgow food bank, where he encountered a young man who had not eaten in two to three days. This harrowing experience inspired a pivotal scene in the film, where Katie, played by Hayley Squires, is forced to eat cold baked beans from a tin.Loach notes that at the time of the film's release, the notion of food banks as an institution was unimaginable. However, food banks are now a normalized part of society, with many people relying on them to survive. The film's portrayal of poverty and hunger was met with resistance from some, including Damian Green, who claimed it was a work of fiction. Loach counters that while the characters are fictional, the stories are rooted in truth.Hayley Squires, who played Katie, shares her experience working on the film. She was drawn to the project after meeting Loach and was impressed by his authenticity and warmth. The film's shooting process was unique, with Squires and her co-star Dave Johns working chronologically and improvising scenes.Squires also recounts her preparation for the food bank scene, which included visiting a real food bank and cutting back on food to better understand the experience of hunger. The scene was shot only once, with Loach and the cinematographer Robbie Ryan working to create a sense of empathy and realism.

Mid Wales Opera's OpenStages productions are undertaken with a missionary zeal, nurturing both local communities and up-and-coming singing talent. Their recent staging of Purcell's Dido and Aeneas, realized remarkably over a single intensive week of work, is a testament to this commitment.The opera, tailored by Purcell for the ladies of Josias Priest's boarding school in Chelsea in 1689, features a motley crew of amateurs forming a chorus portraying Carthaginian courtiers, followers of a witches' coven, and sailors. The young cast, some already launched on singing careers, delivered polished performances under the care of conductor Jonathan Lyness, particularly in their recitatives.Director Richard Studer's simple yet effective set design, featuring a central high pavilion on a raised dais against a cathedral backdrop, elegantly framed the action. The chorus, dressed in black with pale golden patches on their cheekbones, contrasted with the titular pair, Queen Dido and Aeneas, in standout white with elaborate golden facial adornments.Kathy Macaulay's portrayal of Dido conveyed vulnerability from the outset, while Alaw Grug Evans' expressive performance as Belinda added depth to the narrative. The production's inexorable progress towards Dido's final aria, When I am lain in earth, brought the tragedy full circle, underscored by the MWO string ensemble's lamenting mood.

Rolls-Royce has secured a significant investment of up to £599m from the UK's national wealth fund to develop the country's first small modular nuclear reactors (SMRs). The funding will support Rolls-Royce's design of SMRs at Wylfa on the island of Anglesey, Wales. The investment is expected to create around 1,000 jobs at Rolls-Royce and contribute to the UK's goal of generating electricity without carbon dioxide emissions. The project also offers the potential for a large new export industry in SMRs. The UK government has embraced nuclear energy as a key component of its clean energy strategy, and this investment marks a significant milestone in the development of SMR technology. SMRs aim to produce nuclear power stations in factories, driving down costs and speeding up installation. The Wylfa site has a history of nuclear power generation, having operated from 1971 until 2015. Hitachi had previously attempted to build a new nuclear power station at the site but abandoned its plans in 2020 due to funding issues. The site was later acquired by the state-owned Great British Energy – Nuclear (GBE-N) in 2024. The chancellor, Rachel Reeves, highlighted the importance of the investment, stating that it will strengthen energy security, create skilled jobs, and help build a new generation of homegrown nuclear technology that will power the UK's economy for decades to come. Tufan Erginbilgiç, chief executive of Rolls-Royce, described the investment as a critical milestone for the business and for the UK, marking the beginning of a golden age of new nuclear. The company owns the majority of Rolls-Royce SMR, alongside Qatar's sovereign wealth fund, France's BNF Resources, and the Czech utility CEZ.

Rory McIlroy faced a daunting challenge on the 12th hole at Augusta National Golf Club during the Masters Tournament. The hole, known as Golden Bell, had a pin positioned precariously on the far right edge, making it one of the most difficult holes in tournament golf. McIlroy decided to ignore Jack Nicklaus's advice to play for the middle of the green and instead went for the pin, a decision that could have easily backfired.Nicklaus, a legendary golfer and course designer, had previously advised McIlroy to avoid going for the pin if it's on the right side of the green, suggesting that players should prioritize making par over attempting a challenging shot. However, McIlroy chose to take a different approach, hitting his shot over the water and onto the green, where it bounded towards the cup.The crowd held its collective breath as McIlroy lined up his birdie putt, which was approximately seven feet left of the hole. With the wind whipping through the trees and the pressure mounting, McIlroy remained focused and sank the putt with ease, securing a crucial birdie that helped him stay in contention.This moment proved pivotal in McIlroy's victory, as he managed to navigate the challenging 12th hole successfully and maintain his position at the top of the leaderboard. McIlroy's win marked his continued dominance in the golf world, showcasing his skill and mental toughness under pressure.

The Pivot from Vision Pro to Everyday WearablesApple is reportedly preparing to enter the smart glasses market with a product launch targeted for 2027, signaling a significant strategic shift away from its ambitious mixed reality ambitions.Four Distinct Design PrototypesRectangular Frames: Ranging from large to slim, potentially mimicking the style of CEO Tim Cook.Oval/Circular Frames: Available in both larger and smaller sizes.Color Options: Black, ocean blue, and light brown.A Strategic Retreat from High-End ARThis move represents a retreat from the complex Vision Pro ecosystem, which faced delays and lukewarm reception. Instead, Apple is betting on a simpler form factor similar to Meta’s Ray-Ban glasses.The 2027 Roadmap: Simplicity Over ImmersionThe upcoming device will lack displays, focusing instead on camera lenses for photos, videos, calls, and music. It will also integrate with the long-promised Siri upgrade, aiming to capture the mainstream market rather than the niche enthusiast base.

London's Metropolitan Police arrested 523 people aged 18 to 87 during a pro-Palestinian protest in Trafalgar Square, where demonstrators showed support for Palestine Action. The arrests were made for holding placards in support of the group, which was designated a 'terrorist' organisation in July, although a High Court ruling later overturned this ban due to free speech concerns. The protest, organised by Defend Our Juries, drew hundreds of participants who oppose what they describe as the UK government's complicity in Israel's actions in Gaza and the crackdown on peaceful protests. The group criticised police for making arrests despite the government's ban being ruled unlawful. Amnesty International UK condemned the arrests as 'yet another blow to civil liberties', highlighting that police resorted to mass arrests of people holding placards, including an elderly woman with walking sticks. The ban on Palestine Action, which aims to end global participation in Israel's regime, has generated significant backlash, with nearly 3,000 arrests occurring since its imposition. Protesters, including Freya, 28, and Denis MacDermot, 73, expressed their determination to continue opposing what they described as genocide. The Metropolitan Police confirmed the arrests as part of their effort to enforce the law, despite the legal complexities surrounding the ban on Palestine Action.

Paddington: The Musical was the big winner at the Olivier Awards, taking home seven prizes, including Best New Musical. The show, which features music and lyrics by Tom Fletcher and a book by Jessica Swale, dominated the ceremony at the Royal Albert Hall in London.The duo who play Paddington, James Hameed and Arti Shah, won Best Actor in a Musical for their performances. The show's baddies, Tom Edden and Victoria Hamilton-Barritt, also won awards for Best Supporting Actor and Best Supporting Actress in a musical, respectively. Luke Sheppard was named Best Director for the production, which also picked up awards for Costume Design and Set Design.The ceremony was hosted by Nick Mohammed, who joked about being asked how he got the gig. Performances on stage included stars like Rachel Zegler, who won Best Actress in a Musical for Evita, and Fabian Aloise, who won Best Theatre Choreographer for Evita.Rosamund Pike won Best Actress for her performance in Inter Alia, while Paapa Essiedu won Best Supporting Actor for All My Sons. The awards also recognized regional theatre triumphs, including Kenrex and Punch.The Olivier Awards, overseen by the Society of London Theatre, celebrate the best in London theatre productions. This year's ceremony marked the 50th anniversary of the awards.

The Guardian’s latest photo gallery offers a front‑row look at the 2026 Olivier Awards arrivals, highlighting the glamour and excitement that surround the UK’s most prestigious theatre ceremony. Leading actors, directors, designers and producers were captured on the red carpet, each reflecting the night’s high‑style atmosphere.From bold, contemporary ensembles to classic evening wear, the images illustrate how the event serves as a runway for theatrical fashion, while also underscoring the significance of the awards in recognising artistic excellence across London’s West End and beyond.Beyond the sartorial showcase, the gallery underscores the Olivier Awards’ role as a cultural touchstone, bringing together the industry’s most influential personalities to celebrate the year’s standout productions. The visual narrative reinforces the ceremony’s status as a barometer of trends and talent within British theatre.

This week Anthropic revealed that its latest AI system, dubbed Mythos, is so powerful that the company will not make it publicly available, arguing that the potential risks outweigh commercial incentives.U.S. Treasury Secretary Scott Bessent convened senior banking executives to discuss the implications of the model, underscoring growing governmental concern over advanced AI capabilities.In the United Kingdom, Reform MP Danny Kruger wrote to the government urging an immediate dialogue with Anthropic, warning that Claude Mythos could pose "catastrophic cybersecurity risks" to the nation.Critics such as AI researcher Gary Marcus questioned the hype, suggesting that Anthropic’s co‑founder Dario Amodei may possess strong technical skills but is "graduated from the same school of hype and exaggeration" as OpenAI’s Sam Altman.Beyond the policy debate, Anthropic has mounted a striking media offensive. The startup secured a 10,000‑word profile in the New Yorker, two feature pieces in the Wall Street Journal, and a Time magazine cover that placed founder Amodei alongside the Pentagon and U.S. Defense Secretary Pete Hegseth.Co‑founder Jack Clark and Amodei appeared on separate New York Times podcasts, fielding questions about machine consciousness and the model’s potential to "rip through the economy." Their "resident philosopher" even discussed with the WSJ whether Claude, Anthropic’s commercial product used for cryptocurrency trading and missile‑target designation, possesses a "sense of self."Anthropic’s public‑relations lead, Danielle Ghiglieri, celebrated the coverage on LinkedIn, describing the Time cover as a "mad dash" that finally let the company tell its own story.However, the company’s PR triumphs have not been without missteps. In early April, Anthropic inadvertently released part of Claude’s internal source code, though it assured that no customer data or credentials were exposed.Experts remain skeptical about the unverified claims surrounding Mythos. Dr. Heidy Khlaaf of the AI Now Institute warned that the vague marketing language could be an attempt to attract investment without substantive scrutiny.Cybersecurity specialist Jameison O’Reilly acknowledged the model’s novelty but downplayed Anthropic’s assertion of discovering "thousands of zero‑day vulnerabilities," noting that in a decade of offensive operations, zero‑days were rarely needed to achieve objectives.Anthropic also faces operational constraints. The firm has imposed usage caps on its popular Claude model and now requires customers to purchase additional compute capacity for third‑party tools, suggesting that infrastructure limitations may be a practical reason for withholding Mythos.As the race to dominate the emerging AI market intensifies, Anthropic’s strategy appears to blend genuine safety concerns with a calculated publicity push, positioning Mythos as a strategic signal that the company remains "open for business" while keeping the technology under tight control.