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The Enduring Appeal of BoundI'm not necessarily inclined towards what might typically be dubbed "feelgood." No, you won't find me seduced by a happy ending, nor am I partial to the oeuvre of Disney (in fact, I find all the talking animals and poreless princesses a bit grotesque). The raw edges and friction of feelbad have tended to be much better suited to my tastes: the porno chic slasher Knife+Heart, the sartorial murder of In Fabric and the snuff film-obsessed Thesis. Sex and gore, basically. For a long time, my favourite film was Crimes of the Future: a stomach-churning body horror about sexual-surgical experiments.A Queer MasterpieceHowever, there is one movie that reveals a slightly soft(er)core side to my viewing habits, which I frequently return to in order to feel the gushy feelings and butterflies of a school crush. That film is Bound. The 1996 directorial debut from the Wachowski sisters, the plot revolves around an opposites-attract scenario which is both familiar and high stakes: plumber Corky, and mafia moll Violet. When their eyes meet across an elevator, the tiny vestibule becomes thick with sexual tension: it is so on.Most of what makes this film work is the palpable chemistry between Corky, whose slick masculinity is embodied by Gina Gershon, and Violet, played with ultimate sex pot prowess by Jennifer Tilly. The whole thing is shot in the conventions of the sapphic gaze: we get plenty of closeups of Corky's hands wrestling with pipes, snaking holes and unscrewing things in languorous, laborious detail.Say what you will about how openly queer actors should play openly queer roles, but this film – starring two ostensibly cis, straight female leads – is a masterclass in lesbian eroticism. The two main actors so seamlessly embody a masc/femme dynamic, without the try-hard didacticism of many later cinematic attempts, to create a relationship that feels oddly real (except much, much hotter).Character Analysis and ChemistryHaving just starred as the vamp Cristal Connors in the trash-cult, 1995 Vegas romp Showgirls, it's uncanny to see Gershon undergo such a dramatic gender transformation to play a butch pin-up just one year later. It's not a stretch to say that Corky has the kind of sly smirk and shaggy hair that no doubt served as the blueprint to The L Word's Shane.And then, well, there's Jennifer Tilly. A porcelain doll: her sex appeal is painted on the surface of her pout and her whole-bosom sighs but, underneath, she has a strong and stony demeanour. A complex female protagonist who smolders and manipulates to get what she wants from men, and a femme imprisoned by her own beauty, Tilly delivers probably the most astute performance exploring the double life of a straight-passing lesbian which I have ever seen.The Plot and Its ThemesAnyway, back to the plot. What comes after our protagonists' initial meeting is oh-so relatable: Corky, having just got out of prison, is particularly vulnerable to Violet's high-femme charms. In a turn that can only be explained by unbridled lust, Corky agrees to help her in a mad caper to steal $2m from the mob and pin it on her boyfriend. I, too, fear that I would do whatever Violet asked me to.But, to be honest, the crime plot is pretty inconsequential to me. What do I care if they pull it off or not? If you're interested, however, there are some tired – almost femmephobic – overnotes, where Corky begins to doubt if Violet is really the lesbian she says she is, or if she will ditch her for a man the first chance she gets. But despite it all, they get their own happy ending.Interestingly, the plot draws an equivalence between the prison time served by Corky and Violet's very own sentence: the years she spends as a clandestine lesbian in straight relationships with men, for her own financial survival. At the end of the film, evading prison and with a stack of cash, they are both free: Corky of the criminal justice system, and Violet from the confines of cis-heterosexual society.Legacy and Cultural ImpactWhile this film came out about 30 years ago – in my birth year – it remains the most convincing depiction of dyke sexual dynamics I have ever seen on screen. While they weren't out at the time, the Wachowski sisters (both trans lesbians) were cinematically brave: depicting the cheek, mischief and pleasure of sapphic relationships with Bound. I'm of a different generation to the directors, and I supposedly have access to a whole plethora of queer representation, but if it wasn't for this film made by two trans women in the 90s, I wouldn't have cinematic proof of my own sexuality.Bound is available on Kanopy or to rent digitally in the US and to rent digitally in the UK and Australia

The Unlikely Star of Champions Cup Alfie Barbeary, the shaggy-haired Bath colossus, is up for the Champions Cup player of the year award. The 25-year-old might not yet be a connoisseur of Bordeaux's celebrated wines, but he makes up for that in other respects. Barbeary's Road to Success Barbeary's journey to success has not been without its challenges. He has had to overcome injury problems and adapt his playing style to become a dominant force in the rugby world. The Impact of Barbeary's Playing Style Barbeary's unique playing style, which includes his upright carrying technique, has made him a valuable asset to his team. His ability to break open games has earned him recognition, including a player-of-the-match award in the quarter-final win over Northampton. England Ambitions Barbeary has ambitions to play for England, but he believes that thinking too much about it can be counter-productive. "I try not to think about it. I've had this problem before when I've been chasing England [selection]. It gets into my head, I start overthinking stuff and I don't play well. If you focus on yourself and play well then hopefully everything falls into place," he said. The Future Barbeary will be joining Saracens this summer, but he is determined to win more silverware with Bath before he leaves. A strong performance in the Champions Cup could earn him the Investec player-of-the-year award.

Sting, the renowned musician, has returned to his roots in a new production of his musical The Last Ship, this time in Australia. The musical, which premiered in 2014, has been revitalized with new scenes, music, and updated characters. Sting takes on the leading role of foreman Jackie White, who navigates the threat of the shipyard's closure while grappling with his failing health. He is joined on stage by reggae icon Shaggy, who brings warmth to the role of the Wallsend Ferryman.The musical draws on Sting's personal experiences growing up in Wallsend, northern England, where the shipyard dominated the skyline. The story explores themes of mortality, labor, and identity, as well as the tension between tradition and progress. The shipyard becomes a symbol of a communal world built on shared pride and purpose. While the musical resonates with contemporary concerns around the erosion of secure work and the crucial power of collective action, it sometimes leans toward cloying sentimentality.The production features a striking and immersive set, designed by 59 Studio, with towering metal scaffolding and the imposing bow of a vessel. The digital projections blend seamlessly with the physical scenery, creating a unique and captivating visual experience. The cast, including Lauren Samuels and Joe Caffrey, delivers strong performances, with the choral moments being particularly powerful and moving.Despite some criticisms of a slow start and a rushed ending, The Last Ship remains a heartfelt and sincere production. Sting's performance is understated yet authentic, and Shaggy brings his signature charm to the role. The musical runs at the Queensland Performing Arts Centre's Glasshouse Theatre until May 3rd.

Highland cows, a hardy breed known for their shaggy coats and upturned horns, have been a part of Hothfield Heathlands nature reserve in Kent. They were introduced to restore and maintain the reserve through wild grazing. However, their presence led to an unexpected consequence. The cows became an unlikely sensation on social media, particularly on TikTok, with videos of them going viral. This sudden fame attracted a large number of visitors to the reserve, who were eager to take selfies with the cows and even stroke them. Despite warnings from Kent Wildlife Trust to keep at least 10 meters away, the situation became unmanageable. The trust eventually made the decision to remove the cows from the reserve, at least temporarily, to protect them from the stress and potential harm caused by the influx of visitors. The cows, which have survived the harsh climate of the Scottish Highlands for over 1,000 years, were becoming distressed and could have reacted out of fear if the situation continued. This incident is not an isolated case. The popularity of Highland cows has caused trouble before, such as in January when three people had to be rescued after getting lost while searching for viral Highland cattle on Butser Hill in Hampshire. The hashtag #highlandcow has reportedly reached millions of people on social media, highlighting the significant public interest in these animals. The removal of the Highland cows from Hothfield Heathlands serves as a reminder of the impact of social media on wildlife and the importance of respecting the personal space of animals, even those as adorable and charismatic as Highland cows.