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The LeadA supernatural play based on the Iranian horror movie 'Under the Shadow' explores the terror of life in Iran during the 1979 revolution and the Iran-Iraq war. The Event DetailsThe play, adapted by Carmen Nasr from Babak Anvari's 2016 film, is set in Tehran in 1988. It tells the story of Shideh, a woman who hides in her apartment with her terrified daughter as the Iraq-Iran war rages on. The play explores themes of fear, survival, and the supernatural. The Data AnalysisThe play's creative team, including director Nadia Latif and actress Leila Farzad, bring their own experiences of war and displacement to the production. Latif's family has experience in Sudan, while Farzad's family is from Iran. The play's themes of hope and survival are universal, resonating with audiences from different backgrounds. The Impact AnalysisThe play's use of horror as a genre allows it to tackle complex themes like politics and collective suffering. By making the horrors of war personal, the play aims to bring the audience closer to the experiences of those living through conflict. The PredictionThe play is expected to be a powerful and thought-provoking production, exploring the complexities of life in Iran during a time of war and revolution. With its talented creative team and timely themes, it is likely to resonate with audiences and leave a lasting impact.

The Dance Challenge: A Weekend Immersion As I wait for my first Cuban salsa class to begin, I have the distinct feeling that I am poorly prepared. I'm wearing heavy jeans, a bulky woollen sweater and boots. I have never done a dance class in my life – or any kind of exercise class. I don't know anything about salsa, Cuban or otherwise. Standing alone, I notice that everyone has come with at least one friend, and begin to suspect that it takes two to Cuban salsa. This year, Rising festival – Melbourne's winter arts offering – has consolidated its longstanding dance focus into a mini-festival: the inaugural Australian Dance Biennale, showcasing Australian and international work. There's also a series of dance classes, romantically titled The Land of 1000 Dances, held in the romantically decrepit Flinders Street Ballroom. Running daily until 7 June, with classes costing $29 a pop, the diverse schedule includes Afro-fusion, ballroom, voguing, waltz and K-pop for teens and tweens. From Salsa to Shuffle: A Dancer's Journey As an audience member, I am an avid appreciator of dance; as a participant, I can most kindly be described as "curious" but uncoordinated. What if I went to a bunch of dance classes and then wrote about it? Precisely 24 hours before my first class, the misgivings begin – doing my first dance class while dressed for the show I'm seeing directly afterwards sounds like a bad idea. At the ballroom, I am briefly reassured: the crowd is a diverse mix of ages, genders and bodies, and hardly anyone is wearing dance-appropriate clothing. But the class itself is a blur – sometimes literally – as I try to learn and enact the cucaracha, the guapo and other basic Cuban salsa moves; attempt to locate the beat, my hips, any sense of coordination at all. Every time I feel as though I'm starting to get the hang of something, the instructor adds a new step. Then he corrals us into pairs – and a series of new moves, yelling "change partners!" every three minutes. Going solo, it turns out, is fine: everyone is friendly; many seem as unsure as I am. Some are nailing it but there's a sense of camaraderie: we're all in this together. That said, we're all a bit too sweaty to be holding each other. The Social Dynamics of Dance Classes I move from absolute befuddlement, through occasional moments of triumph, to a sense of quiet despair. A move that involves a 360-degree rotation to an eight-count almost breaks my spirit and I consider quitting. To my surprise, this awakens a latent fighting spirit: screw the rules, I'm doing it my way. I experience brief elation. Then we change partners and I find myself in a cursed duet involving four left feet. The elation shrivels. The class ends and I run to the theatre feeling like a dank, demoralised biohazard. I spend the next hour watching a show by the Irish choreographer Oona Doherty featuring a mix of professional, student and untrained dancers – and I mentally salute them all, with a newfound appreciation for the dark art of dance. Finding Joy in Movement I approach my next class, Melbourne shuffle, with a sense of dread. Not only do I now know how bad I am but I have agreed to be photographed. And I made the choice without knowing anything about the Melbourne shuffle, mistakenly assuming it was somewhere in the ballpark of the city's other great cultural tradition. This feeling I am experiencing, I discover, is known as "endorphins". The physical exertion, the mental focus required, the social connection – it all combines to create a chemical cocktail that makes the experience worthwhile despite the occasional humiliation. By the end of my dance weekend, I haven't become a dancer, but I've gained a profound respect for those who are. The Australian Dance Biennale and The Land of 1000 Dances offer not just entertainment, but an invitation to participate, to challenge oneself, and to discover new dimensions of movement and expression.

The Red Carpet Incident Wicked star Cynthia Erivo has said that reactions to the incident at the Singapore premiere of Wicked: For Good, in which she stepped in to fend off a red-carpet invader who grabbed co-star Ariana Grande, revealed “the insidious nature of how we view Black women” and put her off campaigning for Oscars. Erivo's Account of the Incident In an interview with Variety, Erivo said that she and Grande were “terrified” when Johnson Wen jumped a barrier at Universal Studios Singapore and rushed towards them. “Nobody moved. Nobody moved. So I moved because my brain went, ‘Get him away! Get him out of here!’ … And what people couldn’t see is that he wouldn’t let go [of Grande]. He wouldn’t let go. So I just kept pushing at him to get him off.” The Data Analysis: Public Reaction The incident triggered a huge response on social media, including suggestions that Erivo was Grande’s “bodyguard” – something to which Erivo objects. Erivo added that she believes people made assumptions about her role in the incident based on her appearance, saying “it was my physique; it was my shape; it was the fact that I was bald; it was about what I looked like.” The Impact Analysis: Racism in the Spotlight Erivo said that she felt her humanity had been “bastardised” by the reactions to the incident, and that it had made her reluctant to campaign for Oscars for Wicked: For Good. “I just felt like my humanity had been bastardised,” she said. “I didn’t want to put myself through it. I didn’t feel like I deserved it.” The Prediction: Moving Forward Erivo's comments highlight the ongoing issue of racism in the entertainment industry and the need for greater understanding and empathy. As the industry continues to evolve, it remains to be seen how stars like Erivo will be perceived and treated in the future.

The Funding Crisis The Board of Peace, which was founded by United States President Donald Trump in January to oversee the administration and reconstruction of the Gaza Strip, is facing a crippling cash crunch that threatens to derail its ambitious $70bn reconstruction plan for the devastated enclave. The US-led board recently reported a critical gap between its financial commitments and actual disbursements, warning of an urgent liquidity crisis, according to the Reuters news agency. The Structure of the Board However, experts tracking international aid to Palestinians said the funding shortfall is neither surprising nor purely administrative. Instead, they argued that the reluctance of Arab and European donors stems from the board’s controversial structure, a lack of a viable political horizon for a Palestinian state and Israel’s ongoing military expansion across the besieged enclave. Moath al-Amoudi, an expert in international aid to Palestinians, told Al Jazeera that the heavily publicised pledges are closer to a “talk show” than a genuine humanitarian effort. A History of Empty Promises “Out of the $17bn pledged, the actual liquidity that has reached the ground is zero,” al-Amoudi said. “Donors are terrified of engaging with a board that carries no political vision and treats Gaza merely as an American security protectorate.” The gap between pledges and actual disbursements is a historical constant in the Palestinian context, but the US has a particularly poor track record, al-Amoudi noted. Commercial Guardianship and the $1bn Seats Much of the international hesitation is rooted in the architecture of the Board of Peace itself. Previous Al Jazeera reporting revealed that the board operates as a complex three-tiered governing structure heavily stacked with American billionaires and pro-Israel figures, such as billionaire Marc Rowan, US envoy Steve Witkoff, Secretary of State Marco Rubio and Trump son-in-law Jared Kushner. Humanitarian Aid as Political Blackmail The board’s funding crisis is deeply intertwined with its strict political and security conditions. The three-phased US plan for Gaza explicitly demands the full disarmament of Hamas and all allied Palestinian factions as a prerequisite for reconstruction funds and the opening of border crossings while Israel has continued to violate the terms of an October “ceasefire”. The Yellow Line and Modern Ghettos Beyond the political and structural flaws of the board, the volatile reality on the ground makes meaningful reconstruction nearly impossible. Despite a nominal “ceasefire”, Israeli forces have continued their near-daily violations. According to local medical sources, 828 Palestinians have been killed since the “truce” went into effect.

Arsenal's Title HopesArsenal are two victories away from their first league title in 22 years, maybe even just one if Manchester City fail to beat Bournemouth tomorrow night. Every Arsenal fan I speak to is terrified, the heart constantly throbbing, no calm to be found until it is finally over. Three second-place finishes on the bounce will do that to you.The MatchFirst against 19th, the visitors already down. This should be straightforward but it just isn’t, is it?Key Moments7 minutes ago: Preamble

The Personal Connection to Stardust For Claire Danes and her family, Stardust has transcended its status as a simple film to become something of a cure-all. In a personal essay, Danes reveals how the movie has treated everything from bad days at work to an overdose of adult cynicism. Our Sunday nights followed a certain ritual, she recalls, with her and her two siblings sitting on the sofa, ignoring that school was on the next day, and watching their battered DVD copy of Stardust. The Film's Magic: Unashamedly Cheesy Stardust, adapted from a Neil Gaiman novel, works as a feelgood movie precisely because it's so unashamedly cheesy. The film tells the story of Tristan Thorn (Charlie Cox), a young man living in a quaintly twee version of England who sets out on a quest to retrieve a fallen star. Things take an unexpected turn when the star turns out to be Yvaine (Claire Danes), a person being hunted by three witches who want to eat her heart. The resulting adventure is big, romantic, and complete with a sweeping soundtrack as the pair travels across the mythical continent of Stormhold, eventually falling in love. Despite not making significant waves upon its 2007 release, the film found a special place in Danes's unapologetically nerdy household, where magic was the air they breathed. The Cultural Impact: A Modern Fantasy Classic Spiritually, Stardust feels like a successor to the 1987 classic The Princess Bride, though with Claire Danes's character given slightly more to do than Buttercup. The film's appeal extends beyond its fantasy elements—Danes highlights Michelle Pfeiffer's enthusiastic scenery-chewing as the lead witch Lamia, which goes beyond terrifying into pure camp. The entire film is an exercise in camp, featuring excessive world-building, magical inns, human stars, pirates harvesting lightning on sky ships, and sly jokes hinting at even more backstory. The cast reads like a who's who of big names: Claire Danes, Rupert Everett, Mark Strong, Michelle Pfeiffer, Sienna Miller, Ian McKellen, Robert De Niro as a tutu-wearing pirate, and a young Henry Cavill. The Lasting Appeal: Flaws and All Does Stardust stand up to a rewatch? Some elements have aged badly, Danes admits. The modern feminist perspective might balk at Tristan having to save Yvaine in the final act, or at Lamia being evil because she's terrified of aging. The entire film is also fearsomely naff—something that definitely didn't come from Gaiman's book. Yet that's part of its charm. When Danes revisited Gaiman's novel after university, she found it lacking the whimsy and breathless adventure that made the film such a delight. Where Gaiman's prose comes across as dry and detached, Stardust the movie is openhearted and warm—a story where good guys win and baddies get what's coming to them. The Comfort in Fantasy: An Antidote to Stress In a world that feels increasingly fractious and scary, Stardust offers comfort. Like a warm bath, it's an antidote to all things stressful. Danes concludes that the film's ability to provide this escape is what makes it special, transcending its flaws to become a beloved family tradition that continues to bring joy. Stardust is available on Peacock and Hoopla in the US, to rent digitally in the UK and on 10 in Australia

The Detective RenaissanceLace up your gumshoes! Hard-boiled detectives are back on the scene, fedoras pulled low, cigarettes sparked up. Nicolas Cage is leading the charge in Prime Video's Spider-Noir, a shadowy spin on Spider-Man that drops in May – available to stream in black-and-white for the diehards. It promises all the hard-edged hallmarks of a good film noir: fast-paced, slangy dialogue, femme fatales, and a heavy-drinking detective at its centre – albeit one with web shooters rather than a snub-nose revolver.He's not the only PI in the frame this year. Apple TV is adapting Philip Kerr's Berlin Noir series into a series starring Colin Firth, while a new NBC pilot promises Jake Johnson as a "cynical and heartbroken" sleuth. And Brad Bird's animated noir, Ray Gunn, is finally hitting Netflix after almost 30 years in development.The Noir CycleSo what's prompted this return to darkness? Perhaps it's a sign of the times. When Marvel first published the original Spider-Noir comic in 2009 – itself set during the Great Depression – the world was in the throes of a recession. That, it seems, is the noir rhythm: hard-boiled fiction swells in popularity at times of social strain, growing cynicism and shaken trust. When the going gets tough, the saxes start playing.Charles Ardai, who co-founded publishing house Hard Case Crime in 2004, says this cycle began with hard-boiled crime fiction's Depression-era debut. "It emerged in the pulp magazines of the 1920s and 30s," he says of the genre, "where it was a reaction to the perhaps excessively urbane and intellectual British mysteries of the time: murders in vicarages and drawing rooms, puzzles to be decorously solved." In contrast, hard-boiled stories were rough and rugged, and initially enjoyed by hard-up readers who relished "the vicarious thrill of looking in on a life even worse than theirs", says Ardai.The Cultural MirrorIt's no coincidence, he adds, that these gruff, rumpled characters tend to re-emerge "when the world is going to hell and it isn't at all clear if the good guys are going to prevail". Sadly, history has provided many such hellscapes. In the shadow of Auschwitz and Hiroshima, noir flourished. "Less two-fisted action then, and more grappling with existential dread," Ardai says. During the cold war, Mickey Spillane's Kiss Me, Deadly tapped into the paranoia and uncertainty of the time. And post-Watergate, with cynicism at its peak, Chinatown, Night Moves and The Long Goodbye all hit cinemas in rapid succession.Today, the cycle is faster, the shocks coming quicker. The "war on terror". The recession. Trump. #MeToo. Covid-19. Ukraine. Trump again. Epstein. Iran. It's hardly surprising that hard-boiled detectives are out in force for 2026. Such characters are machine-tooled for these moments, when our faith in the system collapses and the truth feels particularly out of reach.The Genre's EvolutionBecause of this, the hard-boiled detective can be transposed effectively across genres. "It's a versatile 'super story' that can be turned in many directions," says Jonathan Lethem, whose debut novel Gun, With Occasional Music fused Philip K Dick-style sci-fi with gloomy-alley noir. It's a similar genre-crunching flavour to that of Spider-Noir, and Lethem – who has written for Marvel comics in the past – notes that Spider-Man's duality makes him a natural candidate for the hard-boiled treatment. "He's resilient, but he's the 'superhero as impostor'," the author says of the wall-crawler. "And hard-boiled characters often get to have it both ways, to be an outlaw and existential loner figure."The Future of ShadowsThe real pull of these stories, though, isn't legal or logistical – it's emotional. When all hope feels lost, noir doesn't offer escape, it offers recognition. It lets us wallow. Because, as Ardai puts it: what reader, "bitterly disappointed or frankly terrified", would choose a story of order and justice when the world outside suggests neither?Further fueling this "re-noir-ssance" is the entry of classic detective characters into public domain. In January, Dashiell Hammett's The Maltese Falcon entered public domain, putting Sam Spade back on the case in the legacy sequel Return of the Maltese Falcon. In the next decade, more hard-boiled icons will follow: Perry Mason himself and Raymond Chandler's Philip Marlowe are set to shrug off their copyrights, opening the door for new stories.As our world continues to face uncertainty and upheaval, the hard-boiled detective – that battle-scarred figure shaped by postwar trauma and shattered romanticism – remains our cultural mirror, reflecting our anxieties while offering a cathartic space to process them. The noir renaissance of 2026 is more than just entertainment; it's a cultural response to our troubled times.

The ongoing conflict between Israel and Iran has led to a substantial increase in global fuel prices, affecting Americans and forcing them to make difficult trade-offs. Many are struggling to access essential items, including medication and groceries, while others are facing financial insecurity and even homelessness.The impact of rising gas prices is being felt across various aspects of life, from accessing essential medicines to facing the brink of homelessness amid an already rising cost of living. For Mandy, a 42-year-old mother in central Utah, higher gas prices have made it harder to visit one of her children, who has disabilities and lives hours away.“Before [Donald] Trump and [Israeli prime minister Benjamin] Netanyahu started their war, gas in my town was $2.70 a gallon. Now it’s $4.19 and I’m terrified it’s going to go closer to $5 before all is said and done. One of our children is disabled and lives in a group home two and a half hours away,” she said.Rising gas prices are also affecting people’s ability to access necessary medication. Lisa, a 56-year-old living with disabilities on a tribal reservation in Oregon, said rising gas prices had disrupted her ability to access necessary medication.“My caregiver and I have had to cut back our trips to pick up my prescriptions, even though they are necessary. Because I live in rural Oregon, the basic necessities are 40 minutes away, so if a doctor calls in an additional prescription after I’ve already been in town for the week, that prescription has to wait for the following week for me to pick it up,” she said.The strain is also being felt by food banks and pantries. Melissa Meyer, chief executive of IPM Food Pantry in Cincinnati, Ohio, said rising gas prices had driven more people to rely on food pantries – even as those same costs strain the operations of local food banks and their volunteers.“Increased gas prices put additional costs on our operations as we must increase gas costs for picking up and delivering food across five counties of south-west Ohio … We are not cutting back our services in any way, yet,” she said.The rising cost of fuel is also having indirect effects, such as impacting small businesses and artists. Cathi Newlin, a 63-year-old ceramic artist in Sacramento, California, who also cares for her husband with Parkinson’s disease, said her income had been hit as consumers pull back.“A substantial portion of our household income is generated from the sale of my art and the classes I teach. These are surely luxury items in any economy but when people have to spend more on basics like gasoline, they don’t have as much money or desire to spend on art. The rise in oil prices very much affects my income and the price of my materials,” Newlin said.

The recent conflict between the US and Iran has resulted in a devastating war with no winners. Despite Donald Trump's claims of victory, the two-week ceasefire announced is not a triumph, and the war may not be over. The Iranian regime has not undergone regime change, and less experienced but more hardline figures are now in charge.The conflict has killed thousands in the region, including children, and left many more exhausted, terrified, and traumatized. The war has also spooked markets, raised prices at home, and shown signs of fracturing Trump's Maga base. The US has squandered tens of billions of dollars, burned through its interceptors, and torched relations with allies.Israel has achieved none of its stated aims and is left with a weaker but less predictable adversary. The Iranian regime can count survival as a kind of success, but senior leaders are dead, its economy is on its knees, and essential infrastructure has been smashed. The people are likely to face yet greater repression.The war has destabilized the region and normalized talk of war crimes, further trashing the idea of a rules-based order. Restrictions on transit will continue to damage humanitarian aid operations and raise prices worldwide, hitting the poorest hardest.The only real winners are arms manufacturers, Russia, and arguably China, at least for now. This is a strategic defeat for the US that will resound for decades, and a clear sign of its systemic failures.