The American rapper will no longer support Sheeran’s US leg of Loop tour after comments at MetLife Stadium show Macklemore has been dropped from the remainder of the US leg of Ed Sheeran ’s Loop tour, after the American rapper drew headlines for saying “free Palestine” on stage at MetLife Stadium in New Jersey. In a brief speech between songs on 4 September, the Grammy-winning artist told the audience he wanted the people of Gaza and “the occupied West Bank” to know “we have not forgotten about them”, prompting a petition from the Israeli American Council demanding his removal from the tour. Continue reading...

Miki Zohar accuses Oscar-winning directors Yuval Abraham and Rachel Szor of ‘treason against the state’ ‘They know the house they are bombing is full of children’: NAZA’s directors on their devastating film about Israeli intelligence Israel’s culture minister has called for the Oscar-winning Israeli directors of NAZA , a documentary about the country’s mass killing of civilians in Gaza, to be stripped of their citizenship, accusing them of “treason against the state”. NAZA, which was produced by the Guardian, is named for an acronym used by Israel’s intelligence service to indicate how many civilians it expects to die in an airstrike on Gaza. Continue reading...

Toronto film festival: Saipan standout Éanna Hardwicke is a soulful gay man looking for a missing friend in a striking yet muddled debut It’s not normal to regularly contemplate mortality in your twenties, to ask questions about where we might go after we die and whether any part of our legacy will even matter in the years following. But for gay men in the 1980s, death was everywhere. In David Turpin’s intermittently impactful debut Ancestors, the director tries to make a connection with those men who lived through the very worst years of the Aids crisis. Turpin, born in 1982, might not have the first-hand experience but he bears the scars passed on from generation to generation and like many young gay men coming of age in the years after, likely experienced a watered down version of the shame and fear those before him once felt. Continue reading...

‘The child crawler whose head I crush with my boot was only 11, bless him. It was actually me stamping on a cauliflower’ I was introduced to Christian Colson at Celador Films off the back of [2002 horror film] Dog Soldiers, and I pitched them a project – actually a feature-length version of my student graduation film – about zombies on an oil rig. They liked it but said it was too expensive, so on the train back to Newcastle I was asking myself what would make a really scary horror film that could be contained and so made on a budget. I was thinking of things set in the dark and was like, well … caves . At the back of my mind was a school trip to a lead mine where the guide had said, “OK, everybody, turn your lights off” and, for the first time, I experienced a darkness that I just couldn’t fathom. Continue reading...

(Iliad/Capitol) On his first album in seven years, Beck keeps the quality control extremely high as he surveys mid-50s malaise in the wake of divorce The last time Beck released an album it was 2019 and the singer-songwriter found himself in a strange and unenviable position. In some quarters, the arrival of Hyperspace was eagerly anticipated precisely because his personal life was in turmoil. Nine months before its release, his 15-year marriage to actor Marissa Ribisi had ended in divorce, an experience he understandably described as heartbreaking. Unfortunately for him, there exists a pervasive argument that Beck’s greatest work is born out of misery. His beloved 2002 album Sea Change featured a set of disconsolate acoustic songs written in the wake of a break-up with his long-term girlfriend Leigh Limon that Beck had initially thought were too personal for public consumption. They were certainly very different from the knowing, postmodern approach with which he’d made his name, but no matter: Sea Change went on to become a huge critical and commercial success. It wasn’t entirely clear what prompted the gloomy mood of 2014’s Morning Phase, but it very much seemed to be cut from similar musical and lyrical cloth. Some critics suggested it was the best album of his career; it subsequently won three Grammys, including album of the year. Given the circumstances, there was much pre-release speculation that Hyperspace would be a companion piece. Continue reading...

Sebastian Stan says he pitched Marvel a mid-budget thriller starring his Winter Soldier character. Perhaps the studio should give it – and other modestly scaled vehicles – the green light Blink a little and you might think we are back in 2019. The latest Spider-Man film, Brand New Day, has just passed $2.4bn at the global box office, to become the third-highest grossing film of all time behind Avatar and Avengers: Endgame. Meanwhile Avengers: Doomsday is reported to have already earned more than $50m in US ticket presales alone, despite the fact that it doesn’t come out until December. Clearly we are in the middle of a superhero renaissance. And yet it doesn’t really feel like it, largely because it is something of a turnaround for Marvel, after a pretty disappointing 2025 in which all three of the studio’s releases underperformed. Captain America: Brave New World took $415m worldwide, Thunderbolts* managed $382m and even the well-reviewed The Fantastic Four: First Steps stalled at $521m, against a reported $200m budget. These are hardly Madame Web numbers but they do suggest there is still a problem about what to do with all those superheroes who cannot sustain a $300m multiversal extravaganza. Continue reading...

I know from our early days how high-pressure road life can be. While big tours often hire therapists, grassroots acts can’t afford it. I’m pleased to back a new scheme that aims to change that When Radiohead started touring, it was hugely exciting, but we got signed when we had been going for five or six years and had only really played in Oxford. Suddenly you’re entering a new world: the first flush of fame, being compared to everyone else, the furnace-like experience when a band takes off and a whole new routine of late nights, bad food and everything else that goes on around live music. Everything is heightened and it can be very isolating. In 1992 we were playing small venues in a van and then suddenly in 1993 we were spending the second half of the year in the US. On our second long tour that year, everything caught up with me. I kind of withdrew into myself. Something about being in the US made me feel “impostor syndrome”. I really did feel a very long way from home. All that anxiety has to come out somewhere – for some it’s drink and drugs – but for me it came out in my playing. There was one particular show where we were opening for Tears for Fears and another band who had [Blondie’s] Clem Burke on drums. Clem was my absolute drummer hero but I just hit peak overwhelm, and my drumming went off a cliff. Every limb seemed to be going at its own speed. The kick drum became like trying to open a heavy door. Continue reading...

The latest in our series of writers explaining their most rewatched comfort films brings us back to 1980s LA As a teenager growing up in the 1990s, I was deeply obsessed with all things 1980s pop culture. Chalk it up to nostalgia for my Care Bears-filled childhood – or a stubborn adolescent desire to separate myself from the Dave Matthews Band-loving, khaki-wearing kids at my high school. (Mission accomplished: it’s safe to say I was the only person I knew rocking a bandana tied around my pants leg or a Wild Boys-era Duran Duran shirt.) Back then, I was especially drawn to 1980s teen movies. In my own life, I was having zero luck finding a New Romantic Romeo; instead, I pined after artsy, sensitive boys who didn’t know I existed. But throughout these films, even the most awkward characters managed to find a happy ending, with the ultimate examples being Samantha (Molly Ringwald) in Sixteen Candles landing hunky Jake Ryan or Stacy (Jennifer Jason Leigh) linking up with Rat (Brian Backer) in Fast Times at Ridgemont High. Continue reading...

A sharp analysis of the damage wrought by the reckless super-rich, and progressive toolkit for repairing it The more power the radical rightwing nationalists of our age accrue, the greater the risk that their destructive brand of politics becomes normalised. We should not, for instance, regard it as normal that the man in charge of one of the world’s largest nuclear arsenals casually promises “a whole civilisation will die tonight”. We should not accept that history’s first trillionaire is allowed to spread racist conspiracy theories to a hitherto unimaginable extent. We should be alarmed that, here in the UK, a party tipped to lead a potential future government is trying to cruise to power in the slipstream of this international movement. In fact, we shouldn’t just be alarmed by such developments: we should stop them and urgently repair the damage already done. But how? And what is the nature of that damage? This bold, clarifying intervention from Naomi Klein and Astra Taylor provides some of the answers. “End times fascism” is their term for a convergence of interests that can broadly be understood as a response to the climate crisis. Faced with a world coming under unprecedented strain from environmental shocks and an unequal, resource-hungry economic system, today’s reactionaries are effectively saying: bring it on. Continue reading...

Fans of the show will not want to miss this revealing new series with Dominic Chianese and his son. Plus, a political drama that’s as thrilling as a Bourne novel The Sopranos star Dominic Chianese (95) and his son Dominic Chianese Jr (62) helm this new series – a cosy father-son catchup , and all the better for it. Choice cuts include Chianese Sr’s admission that he thought the show was a spoof at first, playing his first scene as crime boss Junior for laughs. As for “Jimmy” Gandolfini, he was “in the same stratosphere as Al Pacino ... acting with him was so easy because he was so real and so believable”. Hannah J Davies Widely available, episodes weekly Continue reading...

Adolescence co-writer criticises government inaction and calls for laws banning secret use of AI to generate scripts Jack Thorne, one of Britain’s most successful screen and stage writers, has warned that some people in his profession are using AI “to cheat”, as he called for laws banning the secret use of the technology to generate scripts. Thorne, who co-wrote the hit Netflix drama Adolescence and wrote the stage play Harry Potter and the Cursed Child, said that “writers need to be squeaky clean” in the face of AI models that “steal” the creative industry’s work. Continue reading...

Toronto film festival: Cynthia Erivo takes on the role Jodie Comer made famous for a pointless adaptation of a story about rape and retribution that loses the power it once had Suzie Miller’s award-winning 2019 play Prima Facie employs a familiar narrative device: a hotshot London barrister finds herself on the other side of the bar, subject to the very legal tactics she once so ruthlessly employed. Not as a defendant, but as the accuser in a rape case. We’ve seen versions of this before – a powerful figure suddenly caught in a struggle against a system they helped perpetuate – but Miller’s play distinguishes itself by putting the onus on to one actor. Prima Facie is premiering at the Toronto film festival and is seeking distribution Continue reading...

Call Me Maybe made the singer-songwriter famous – but also confused. Who was she? Who was her music for? Fourteen years later, about to release the double album Day and Night, she finally has some answers Carly Rae Jepsen is as bubbly as ever as she comes down for breakfast at Manhattan’s Hotel Chelsea. She’s one of those pop princesses, like Kylie Minogue, whose voice and demeanour remain unchanged whatever the situation. And she feels at home at this New York landmark where, last year, she married the musician and producer Cole MGN. That a wedding at the Chelsea would need to be kept to about 100 people was an immediate selling point. “I loved that it was smaller,” she says. “It felt big to me! I didn’t even get time with all the people that were there.” We’re here to talk about her new album, though, which comes out 14 years after the song that made her world-famous. Born and raised in the city of Mission in British Columbia, Jepsen had come third on Canadian Idol in 2007, and then released a low-key folk album called Tug of War in 2008, before dropping Call Me Maybe four years later. It became the bestselling global single of 2012; her second album, Kiss, came out in the same year. Now, at the age of 40, she has six more studio albums under her belt. The latest, Day and Night, is her take on marriage and motherhood. And, in its own way – which is to say, a bit coy, a bit breathy – it might also be Jepsen’s horniest album to date. Continue reading...

A bloated ballroom, a six-storey military HQ, a helipad-cum-cocktail patio, a gilded angel on a giant arch honouring himself … our architecture critic deplores the decorator-in-chief’s mutilation of Washington When you have a developer as US president, you might expect some zhooshing up of the capital. A few buildings renovated, maybe some parks replanted. But when you have a megalomaniac builder in charge, things can get out of hand. A decade ago, when Donald Trump was first elected, I asked what it might mean for the US to be led by a real estate tycoon whose career had left a trail of broken promises, angry buyers and endless lawsuits, with rules flouted, heritage trampled and the world pockmarked by a fleet of aspirational towers clad with a flimsy veneer of luxury. The answer is worse than I could have imagined. With the air of a nightmarish Hollywood sequel, Trump 2 has seen the president’s true architectural ambitions unleashed: The Blingpire Strikes Back. As America’s self-styled decorator-in-chief, Trump has not only overseen the gilded mutilation of the White House, but embarked on the Mar-a-Lagofication of Washington DC itself, applying his gold paintbrush to statuary, daubing ponds with flaking pool liner, and brewing plans for a colossal triumphal arch – all procured in a blizzard of no-bid contracts . And, in true dodgy salesman style, this programme of bauble-building is turning out to be a high-profile decoy for deeper damage being wrought elsewhere. Continue reading...

Toronto film festival: Tim Blake Nelson writes and directs a challenging, and unsettling, look at empathy and forgiveness that strikes a haunting note There are troubling questions posed in Tim Blake Nelson’s effectively glum prison drama The Life and Deaths of Wilson Shedd, a film that will rank among the most overwhelmingly feel-awful experiences of this year’s Toronto film festival . It’s a story told in a disarmingly folksy manner with plucked guitar strings and down south homespun wisdom before it quietly reveals itself to be about something far more serious and startling, elements of an escape thriller but mostly an unsettling moral drama. It’s likely to upset and enrage some but even those who might feel offended will at least feel something , a quality not to be sniffed at during a festival that can often pick politeness over provocation. It’s the new film from actor turned writer-director Nelson, whose work has often tended to confront and dissect difficult issues. He went to Auschwitz in The Grey Zone, transported Shakespearean tragedy to high school in O, and handled both rape and suicide in his debut Eye of God. It’s a fine line between grimness for the sake of grimness and being unwilling to shy away from grimness, and at times I wondered whether I was being overly prodded, whether certain scenes were bordering on exploitative. I left rattled by what I’d seen and what I was being forced to reckon with, but I think Nelson just about justifies himself and how far he goes partly because he does, in crucial moments, avoid showing more than is needed. The Life and Deaths of Wilson Shedd is premiering at the Toronto film festival and is seeking distribution Continue reading...

Toronto film festival: the actor gives one of her best performances to date in a smoothly made globe-trotting drama of a woman’s life after the loss of her husband There’s a jump scare about 30 minutes into the glossy romantic drama Love of Your Life that’s about as effective as anything you’ll see in a horror movie this year. The film is focused on the life and loves of Maya (Margaret Qualley), a twentysomething Boston nurse who meet-cutes with the nerdy and idiosyncratic Charlie (Gabriel Basso) during the purchase of a nightstand. We follow the initial giddy rush of their courting as they progress all the way to an impromptu wedding over the course of a few years, marked by Maya’s change in age announced in text. But just as we’re about to process the unsettling introduction of Charlie using Chekhov’s inhaler, a news report interrupts the sunny tone. Spoiler: it’s March 2020. Continue reading...

Toronto film festival: Shakespeare in Love director John Madden’s feelgood – and bad – comedy-drama is powered by excellent performances and authenticity So far at this year’s Toronto film festival, I have seen three films involving someone with dementia and two featuring someone who has Aids. It’s not just a sign that the lineup could perhaps benefit from some more light relief but also that certain conditions and illnesses still tend to be covered more often than others on screen. Last year’s festival saw Scottish hit I Swear bring an unprecedented level of awareness to people who live with Tourette’s and while there’s perhaps less of an obvious edge to John Madden’s more politely framed comedy-drama Onwards and Sideways, it too acts as both narrative movie and potential educational tool. Our knowledge of Parkinson’s is usually restricted to the celebrities who have it, from Muhammad Ali to Michael J Fox to, most recently, Carly Simon, but for many of us, it’s still seen in an abstract way, a handful of symptoms we know about, but so many more that we don’t. Continue reading...

Toronto film festival: To be a parent or not to be a parent is the question propelling this often insightful yet largely run-of-the-mill riff on a Judd Apatow movie It’s a question still casually and routinely asked to couples everywhere regardless of familiarity, one that many fear and some feel actively offended by: are you guys gonna have kids? Despite living in an age where we’re supposedly more accepting of people who make choices that don’t conform to whatever dusty old standards our parents and their parents had to live by, there’s still an odd regressive judgment attached to those who dare to say no or even maybe. There’s the sad tilt of the head and maybe a “but you’d make such great parents” on top, as if either would make a difference to one of life’s biggest decisions. It’s a question that writer-director Lauren Miller Rogen knows all too well and as the wife of Seth Rogen , it’s one that has an answer that immediately becomes a headline . Continue reading...

Toronto film festival: There’s a knockout central performance from Anthony Ippolito in this otherwise rather lightweight making-of comedy drama We first see Anthony Ippolito sauntering into a harsh spotlight in I Play Rocky’s opening frames. He’s squirrelling around an audition space, physicalizing the battle between his nerves and the stubborn self-confidence that gets him into those rooms, knowing casting agents typically count him out. He collects his wits, puts his chest out to perform as “Thug #2”, and bellows out the lines, in that deep slow growl as though he’s speaking while chewing through a New York striploin. We don’t find out if his character got the “Thug #2” gig, but in those opening moments, Ippolito nails his part as Sylvester Stallone. Ippolito is a casting coup for I Play Rocky, Peter Farrelly’s lightweight comedy about the making of Rocky, which leans hard on easy nostalgia for the 50-year-old Oscar-winning crowd-pleaser. His looks, physicality and performance are so on point and uncanny that I never broke away from seeing Stallone, not even when he’s recreating scenes so firmly lodged in mine and pop culture’s memory. The movie’s title says more than it lets on, because Ippolito doesn’t just play Sylvester Stallone playing Rocky Balboa. His performance, perhaps intentionally, blurs the line between Stallone and Rocky. When Ippolito’s Stallone is flirting with his soon to be wife Sasha (AnnaSophia Robb, soulful) or sitting in an office sparring with producers Irwin Winkler (PJ Byrne) and Robert Chartoff (Toby Kebbell), trying to convince them he’s worthy of a shot, I saw Rocky. Continue reading...