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CCTV cameras caught the carnivorous marsupial skulking around deserted grounds at 4am Tuesday morning Follow our Australia news live blog for latest updates Get our breaking news email, free app or daily news podcast A search is under way on Queensland’s Gold Coast for a missing Tasmanian devil who escaped her enclosure in a daring early morning dash caught on camera. The devil, named Mary, did a Houdini from the Paradise Country theme park, escaping from quarantine in the early hours of Tuesday. Continue reading...

The Guardian Culture

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Masters of the Universe review – Amazon’s He-Man adventure is a weak big-budget misfire

A laboured attempt to resurrect toy IP very few people still care about is a $200m-budgeted waste of everyone’s time It’s not just that He-Man himself is from the 80s that gives 2026’s Masters of the Universe such an aggressive throwback vibe. It’s that trying to assemble a film around the haphazard mythology of a toy and dusting off IP that precious few still care about feels like something Hollywood has slowly been doing a bit less of, especially on a scale such as this. This year, hits have relied on either properties that audiences do have passion for (Scream, Michael Jackson, Mario, The Devil Wears Prada) or, radically, original ideas (Obsession, Backrooms, Goat, Hoppers). We haven’t endured an Underworld sequel or a Tarzan reboot since 2016, a Terminator film since 2019, a Dolittle reboot since 2020 or a GI Joe spin-off since 2021. Mattel might then have struck gold with Greta Gerwig’s Barbie in 2023, but that was both an unconventional, auteur-led one-off and based on a product millions were still buying on the regular (the year before release, the brand made more than $1.4bn). Various directors, from John Woo to Jon M Chu, have been loosely attached to a He-Man movie over the years and various studios, from Sony to Netflix, have tried (the latter streamer having spent a reported $30m on a failed attempt) but, as with many long-gestating projects in Hollywood, those involved forgot to remember Jeff Goldblum’s evergreen Jurassic Park line: “So preoccupied with whether or not they could that they didn’t stop to think if they should.” Continue reading...

The Guardian Culture

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AI won’t decimate the arts. We must interrogate it, but we can collaborate with it

Opera makers have always engaged with the latest inventions while also preserving historic crafts. I believe it’s possible to look both forwards and backwards in this fast-evolving landscape The disquiet and distrust surrounding artificial intelligence among artists and creatives remain real and consequential, and the language used by leading arts commentators is often apocalyptic: AI will decimate the arts, it is evil, it is the devil. Like many emerging technologies, AI has been driven by the corporations at the forefront of its creation. Introduced to the public at a rapid rate and continuously evolving, machine learning has become closely entwined with fear, antipathy and foreboding. At the same time, its powers and possibilities are expanding exponentially, becoming embedded in almost every aspect of human activity. The upcoming RBO/SHIFT festival at the Royal Opera House aims to interrogate all sides of this fast-evolving landscape to enable artists, performers, creatives and audiences to think deeply and widely about where we are now, and where we may be tomorrow. Machine learning represents a seismic shift, both in society and in the arts, and we need storytellers, artists, teachers and thinkers in this space to help determine the direction of that shift and help us navigate this unfamiliar territory. Continue reading...

Daily Mail (News)

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'Hazing' on the weekends, a non-negotiable dress code, and 'constant' stream of emails: Anna Wintour's former assistants reveal what it was really like working for feared Vogue boss

Speaking to American journalist Amy Odell, these women shared how much of The Devil Wears Prada was inspired by the sunglasses-clad Global Editorial Director of Vogue.

The Guardian Culture

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To YouTube and beyond: how online gen Z directors stormed Hollywood

Record-breaking box office for Backrooms and Obsession has opened the door for twentysomething YouTube creators as the industry rethinks what audiences want At this time last year, the idea of a wide-release feature film-maker cutting their teeth on YouTube was, if not unheard of, certainly still a niche origin story. Siblings Michael and Danny Philippou had just released Bring Her Back, the follow-up to their surprise horror hit Talk to Me, to pretty-good reviews and OK box office; clearly they would continue to work, but the slightly diminished returns didn’t predict a YouTube explosion. Nor did the outright lousiness of Shelby Oaks, from longtime YouTube film critic Chris Stuckmann, when it premiered in theaters later in 2025. Generous horror-festival buzz died down as more people actually laid eyes on the movie; Stuckmann was an obvious enthusiast, and some saw promise in his first effort, but a clumsy found-footage pastiche without much emotional sense didn’t seem like the next big thing, either. But in 2026, something has shifted. In January, YouTuber Markiplier self-released his adaptation of the video game Iron Lung to theaters, and it outgrossed any number of big-studio titles. Then Curry Barker, whose comedy sketches have been a YouTube fixture, unveiled his feature debut Obsession. The film, made for under a million dollars, has become the box office phenomenon of the summer so far, managing a virtually unheard-of feat when its second and third weekends actually outgrossed its first. Obsession is sharing multiplex space with Backrooms, directed by 20-year-old Kane Parsons, who previously brought the spooky internet meme to life in a series of YouTube shorts. Despite being set in a series of purgatorial, sparsely furnished, fluorescent-lit “liminal spaces”, it was the top movie at the North American box office this weekend, poised to become the biggest-grossing movie from distributor A24 in a matter of days. Backrooms also opened to bigger numbers than any number of starrier or bigger-brand 2026 titles like Wuthering Heights, Scream 7, The Devil Wears Prada 2 or the last Pixar movie. That makes three YouTube-trained film-makers who have presided over some of this year’s biggest and/or most surprising hits. With them have come countless social media posts about how YouTube, not film school, provides the real training tomorrow’s directors need. Continue reading...

The Guardian World

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Jamie Lee Curtis announces death of actor sister Kelly aged 69: ‘My first friend and lifelong confidant’

Star says her older sister, an actor and film-maker, died ‘in her home, in nature, at peace’ Jamie Lee Curtis has announced the death of her sister, the actor Kelly Curtis, at the age of 69, describing her as “talented” and “jaw droppingly beautiful”. Jamie Lee said her sister had died “in her home, in nature, at peace” on Saturday, having had roles in films including Trading Places (1983), in which the pair both appeared, Magic Sticks (1987) and The Devil’s Daughter (1991). No cause of death was given. Continue reading...

Cape Fear: Amy Adams is incredible in this twisty remake of the classic Scorsese thriller

Javier Bardem and his co-star are brilliant as the duelling pair at the heart of a dread-packed psychological drama – where evil lurks in plain sight The 1991 revenge thriller Cape Fear boasts many famous moments. A teddy bear rigged with fishing wire. A drowning man speaking in tongues. But the image I cannot shake is the back of a sailboat, piloted by a lawyer who is being hounded by Max Cady, a rapist he once sent to jail. The boat is called Moana. It makes sense – throughout Polynesia, moana means “ocean”. However, watching now, I can’t help but wonder if the Rock is going to appear and save the day with his magical pec tattoo. Martin Scorsese’s classic was a remake of a 1962 film, which was based on a 1957 novel. Recycling IP can feel depressing, but Cape Fear always stirs the pot. The 60s film, starring Gregory Peck as a morally upright man tormented by a senselessly evil one, had a Book of Job mystery to it. Scorsese’s version introduced sympathy for the devil, and a jaundiced view of its protagonist: a lawyer who buries evidence that might exonerate his client, whom he believes should go to jail. The high-water mark, though, is probably Cape Feare, the Simpsons parody featuring Sideshow Bob. (Best. Episode. Ever.) Continue reading...

The Guardian Culture

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Miss You, Love You review – Allison Janney anchors affecting old-school grief drama

A talky, performance-driven two-hander manages to find specificity and spark in what could have felt like an overly familiar throwback Hollywood is currently in an odd but oddly exciting place, where no one is quite sure what types of “films they don’t make anymore” they should actually start making again. We’ve seen historical epics such as Oppenheimer, erotic thrillers such as The Housemaid and female-led workplace comedies such as The Devil Wears Prada 2 all make blockbuster bank and we’re in the middle of a bumper year at the box office, edging towards a pre-pandemic total. But around the edges or in-between the cracks, there are brackets of films that might once have been given a spotlight, yet are still being left in the dark. A film such as Miss You, Love You – a talky comedy drama about adults navigating adult issues – would never have been a smash hit exactly, but it would have occupied a space which has now mostly faded, a space where specialty releases slowly turn strong reviews into good word of mouth that in turn allows for minor, yet, impressive numbers, a sleeper hit with awards buzz. Made over two years ago and then screened for buyers at this year’s Sundance, with the help of Julia Roberts, whose husband acts as cinematographer, it was ultimately bought by HBO and shuffled into an early summer TV premiere, where it will likely go the unfortunate route quietly laid out by the network’s other purchased titles. Continue reading...

Daily Mail (News)

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Christian man with a 'phobia of Pride symbols' loses tribunal after trying to sue for 'religious discrimination' when a firm wouldn't remove LGBT+ posters

Mark Jennings was told he could not work from home during Pride Month - despite his belief that gender ideology is 'the work of the devil'.

The Guardian Culture

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정치

‘Impossible, exhausting, horrifying’: how a chilling supernatural play explains the terror of life in Iran

Hit Iranian horror Under the Shadow conjured scares from the aftermath of the 1979 revolution. With Tehran once again under siege, a new theatrical version makes that story feel more relevant than ever Nadia Latif’s grandmother warned her about djinn. “If angels are good and devils are evil,” the theatre and film director remembers learning, “then the djinn is something in between.” As a child, she asked her grandmother what that really meant. “It means,” she was told, “that bad things happen to good people.” For rehearsals of Carmen Nasr’s stage adaptation of Babak Anvari’s 2016 Iranian horror movie, the djinn-haunted Under the Shadow, Latif has placed a protective evil eye to keep watch over the room. “Just in case,” she says. The Bafta-winning Farsi horror film – performed on stage in English – is set in Tehran in 1988 as Iraq hurls missiles across the border, with the shadow of the 1979 Iranian revolution still hanging heavy over the country. Shideh, played in the film by Narges Rashidi, hides in her apartment with her doll-hugging, terrified daughter as the story unravels into a deeply political horror. Nightmare and reality collide as the supernatural being becomes an increasingly tangible presence in their home: rumours become real, apparitions stalk the night and opportunities for escape are steadily slashed. “It’s the beginning of most Persian conversations,” says the British-Iranian Leila Farzad, who follows her role as a knowledge-hungry academic in Tom Stoppard’s Arcadia by playing Shideh on stage. “Before the revolution or after the revolution. Even 47 years later, it’s the thing that is most talked about. Enqelab, the word for revolution, is one of the first words you hear as an Iranian kid.” Continue reading...

‘Writing is exactly like love – you need to do it in the dark’: novelist Leila Slimani on why literature is erotic

Now in residence at the Madrid Prado, the author talks about its dark, inspirational Goyas, the clandestine nature of her writing – and why she finally wrote about her jailed then posthumously exonerated father It is a bright, chilly spring morning in Madrid, and the Museo del Prado doesn’t open to the public for another hour. Without the crowds, the museum is amorphous and eerily silent. A pale light pools in the corners and casts long shadows around the paintings, as if the figures inside them have slipped quietly into the room. It is here that I meet the French-Moroccan writer Leïla Slimani, who has spent the past two weeks using the space as inspiration for her work. With quick strides, Slimani leads us to a basement gallery housing some of her favourite works: Francisco Goya’s dark and haunting Black Paintings, created later in life when the Spanish artist had adopted a particularly bleak outlook on humanity. Among them are Saturn Devouring His Son, a violent depiction of the god biting into his own child; The Fates, with its three ominous figures spinning the thread of life; and Witches’ Sabbath (The Great He-Goat), in which the devil appears as a goat presiding over a coven. Continue reading...

The Public Domain Review

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