Category: 5. Entertainment

A Windrush exhibition in south London aimed at honouring the history, legacy, and contributions of the Windrush Generation to British society has been vandalised.

Portraits featured in the Windrush Untold Stories exhibition, currently installed in Windrush Square in Brixton, were damaged on Thursday.

Friends of Windrush Square said the “deliberate vandalism” was “not only an attack on public art, but a blatant act of racial hatred directed at a community that has given so much to the life and spirit of the UK”.

The Metropolitan Police has been contacted for comment.

The exhibition features 20 portraits and first-hand accounts of those who arrived in the UK from the Caribbean between the late 1940s and 1970s.

Friends of Windrush Square said the vandalism had caused “considerable distress” to local residents, artists, volunteers, and project partners, “many of whom are directly connected to the Windrush legacy”.

Ros Griffiths, chair of Friends of Windrush Square, said: “This is a deeply upsetting and shocking act of racial disrespect.

“Windrush Untold Stories was created to celebrate the contributions and resilience of the Windrush Generation, whose story is central to the fabric of British life.

“That it should be targeted in such a hateful way is a stark reminder of the ongoing challenges we face in building an inclusive and respectful society.”

Bavaria Media and Beta Film have joined forces on Mozart Mozart, a six-hour drama that reimagines the legacy of Wolfgang Amadeus Mozart through the eyes of his (real-life) sister, Maria Anna Mozart.

The series, from the creators of German costume drama hit Sisi, has received a first-season commission from German public broadcaster ARD and Austria’s ORF.

Set in the late 18th century, the series centers on Amadeus’ sister, Maria Anna Mozart, portrayed by Havana Joy (Love Sucks), who steps into her brother’s shoes after his dismissal from the Salzburg court threatens the family’s future. When Wolfgang, played by Eren M. Güvercin (Druck, Eldorado), proves too volatile to secure favor at the court of Emperor Joseph II, Maria Anna disguises herself as her brother, captivating Vienna’s elite and drawing the envy of Mozart’s rival, Antonio Salieri. Her deception grows increasingly complex as she attempts to maintain the ruse, protect her family’s reputation and navigate her relationship with Salieri.

The series stands apart from the upcoming English-language series Amadeus, which Sky has commissioned in the U.K., and will see White Lotus actor Will Sharpe play Wolfgang Amadeus Mozart. That drama is a reimagining of Peter Shaffer’s 1979 stage play Amadeus, which inspired Milos Forman’s 1984 Oscar-winning adaptation.

“What we definitely didn’t want to do was a remake of Amadeus,” Mozart Mozart showrunner Andreas Gutzeit, who created the series and co-wrote it with Swantje Oppermann (Dignity), tells The Hollywood Reporter. “The desire is to tell a new story for a younger audience, and to tell the forgotten story of Maria Anna, who was a musical genius of her own, perhaps as talented, or more so, than her superstar brother.”

“Mozart’s sister isn’t a secret, but we don’t know much about her life, other than she was also a child prodigy and that she and Amadeus toured together to every royal court in Europe at the time,” notes Clara Zoë My-Linh von Arnim, who is directing the series. “But she had the misfortune of being a woman and then, when she turned a marriageable age, she was dragged off the stage, in the truest sense of the word. There is a lot of speculation on how big her influence was on Amadeus’ music, on his compositions, over the years.”

Jessica De Rooij, who composed the award-winning music for Sisi, is back for Mozart Mozart, giving Mozart’s iconic compositions a contemporary edge for the show. Gutzeit and Jens Freels (Dignity) serve as executive producers, with Simona Weber producing.

The ensemble cast includes Eidin Jalali (The Swarm, Maxton Hall), Verena Altenberger (Wild Republic), Peter Kurth (Babylon Berlin), Philipp Hochmair (Freud), Sonja Weisser (Maxton Hall), Lisa Vicari (Next Level) and Annabelle Mandeng (Vikings: Valhalla).

Produced by Gutzeit’s Story House Pictures in co-production with ARD, ORF and The Dreaming Sheep Company, Mozart Mozart is being sold internationally by Bavaria Media and Beta Film.

Check out the teaser trailer for Mozart Mozart below.

The producer of a film about medics in Gaza that was dropped by the BBC has accused the corporation of trying to gag him and others over its decision not to show the documentary.

Gaza: Doctors under Attack, which was finally broadcast on Channel 4 on Wednesday night, recounts how hospitals in the territory have been overwhelmed, bombed and raided. Medics recount being detained and claim to have been tortured. It had originally been due to run on the BBC.

Ben de Pear, the programme’s executive producer and a former Channel 4 News editor, accused the BBC of attempting to stop him talking about its “painful journey” to the screen with the use of legal gagging clauses.

“I rejected and refused to sign the double gagging clause the BBC bosses tried multiple times to get me to sign,” he said in a post on LinkedIn. “Not only could we have been sued for saying the BBC refused to air the film (palpably and provably true) but also if any other company had said it, the BBC could sue us.

“Not only could we not tell the truth that was already stated, but neither could others. Reader, I didn’t sign it.”

Instead, he said, he spoke out, criticising the BBC’s director general, Tim Davie, at a conference in Sheffield over the decision to pull the film. “All the decisions about our film were not taken by journalists, they were taken by Tim Davie,” he said at the time. “He is just a PR person. Tim Davie is taking editorial decisions which, frankly, he is not capable of making.

“The BBC’s primary purpose is TV news and current affairs, and if it’s failing on that it doesn’t matter what drama it makes or sports it covers. It is failing as an institution. And if it’s failing on that then it needs new management.”

The BBC did not comment on the accusations. An insider said Basement Films, De Pear’s production company, had only been asked to sign a standard clause obliging producers to have the corporation’s permission before engaging in publicity around one of its shows. It is understood this is disputed by Basement Films.

BBC sources suggested the broadcaster had been attempting to find ways to use the documentary material in news coverage, but a final decision was made to drop the film entirely after De Pear’s public comments in Sheffield. This timeline is also disputed. Once the BBC handed control back to Basement Films, a BBC source said it ceased to be the broadcaster’s film.

They also argued it was untrue the BBC had tried to gag De Pear from speaking about the film, pointing to public statements he made about it. They also pointed to the BBC’s public statement, made last month, clearly stating it had dropped the project.

De Pear’s comments follow the publication of a letter signed anonymously by more than 100 BBC staff criticising the decision to drop the film. The letter also questioned the role of Robbie Gibb, Theresa May’s former spin doctor and a member of the BBC’s board and editorial standards committee.

Gibb led the consortium that bought the Jewish Chronicle in 2020 and, up until August 2024, was a director of Jewish Chronicle Media. The BBC has said he had no “formal role” over the decisions made in relation to the Gaza film.

Before dropping the medics documentary entirely, the BBC said it had delayed its broadcast until a report into the making of another documentary, Gaza: How to Survive a Warzone, had been completed.

That programme was pulled from iPlayer earlier this year after it emerged that its 13-year-old narrator was the son of a Hamas official. The review into its production continues.

King Charles and Prince William’s heartwarming tribute to their heroes, who are protecting the UK and promoting peace overseas, left Prince Harry in tears.

The Duke of Sussex was overwhelmed with emotions after the King and the future monarch used their social media accounts to mark the Armed Forces Day, which is celebrated on the last Saturday in June in the UK.

It’s a day to show support for the men and women who make up the Armed Forces community, including currently serving personnel, veterans, families, and cadets.

To mark the day, the monarch said “he salutes all members of the military.”

A source close to the Duke and Duchess of Sussex, claimed: “King Charles and William’s tribute brought tears to Harry’s eyes, as he too had served in the British Military and even taken part in operations in Afghanistan.”

“The Duke of Sussex served in the British Army for ten years, from 2003 to 2014. He achieved the rank of Captain in the Army Air Corps. The royal was also deployed to Afghanistan twice,” they added.

The King’s statement, shared on the official Instagram account of the royal family, read: “Thank you for your tireless service, protecting the UK and promoting peace overseas. We are hugely grateful for your efforts, often in the face of danger, and those of your loved ones, providing support at home.”

Similarly, the eldest son of King Charles, William also marked the day by sharing his picture taken during a visits in military uniform, stating: “Proud to mark Armed Forces Day. Thank you to everyone serving in the British Armed Forces, and to all veterans, for your courage, dedication and sacrifice.”

It is worth mentioning here that King Charles’ youngest son received several awards and honours for his service, including the Operational Service Medal for Afghanistan. Harry’s dedication to his country and his charitable work, especially with veterans, continue to be notable aspects of his public life.

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PA Media

Mammograms can find cancer early before symptoms appear. Regular screening decreases the risk of dying from breast cancer. But a recent survey question by the Annenberg Public Policy Center shows that some Americans appear to be confused about when women with an average risk of breast cancer should begin a regimen of regular mammograms.

Women with an average risk of breast cancer should begin to have mammograms every other year beginning at age 40, according to the U.S. Preventive Services Task Force, which issued an updated recommendation on April 30, 2024, in the Journal of the American Medical Association, formalizing an earlier draft proposal. The recommendation applies to women from ages 40 to 74.

Founded in 1984, the U.S. Preventive Services Task Force is “an independent, volunteer panel of national experts in prevention and evidence-based medicine.” It offers guidance to federal health agencies and, through the Affordable Care Act, essentially determines which preventive services should be covered by insurers. 

Guidance from major medical organizations on what age to begin regular mammograms has changed over the years – from 40 to 50 and then back to 40 again. While a start date of age 40 is widely recommended, some medical organizations have put forth other recommendations. The American Cancer Society, for instance, advises that women with average risk have the option to start screening every year from age 40 to 44, then should have mammograms annually from 45 to 54 years old, and then continue with mammograms every other year.

The Annenberg Public Policy Center (APPC)’s health survey, conducted with a sample of over 1,600 U.S. adults in April, finds that nearly half of those surveyed (49%) know that age 40 is when women at an average risk of breast cancer should begin to have mammograms every other year. But 10% say they should begin at age 20; 21% say age 30; 8% age 50; and 11% are not sure.

Confusion can arise when medical guidance about detection or treatment changes, as it has in recent years with mammograms. Our data suggest that the recommendation that such screening ordinarily start at 40 years old is not yet widely enough known.”

Kathleen Hall Jamieson, director of the Annenberg Public Policy Center of the University of Pennsylvania

In our April 2024 survey, conducted before the task force lowered its recommendation from age 50 to age 40, the overall finding was the same: 49% thought the correct age was 40. That was not the recommended age at that time, though it is today with the updated medical advice.

More uncertainty among younger women

Among the women surveyed, nearly three-quarters (72%) who are ages 40-49 years old know that regular mammograms should begin at age 40. About 6 in 10 women age 30-39 years old (63%) and 50-74 years old (59%) know this as well (the percentage difference between them is not statistically significant). Younger women are the least well-informed about when to begin mammograms – among women 18-29 years old, just over a third (37%) know the correct age.

In addition, more younger women say they are not sure what the correct age is. The survey finds that 16% of women 18-29 years old and 11% of women 30-39 years old are not sure at what age to begin having mammograms. There is no statistically significant difference between those two age groups – but both differ significantly from the very small percentage of women 40-49 years (1%) who are not sure of the age to being having mammograms.

Among 18- to 29-year-old women, the most commonly selected incorrect age for when to begin regular mammography is 30 years old (selected by 27%) – a decade earlier than recommended. Among women 30-39 years old, those who are approaching the recommended start age for mammograms of 40 years old, the most commonly selected incorrect age is 50 years old (selected by 12%) – a decade later than current recommendations.

APPC’s Annenberg Science and Public Health knowledge survey

The survey data come from the 24th wave of a nationally representative panel of 1,653 U.S. adults conducted for the Annenberg Public Policy Center by SSRS, an independent market research company. Most have been empaneled since April 2021. To account for attrition, replenishment samples have been added over time using a random probability sampling design. The most recent replenishment, in September 2024, added 360 respondents to the sample. This wave of the Annenberg Science and Public Health (ASAPH) survey was fielded April 15-28, 2025. The margin of sampling error (MOE) is ± 3.4 percentage points at the 95% confidence level. All figures are rounded to the nearest whole number and may not add to 100%. Combined subcategories may not add to totals in the topline and text due to rounding.