Latest news with #MurderontheOrientExpress'
New Statesman
03-07-2025
- Business
- New Statesman
It's time for Starmer and Reeves to embrace the soft left
Photo byThe pictures of a distraught Rachel Reeves on the government benches during Prime Ministers Questions will cruelly and unfairly (for the Chancellor had had a personal shock before entering the chamber) come to symbolise the disarray of Keir Starmer's government less than a year into office. Despite a landslide majority, and a previously iron parliamentary discipline inherited from last year's election campaign, Keir Starmer has had to u-turn twice within a week to stave off backbench revolt against his flagship welfare reform legislation. And the truth is that this humiliation has been better than the alternative which would have been putting the unamended legislation to the vote in the House of Commons to see it defeated – as it inevitably would have. A retreat allows Keir Starmer and Rachel Reeves to live to fight another day. A defeat would have shattered their political authority jointly and severally – for make no mistake this government's economic management is a combined political endeavour, seen as that by voters and money markets alike. For all the feverish talk in parliamentary lobbies, Rachel Reeves really is 'going nowhere' as No 10 has said. Keir Starmer and Rachel Reeves are bound together – as prime ministers and chancellors inevitably are. As are the entirety of the current cabinet because in this is a case where the discipline of collective responsibility really bites. Just as in 'Murder on the Orient Express' they all had a hand in this. They all agreed to plans to cut disability benefits by some £5bn a year, and simple arithmetic tells you that amounts to a cut of at least £1000 a year for a million people or, as in this case £4500 a year for nearly a million people with disabilities. Big numbers require big cuts which always means big pain. So, if Cabinet members are seeking advantage and briefing against the Chancellor they should remember: 'First they came for the Winter Fuel Payment, and I did not speak out for I was not a pensioner. Then they came for Personal Independence Payments and I did not speak out…'. We are nearly a year into the rigors of government, so all members of Labour's leadership need to shape up or the voters will ship them out. What are the lessons for Labour? The obvious one is that like so many political problems the issue is the policy not the communications. If you can't explain why you are doing something then just don't do it. There was not a single argument mounted for cutting Personal Independence Payments (PIP) despite ministers repeating the mantra that there was a moral case for the cuts. Subscribe to The New Statesman today from only £8.99 per month Subscribe So, what was the underlying case for change? Logically, it can't have been to do with work incentives as it's an in-work benefit. And it's not driven by public opinion. Luke Tryl at More in Common says people were disgusted when they heard the details of the cuts and who suffers. These cuts aren't even popular with the 'hero' voters of the Red Wall – not least because there are a higher proportion of PIP concentrated in Red Wall areas. According to those who campaigned in Doncaster in May it nearly cost them the mayoralty – only Labour's world class field operations saved the day. Like so many other errors in politics, this was a demonstration of the folly of defending the indefensible – and doing that for far too long. The less obvious point is that it's time for both Keir Starmer and Rachel Reeves to embrace the 'soft left' part of the government's agenda and to become associated with it. Because that's the truly popular part of what Labour is doing – but it's buried as though Labour are ashamed. When focus groups are told that the National Living Wage is now two-thirds of median earnings they are surprised but pleased. The same goes for the extension of workers' rights and renters' rights. The bitter irony is that it's only the most unpopular things that the Labour government are doing which get any coverage in the media. The truly popular things Labour is doing are being done by stealth. If I were advising Keir and Rachel on a reset, I'd say 'Just go for it! Use the power of government to intervene for the public good. Call up Thames Water and tell them you accept that they can't carry on doing business under the current regulatory machine. And that's why you're nationalising them. You'll get a bargain basement asset that can generate you a return. And you'll show the voters that you get it – what counts is what's most social democratic!' [See more: Is Keir Starmer turning into Harold Wilson?] Related
Time of India
14-06-2025
- Entertainment
- Time of India
Johnny Depp reunites with 'Pirates of the Caribbean' co-star Penelope Cruz in Spain; fans say 'He never gets old!'
Johnny Depp and Penelope Cruz set out to find the 'Fountain of Youth' in the 2011 film 'Pirates of the Caribbean: On Stranger Tides' and going by their latest photo together, fans think they may have actually found it. The two, who are currently filming their 4th film together, seemingly decided to take a quick break in Spain. The two were spotted on a day out at the Museo Reina Sofía museum. The museum's official account shared a post that showed the two of them posing together and taking a selfie in front of one of the paintings in the museum. They shared photos of the two beloved actors with the caption 'Thanks for joining us @johnnydepp and @penelopecruzoficial, until next time! #MuseoReinaSofia #JohnnyDepp #PenelopeCruz.' Fans shocked at Depp's younger look As soon as the photos were shared online, fans from all around the world flocked to the comment section of the post to shower the two with love. Fans of Depp were shocked as well as happy at how much younger the artist looks in the recently shared photos alongside Cruz. One fan commented that 'he never gets old!!', while another shared that 'So good to see Johnny looking much healthier and more relaxed than he has been in years! Wonderful!!!' Another gushed about the two actors, stating, 'It's an honour to see two such great artists surrounded by such an iconic painting! We love this duo!' while another continued that 'Johnny, tell me—feels like we're back in 2014… right?' Penelope and Johnny's previous films This is not the first time that Depp and Cruz have paired up for a film project. The duo has been seen on the big screen three times before in films like 'Blow', 'Pirates of the Caribbean: On Stranger Tides', and 'Murder on the Orient Express' before filming for their fourth film together, titled 'Day Drinker'.
Miami Herald
27-05-2025
- Entertainment
- Miami Herald
Review: Actors' Playhouse takes audiences on a thrill ride with ‘The Girl on the Train'
There's something about the intimate Balcony Theatre at the Actors' Playhouse that lends itself to a good thriller. In May of 2022, it was British mystery writer Agatha Christie's 'Murder on the Orient Express' that stood out as the perfect Spring whodunnit. Three years later, Artistic Director David Arisco returns to the British thriller, this time with 'The Girl on the Train,' based on the novel by Paula Hawkins. Many will be familiar with 'The Girl on the Train' from the 2015 bestselling mystery novel or the 2016 film starring Emily Blunt, which moved the locale to the United States from Hawkins' England. The play adaptation by Rachel Wagstaff and Duncan Abel stays true to Hawkins' setting and is currently on a UK and Ireland tour through August of 2025. But South Florida audiences needn't go any further than Coral Gables where Arisco and a cast of professional regional actors bring the complex drama to life. Falling apart after the breakup of her marriage, Rachel Watson (Gaby Tortoledo) is an alcoholic. She's 'The Girl' who rides the train into London every day passing by the house she shared with her husband Tom (Iain Batchelor), now inhabited by his new wife, Anna (Krystal Millie Valdes), and the couple's baby, Evie – something that adds to Rachel's torment since she was unable to have a child. In a house a few doors down, she catches glimpses of a couple – embracing, kissing – on a balcony. She's given them names – Jess and Jason, fantasizing about their perfect lives together, the one she believed she had, then lost. 'Don't you ever see someone and think, if I could step out of my shoes and into theirs, just for a day . . .' says Rachel about her imagining the couple's lives. One day, she spies 'Jess' – real name Megan Hipwell (Allie Beltran) – on the terrace in a real-life situation that breaks the spell. The fantasy shattered, Rachel spins off into a rage. When Megan suddenly disappears, Rachel shows up to the husband, Scott's (Ryan Didato) door claiming to be a close friend of his missing wife. Detective D.I. Gaskill (Gregg Weiner) tracks down Rachel at her fleabag flat – he's questioning her about the disappearance since she was spotted stumbling around a tunnel where Megan may have last been seen. Meanwhile, Rachel has a gash on her forehead and is unable to recall – because of one of her drunken blackouts – how it happened. Rounding out the cast of characters is Megan's therapist Kamal Abdic (Nate Promkul). Rachel will visit him, too, engaging him in her web. The minimalist setting by Brandon M. Newton consists of a backdrop that resembles puzzle pieces, a constant reminder of Rachel's jumbled memory. Different areas of the stage are playing areas for locales – Rachel's untidy flat; the Hipwell's house (with a bar cart as its centerpiece); Tom and his new wife's place; the two chairs that represent the therapist's office; and the detective's workspace. Drawn along the floor is a train track pattern, skewed in different ways and a constant reminder of Rachel's disjointed perspective. Sound design by Reidar Sorensen adds to the tension with the realistic train horn blaring at key points; when Rachel is in her flat in her drunken stupor, a deafening rock music soundtrack whips her into a frenzy. Lighting designer Eric Nelson has created a hazy quality for the 'lost memory' play. His use of a red light that comes from the side of the stage in between the curtains is haunting as Rachel tries to recreate what happened on the night in question. At other times, lighting choices are reminiscent of an Alfred Hitchcock film, sepia tone and black and white. The lighting also helps to mark transitions from one location to another, and dialogue from the past and the present. 'The Girl on the Train' as a book and a film benefited from narrative scene setting and voice over. The play adaptation is more difficult because it relies heavily on the bare bones of the storytelling. Arisco allows the suspense of the play to unfold strategically. The pacing is what creates the tension – at times slow and cautious, at others barreling down the tracks like a locomotive. As the alcoholic amateur sleuth, Tortoledo takes us along for the ride – we get caught up in her confusion and self-doubt, with the actress drawing sympathy yet, at times, conjuring loathing for her recklessness. With so many armchair detectives who have been created from the pop culture true crime phenomenon, Tortoledo gives Rachel an infusion of the 'mom next door' who has set out to crack the case – putting together clues and meddling in places she probably shouldn't be. The actress also never gives a portrayal of the slurring, caricatured drunk, but is utterly convincing that her drinking goes beyond the bottle. Batchelor captures the dual personality of Tom – nice guy on the surface, pathological, abusive liar in every other crevice. Beltran's Megan is at her best when she's retelling a tragic past, and Didato, who was so compelling in Zoetic Stage's 'The Pillowman,' brings to Scott a slow burn of intensity. Promkul as the empathetic therapist is believable as the man caught in the middle. Valdes plays new mom Anna as a woman yearning for an idyllic life free of the tribulations of her new husband's ex, Rachel. Weiner adds a sly humor to what could otherwise be a dullish gumshoe. The decision to have the cast speak in British dialect is appropriate for the setting and isn't a distraction; to each actor, it seems natural. (Cast member Batchelor, a native of the U.K., doubled as dialect coach.) Ellis Tillman's costumes, especially Rachel's long dowdy sweater and Megan's wispy dresses, are appropriately realistic. Adding realism, too, are Nicole Perry as intimacy director and Lee Soroko as fight director. Fans of the film and the book will find the Actors' Playhouse rendering of the stage adaptation a different take on the story. For those who have never seen 'The Girl on the Train,' it's a great theatrical ride. If you go: WHAT: 'The Girl on the Train' WHERE: Actors' Playhouse at the Miracle Theatre, 280 Miracle Mile, Coral Gables WHEN: 8 p.m. Wednesday, Thursday, Friday and Saturday; 3 p.m. Sunday through June 8. COST: $50, $60, and $70, weekdays; $65, $75 and $85, weekends. INFORMATION: 305-444-9293 or is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don't miss a story at
Chicago Tribune
24-05-2025
- Entertainment
- Chicago Tribune
Biblioracle: Why I'm against ‘digital necromancy,' like the AI-driven Agatha Christie writing course
In 2012, hip hop star Tupac Shakur performed at the Coachella Valley Music and Arts festival on stage with Snoop Dogg and Dr. Dre, even though Tupac had been killed in a drive-by shooting in 1996. The Tupac hologram was a little Hollywood special effects trickery that cost heavy sums, but now, thanks to generative artificial intelligence, we can resurrect just about any historical figure. Or can we? The most recent example to come across my radar is a BBC Maestro course featuring the woman who is considered the best-selling author of all time, Agatha Christie. BBC Maestro courses are essentially slickly produced, extended informational lectures combined with some exercises the viewer is meant to do along the way. They are not interactive, nor do they count for credit. They are, to my eye, purely for entertainment purposes. The maestros range across experts in singing, cooking, acting, decorating with flowers, and even sleeping. Still living writers who have done Maestro courses include Harlan Coben and Isabel Allende. But Agatha Christie is new because she is deader than one of the victims of her iconic mysteries, including 'Murder on the Orient Express' and 'Death on the Nile.' But there, on screen, in the preview video, is the voice and words (sort of) of Agatha Christie briefly expounding on the essential elements of a good mystery while she walks through a stately country house. This 'reanimated' Agatha Christie is being done with the permission of her estate, and consists of a script drawn from her writing, an AI that's mimicking her voice, and a layering of her face over that of a live actor. While the Christie estate and the avatar developers insist that they are working hard to be faithful to the original sentiments of the living person, AI ethicists object to this resurrection, pointing out that it is literally putting words in the mouth of someone who lived, and who cannot consent to this use. This is an example of what I have taken to calling 'digital necromancy,' and if you can't tell from my choice of term, I'm against it. There was a time where I would have brushed off the Agatha Christie example as mostly harmless, and on the scale of the application of generative AI in the service of digital necromancy, it's less egregious — especially considering its being done with permission from the people who have the rights to give permission — but I now see this and other examples as part of a bad movement that should be not just resisted, but rejected. Worse are the historical chatbots where people who lived and spoke and wrote are compiled into bespoke large language models and then let loose without consideration or care. Earlier this year, it was found that an Anne Frank chatbot could not and would not condemn the Nazis who killed her, much of her family and millions of others. This is likely because of Anne Frank's most famous passage from her 'Diary of a Young Girl,' 'In spite of everything, I still believe that people are really good at heart.' Defenders of this use of the technology say it helps students 'engage' with history, but what kind of engagement is this? It's not just pedagogically dubious, it's morally offensive. We have Anne Frank's words. We have scholars who have written about Frank, including 'The Many Lives of Anne Frank' by Ruth Franklin, which I reviewed here. If you want to know what someone thought, read them. If you want a writing teacher, find an interested, sufficiently expert human with whom you can interact. We are abundant, I promise. John Warner is the author of books including 'More Than Words: How to Think About Writing in the Age of AI.' You can find him at Book recommendations from the Biblioracle John Warner tells you what to read based on the last five books you've read. 1. 'American Midnight: The Great War, a Violent Peace, and Democracy's Forgotten Crisis' by Adam Hochschild 2. 'The Message' by Ta-Nehisi Coates 3. 'Fraud' by David Rakoff 4. 'The Unclaimed: Abandonment and Hope in the City of Angels' by Pamela J. Prickett and Stefan Timmermans 5. 'You Dreamed of Empires' by Álvaro EnrigueI think Scott is a good fit for the family drama (with a nice dash of comedy) from Luis Alberto Urrea, 'The House of Broken Angels.' 1. 'The Corrections' by Jonathan Franzen 2. 'This Is Water' by David Foster Wallace 3. 'The Goldfinch' by Donna Tartt 4. 'The Last Samurai' by Helen DeWitt 5. 'Long Division' by Kiese LaymonFor Bill, it feels like an occasion for some oddness and wit, which is excellently met by Charles Portis and 'Masters of Atlantis.' 1. 'Lessons in Chemistry' by Bonnie Garmus 2. 'Pride and Prejudice' by Jane Austen 3. 'The Housemaid' by Freida McFadden 4. 'Booth' by Karen Joy Fowler 5. 'Memorial Days' by Geraldine BrooksI have yet to find the reader who is not charmed by Rufi Thorpe's 'Margo's Got Money Troubles.' Get a reading from the Biblioracle Send a list of the last five books you've read and your hometown to biblioracle@
