Cheer coach Monica Aldama: ‘The allegations were shocking and devastating for all of us’

The head coach and breakout star of the Netflix hit, Cheer, talks about her high expectations for her cheerleading team, and how she has been affected by claims of child abuse against one of the show’s stars

Two years ago, hardly anyone outside the world of competitive cheerleading would have been familiar with Navarro College, based in the small Texan town of Corsicana, its junior college cheer squad, or its head coach, Monica Aldama. But the global success of Cheer, Netflix’s Emmy-winning docuseries following Aldama and her team’s journey to the national championships in Daytona, changed all of that.

Audiences were immediately captivated by the technical skill, athleticism and personal dramas of competitive cheerleading. Cast members became stars, garnering huge social media followings and appearing on the likes of The Ellen DeGeneres Show and Oprah’s live tour. Aldama’s signature blond highlights and no-nonsense “mat talk” were satirised on SNL. Reese Witherspoon even said she inspired her to the point of tears.

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Northern leaders to put culture at centre of region’s post-pandemic recovery

Report making case for culture as catalyst for levelling up wins cross-party backing

Think of “the north” and images that come to mind include Antony Gormley’s Angel of the North, the sculpture of Henry Moore and Manchester’s music scene.

But now a rare show of cross-party unity has called for all of the cultural icons of northern England to be a catalyst to rebuild the region and rebalance it with the rest of the UK.

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Blackhaine: the bleak, brilliant Lancashire rapper-dancer hired by Kanye West

With references ranging from drug users to the Japanese avant garde, Tom Heyes has transcended a dull life in the north-west through explosive choreography and streams of consciousness

First emerging as a surrealist reaction to the horrors of the second world war, the Japanese art of butoh incorporates violence, sacrifice and bodily mutilation: a captivatingly intense form of performance described by its founder Tatsumi Hijikata as the “dance of utter darkness”.

For a teenage Tom Heyes, growing up in dreary, small-town Lancashire, it was an escape from the abject mundanity of his life. “When I was first starting out I didn’t really view it as performance art. It was just me being fucked up in my bedroom,” he says, reflecting on his early interpretation of the craft which drew as much from donk (the north-west’s spin on hardcore dance) as it did the Japanese avant garde. Often he would be left bruised and bloodied from these punishing dance routines, “but those ones back then were the most raw shit ever”, he insists.

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Dun, Dun Duuun! Where did pop culture’s most dramatic sound come from?

Did the iconic three-note sequence come from Stravinsky, the Muppets or somewhere else? Our writer set out to – dun, dun duuuun! – reveal the mystery

There’s surely only one thing that unites Russian composer Igor Stravinsky’s Rite of Spring, the 1974 comedy horror Young Frankenstein and The Muppets’ most recent special on Disney+. Regrettably, it is not Kermit the Frog. The thing that appears in all of these works has no easily recognisable familiar name, although it is perhaps one of the most recognisable three-beat musical phrases in history. It starts with a dun; it continues with a dun; it ends with a duuun!

On screen, a dramatic “dun, dun duuun” has appeared in everything from Disney’s Fantasia to The Fresh Prince of Bel-Air to The IT Crowd. In 2007, a YouTuber scored a video of a melodramatic prairie dog with the three beats, earning over 43m views and a solid place in internet history. Yet though many of us are familiar with the sound, no one seems to know exactly where it came from. Try to Google it and … dun, dun, duuun! Its origins are a mystery.

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How an ancient rainmaker inspired a quest to nurture female writers in Malawi

I was struck by how few authors I could name who are women. With Makewana, the ‘mother’ responsible for rain, as our namesake, my group set out to end the literary drought

I have often tried to imagine what Makewana, the original female rainmaker of ancient Malawi, must have looked like.

There is a statue of her with long hair at Mua Mission in Dedza, since to cut her hair would have signified drought.

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‘I’m one of the nicer showrunners’: Joss Whedon denies misconduct allegations

Whedon denies allegations of threats and cruelty detailed by Buffy and Justice League actors, saying he has been made to seem like an ‘abusive monster’

Joss Whedon, Buffy creator and director of films including The Avengers and Justice League, has responded to multiple allegations of misconduct, denying claims from actors including Gal Gadot and Ray Fisher that he threatened and belittled them on set.

In a lengthy interview with New York magazine, Whedon responded to the stream of allegations made against him, which began to gain momentum in 2020 when Fisher detailed his experiences on the set of Justice League. Whedon stepped in to direct the film after the departure of Zack Snyder.

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Trans activists will not be charged over picture of JK Rowling’s home

Police Scotland said no criminality had been found after photograph of writer’s address was put online

Police will take no action against trans rights activists who posted a photograph of JK Rowling’s home online.

The author had contacted police in Scotland in November after the tweet, which showed her Edinburgh house and revealed the address. The image showed activists standing outside the property with placards carrying slogans such as “trans liberation now”.

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The modernist marvel that Hamburg took to its heart: ‘Elphi’ turns five

As the €866m Elbphilharmonie celebrates its fifth anniversary, what could have been a costly mistake has become a symbol of the German city. London, take note

Five years ago the world felt a very different place. Pandemics belonged to disaster movies; the UK was reeling from the divisive Brexit vote but, with Theresa May newly installed as prime minister, the hope was that she might succeed in a soft Brexit and, in London; Simon Rattle’s imminent arrival as the London Symphony Orchestra’s chief conductor was eagerly anticipated and along with it the city’s transformative new Centre for Music.

Hamburg’s Elbphilharmonie opened in January 2017 with a glittering gala attended by celebrities and dignitaries. The spectacular concert hall was praised for its bold design, its superb acoustics and its “exceptionally exceptional exceptionalness”. But in London the hope – back then – was that the city’s own new concert hall would one day also be a world-leading arts venue to compete with Hamburg’s.

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‘Virtual reality is genuine reality’ so embrace it, says US philosopher

In his book Reality+ David Chalmers says the material world may lose its allure as VR technology advances

It is hard to imagine humans spending their lives in virtual reality when the experience amounts to waving your arms about in the middle of the lounge with a device the size of a house brick strapped to your face.

But this is where humanity is heading, says the philosopher David Chalmers, who argues for embracing the fate. Advances in technology will deliver virtual worlds that rival and then surpass the physical realm. And with limitless, convincing experiences on tap, the material world may lose its allure, he says.

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Juliette Lewis, Christina Ricci and teen cannibals: why Yellowjackets is the most fun TV show in forever

A brilliant cast lead this outrageously fun gorefest, which navigates a 90s-to-present-day timeline with laughs, panache – and exploding planes

What’s not to love about Yellowjackets (Sky Atlantic), a series largely driven by the central mystery of which teenage girl has been eaten, and who ordered the eating? The US horror/thriller/drama, which is also truly a comedy (is it so wrong to laugh at an exploding plane?), has acquired a big following over the course of its first season. It tells the story of a girls’ high-school football team, whose plane crashes while they’re travelling to a national tournament, leaving survivors stranded in the wilderness, having to fight for their lives. Think of it as a hybrid of The Craft and The Island with Bear Grylls, or Lost – with intentional jokes – plus a hint of Big Little Lies, if that had more of an interest in cannibalism than property porn.

I can’t remember the last time a TV series offered such unadulterated and outrageous fun. It even manages to navigate one of contemporary television’s most irritating trends, the split timeline, with style and panache. Half of the action takes place in 1996, starting out as a retro teen drama in the run-up to the crash, morphing into a folk-horror gorefest once the girls (and the odd boy or two) are right there in the thick of it. The other half takes place 25 years later, in the present day, as some of the women who made it out alive have to work out who knows what about the terrible things they did while they were stranded, and who is trying to blackmail them about it.

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Women behind the lens: ‘She was too beautiful not to be photographed’

Etinosa Yvonne recalls a chance encounter with a Fulani woman in northern Nigeria

I met this woman in Machina, in Yobe state, when I was on assignment in northern Nigeria 2020. It had taken us seven hours to get there – it’s right on the border with Niger – and it was already late afternoon, early evening.

We were waiting for people to come and collect water from a solar-powered water pump when I saw her: this extremely beautiful Fulani woman. I was particularly drawn to the marks on her face. I knew Fulani women always like to look good, but it was really beautiful to see up close. There was a bit of a language barrier as I don’t speak Fula and she didn’t speak English or Hausa, but she agreed to have her photo taken.

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Prada’s Milan fashion week show ends with Jeff Goldblum on the catwalk

Hollywood heavyweights including Kyle MacLachlan bring coronavirus-hit week to a close

Prada called on Hollywood heavyweights Jeff Goldblum and Kyle MacLachlan to bookend its catwalk on Sunday afternoon, bringing a close to a quiet menswear fashion week that saw multiple brands cancel their shows in light of increasing Covid cases across Europe.

The appearance of the actors at the Fondazione Prada punctuated the second physical catwalk show from founder Miuccia Prada and her co-creative director Raf Simons since the latter came onboard in early 2020, marking an unprecedented union of two of the fashion industry’s most influential and famed designers.

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Anaïs Mitchell: ‘Hadestown was larger than life. This album is life-sized’

The singer-songwriter is back with a new album after a decade spent nurturing her award-winning musical. She reflects on white privilege, finding a musical community – and moving back to rural Vermont

“Anything that you love can become a trap,” says the singer-songwriter Anaïs Mitchell. She’s talking about the career-defining stage musical Hadestown, an energetic Depression-era retelling of the myth of Orpheus and Eurydice which dominated her life for more than a decade.

Mitchell first toured it as a lo-fi theatre production in 2006, travelling through Vermont in a converted school bus, turned it into a concept album in 2010, and then spent several years reworking it for the stage with director Rachel Chavkin. Since opening on Broadway in 2019, Hadestown’s timelessly American tapestry of folk, blues, jazz, gospel and cabaret has won her a Tony award (and collected eight in total), a Grammy and a place on Time magazine’s list of the 100 most influential people of 2020. But it left her facing the question: what now? Her new book of exhaustively annotated Hadestown lyrics, Working on a Song, feels like a final clearing of the decks prior to the release of her self-titled seventh album, her first collection of original songs since 2012 and her “escape pod” from the musical.

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‘I have a lot of things to say’: one girl’s life growing up homeless in New York

For nine years, New York Times journalist Andrea Elliott followed the fortunes of one family living in poverty. In this extract from her new book, Invisible Child, we meet Dasani Coates in 2012, aged 11 and living in a shelter

Read an interview with Andrea Elliott here

She wakes to the sound of breathing. The smaller children lie tangled under coats and wool blankets, their chests rising and falling in the dark. They have yet to stir. Their sister is always first. She looks around the room, seeing only silhouettes – the faint trace of a chin or brow, lit from the street below. Mice scurry across the floor. Roaches crawl to the ceiling. A little sink drips and drips, sprouting mould from a rusted pipe.

A few feet away is the yellow mop bucket they use as a toilet, and the mattress where the mother and father sleep, clutched. Radiating out from them in all directions are the eight children they share: two boys and five girls whose beds zigzag around the baby, her crib warmed by a hairdryer perched on a milk crate.

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Deborah Levy: I used writing as therapy to help me talk again after jailing of my father

Acclaimed novelist reveals she became almost silent as a child due to stress

Novelist Deborah Levy first discovered writing as a kind of therapy when her voice disappeared as a child, she has revealed.

Appearing on BBC Radio 4’s Desert Island Discs, the popular British writer, acclaimed for her Booker Prize-shortlisted novels Swimming Home and Hot Milk, said her voice gradually got quieter during her schooldays in South Africa.

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Isabel Allende: ‘I still have the same rage’

The renowned author on the unfinished task of replacing the patriarchy, swapping 24,000 letters with her mother, and why she gives all her books away

Isabel Allende’s books have been translated into more than 42 languages and sold some 75m copies globally. Her career spans fiction and nonfiction, and she’s also created the Isabel Allende Foundation in memory of her daughter (who died in 1992), working to empower women and girls around the world. Her new novel, Violeta, spans 100 years and recounts the turbulent life and times of its South American heroine. Allende, 79, who was born in Peru and raised in Chile, spoke from the study of her home in California, where she writes daily.

How did Violeta begin?
The idea started when my mother died, right before the current pandemic hit. She was born in 1920 when the influenza pandemic reached Latin America, so it was almost natural to have the two bookends of the novel be pandemics. When I write, I don’t have a plan and I don’t have a message – I just want people to come with me, to let me tell them a story.

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I grew up in a crematorium – we learned not to look too alive in front of the mourners

It was a regular family home – just one in which I learned not to run around the garden when the funeral processions passed, and to jump over, never on, any bluish grey powder I might find

When I was eight, roller skates were things you stepped into while wearing your outdoor shoes. They had laced, red leather toe-pieces that you pushed your shoes into, and red straps to buckle round your ankles. Two chunky black wheels sat either side of your toes, and two either side of your ankles. The metal base could be shortened or lengthened as needed. The skates made a loud clacking noise and didn’t roll well on -carpets or bumpy -pavements. If my sister and I were to build up any momentum at all, there was only one place to go. Down the crem.

The crematory was cavernous. The clackclackroll of skates was loud on the tiled floor, which was cold and hard to fall on, but goodness, you could pick up some speed. On the other side of the immense wall was the chapel. We knew that during the day coffins came through one hatch and were rolled across to three steel ones on the opposite side: cremators 1, 2 and 3. But we only went down the crem – as we all called it – when the room was still and the furnaces empty and cold. Each cremator had a small, nautical-style wheel that, when spun, opened the doors on to the scorched bricks of the incinerators. These wheels were handy to grab hold of when we needed to slow down. Occasionally, we’d spin one to see inside. My sister climbed in once, and her trousers were never the same again.

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Martin Kemp and Steve Norman of Spandau Ballet look back: ‘We were stern young men who wanted to take over the world’

The bassist and saxophonist recreate an old photo and look back at a mortifying incident in a German sauna

Pioneers of the New Romantic movement, Spandau Ballet’s career launched in the late 70s within the walls of Blitz, an enigmatic club in Covent Garden known for influencing the sound and style of 80s pop. Formed by London school friends Gary Kemp, Tony Hadley, Steve Norman and John Keeble – and later Gary’s brother and former roadie Martin – Spandau Ballet went on to soundtrack the bombast and excess of the decade, selling 25m albums globally. Known for their bitter breakup – Tony, Steve and John launched an unsuccessful case against Gary for a share of the band’s songwriting royalties – they’ve since reformed but are now on hiatus. Martin has gone on to have a successful television career, while saxophonist Steve and his band, the Sleevz, celebrate the 40th anniversary of Spandau’s debut album with a UK tour later this year.

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‘The collapse of humanity is deathly funny’: Gary Shteyngart on writing comedy in difficult times

In an age of catastrophe, humour is more important than ever, argues the satirical author.

• Plus, 10 terrific 21st-century comic novels

I do not write historical fiction. But I envy those who do. I can picture them sitting in the lamp-lit halls of the New York Public Library on 42nd Street, thumbing through fraying, early 20th‑century telephone directories or spinning the roulette of the microfiche machine, or meeting at a nearby coffee dispensary with fellow history-minded wordsmiths in the wee hours of the day, like hunters getting ready to put a bullet through the heart of a wildebeest. The best are able to address the current moment through deft metaphysical journeys between the present and the past, to illuminate our wayward realities by reminding us that it has ever been so, that the past is not even the past, or whatever Faulkner said.

Personally, I have trouble building a literary time machine. A decade ago, when I wrote a memoir set primarily in the 1980s, all I could remember of that era was Michael J Fox running around in a varsity jacket. The rest of my memories were just volumes of mist that sometimes trickled out of my minor brain holes, tantalising but highly suspect emissions that bore news of events which may or may not have been. When one’s teenage years are a distant Greek island, imagine trying to write a novel about the romantic entanglements of the Italian futurists or the political cataclysms of Meiji-era Japan, or anything at all about the ancient Egyptians.

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Ann Dowd: ‘My closest brush with the law? Stealing lamb chops from a Chicago supermarket’

The Handmaid’s Tale actor on her crush on Clint Eastwood and selling frozen food over the phone

Born in Massachusetts, Ann Dowd, 65, appeared in the films Lorenzo’s Oil and Philadelphia, and had various roles in the TV series Law & Order. She received award nominations for her performances in the 2012 film Compliance and the HBO series The Leftovers. Since 2017, she has played Aunt Lydia in the drama series The Handmaid’s Tale, winning an Emmy. Her more recent movies include Hereditary and Rebecca; her latest, Mass, is in cinemas and on Sky Cinema from January 20. She is married to actor Lawrence Arancio; they have three children and live in New York City.

Aside from a property, what’s the most expensive thing you’ve bought?
My children’s education.

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