The Hand of God review – Paolo Sorrentino tells his own Maradona story

The Italian film-maker may owe his life to the footballer, as this vivid, autobiographical Neapolitan drama reveals

Paolo Sorrentino’s extravagantly personal movie gives us all a sentimental education in this director’s boyhood and coming of age – or at any rate, what he now creatively remembers of it – in Naples in the 1980s, where everyone had gone collectively crazy for SSC Napoli’s new signing, footballing legend Diego Maradona. We watch as a family party explodes with joy around the TV when Maradona scores his handball goal in the 1986 World Cup. A leftwing uncle growls with pleasure at the imperialist English getting scammed.

This is a tribute to Sorrentino’s late parents, who in 1987 died together of carbon monoxide poisoning at their holiday chalet outside the city, where 16-year-old Paolo might himself also have been staying had it not been that he wanted to see Napoli playing at home. So maybe Maradona saved his life, but it was a bittersweet rescue. The hand of God, after all, struck down his mum and dad and spared him. Newcomer Filippo Scotti plays 16-year-old Fabietto (that is, Sorrentino himself) at the centre of a garrulous swirl of family members. Toni Servillo plays his dad, Saverio, and Teresa Saponangelo gives a lovely performance as his mother, Maria, with a skittish love of making practical jokes.

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‘I was part of the Beatles’ act’: Mike McCartney’s best photograph

‘I call our kid “Rambo Paul” in this one, because he reminds me of Stallone. I have no idea why George is pointing at his nipple’

I didn’t intend to pick up a camera. I’d been practising on drums that had fallen off the back of a lorry into our house on Forthlin Road, Liverpool. But when I was 13, I broke my arm at scout camp, so Pete Best got the job in our kid’s group. That’s when I started taking photos on the family box camera. It was fortuitous, though, because if I had become the Beatles’ drummer, we’d probably have gone the Oasis route.

I would go everywhere with the Beatles. I was part of the act. It’s like if Rembrandt’s kid brother was in the corner with a pad and paper, sketching his older brother. I was lucky – you couldn’t have had a better group to practise on, could you?

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‘I was given training to de-gay my voice’: what it’s really like to work in TV if you’re LGBTQ+

Continuing our series of exposés about the TV industry, insiders talk about being misgendered, treated like sexual predators and having to work with ‘outwardly homophobic and transphobic’ talent

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

‘He fell on my body then bit me’: what it’s really like to work in TV as a woman

Despite an increase in on-screen representation and hits such as It’s a Sin and RuPaul’s Drag Race UK, being LGBTQ+ and working in television can still be difficult. It has been described as a “cloak-and-dagger” industry where most people work freelance and therefore are often afraid to speak up about incidents of homophobia or transphobia. The discrimination and harassment that LGBTQ+ people experience is often horribly insidious; dressed up as “banter” or dismissed as ignorance.

Here, seven anonymous LGBTQ+ people who work in television, in front of and behind the camera, share their experiences.

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Alec Baldwin shooting: investigators track source of live ammunition on Rust set

Police search Albuquerque firearms supplier after owner claimed he ‘may know’ where live rounds came from

Authorities are pursuing new leads on possible sources of live ammunition involved in actor Alec Baldwin’s fatal shooting of a cinematographer on the New Mexico set of a western, as they searched the premises of an Albuquerque-based firearms and ammunition supplier.

The search took place after a provider of firearms and ammunition to the ill-fated movie production Rust told investigators that he “may know” where live rounds came from, describing ammunition he received from a friend in the past that had been “reloaded” by assembly from parts.

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Alice Sebold’s publisher pulls memoir after overturned rape conviction

Scribner has responded to the news that Anthony Broadwater has been cleared of the crime at the centre of Lucky by ceasing to distribute the book

Alice Sebold’s publisher Scribner is pulling her 1999 memoir Lucky from shelves after a man was cleared of the rape at the heart of it.

Anthony Broadwater was convicted of raping Sebold in 1982, and spent 16 years in prison. He was exonerated last week after a re-examination of the case found serious flaws in his arrest and trial.

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Bikers, rappers and rude boys: the photographer who got to the heart of subcultures

Janette Beckman has spent four decades documenting underground movements from London’s punks and the birth of hip-hop to LA gangs and illegal girls’ fight clubs. How does she win her subjects’ trust?

It was the tension between Janette Beckman’s shyness and her curiosity about people that helped spark a career photographing subcultures. “I realised that having a camera gave you licence to go up to strangers and say, ‘Hi, I’d like to take a picture of you,’” she says. This epiphany jump-started a 45-year adventure in street photography, documenting the punk and two-tone youths of 70s Britain, the birth of hip-hop in New York, Latino gang members in Los Angeles, bikers in Harlem, rodeos, rockabilly conventions and demonstrations from Occupy Wall Street to Black Lives Matter.

As we talk on a video call, 62-year-old Beckman gives me a tour of her home studio in New York, just off the Bowery where the famous punk venue CBGB used to be. There’s a Salt-N-Pepa snowboard, a Keith Haring painting and gold discs from hip-hop stars Dana Dane and EPMD. On one strip of wall hang a selection of images from Occupy Wall Street in 2011, “for a book,” she says. And on another are pinned a vast selection of her images, for her monograph Rebels: From Punk to Dior.

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Edie Falco: ‘Alcohol was the answer to all my problems – and the cause of them’

One of TV’s most admired actors, she is now playing Hillary Clinton on screen. She discusses overcoming addiction, her adoration for Sopranos co-star James Gandolfini and the pure joy of adopting two children

Edie Falco has never been the type of actor to demand entourages and encores. Fanfares and fuss are just not her bag, and she has little time for pretentious thespiness. When other actors talk about their “Process,” as she puts it – with a capital P – she thinks, “What are you talking about?!” With her open, thoughtful face and wide smile, she looks as if she could be your friend from the local coffee shop, as opposed to one of the most accoladed American actors of this century, having accumulated two Golden Globes, four Emmys and five Screen Actors Guild awards, plus a jaw-dropping 47 nominations. This impression of straightforwardness and – oh dreaded word – relatability has made her subtle performances of self-deceiving characters even more powerful. As the mob wife, Carmela, in The Sopranos, she could tell Tony (James Gandolfini) what she thought of him staying out all night with his “goomahs”, or mistresses, but she couldn’t admit to herself that he does much worse to fund the life she loves. Similarly, as Nurse Jackie, in the eponymous TV series, her scrubbed clean face and sensible short hair belied her character’s drug addiction.

So it feels extremely right that, when we connect by video chat, Falco, 58, is sitting – not in a fancy hotel room, or a Hollywood mansion, but in the endearingly messy basement of her New York house, where she lives with her son, 16, and daughter, 13. Power tools hang off the wall behind her, and she is leaning on a table strewn with what she describes as “God knows, some stuff”.

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Josephine Baker, music hall star and civil rights activist, enters Panthéon

French-American war hero is first Black woman inducted into Paris mausoleum for revered figures

Josephine Baker, the French-American civil rights activist, music hall superstar and second world war resistance hero, has become the first Black woman to enter France’s Panthéon mausoleum of revered historical figures – taking the nation’s highest honour at a moment when tensions over national identity and immigration are dominating the run-up to next year’s presidential race.

The elaborate ceremony on Tuesday – presided over by the French president, Emmanuel Macron – focused on Baker’s legacy as a resistance fighter, activist and anti-fascist who fled the racial segregation of the 1920s US for the Paris cabaret stage, and who fought for inclusion and against hatred.

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‘The women are cannon fodder’: how Succession shows the horrors of misogyny

Season three of the daddy issues drama speaks volumes about the monstrous Man Club that rules society – and even billionaire’s daughter Shiv Roy can’t escape its sadistic clutches

Everyone eats their share of dung beetle surprise on Succession – HBO’s unrepentant daddy issues drama – but the women’s portions come heavily seasoned with the patriarchy’s favourite ingredients: sexism and misogyny. Even billionaire’s daughter Shiv Roy (played by Sarah Snook) can’t escape it. “It’s only your teats that give you any value,” her brother Kendall (Jeremy Strong) shouts after she rejects his offer to join him in another one of his patricidal business plans. Even before then, he couldn’t help but put a pin in her dreams of taking over the company: “You are too divisive … you’re still seen as a token woman, wonk, woke snowflake.”

“I don’t think that, but the market does,” he explains.

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Barbados’s icon: why Rihanna’s national hero status is so apt

Honoured by her newly independent country, Rihanna has always proudly worn her Bajan heritage – broadening her sound from her Caribbean roots, while staying true to them

Rihanna’s designation as a national hero of Barbados, to coincide with the country’s transition to an independent republic, could not be more apt. Not only has she been an official ambassador for culture and youth in the country since 2018, the singer remains the country’s most famous citizen and indeed advocate. She has never softened her Bajan accent, and her music, while tapping into pop, R&B and dance music, has remained rich with her Caribbean heritage.

In her investiture ceremony, the country’s prime minister Mia Mottley addressed the pop singer, fashion icon and hugely successful entrepreneur as “ambassador Robyn Rihanna Fenty: may you continue to shine like a diamond” – a reference to 2012’s global hit Diamonds – “and bring honour to your nation, by your words, by your actions, and to do credit wherever you shall go. God bless you, my dear.”

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‘He fell on my body, then bit me’: what it’s really like to work in TV as a woman

Continuing our series of exposés about the British TV industry, women remember being assaulted for three years straight, denied work once they became mums and batting off men who are ‘famously handsy’

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

The television industry has a problem with the way it treats women. According to a survey by Film + TV Charity, 39% of female employees have experienced sexual harassment at work, while 67% have experienced bullying. Bectu, the union that supports TV and film workers, found that two-thirds of those who had experienced abuse did not report it for fear of being blacklisted.

Other studies have reported mothers being prevented from working due to childcare issues, and a serious female under-representation in leadership positions, despite Ofcom finding that women make up around 45% of TV roles.

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There Is No Evil review – passionate plea against Iran’s soul-poisoning executions

Dissident Mohammad Rasoulof blasts against his country’s profligate use of capital punishment that includes making citizens carry out death sentences

Maybe you don’t go to Iranian cinema for nail-biting action and suspense. But that’s what you are given in this arresting portmanteau film, the Golden Bear winner at last year’s Berlin film festival. It is written and directed by film-maker and democracy campaigner Mohammad Rasoulof, who has repeatedly been victimised by the Iranian government for his dissident “propaganda” – most recently, in 2020, with a one-year prison sentence and two-year ban on film-making. As with Rasoulof’s fellow Iranian director Jafar Panahi, a ban of this sort can be finessed, by playing on the government’s strange pedantry and hypocrisy. If the film is technically registered to someone else and shown outside Iran at international film festivals where its appearance boosts Iran’s cultural prestige, the authorities appear to let it slide, though persist with harassment.

There Is No Evil consists of four short stories – with twists and ingeniously concealed interconnections – on the topic of the death penalty and how it is poisoning the country’s soul. Hundreds of people are executed a year in Iran, including children. Execution of the condemned criminal is the job of civilian functionaries but also widely carried out by soldiers doing compulsory national service.

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Vale David Dalaithngu: the inimitable actor who changed the movies, and changed us

The star has left behind a profound body of work – and a permanent, inimitable impression on his industry

In the 1976 classic Storm Boy, the great Yolŋu actor David Dalaithngu delivers a line that became immortalised in Australian cinema. “Bird like him, never die,” he says, describing the pelican Mr Percival.

The substance of that line can apply to the man himself, who will live on through the light and shadow of the cinema, on to which he left a permanent and inimitable impression.

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House of Gucci is ‘painful and insulting’, says Gucci family

Heirs of Aldo Gucci issue statement taking issue with Ridley Scott’s film but have stopped short of legal action

Surviving family members of the Gucci fashion dynasty have expressed unhappiness with their representation in the new film House of Gucci.

In a statement issued on Monday, the heirs of Aldo Gucci – who ran the fashion house for 33 years until the mid-1980s – said they were aggrieved by the lack of consultation by film-makers, as well as their portrayal as “thugs, ignorant and insensitive to the world around them”.

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‘I owe an enormous debt to therapy!’ Rita Moreno on West Side Story, dating Brando and joy at 90

She overcame racism and abuse to break Hollywood, romanced Brando, dated Elvis to make him jealous, fought hard for civil rights and won an Egot. Now in her 10th decade, she is busier and happier than ever

Rita Moreno pops up on my computer screen in a bright red hat, huge pendant necklace and tortoiseshell glasses. “Well, here I am in my full glory,” she says from her home in Berkeley, California. And glorious she sure is. Moreno is a couple of weeks short of her 90th birthday, but look at her and you would knock off 20 years. Listen to her and you would knock off another 50.

Can I wish you an advance happy birthday, I ask. “Yes, you can. Isn’t it exciting?” Moreno is one of the acting greats. But she could have been so much greater. She is one of only six women to have bagged the Egot (Emmy, Grammy, Oscar and Tony awards), alongside Helen Hayes, Audrey Hepburn, Barbra Streisand, Whoopi Goldberg and Liza Minnelli. Yet she has spent much of her career battling typecasting or simply not being cast at all.

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‘Unapologetically truthful and unapologetically Blak’: Australia bows down to Barkaa

After overcoming personal tragedy, the rapper has clawed her way back – with a politically potent debut EP dedicated to First Nations women

Baarka didn’t come to mess around. Born Chloe Quayle, the 26-year-old rapper was a former teenage ice addict who did three stints in jail – during her last, five years ago, she gave birth to her third child.

Now the Malyangapa Barkindji woman has clawed her way back from what she describes as “the pits of hell” and is on the verge of releasing her debut EP, Blak Matriarchy, through Briggs’ Bad Apples Music. She has been celebrated by GQ as “the new matriarch of Australian rap”; and has her face plastered on billboards across New York, Los Angeles and London as part of YouTube’s Black Voices Music Class of 2022. (“I nearly fainted when I saw [pictures of it],” Barkaa says when we meet over Zoom. “The amount of pride that came from my family and my community ... It was a huge honour.”)

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The world is watching: TV hits around the globe

A Spanish trans woman’s memoirs, a Mumbai gangster drama, Israeli sisters in trouble… the Covid era is a rich moment for TV drama. Critics from Spain to South Korea tell us about the biggest shows in their countries

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Searches for Gucci label soar after release of murder film starring Lady Gaga

Designer brand reaps the benefit of Ridley Scott’s movie telling the story of the killing of firm’s ex-boss

When is murder good for business? When it is made into a Hollywood movie, for one – and when that film stars Lady Gaga. House of Gucci, the Ridley Scott feature released last week to mixed reviews, has sent interest in the Gucci brand soaring.

Searches for Gucci clothing were up 73% week on week, according to e-commerce aggregator Lovethesales.com on Friday, with a leap of 257% for bags and 75% for sliders. The figures suggest that the luxury brand stands only to gain from Hollywood’s telling of the story ofthe glamorous Patrizia Reggiani, who hired a hitman in 1995 to kill her ex-husband Maurizio Gucci, the former head of the fashion label.

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House of Gucci review – Lady Gaga steers a steely path through the madness

Gaga rules in Ridley Scott’s at times ridiculous drama based on the true-life sagas of the Italian fashion dynasty

“The most Gucci of them all” is how Patrizia Reggiani described herself in a 2014 interview and, judging by this entertainingly ripe, comedically tinged tragedy, she has a point. Variously known as “Lady Gucci” and “Black Widow”, Reggiani became the centre of a very 1990s scandal involving lust, money, fashion, murder… and a clairvoyant. To that tabloid-friendly cocktail, Ridley Scott’s latest “true story” potboiler adds a dash of pop superstardom, with Lady Gaga (Oscar- nominated for her close-to-home performance in A Star Is Born) relishing the chance to find the human cracks beneath a larger-than-life, femme fatale surface.

Adapted by screenwriters Becky Johnston and Roberto Bentivegna from the nonfiction book by Sara Gay Forden, House of Gucci charts a crowd-pleasing course from the Milanese party scene of the 1970s to a high-profile, end-of-the-century trial. At its heart is the doomed romance between Patrizia and Maurizio Gucci, the latter played behind stylishly studious glasses by cinema’s sexy nerd de nos jours, Adam Driver. “I want to see how this story goes,” says Patrizia, embarking upon a twisted fairytale romance with the grandson of Guccio Gucci that starts with masked balls and talk of midnight chimes and pumpkins and ends with family back-stabbings, jealous rages and deadly rivalries.

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