The change prompted some frustration from the three initial Traitors

The BBC’s hit show faces down the risk of overfamiliarity by adding a hilarious hierarchical dimension to its murderous treachery

The Golden Globe-nominated Mexican actor talks to Patrick Smith about not forgetting his roots, learning from Brad Pitt and Tom Hiddleston, and his early love for Pete Tong’s ‘Essential Mix’

Historic trawler and floating lighthouse among East Yorkshire city’s attractions as it gears up for tourism boost

A combination of a world record-breaking trawler, a floating lighthouse and a dizzying array of maritime objects that include a stuffed polar bear called Erik are all helping to make Hull one of the top 25 places in the world to visit in 2026.

The East Yorkshire city is on the verge of completing an ambitious £70m transformation, which, supporters believe, will propel it into becoming an international tourist destination.

Harvey/Rubin/Dennis/Williams/Talea Ensemble/Goren
(Pentatone)
This early work by Nadia Boulanger - better known as the influential teacher – was never performed and survived only in vocal score. Despite the best efforts of conductor Neal Goren and his hard-working cast it never quite coheres

Nadia Boulanger (1887-1979) is best remembered now as a hugely influential teacher, who spread the gospel of neoclassicism through several generations of composers on both sides of the Atlantic. She was also a conductor and organist, and at the beginning of her career, at least, had ambitions as a composer in her own right, which she largely abandoned in the early 1920s some years after the deaths of both her enormously talented younger sister Lili, and her mentor, the pianist and composer Raoul Pugno.

It was in collaboration with Pugno that Boulanger composed La Ville Morte, a four-act opera based upon a play by Gabriele D’Annunzio; it was scheduled to be premiered at the Opéra-Comique in Paris in 1914, but cancelled after the outbreak of the first world war. The opera only survives in a vocal score, and for this first ever recording, taken from performances in New York last year, it has been minimally orchestrated for an ensemble of 11 players. The “dead city” of the title of La Ville Morte is Mycenae, and the tangled story of love, lust and ambition among a quartet of archaeologists takes place among the city’s ruins. Musically it references Wagner, Fauré and most of all early Debussy, but the work never quite convinces in any of those modes, and runs out of dramatic steam well before the short final act, despite the best efforts of conductor Neal Goren and his hard-working cast of four.

The president is scrutinising studio deals, and was rewarded with the promise of a Rush Hour reboot. With Supergirl, Hoppers and a live-action Moana on the way, can Hollywood stand up to Trump?

It’s fair to say that Hollywood is in crisis, or at least in transition. Studios getting taken over, culture wars all over the place, and gen AI rearing its head. The last thing they need is an interventionist president determined to wage war on the entertainment industry, as well as no doubt extracting what value he can. Donald Trump, as we know, is very interested in the movie business: in his pre-politics days, he made dozens of appearances in films, as well as on TV. It seems very likely that he’s eyeing a place at Hollywood’s top table after he leaves office (presuming he does).

Perhaps that’s what is behind his most spectacular recent intervention: demanding, and getting, a fourth Rush Hour movie from the new owners of Paramount Pictures, the studio that was recently taken over by David Ellison, son of Larry, one of Trump’s key allies. Coincidentally, Trump’s son-in-law Jared Kushner is one of the funders of Paramount’s subsequent bid to derail Netflix’s takeover of Warner Bros, with Trump himself suggesting he might influence US corporate regulators to prevent the Netflix deal from going ahead. And of course, in the background, is Trump’s threat of non-specific “tariffs” on the film industry, ostensibly aimed at keeping movie production inside the US. But, arguably, this could also be a way of keeping Hollywood’s top executives nervous and pliable.

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