Wow, fabulous to see the ladies getting a look-in! This is so sexy I might become a lesbian. That would certainly explain my lack of dating! It is also the campest, pardon the pun, slasher movie I have seen in years. A must-watch. It is bloody brilliant!
Teenage Sex and Death at Camp Miasma is not your average horror movie. Forget the predictable screaming teenagers, the masked lunatic lurking behind a tree and the obligatory blonde running through the woods in her underwear. This is something altogether more delicious, daring and wonderfully deranged.
Director Jane Schoenbrun has taken the slasher genre, given it a fabulous queer makeover and served up a gloriously twisted cocktail of sex, obsession, psychological horror and dark humour. It is outrageous, seductive and utterly compelling.
The story follows an enthusiastic young filmmaker, played by Hannah Einbinder, who is given the opportunity to resurrect the once-popular Camp Miasma horror franchise. After years of increasingly dreadful sequels, the series desperately needs new blood. And goodness, does it get some!
Her journey leads her to the original film’s mysterious star, played by the magnificent Gillian Anderson, who has withdrawn from the spotlight. What follows is a disturbing and intoxicating exploration of desire, power, fantasy and the dangerous relationship between an actress and her admirer.
Now, can we please talk about Gillian Anderson?
My goodness, this woman is extraordinary. Anderson delivers a performance so hypnotic, sexy and commanding that you simply cannot take your eyes off her. Every glance, every carefully measured word and every movement seems calculated to draw you deeper into her web.
There is something almost dangerously seductive about her presence. She doesn’t merely occupy the screen; she possesses it. She can make a moment of silence more electrifying than an entire sequence of bloodcurdling screams.
Anderson has always been an exceptional actress, but here she reminds us why she remains one of the most fascinating performers of her generation. She is mysterious, powerful, vulnerable and terrifyingly alluring, sometimes all within the same scene.
Hannah Einbinder is equally impressive, bringing an intriguing mixture of ambition, fascination and emotional vulnerability to her role. The chemistry between these two women is electric. Their relationship becomes the beating heart of a film that is as interested in psychological seduction as it is in horror.
What I particularly loved is that the film refuses to behave itself. It plays with the conventions of the slasher genre while examining fame, female power, sexuality and the strange obsession audiences develop with their screen idols.
It is unapologetically queer, gloriously camp and refreshingly different. There is something wonderfully liberating about watching a horror film in which women are not simply waiting around to become the next victim.
Be warned, though: this is not conventional popcorn horror. It is strange, provocative and deliberately unsettling. But that is precisely what makes it so memorable.
As for Gillian Anderson, darling, forget the masked killer. She is the real danger here. One smouldering look and I would probably surrender without a fight.
Five stars from me. Sexy, sinister, spectacularly camp and utterly irresistible. Go and see it. Just don’t blame me if you develop a crush on Gillian Anderson!
Acting is reacting. It is one of the fundamental principles of the craft, and something the legendary acting coach Lee Strasberg, one of the leading figures in bringing Method acting to America, understood better than most.
Marilyn Monroe, arguably one of the greatest screen icons of all time, studied under Strasberg in New York at the Actors Studio. He once spoke movingly about her ambition:
“Marilyn always dreamt of being an actress. She didn’t, by the way, dream of being just a star. She dreamt of being an actress.”
He went on to explain that despite becoming one of the most extraordinary stars in Hollywood history, Marilyn was never entirely satisfied. She wanted to be taken seriously as an actress, to explore her craft and to be recognised for something beyond her extraordinary beauty and magnetic screen presence.
Many of the great actors of that generation also studied with the formidable Stella Adler, adding another string to their theatrical bows. Between them, these influential teachers helped shape some of the finest acting talent of the twentieth century.
In Who Killed Marilyn?, Strasberg is referenced several times, although his wife, Paula Strasberg, also played a significant role in Marilyn’s development as an actress and became one of her closest professional confidantes.
All of which makes the central performance in this production rather important.
The show stars Pixie Lott, although the Saturday matinee I attended featured an understudy in the role of Marilyn Monroe.
Now, I couldn’t help feeling that had either Lee Strasberg or Marilyn herself witnessed this particular performance, they might well have been turning in their graves. And not simply because of the dreadful wig and unfortunate costume.
Let me be clear: Who Killed Marilyn? is a terrific theatrical concept. In fact, there is a great deal to admire here. The script is imaginative, the set is superb, and the supporting cast delivers some tremendous performances. Much of the costume design is also impressive,.
There is clearly talent, imagination and considerable hard work behind this production.
But there is one rather substantial problem.
Without a convincing Marilyn Monroe, the entire production loses its heart.
Marilyn was never simply a blonde bombshell with a breathless voice and a collection of seductive poses. She was an extraordinarily complicated woman. Beneath the carefully constructed Hollywood image was someone of great intelligence, humour, sensitivity and vulnerability. She could be fragile yet fiercely determined, insecure yet remarkably strong.
That contradiction was part of her magic.
To portray Marilyn successfully requires far more than copying her mannerisms. An actress must find the woman behind the legend, bringing light and shade, emotional depth and genuine humanity to the role.
Unfortunately, that was precisely what I felt was missing.
What should have been a fascinating portrayal of one of the world’s most misunderstood women became, at times, little more than a camp impersonation. The exaggerated delivery, the mannerisms and the overall presentation occasionally made the performance feel more suited to an episode of RuPaul’s Drag Race than a serious theatrical exploration of Marilyn Monroe.
And I can almost guarantee that the wig and costume would have been better on Drag Race.
There were moments when the performance simply fell flat, while others veered uncomfortably close to cringe-inducing caricature.
This is particularly frustrating because the material offers so much potential. Marilyn’s life was filled with extraordinary contradictions: fame and loneliness, glamour and insecurity, ambition and exploitation. Her relationships with powerful men, her determination to be respected as an actress and her tragic early death provide enough dramatic material to fill several productions.
The audience needs to believe, even if only for a fleeting moment, that Marilyn is standing before them.
For me, that moment never arrived.
I must, however, give credit to the understudy for taking on such a demanding role and remembering what is clearly a substantial amount of dialogue. Stepping into the shoes of one of the most recognisable women in history is no small undertaking, particularly when audiences arrive with such strong expectations.
My criticism is of the performance I witnessed, not of the actress’s dedication or effort. Nevertheless, I felt the characterisation was a considerable distance from the standard one would expect of a polished West End production.
It is also important to point out that I did not see Pixie Lott in the role, so my observations should not be taken as a judgement of her interpretation.
As for the venue, the Emerald Theatre is an interesting space with a past life as a club. It certainly has atmosphere and character, although prospective theatregoers should be warned that I found the seating extremely uncomfortable. Theatre is meant to challenge the mind and stir the emotions, not leave the audience desperate to stand up simply to relieve their backsides.
Ultimately, Who Killed Marilyn? is a production with considerable promise. There is an excellent concept, an engaging script, an impressive set and a supporting company that deserves recognition.
But when your entire story revolves around one of the most iconic women of the twentieth century, getting Marilyn right is not merely important. It is essential.
Marilyn Monroe spent much of her life fighting to be recognised as a serious actress rather than simply a beautiful movie star.
How ironic, then, that a production exploring her life should, in the performance I witnessed, reduce her to the very caricature she spent so many years trying to escape.
The question may be Who Killed Marilyn?, but on this particular afternoon, I was left wondering: where on earth was Marilyn?
From breathtaking musical performances and dazzling dance routines to tears, laughter and standing ovations, Autism’s Got Talent celebrated its 15th anniversary in spectacular style. Steven Smith joined the sell-out audience for an extraordinary evening that proved talent knows no boundaries.
It was a night of extraordinary talent, heartfelt emotion and thunderous applause as Autism’s Got Talent celebrated its landmark 15th anniversary at London’s Mermaid Theatre. Playing to a sell-out audience, the spectacular event delivered what was arguably its most moving and memorable show to date, with performances that brought tears to the eyes one moment and had the audience cheering with delight the next. It was a glorious celebration of neurodiversity, individuality and the remarkable abilities of autistic performers, and an evening that will undoubtedly remain in the hearts of those fortunate enough to attend.
There are certain dates in my diary that I look forward to more than others, and Autism’s Got Talent has always been at the very top of that list. It is, quite simply, my favourite time of year. Having watched this extraordinary event grow and evolve, I thought I knew exactly what to expect. Yet this year’s anniversary extravaganza managed to surpass even my expectations. From the moment I entered the Mermaid Theatre in Blackfriars, there was an unmistakable sense of excitement. Families gathered, familiar faces exchanged hugs and performers prepared for their moment in the spotlight. By the end of the evening, the auditorium had witnessed something genuinely special.
Since its inception in 2012, Autism’s Got Talent, the brainchild of the indefatigable Dr Anna Kennedy OBE, has grown from an ambitious idea into an internationally recognised showcase celebrating the abilities, creativity and individuality of autistic children and adults. Over the years, it has attracted considerable media attention, celebrity support and performers from around the world, establishing itself as one of the most uplifting events in the charity calendar.
Unlike conventional talent competitions, however, Autism’s Got Talent has no judges, no eliminations and no disappointed contestants being sent home. Instead, every performer is encouraged, celebrated and given the opportunity to shine. There is no pressure to conform to anyone else’s expectations, only the freedom to express individuality through music, dance, theatre and performance. For some, stepping onto that stage represents the fulfilment of a lifelong dream; for others, it is an opportunity to build confidence, overcome personal challenges and demonstrate talents that might otherwise remain unseen. Above all, it is a celebration of what people can achieve when they are given encouragement, opportunity and the freedom to be themselves.
This year’s 15th-anniversary spectacular pulled out all the stops, bringing together more than 20 acts, including ten newcomers and ten returning favourites. The evening opened with Dr Anna Kennedy OBE welcoming the packed auditorium and introducing special messages from celebrity supporters, including Loose Women star Denise Welch, Blue singer Anthony Costa and former EastEnders actress Kacey Ainsworth. Their messages of encouragement set the tone for an evening that was as much about celebrating achievement as it was about entertaining the audience.
There was, naturally, a generous sprinkling of showbiz glamour. Among the familiar faces giving their time to introduce performers was much-loved ‘Allo ‘Allo! actress Vicki Michelle MBE, a longstanding supporter and patron of the charity. Joining her were Christopher Hamilton and Shimi Goodman of Tiano, alongside former EastEnders heart-throb Tony Discipline and actress Ionica Adriana. It was heartwarming to see established names from the entertainment industry so enthusiastically championing autistic talent. The celebrities may have brought an extra touch of sparkle, but there was never any doubt about who the real stars of the evening were: the performers themselves.
A huge supporter of Anna Kennedy Vicki Michelle MBE
Also joining the celebrations was acclaimed artist Piluca, whose striking mural at the Sidelings Tunnel pays tribute to the charity and its inspiring work. Some of the charity’s sponsors were equally involved in the proceedings, with Mandy Aulak of Talem Law and Ione Inness of SEND Tutoring taking to the stage to introduce acts and speak about the importance of creating opportunities for autistic individuals. Their support is a reminder that events of this scale depend upon the generosity and commitment of organisations and individuals who believe in the charity’s mission.
Award winning performers Tiano
Guiding the audience through the evening were two enthusiastic comperes, Gateway Radio DJ and charity ambassador Aston Avery, alongside former The People’s Strictly contestant and amateur theatre enthusiast Phillip Barnett. Aston, who recently received a prestigious BQF Patrons Award presented by HRH The Princess Royal, brought his customary warmth and infectious enthusiasm to the proceedings. Together, the pair kept the programme moving with humour, encouragement and genuine affection for the performers, ensuring that everyone received the welcome and recognition they deserved.
EastEnders Tony Discipline
And what a programme it was. Performers had travelled from across the United Kingdom and further afield, including Ireland and Hungary, each bringing their own personality, story and extraordinary abilities to the stage. One of the joys of Autism’s Got Talent is that you never quite know what is coming next. One moment you are listening to a beautiful ballad, the next you are watching a dazzling dance routine or cheering along to an energetic musical performance. The sheer variety is part of its magic.
The show opened with PPAS, whose founder, Maggie Paterson, has generously offered scholarships to previous Autism’s Got Talent performers, demonstrating how the opportunities created by the event can continue long after the final curtain falls.
Stevie Little Jays delighted the audience with singing accompanied by Makaton signing, while Lillie Rose Allan delivered a charming rendition of Grace VanderWaal’s I Don’t Know My Name, a song whose themes of individuality and self-discovery seemed particularly appropriate for the occasion. Holli Pandit brought a touch of elegance with her beautiful harp playing, while Macauley Elvin performed Benson Boone’s Momma Song, dedicating the moving number to his family. It was one of those performances that reminded everyone just how powerful music can be when it carries a deeply personal meaning.
The family spirit Anna Kennedy’s regulars the Elvin
Another familiar face was Rich Stevens, a tremendous supporter of the charity who has raised funds through his remarkable walking challenges, including a 50-mile effort this year. Rich stepped into the spotlight to perform The Great Pretender, adding another memorable musical moment to the celebrations.
Walking to West End fame Rich Stevens with his lovely wife Zoe
One of the evening’s most energetic and thought-provoking performances came from The Childish, who had previously joined Anna Kennedy OBE on Nana Akua’s GB News programme to discuss their charity single, This Has to Stop. Highlighting the devastating consequences of knife crime, the song carries an important message for young people and communities. Performing the complete single at the Mermaid Theatre, the group delivered a powerful and passionate performance that brought the house down. It was a reminder that music can be much more than entertainment; it can educate, raise awareness and give young people a voice on issues that matter.
Aaron Clarke delighted the audience by playing the melodeon alongside his father, Andy, in a touching example of the family spirit that runs through the entire event.
Holly and Hannah joined forces for a lively musical mash-up, while Xander Hall brought his acting and performance skills to the stage with Simply Red’s Fairground. Joshua Scott Crowley injected another burst of energy into the auditorium with an impressive drumming rendition of Uptown Funk, giving the audience every excuse to clap along.
Going Up Funk with Joshua
Sophia Naughton delivered a beautiful performance of Journey to the Past from the musical Anastasia. With its soaring melody and emotional lyrics, the song provided a wonderful opportunity for Sophia to showcase her voice. I was particularly charmed to learn that she also sings in her parents’ pub. Judging by her performance, the customers are certainly in for a treat.
Another performer whose story captured my imagination was award-winning dancer Leila Juhász, who travelled from Hungary to make her Autism’s Got Talent debut. Remarkably, it was not only her first appearance at the show but also her first time travelling by aeroplane. What an adventure, and what a debut! Leila delivered an incredible street-dance routine, bringing confidence, energy and impressive choreography to the stage. Her appearance was a wonderful example of how the event can create opportunities and experiences that extend far beyond the performance itself.
Leila Juhász
André Adams treated the audience to a selection of memorable film themes on the saxophone, bringing a touch of cinematic magic to the theatre, while Alfie Webster took us into the world of Broadway with a musical-theatre number.
André Adams saxophonist with patron Steven Smith Dr Anna Kennedy OBE competes Aston Avery and Philip Barnett
Returning favourite and YouTube sensation Andrew McMurdie had travelled from Ireland to take part in the anniversary celebrations, performing an original composition entitled Memories Are Pictures. During rehearsals, Andrew perfectly captured the spirit of the occasion when he remarked, “There were so many uniquely talented people in one room, like I have never seen before.” His words summed up what makes Autism’s Got Talent so extraordinary. It is not simply about stepping onto a stage and performing; it is about friendship, confidence, opportunity and being surrounded by people who celebrate you for exactly who you are.
Andrew McMurdie
Yvie Bent also impressed with her rendition of Quiet, a song by Jonathan Reid Gealt, adding another emotional moment to an evening that moved effortlessly between uplifting entertainment and heartfelt reflection.
Sadly, Kieron Lee was unable to attend because he was unwell, but he was certainly not forgotten. He sent a special message, and the audience was treated to footage of his much-discussed appearance on the BBC’s The Assembly, during which he performed for former Scottish First Minister Nicola Sturgeon. It was a lovely way of ensuring that Kieron remained part of the anniversary celebrations, even though he could not be there in person. Kieron also created a special 15th-anniversary compilation video celebrating the event.
Another performer who demonstrated the remarkable diversity of talent on display was Daniel Docherty, who travelled from Ireland. A talented powerlifter with an impressive operatic voice, Daniel proved that physical strength and musical artistry can sit beautifully alongside one another. His appearance was yet another reminder of why we should never make assumptions about people’s abilities or place limitations on what they might achieve.
As the evening progressed, the atmosphere inside the theatre became increasingly emotional. There had been laughter, cheers, wonderful surprises and moments of genuine tenderness, but nothing could have prepared me for the extraordinary finale delivered by Atypical with Attitude. I have attended countless theatrical performances and charity events over the years, yet I can honestly say that their beautifully choreographed dance numbers were among the most moving I have witnessed.
Aston Avery and Philip Barnet compares with the rock of the show Lisa Robins .
The performance was dedicated to Kim Stygall, the late mother of dancer James, and what followed was a profoundly touching tribute filled with love, remembrance and emotion. Every movement seemed to carry meaning, and the sincerity of the dancers was almost overwhelming. It was not simply a display of technical skill but an expression of grief, affection and the enduring bond between a mother and her child. There was barely a dry eye in the house, and I certainly struggled to hold back the tears. As the final moments unfolded, the audience responded with heartfelt applause, recognising not only the artistry of the performance but also the courage and emotion behind it. For me, it was the defining moment of an extraordinary evening, and one I shall remember for a very long time.
At the heart of all this is, of course, the remarkable Dr Anna Kennedy OBE, whose tireless determination, passion and commitment have transformed Autism’s Got Talent into the much-loved celebration it is today. Over the years, Anna has become one of the most recognisable voices championing autistic individuals and their families, helping to create opportunities, challenge misconceptions and encourage greater understanding. Yet perhaps one of her greatest achievements is the extraordinary sense of family she has built around Anna Kennedy Online. It is a family that continues to grow, celebrates every achievement and understands the importance of allowing people to be accepted for who they are.
Super star voice
Reflecting on the event and her hopes for the future, Anna said: “We aim to continue to build Autism’s Got Talent year by year. We want all those involved to have fun, do what they love, make friends, be themselves, and have one night that is all about them.”
Those words beautifully capture the philosophy behind the event. It is not about fame, fortune or winning a trophy, but about having the opportunity to stand proudly on a stage, share your talents and be celebrated. For many performers and their families, the experience represents something far greater than a single evening of entertainment. It is a chance to build confidence, form lasting friendships and create memories that will remain long after the theatre lights have dimmed.
Piluca artist show her painting dedicated to Anna Kennedy online and talks on stage
Anna is also the first to acknowledge that none of this would be possible without the extraordinary dedication of her team, many of whom give their time voluntarily. Among them is Lisa Robins, one of the rocks of Anna Kennedy Online and Anna’s trusted right-hand woman, alongside the show’s stage manager, Fiona Shepherd, whose hard work helps transform months of preparation into the polished production audiences enjoy. A big shout-out also goes to Tally Nothey and Genna Nothey, who did the brilliant marketing for the event.
Anna Kennedy on line team .
In an entertainment industry so often dominated by competition, image and commercial success, Autism’s Got Talent offers something wonderfully refreshing. Here, success is not measured by television ratings, record sales or the opinions of a panel of judges. It is measured in smiles, confidence, friendships, personal achievements and the sheer joy of performing. It is about recognising what people can do rather than focusing on what others might assume they cannot.
As the evening drew to a close and the wonderful performers returned to the stage, the atmosphere inside the Mermaid Theatre was electric. There were beaming smiles, proud families, emotional embraces and applause that seemed to go on forever. Looking around the auditorium, I was reminded once again why I have such enormous affection for this event. It brings people together in a way that few other occasions manage, creating an atmosphere of authenticity, generosity and genuine celebration.
Fifteen years after Anna Kennedy first set out to create a platform for autistic talent, the event continues to grow, inspire and change perceptions. And if this spectacular anniversary celebration proved anything, it is that the future of Autism’s Got Talent is every bit as bright as the remarkable individuals who make it possible.
As I left the theatre, still thinking about that extraordinary finale and the many unforgettable performances I had witnessed, one thought stayed with me: the world would be a much kinder, more understanding place if we celebrated one another’s differences with the same enthusiasm and generosity that filled the Mermaid Theatre that night.
Because talent does not come in one shape, one size or one particular form. It comes from individuality, passion, determination and the courage to be yourself. And on this remarkable evening, every single performer was a star.
Fifteen years of talent, fifteen years of friendship and fifteen years of breaking down barriers. And judging by what I witnessed, the best may still be yet to come.
As the Anna Kennedy Online family would say, “You’re all amazing, and we all rock!”
Roll on Autism’s Got Talent 2027. Whoop, whoop!
Steven Smith is a journalist, author and patron of Anna Kennedy Online.
For further information about Anna Kennedy Online and Autism’s Got Talent, visit annakennedyonline.com.
There was great excitement when, as a late birthday gift, my nephew took me to Marbella for five days.
We flew out with British Airways, and I came back on a codeshare flight operated by a Spanish airline called Vueling. Now, I have no complaints about the flight itself. Everything went perfectly well.
The same, unfortunately, cannot be said for my luggage.
There are certain things you expect to bring home from a holiday: photographs, memories, perhaps a few extra pounds around the waist and a vague promise that next time you’ll pack less.
What you don’t expect is for your suitcase to continue its European travels without you.
My luggage has now been missing since Saturday, and what began as an inconvenience has turned into a bizarre international mystery involving airports, telephone calls, automated updates and a suitcase that appears to have had a far more adventurous journey than I did.
The reference number, which I now know almost as well as my own telephone number, is LGWVY28092.
The bag was particularly important because I had been sharing it with my nephew, Matthew, who was due to fly to the United States shortly after we returned. His clothes were inside, along with mine. So this wasn’t simply a case of waiting patiently for a delayed pair of socks to turn up.
Then came the updates.
At one point, my luggage appeared to be in Paris Charles de Gaulle. Why Paris? Your guess is as good as mine. From there, I was told it was being sent to Barcelona before eventually — hopefully — making its way back to me in London.
Paris to Barcelona to London. My suitcase was practically Interrailing.
What has made the whole experience considerably worse, however, is the extraordinary difficulty in getting a clear answer from anyone.
I have telephoned. I have messaged. I have chased. I have watched the online tracking system with the dedication of an air traffic controller. I would love to be in Paris ,
Eventually, the status changed to the rather exciting announcement:
“Your piece of baggage has been located.”
Wonderful!
Except there was one small problem.
Where exactly had it been located?
Being told something has been “located” is not particularly reassuring when nobody can confirm where it physically is, whether it actually arrived in Barcelona, when it will be placed on a flight to London, or when it might finally arrive at my front door.
Each telephone call seems to produce another version of: “We are waiting for information.”
Meanwhile, my suitcase continues to exist somewhere in the mysterious world of international baggage handling.
My suitcase before its extended holiday .
There is, of course, a funny side. I have visions of it sitting beside a swimming pool in Barcelona, sipping sangria while I sit in London trying desperately to discover its whereabouts.
But underneath the humour is a serious point.
When airlines lose passengers’ belongings, communication matters enormously. People may have medication, work clothes, sentimental possessions or valuable items inside their cases. A computer-generated message saying a bag has been “located” simply isn’t enough after days of uncertainty.
Passengers deserve to know what is happening to their property.
So, as I write this, the great suitcase saga continues.
Somewhere between London, Paris and Barcelona is one extremely well-travelled piece of luggage that belongs to me.
If anyone sees it, could you possibly tell it that its holiday is over?
Steven would quite like his clothes back.
P.S. The latest piece of “help” from Vueling Airlines was the suggestion that I call Barcelona Airport myself and see if I can find my luggage.
You really couldn’t make it up.
UPDATE: THE SUITCASE FINALLY COMES HOME!
Now for an update on my luggage.
After around ten more phone calls — yes, I am like a dog with a bone — there was finally some good news.
Now, the people at Vueling Airlines are actually very charming. You are given the choice to speak to them in English or Spanish and, even as they told me that no one could find my luggage in Barcelona but that they would keep trying, there was always the cheerful: “Is there anything else I can help you with?”
I have to admit, the latter did begin to irritate me slightly. YES — FIND MY SUITCASE!
Eventually, on Friday, six days into my suitcase’s extended stay in Barcelona, there was good news: it had been found!
However, it still wasn’t showing on the system the following morning, so naturally I called again. Yes, apparently it was on its way back to Gatwick, although no one seemed quite sure exactly when. They estimated somewhere around 12:45.
I called again later and there was still no confirmation that it had actually landed.
Then, at around four o’clock on Saturday, I received a text from Eagle Aviation, who were going to deliver my luggage.
There was an odd delivery time showing, so I emailed them. They told me they hadn’t actually received the luggage yet, so I was safe to go out.
The following morning it was much the same story. At around 11am, I was told that perhaps it would be in the 12:30 batch they were expecting, but they couldn’t confirm it.
So, safe in the knowledge that my suitcase was apparently still nowhere near my front door, I headed off to Chelmsford to see my great friend Aston Avery, who had been nominated at the Make a Difference Awards. I reckoned I could easily be home by six.
There I was, sitting next to Anna Kennedy OBE — who, I should point out, did forgot to share her Skittles however provided me with some great popcorn Thank-you — when at around 3:45pm my phone started buzzing.
“Your luggage will be delivered today between 16:42 and 18:42.”
AN HOUR’S NOTICE!
Luckily, it was towards the end of the show, so I legged it. And no wonder I have a hernia now!
Somehow, I made it back home by 5:30pm.
At 5:55pm, the call finally came.
Could I come downstairs and be reunited with my luggage?
Apparently, they don’t bring it to your actual door.
And there it was. After eight days missing in action, several countries, countless telephone calls and considerably more stress than any suitcase deserves to cause, we were finally reunited.
I am going to do exactly what my nephew told me to do in the first place and buy an Apple AirTag. I also now have the pleasure of posting my nephew’s belongings back to the USA!
On the upside, in nearly 50 years of travelling, this is the first time anything like this has happened to me. The actual flight with Vueling was very good, and the cabin crew were professional, smart and charming. So I’m going to put the whole thing down to very bad luck — or perhaps Malaga Airport!
Would I fly with Vueling again? Yes, I probably would.
Would I ever travel without an AirTag again?
ABSOLUTELY NOT.
As for my luggage, it is very happy to be home.
Although after its unexpected European adventure, it is now telling me that it needs a spa day.
Once in a while comes something that is an unexpected delight
Who has not become a huge fan of Diane Morgan in Motherland and Mandy
Wonderful writer and actress animal rights activist . News of her new sitcom BBC’’s Ann Droid did make me think is this the end of the run for her. The plot sounded vauely famillair and might be a one stand joke even with the incredible Sue Johnston in it the trailer left me a little cold .
But how wrong can I be Diana Morgan has produced one of the funniest poignant and beautifully crafted comedy features to date .
The first episode just sets the tone and to be honest it is a slow start Morgan plays Android Linda after Sue Johnsons charcters sister and I was still not sold on it half way through , But then what could easlily be a corny ride a journey of lonless ness old age and life has you not just shed a tear it has you ironically in fits of laughters .
Ann Droid is a beautiful look at humans as we age but manages to bring issues of how families manage with the edelry and do we ever really go far from the play ground
Paul Ready as Sue’ son Michael plays yet another down trauden man desperate to find his mascuilnty it is possibly the week part of the show as you just want to slap him but his comic timing and acting is seemless just be nice to see him play something less sumbimsive Kathry Hunter is the cherry on the cake in this gem and steels every scene she in
The wonderful thing about the six episode is not just I could not stop watching . I complain that sometimes comedy gems should stop at one or two like Faulty towers honestly I wanted more as It ended .
Ann Droid is warm, witty, heartfelt and quietly profound. It proves that the very best comedy doesn’t just make us laugh—it makes us think, feel and perhaps look at ourselves a little differently. Diane Morgan has once again reminded us why she is one of Britain’s finest comedy talents.
★★★★★
Ride or Die – Amazon Prime ★★★☆☆
Hannah Waddingham once had a drama teacher tell her she would never work on screen.
How wonderfully wrong they were.
I first met Hannah when she was appearing in the stage production of Joey and Gina’s Wedding, and even then she had star quality written all over her. Since then she has become one of Britain’s most versatile performers, equally at home in comedy, drama and musical theatre.
In Ride or Die, she completely owns the screen as Judith, a glamorous and deadly hitwoman. Alongside her is the ever-brilliant Octavia Spencer as Debbie, an ordinary American wife married to a British MP. Together they have genuine chemistry. They’re very much the Thelma and Louise of 2026, and whenever they share the screen the series springs into life.
It’s just such a shame that they’re trapped in this turkey of a show.
The idea itself isn’t a bad one. A high-octane action comedy built around two very different women thrown together has enormous potential, and at times you can almost see the series it wanted to become. Waddingham throws herself into the role with real commitment, looking every inch the sophisticated action heroine. Her wardrobe alone deserves its own credit, and there’s more than a hint that the producers are trying to create a female James Bond.
Octavia Spencer is, as always, effortlessly likeable. She brings warmth, humour and vulnerability to Debbie, making her the emotional heart of the series. When the two actresses are together, the show crackles with energy and wit. You find yourself wishing every scene involved just the pair of them.
Sadly, the plot lets them down at almost every turn.
What begins as an entertaining premise quickly becomes an overly complicated and increasingly implausible tangle of twists, double-crosses and unlikely situations. Instead of building suspense, it becomes confusing and, ultimately, rather boring. It almost feels like a slap in the face to viewers who simply want a smart, well-written thriller with believable stakes.
Perhaps things improve later on, but I have to be honest—I gave up after two episodes. That’s something I rarely do, especially when the cast is this talented.
What a wasted opportunity. Hannah Waddingham and Octavia Spencer deserved material worthy of their considerable talents. Give these two actresses a stronger script and a sharper writer, and they could have had an absolute smash on their hands.
Instead, Ride or Die ends up being a stylish series with two wonderful performances that simply can’t overcome a story that loses its way.
My friends know just how much I love art. Over the years I’ve had the privilege of interviewing and writing about many incredibly talented artists, from those just beginning their creative journey to internationally recognised names. Art has always fascinated me because it has the power to tell stories, challenge perceptions and connect people in ways that words sometimes can’t.
That is why it was such a genuine honour to find myself on the other side of the interview, being featured in the stunning FLUX Review magazine. It felt rather surreal to be talking about my own journey, my passion for creativity and the wonderful people I have been fortunate enough to meet along the way.
Edited by the incredible Lisa Gray, FLUX Review is far more than just another magazine. It is a beautifully produced publication that celebrates artists, photographers, designers and creative thinkers from around the world. Every edition is packed with inspiring interviews, breathtaking imagery and thought-provoking features. It is one of those rare magazines that you don’t simply read—you keep, return to and proudly leave on your coffee table.
I would like to say a heartfelt thank you to Lisa for such a thoughtful interview and for all the support she gives to artists and the wider creative community. Her passion shines through every page, and it is easy to see why FLUX Review has become so highly respected.
If you’d like to know a little more about me, my work and what inspires me, I hope you’ll pick up a copy. At the same time, you’ll be discovering an exceptional magazine that champions creativity in all its forms. In a world where so much is viewed on a screen and quickly forgotten, there is something wonderfully special about holding such a beautifully produced glossy publication in your hands.
I hope you enjoy reading it as much as I enjoyed being part of it. Thank you, as always, for your continued support—it means more than you know.
Steven Viewz
“If you see something that doesn’t look right, please let us know.” It’s a phrase constantly blasted out across the London Underground. My question is… where would you like me to start?
The Tube during this recent heatwave has been nothing short of a nightmare. If the lack of air conditioning doesn’t finish you off, someone—who really should know better—forgets to carry a bottle of water, faints, and has to be helped off the train. Naturally, that means the whole line grinds to a halt while the rest of us sit there slowly cooking in what feels like a giant metal sauna.
What I simply cannot understand is this: Lisbon regularly reaches temperatures far higher than London, yet their transport system seems to cope perfectly well. We get a few days of sunshine, and the capital appears to melt faster than an ice cream on Brighton Pier. Surely, in 2026, we can do better.
Now for my second moan!
Can we please introduce a law banning people from staring at their phones while walking? Honestly, the number of people wandering around completely oblivious to everyone else is unbelievable. They drift from side to side like shopping trolleys with a wonky wheel, stop dead in the middle of busy pavements, and then look surprised when they walk straight into someone. If Andy Burnham can champion common sense in Manchester, perhaps Sir Sadiq Khan could start a campaign here. My solution? A gentle public awareness campaign first—and if that doesn’t work… maybe a few fines! It might just encourage people to look up once in a while.
Finally, on a much happier note, I’m really looking forward to the Autism & Art Show, taking place on Thursday 23rd July from 5.30 pm. It’s a wonderful evening celebrating the incredible talents of autistic artists, and I’m proud to be involved once again. If you’re able to come along, please do pop over and say hello. It would be lovely to see some familiar faces and support such an inspiring event.
Until next time… keep cool, keep looking where you’re going, and if you really do see something that doesn’t look right—well, perhaps start with the Tube!
Celebrity turn out at last nights film Acting Royalty Vick Michelle Dad and star Brain Turner Wendy Turner Webster ,John Curtain animal activist Anthea Turner , Victoria Featherstone Pearce Simon King .
It might have looked like an evening filled with lights, cameras and celebrity glamour, but behind the smiles and red-carpet photographs was a cause that could not have been more important.
Television sisters Wendy Turner-Webster and Anthea Turner, alongside their inspirational father Brian, came together to unveil their new feature-length documentary, Turner’s Take on the Big WHY?, produced by Animal Aid.
Dr Anna Kennedy OBE chats to a real star at last nights film premier
I joined the ever-active Dr Anna Kennedy OBE and a host of celebrities, campaigners and animal welfare activists at the beautiful Courthouse Hotel in London’s West End for what proved to be one of the most thought-provoking film premieres I have attended in a long time. Among those supporting the launch were Vicki Michelle MBE, Victoria Featherstone Pearce, singer Simon King, Dr Anna Kennedy OBE Gary Webster and many others who share a passion for animal welfare. It certainly had all the ingredients of a glamorous premiere.
But once the cameras stopped flashing and everyone took their seats inside the hotel’s intimate cinema, the atmosphere changed completely. Between the glitz and glamour lay a serious subject that many of us would rather avoid discussing, let alone watching on the big screen.
Animal testing.
I’ll be honest—I entered the screening with some trepidation. I’m one of those people who only has to watch a film where a dog hurts its paw and I’m in floods of tears. The thought of sitting through a feature-length documentary about animal experimentation didn’t exactly sound like my ideal afternoon. In fact, I found myself wondering who on earth thought this would make an engaging cinema experience.
Well…
I couldn’t have been more wrong.
What Wendy, Anthea and Brian have created is something remarkably clever. Rather than bombarding the audience with endless graphic images designed simply to shock, Turner’s Take on the Big WHY? gently draws you into the conversation. It asks questions instead of preaching, educates rather than lectures, and encourages viewers to think for themselves.
That is perhaps the film’s greatest strength.
The documentary explores why animals are still being used in laboratory experiments in the UK and around the world despite the existence of increasingly sophisticated, modern alternatives that many scientists believe are more accurate and humane. It raises uncomfortable questions.
Why are millions of animals still suffering in laboratories?
If newer technologies exist, why aren’t they being used more widely?
Are we simply continuing with outdated systems because that’s the way things have always been done?
These are not easy questions, but they are questions worth asking.
What impressed me most was the balance the filmmakers achieved. Yes, there are emotional moments. There are scenes that tug firmly at the heartstrings, particularly when viewers are shown the conditions in which beagles and other laboratory animals are kept. Those images are upsetting. They should be.
But the documentary never becomes so distressing that you feel compelled to look away. Instead, it carefully guides you through the facts, allowing the audience to stay engaged and absorb the information rather than switching off emotionally. It’s an incredibly intelligent way of tackling such a difficult subject. By avoiding sensationalism, the film actually becomes far more powerful.
You leave wanting to know more.
Wanting to read more.
Wanting to ask more questions.
For me, that’s exactly what a great documentary should do.
One of the biggest surprises was just how much warmth and humour runs throughout the film. Anyone expecting an hour and a half of relentless sadness is in for a surprise.
The relationship between Wendy and Anthea provides genuine moments of laughter. At one point Wendy jokingly tells her sister, “You said my hair looks like straw.”
Anthea immediately looks horrified before replying, “No I didn’t!”
The expression on her face and the playful exchange between the sisters is wonderfully natural and gives viewers a glimpse of the family behind the public image. It is refreshingly authentic.
A Family affair Brian with daughters Wendy and Anthea a the film premier
For decades we’ve seen Wendy and Anthea perfectly styled on television and across glossy magazine covers. Here, they strip all of that away. What we see are two sisters exactly as they are at home—supporting one another, teasing each other, laughing together and united by a cause they genuinely believe in. That honesty makes the documentary even more engaging.
However, for me, the real star of the film is their father, Brian.
At 92 years of age, Brian is an absolute inspiration.
Following the death of his wife and Wendy and Anthea’s mother, he moved to London and became passionately involved in campaigning for animal welfare. Rather than slowing down, he embraced a completely new chapter in his life, proving that purpose has no age limit.
His enthusiasm is infectious, his warmth shines through every scene, and his gentle humour is impossible not to warm to. He isn’t afraid to speak his mind, and his compassion for animals is both genuine and deeply moving. Watching Brian is a reminder that it is never too late to reinvent yourself or devote your time to something you truly believe in. He is living proof that passion doesn’t retire.
You can also clearly see where Wendy and Anthea inherited their natural screen presence. The charisma most definitely runs in the family.
One of the documentary’s greatest strengths is that it doesn’t rely solely on the Turner family to carry the message. Throughout the film we also hear from some of Britain’s most respected voices in wildlife, entertainment and animal welfare, each bringing their own perspective to the conversation.
Chris Packham is, as you would expect, one of the documentary’s standout contributors. Passionate, knowledgeable and utterly compelling, he explains the issues surrounding animal experimentation in a way that is both accessible and impossible to ignore. Chris has spent decades campaigning for wildlife and conservation, and his contribution gives the film real authority. He speaks not with anger but with conviction, encouraging viewers to question practices that many of us simply accept because they’ve existed for so long.
Singer Will Young also brings sincerity and compassion to the discussion, while comedian Diane Morgan offers thoughtful observations that remind us this isn’t simply an issue for scientists or campaigners—it’s something that affects every one of us as consumers, patients and members of society.
What I particularly admired was that none of these contributors appeared to be there simply because they were famous. Every interview felt genuine. Every voice had a purpose. Rather than distracting from the central story, they strengthen it, helping to build a documentary that feels informative, balanced and surprisingly personal.
Another highlight is how beautifully the documentary has been produced. It flows effortlessly between interviews, archive footage and campaign footage without ever feeling heavy-handed. The pacing is excellent, allowing viewers time to absorb the information while still remaining thoroughly engaged. Before you know it, the credits are rolling, and you realise you’ve spent the last ninety minutes learning far more than you expected.
Perhaps the biggest achievement of Turner’s Take on the Big WHY? is that it doesn’t leave you feeling hopeless. Instead, it leaves you feeling empowered. Whether that’s by choosing cruelty-free products, supporting organisations like Animal Aid, writing to your MP or simply starting conversations with family and friends, the film reminds us that meaningful change often begins with ordinary people asking important questions.
Whether you agree with every argument presented or not, the documentary succeeds because it starts a conversation.
Surely that is exactly what great filmmaking should achieve.
I also admired that the film never tells you what to think. Instead, it encourages you to research the issue for yourself, contact your MP if you feel strongly, support cruelty-free products and simply become more informed.
Education is always more powerful than confrontation.
As someone who wasn’t sure whether I even wanted to watch the film, I left genuinely pleased that I had.
It challenged me.
It educated me.
It made me laugh.
And yes…
It made me shed a tear or two.
More importantly, it reminded me that behind every campaign are real people prepared to dedicate years of their lives to creating change.
Whether you’re an animal lover, someone interested in science, or simply enjoy thoughtful documentaries, Turner’s Take on the Big WHY? deserves to be seen. It is emotional without being manipulative, educational without becoming a lecture, funny when it needs to be, heartbreaking when it has to be, and ultimately hopeful.
By the time the credits rolled, I realised this wasn’t simply a film about animal testing.
It was a film about compassion.
About progress.
About family.
And about asking one very important question. Oh we were even loved bombed with a treat from LUSH and some scrumptious sweets from The Vegan Candy Man .
IT’S JUST LIKE A PRAYER FOR MADONNA FANS … BUT GRAHAM NORTON DOESN’T TAKE YOU THERE
By Steven Smith
There are few chat show hosts in the world who can match Graham Norton when it comes to creating entertaining television. For well over a decade, The Graham Norton Show has been essential viewing, bringing together Hollywood royalty, music legends, comedians and sporting icons on one famous sofa. His effortless charm, quick wit and ability to make even the biggest stars relax have earned him a loyal audience and countless awards.
The format is brilliantly simple. Big personalities gather together, stories are exchanged, laughter follows, and viewers feel like they’re eavesdropping on an exclusive dinner party. It works because Norton never tries to dominate the conversation. Instead, he gently nudges it along, allowing his guests to bounce naturally off one another.
However, there is one important distinction.
Norton is a superb chat show host.
He is not an in-depth interviewer.
Unlike Oprah Winfrey, Louis Theroux or the late Sir Michael Parkinson, Graham rarely pushes beyond entertaining anecdotes and witty conversation. He seldom asks the difficult follow-up questions or explores the emotional experiences that have shaped the people sitting opposite him.
Unfortunately, that weakness became painfully obvious in what the BBC heavily promoted as one of television’s biggest interviews of the year: Graham Meets Madonna.
The Interview That Never Quite Begins
As a lifelong Madonna fan, I couldn’t wait to watch it.
Madonna remains one of the most fascinating figures in popular culture. Over four decades she has reinvented herself more successfully than perhaps any artist in history. Behind the global superstar lies an intensely private woman who has experienced extraordinary success, devastating personal loss, family conflict and relentless public scrutiny.
Surely this was the opportunity to finally meet the woman behind the icon.
Sadly, it wasn’t.
The programme opens with Graham Norton sitting in the back of a classic London taxi.
“I always get nervous when meeting Madonna,” he admits.
It’s an honest opening, but it also establishes the tone. Rather than appearing like an experienced broadcaster preparing to interview one of the world’s biggest stars, Norton almost feels like a fan about to meet his hero.
From the outset, it becomes clear that either the production team—or perhaps Madonna’s own management—have tried far too hard to make this landmark interview feel different.
Instead of simply sitting two intelligent people down for an honest conversation, viewers are taken through a series of carefully staged moments that never quite work.
One particularly awkward sequence sees Graham climbing to the top of an empty theatre before dramatically looking down onto the stage, where Madonna slowly emerges under the spotlight like an apparition. He then races down the stairs to greet her with all the excitement of a teenager meeting their idol.
Rather than feeling cinematic, it simply feels forced.
Where’s the Real Madonna?
Madonna has always been something of an enigma. Friends and collaborators frequently describe her as warm, witty and possessing a wonderfully dry sense of humour, yet that side of her rarely appears during television interviews.
This was Graham Norton’s golden opportunity.
Instead of discussing costumes, boots and backstage stories, he could have explored the remarkable woman behind one of music’s greatest careers.
Instead, the opening conversation drifts aimlessly.
In fact, Madonna often asks Graham more questions than he asks her.
They wander around the theatre chatting about boots, stolen clothes from Coachella and nostalgic memories, almost like two dinner guests waiting for their table to become available.
You keep expecting the interview to begin.
It never really does.
At times, Madonna herself appears visibly bored.
Stuart Price Steals the Show
Stuart Price a welcome relief with Madonna
Thankfully, the programme briefly comes alive when Graham and Madonna head upstairs to meet legendary producer Stuart Price, the creative force behind Confessions on a Dance Floor and Madonna’s latest musical project.
Ironically, this becomes the documentary’s strongest section.
Price discusses Madonna’s perfectionism, her musical instincts and her relentless pursuit of excellence. As he plays tracks from the forthcoming album, viewers are finally given a genuine glimpse into how one of the world’s greatest pop stars creates her music.
It’s fascinating television.
In truth, Stuart Price provides more insight into Madonna in ten minutes than Graham Norton manages throughout the rest of the programme.
Still Waiting for the Questions
One exchange perfectly captures the imbalance between interviewer and interviewee.
“Why do you have to know everything?” Madonna jokes.
It’s a line that amusingly echoes Julie Walters’ famous quip on The Graham Norton Show: “Leave me alone!”
Norton laughs before replying,
“It’s a chat show.”
Except, with Madonna, it never quite becomes one.
Instead of taking control, asking meaningful follow-up questions or steering the conversation into more revealing territory, Graham remains slightly starstruck throughout.
The next stop is a bar.
By this stage, the audience probably deserves a drink too.
Waiting behind the bar is another surprise guest—Kylie Minogue.
For many LGBTQ+ viewers, seeing Kylie and Madonna together is genuinely enjoyable. Graham excitedly declares, “I’m in gay heaven!”
It should be one of the funniest moments in the programme.
Instead, it feels heavily rehearsed.
The chemistry simply isn’t there.
A Missed Opportunity
Perhaps the most telling moment comes when Madonna looks directly at Graham and asks:
“When are you going to start asking me questions?”
“I have been,” Graham replies while swapping drinks with her.
The problem is…
He really hasn’t.
Most of the questions remain stubbornly on the surface.
There are countless fascinating areas of Madonna’s life that receive little or no attention: her battles with ageism, motherhood, spirituality, surviving four decades in an industry that constantly writes women off after forty, and the loneliness that often accompanies global fame.
Instead of meaningful exploration, viewers are offered snippets rather than substance.
One particularly frustrating moment briefly touches upon the death of Madonna’s younger brother, Christopher Ciccone. For a split second, it feels as though the documentary is finally about to reveal something deeply personal.
Then the moment disappears almost as quickly as it arrived.
Whether that decision came from Madonna herself or her management, we’ll probably never know.
Either way, it leaves viewers wanting much more.
The Verdict
Of course, it’s impossible to ignore the programme’s real purpose.
This is ultimately a promotional vehicle for Madonna’s new music.
There are some genuinely wonderful archive photographs from her early days performing at New York’s legendary Danceteria nightclub, reminding viewers just how extraordinary her journey has been.
Visually, Madonna looks fantastic—confident, elegant and entirely comfortable in her own skin. She remains every inch the cultural icon she has always been.
Which makes it even more disappointing that the programme never truly matches its subject.
Rather than trying so hard to create quirky television through staged walks, surprise guests and theatrical entrances, a simple sit-down interview may well have produced something far more memorable.
Sometimes, less really is more.
Madonna has given exceptional interviews before. Her legendary conversation with Ruby Wax in Paris remains one of the finest celebrity interviews ever recorded because Wax wasn’t afraid to challenge her while allowing humour and vulnerability to emerge naturally.
More recently, her thoughtful discussion with Jay Shetty revealed another side of Madonna—reflective, intelligent and surprisingly open. It proved that, when asked the right questions, she is still willing to reveal the woman behind the myth.
Sadly, Graham Meets Madonna never reaches those heights.
That’s not because Madonna isn’t interesting.
Far from it.
It’s because Graham Norton never quite takes us where we wanted to go.
For fans, there is still enough to enjoy. Seeing Madonna revisit her past, hearing Stuart Price discuss her music and watching two entertainment giants share the screen certainly has its appeal.
But what could have been the definitive Madonna interview ultimately settles for pleasant conversation.
Like one of Madonna’s greatest songs, it promises revelation.
Unlike Like a Prayer, however, it never quite takes you there.
Steven meets SUMZ the Dj you are all going to love .
Patron of Anna Kennedy on line Steven Smith Dr Anna Kennedy OBE with DJ SUMZ At The Firepit gallery https://annakennedyonline.com
2Shades Meets DJ SUMZ
2Shades Magazine would like to thank the incredible DJ SUMZ, who generously donated his time and talent to support Anna Kennedy Online at a special fundraising event held at The Firepit Gallery on 23rd May. He showed his love that night .
Performing under the newly launched media platform Soundtrax, SUMZ is a London-based DJ and journalist with a passion for independently produced music, art, film, and culture. His mission is to shine a spotlight on underrepresented artists while creating memorable musical experiences for audiences around the world.
Fresh from his appearance at the Firepit Gallery, we caught up with SUMZ to talk about music, Pride, travel, weddings, and the future of the music industry.
Sumz with one of the celebrity guests Vicki Michelle
What is your earliest memory of music?
There are pictures of me wearing large DJ headphones at the age of one! However, from my own memory, I remember hearing a mix of Bollywood, Bhangra, and R&B in my living room as a toddler. I also recall singing Bollywood songs in front of my family at about five years old!
Growing up, who were your biggest musical influences?
My taste has largely been influenced by my older siblings and cousins. I always loved music that was before my time, including 70s funk and soul and 80s new wave and hip hop. Movie and video game soundtracks largely shaped my long-term tastes. Whether it was the score to Bollywood movies such as Dilwale Dulhania Le Jayenge, the rapper-backed playlist of Space Jam, or the synth-pop radio stations of GTA Vice City, these soundtracks have left a lasting impact.
We are loving the crossover vibe of South American music blending with jazz and house. If you could visit one country purely for its musical culture and atmosphere, where would it be and why?
There are so many countries I would love to explore for this reason. I’ve been lucky enough to visit Bolivia, Colombia, and Mexico, plus Brazil which helped deepen my understanding of Latin American musical culture. Next, I’d love to venture to Japan, where there is an incredible fusion of jazz, hip hop, R&B, and pop. I’d love to experience that first-hand.
Actress Vicki Michelle , actress Denise Welch author Steven Smith socialite Pam Sharrock loved Sumz sets
If you were getting married on a beach — or performing at a wedding — what song would you choose, ruling out the traditional Here Comes the Bride?
Eres Tú by Carla Morrison would be a great choice. It’s a song my wife and I bond over, and it strikes a perfect balance between romantic and unique. The Spanish vocals and calm strings create a peaceful and heartfelt atmosphere.
It is Pride Month, and from the disco sounds of the 1970s to artists such as Freddie Mercury and George Michael, LGBTQ+ culture has helped push musical boundaries. If you had to choose four iconic songs for the ultimate Pride party playlist, what would they be?
Music is an incredibly powerful vessel for expression. It breaks barriers both internally and externally. Karma Chameleonby Culture Club has long resonated with me when it comes to themes of identity and self-expression. George Michael’s Freedom would be another essential choice.
For pure dancefloor energy, I’d add Madonna’s Vogue and Queen’s I Want To Break Free. It’s hard to narrow it down to just four songs, but those would certainly be among my first picks.
When people hire a DJ, music is a two-way street. What advice would you give clients about the information they should share with you to help create a truly successful event?
While attentive DJs always adapt to the dancefloor, it helps enormously to understand the tastes of both the host and the audience. Sharing genre preferences can provide a smooth starting point. Letting the DJ know about birthdays or special occasions also allows for personal touches, such as dedications and shout-outs.
Is there any type of music that you are not particularly fond of?
I’m a big believer in not boxing music. While I naturally listen to some genres more than others, I genuinely believe there is a place for all sounds.
Have you ever had anything go dramatically wrong while performing?
Thankfully, no! But it’s something I always think about, which encourages me to prepare thoroughly for every possible scenario.
When you are not performing, what is your favourite way to relax and switch off?
I love writing, learning about history, and watching football. Travelling is another passion of mine. Exploring different countries helps keep me inspired both creatively and personally.
How do you see the music scene evolving over the next century?
I think there will be a significant counterculture to AI-generated content. People will increasingly value live experiences, raw talent, and genuine human creativity. Combined with the rising cost of major concerts, I believe smaller local music events could enjoy a real resurgence in the years ahead.
2Shades Magazine once again thanks DJ SUMZ for supporting Anna Kennedy Online and helping to make a memorable evening even more special.
This year’s much-anticipated Autism & Art Show, taking place on 24th July 2026, promises to be a powerful celebration of creativity, individuality and artistic expression. Presented by Anna Kennedy Online, in collaboration with Firepit Art Gallery on London’s vibrant Greenwich Peninsula, the exhibition will once again shine a spotlight on the incredible talents of autistic artists and their allies.
More than simply an art exhibition, The Autism & Art Show is a platform for voices to be heard, stories to be told and creativity to flourish. Through painting, sculpture, photography, mixed media and contemporary works, visitors will experience a diverse collection of art that reflects the unique perspectives, imagination and lived experiences of its artists.
Patron Steven Smith and Dr Anna Kennedy OBE
Presented by Anna Kennedy Online, a charity dedicated to supporting autistic people and their families, the exhibition also plays an important role in raising vital funds to help continue its life-changing work. By supporting the show, visitors are not only discovering extraordinary talent, but also helping champion inclusion, opportunity and understanding within the autism community.
Held in partnership with the much-loved Firepit Art Gallery, renowned for championing emerging and independent creatives, the exhibition promises to be an inspiring, uplifting and unforgettable event. Whether you are an art lover, collector, supporter of the autism community or simply curious to discover fresh creative voices, The Autism & Art Show 2026 is set to be one of the summer’s most heartwarming cultural highlights.
Lana Mitchell
21 Lana, who lives with autism, once feared unfamiliar environments. In 2024, she began volunteering at Shelter Crystal Palace, where her uniqueness was embraced and her creativity blossomed. She now designs themed window displays and has performed at Autism Got Talent .
Art By Connor £100
Connor is 18 years old and profoundly autistic. Although he cannot tell us where his incredible talent and passion for drawing come from, his artwork speaks for itself. Drawing entirely from memory and using only the inner cartridge of a biro pen, Connor creates stunningly detailed pieces with extraordinary focus and precision, his pen rarely leaving the page. His favourite subject is churches, and while we do not know what first inspired this fascination or how he recalls such remarkable detail, each drawing reflects a unique gift and an extraordinary way of seeing the world. Through his art, Connor expresses what words cannot, sharing his creativity, dedication, and exceptional talent with everyone who views his work
Cosmic Kat from 300
Cosmic Kat is a self-taught artist based in Hucknall, Nottinghamshire who grew up in N.Ireland. Her work features bright colours, alien worlds and fantastical creatures. She was late diagnosed Autistic aged 30 and her work explores the themes of grief, unmasking and identity that this entails.
Loveartpix offers from £1000
Loveartpix (Dez)
Loveartpix , a self-taught AudHD (Autism + ADHD) artist from Manchester, uses creativity as a vital outlet for mental health and self-expression. Diagnosed with Bipolar Disorder, Autism, and ADHD, he began his art journey in 2018 as therapy. His vibrant work often reflects the spirit of Manchester and the experiences of neurodivergence
Sun flowers by Angelo Kennedy £500
Angelo, 33, is autistic and lives with significant sensory processing disorder. On display is a vibrant painting of sunflowers he created at just 10 years old. Angelo enjoys cooking, bowling, and continues to work hard on his independent living skills. His brother, Patrick, is also on the spectrum and works at Pinewood Studios
Blanky from £50 each
Alastair Blaster Artz
Alastair McEwen, also known as BlasterArtz, is a full-time carer for both his disabled parent and autistic son. Through art, he finds a way to manage emotions, connect with loved ones, and reflect on mental health. His heartfelt piece Blanky, created with friend and writer Steven Smith, has moved many and embodies the power of art as a lifeline.
XLVII is a leading figure in the UK urban art scene, renowned for his distinctive graphic style and iconic character, SNAMUH. Combining bold pop-culture influences with the energy of street art, his work explores themes of identity and freedom of expression through vibrant colours, strong character design, and striking visual storytelling. A regular participant in painting jams, gallery exhibitions, and live art events across the country, XLVII has established himself as one of London’s most prolific contemporary urban artists. Now exhibiting at The Fire Pit Gallery, he is generously donating his featured artwork to help raise funds for Anna Kennedy Online, supporting autistic people and their families. Follow his work on Instagram: @xlvii.
Nazaraptor (NAZARAP7OR) is a highly respected figure in the UK urban art scene, known for her energetic style and iconic character, MUCHE. A member of renowned graffiti collectives including CBM, GPC, and ACC (All City Crew), her vibrant work can be seen across the UK, from city streets to galleries and public spaces. Her bold use of colour, expressive handstyles, and unmistakable visual identity have earned her a strong reputation within both street art and contemporary art circles. Currently exhibiting at The Fire Pit Gallery, Nazaraptor brings the energy and creativity of graffiti culture onto canvas. Demonstrating her commitment to giving back, she has generously donated her artwork to help raise funds for Anna Kennedy Online, supporting autistic people and their families. Follow her work on Instagram: @nazaraptor.
Sam Bickerton £50
Sam Bickerton
Sam, diagnosed with ASD and dyslexia, demonstrates resilience in the face of social and emotional challenges. From early Lego builds to his love for origami, mask-making, and boxing, Sam’s creativity offers a safe space for self-expression and calm. His journey is one of strength and self-discovery through art.
`Josh Andrade
Josh. £200
Autistic artist Josh uses his distinctive, eclectic style to tell stories that demand to be seen. Inspired by the experiences of his brother, Leo, and countless others detained in Assessment and Treatment Units (ATUs), this haunting portrait captures the fear, isolation and despair faced by many autistic people and individuals with learning disabilities. More than a work of art, it is a powerful statement on the need for compassion, dignity and a more humane approach to care, ensuring that those whose voices are often overlooked are finally heard.
Matthew “BUCKO” Buckingham is a contemporary multidisciplinary artist whose increasingly transdisciplinary practice combines contemporary art, visual communication, autism advocacy, and inclusive design. Through portraiture, printmaking, and the development of an autistic visual language, his work explores autism, identity, and social inclusion. Drawing on his personal experience as both a father and a neurodivergent artist, his practice challenges misconceptions surrounding autism while advocating for greater understanding, support, equality, and acceptance.
John Lee Bird is a multi-disciplinary artist known for his global exhibitions of paintings, collages, and sculptural work. His DOLLS project features over 2,000 hand-sewn textile sculptures celebrating idols, friends, and queer culture. Inspired by film, drag, cult TV, and music, each 13-inch doll is crafted from felt, beads, buttons, and embellishments. The project began during lockdown as a therapeutic return to textiles, starting with 69 David Bowie dolls. It has since grown into a rich portrait series spanning pop culture icons and personal heroes. John’s work is driven by obsession, emotion, and a deep love of music and storytelling. He also creates sound and film, collaborating with artists such as Simon Fisher Turner and Xiu Xiu. John co-runs the queer club night KNICKERS with musician Jemma Freeman.
Heidi Simm is an autistic, self-taught artist from Essex whose colourful acrylic paintings are inspired by the original characters and imaginative worlds she has created. Alongside her artwork, Heidi has developed Horizon Hero’s, her own collectible card game featuring heroes from the worlds of Disco City and Sci-Fi Kingdom.
For the Autism & Art exhibition, Heidi presents Local Legends, bringing together her unique characters in a vibrant story of creativity, communication and adventure. Her work celebrates the power of imagination and demonstrates how art can create entire worlds from a single idea.
“SHANK3 and autism spectrum disorder” Acrylics and nail polish on canvas. 28x23cm framed (18x13cm on canvas .
Dr Diana Dunca is a drug development scientist with a PhD in Experimental Personalised Medicine (Bioinformatics and Statistical Genetics) from University College London. Her work involves analysing genetic data to help pharmaceutical companies develop safer and more effective treatments for common complex diseases. As these conditions affect a large proportion of the UK population and continue to rise, Diana uses art as a form of expression to raise awareness and inspire hope.
As an emerging artist, Diana translates her scientific perspective into visual form, using gold, shimmer, vibrant colours and nail polish to create radiant, uplifting artworks. Through her art, she invites viewers to discover beauty and hope within disease, while connecting with the resilience, strength and humanity that lie behind scientific research
THE MAP OF LOVE by Anne-Marie Bickerton £150
Annemarie Bickerton
With over 30 years in photography and art, Annemarie specializes in editorial portraiture. As digital photography evolved, she pivoted toward headshot work, applying her skills to editorial, corporate, and artistic projects. Annemarie is also a proud mum to Sam, who lives with autism, and continues to champion neurodiverse creativity in all its forms.
Piluca Artist
Piluca: Artist. Muralist. Fashion Visionary. Street Art Queen. Born in Madrid and ignited by Brixton’s wild heart, Piluca is a published illustrator, muralist, fashion designer, and founder of I Am Here 2 Play, launched last year she is a huge supporter of Anna Kennedy on line London. Her vibrant murals and street art light up London’s iconic venues, turning the city into an open-air gallery. A WinTrade Awards finalist, she moves effortlessly across fine art, fashion, and branding with fearless, raw style. Piluca’s creative impact extends deep into communities—leading workshops, festivals, and campaigns with purpose. From fashion to neuroscience illustration, her work defies boundaries—and London proudly
Title: Levington Marina, Suffolk, 2026 Artist: David Downes Dimensions: 52cm x 80cm Medium: pen, ink and acrylic on card. Price: £1,950
David Downes – English Painter and Autism Advocate
David Downes is an acclaimed English landscape painter celebrated for his dramatic skies, seascapes and intricate architectural works. As an autistic artist with a remarkable photographic memory, he creates many of his paintings from vivid recollections of places he has visited. A graduate of the Royal College of Art, David has received prestigious commissions from organisations including the BBC, ITV and The Savoy, where his Diamond Jubilee Pageant painting remains on permanent display.
David is Vice President of the National Autistic Society and an Ambassador for Autism Anglia, using his art and public speaking to raise awareness and support for autistic people. Now based in Manningtree, Essex, where he runs the David Downes Gallery, his work beautifully combines realism and imagination, capturing landscapes and architecture with extraordinary detail and a unique perspective.
Daisy Hutchinson £50 The real Meg
Daisy Hutchinson
Daisy, 21, is autistic and a proud Young Autism Ambassador for Anna Kennedy Online. She has a passion for art, which provides a creative way to express herself and helps her feel calm when she is anxious.
Outside of creating art, Daisy enjoys reading, jogging, singing, geology, Harry Potter, Goosebumps, Toy Story, Disney, Mamma Mia! and Love on the Spectrum. She also loves spending time with her dog, family and friends, and enjoys visits to the cinema, theatre and concerts. Daisy is a friendly, kind-hearted person and is delighted to be exhibiting her artwork at the Autism & Art Show.
Niall Gaute offers £200
Niall, 30, is an artist with autism, an intellectual disability, dyspraxia, and dyslexia. He gained international acclaim after raising funds for Special Olympics GB by selling his iconic stadium drawings. Niall has exhibited at the Royal Academy Summer Exhibition, delivered a TED Talk, and received an Honorary Doctorate from Sheffield Hallam University for his work promoting inclusion through art.
Eddie Wells offers over £1000.
Eddie Wells
Eddie grew up in East London, navigating life with undiagnosed ADHD and dyslexia. Creativity was his refuge. Following his father’s death in 2013, he realized that art wasn’t just an outlet — it was his salvation. His work reflects the inner world of someone living on the spectrum and overcoming silent battles through creative expression.
Offers at £250 ” I am woman ”
Tally Nothey
This piece is deeply personal. As the mother of an autistic child, Tally has faced days that felt overwhelmingly heavy—marked by worry, exhaustion, and the deep ache of feeling misunderstood. Yet, through every challenge, it has been the support of close friends that has carried her forward. Each woman represented in this work symbolizes someone who has stood beside her, held space for her fears, celebrated the smallest victories, and reminded her of her own strength when she struggled to find it.
This image reflects that journey. It acknowledges that while friendship may not solve everything, it makes the burdens easier to bear. Together, they have cried, laughed, and lifted one another—and because of them, she never walks alone
Sadie King offers over £200
Sadie King is a 17-year-old student . She has a strong passion for character design and storytelling. Sadie hopes to build a career in creating her own animated series. Her work often explores original concepts and imaginative worlds. She is eager to share more of her art and ideas with others. Sadie welcomes feedback and is open to showing additional work
Offers over £250.
Marcus Mason-Williams
Marcus is a multi-talented autistic artist and entrepreneur. As a founding member of The Lilac Review — a government-backed campaign spotlighting disabled-led businesses — Marcus uses his business, CoolArt2021, to share wildlife-inspired storytelling and merchandise. “Art and performing set me free,” he says. “Through my stories and performances, I connect with others and the world around me.”
Pastel , charcoal, ompressed charcoal, pencil & graphite on fabriano paper Price- £1,200
LA Colella
Is a London gestural intuitive artist. Who uses music to tap into emotion for figurative works of Art. She describes the music influence as another pastel & believes she has the condition described as Synesthesia. This is an involuntary neurological trait where the stimulation of one sense automatically and consistently triggers an experience in another. She hears music and sees colours.
Lucia works in large scale drawings creating with pastel, charcoal, graphite & pencil.
Her work involves reflections on her personal life past & present.
Lucia claims that ‘Art doesn’t serve the system; it serves your soul. Through executing a piece of Art individuals of all ages can explore & express deep emotions, process complex experiences & reconnect with themselves in meaningful ways’
Artwork title- Sorrows of Liberty
Dimensions 120cm length/ 102cm width
Harvey Price’s special guest artist . Harvey’s artwork is a wonderful example of how creativity can communicate emotion beyond words. His colourful, expressive style reflects his unique way of seeing the world, with each piece celebrating individuality, imagination and self-expression. Harvey’s growing confidence as an artist has inspired many people and highlights the importance of recognising and valuing the talents of autistic artists. His work reminds us that art has the power to connect people, challenge perceptions and celebrate neurodiversity in a truly meaningful way. ( art to be announced )
Courtney Ward £100 value
Courtney is a neurodivergent pan poet, spoken word artist, visual artist, photographer, speaker, and shadow writer for Beyond the Spectrum. Using creativity to give voice to experiences that deserve to be heard, her work has been published by Steel Jackdaw, Poetic Edge Publishers, Worcestershire LitFest, and Writing East Midlands. Through talks and advocacy across the East Midlands and London, she promotes neurodiversity and inclusion, serving on the North London Learning Disability and Autism Council and her local Inclusive Steering Group while encouraging young neurodivergent people to embrace who they are
Emily Haynes,
Emily Haynes, known online as callmeshadz or ShadyShadz, has been passionate about drawing since childhood. Inspired by the beauty of nature and animals, her work celebrates the natural world through imaginative and often fantastical creations. Her artwork explores unusual creatures, the wonders of nature and her reflections on the modern world.
Diagnosed with autism while at university, Emily found that art became an important way to process and express emotions that she often struggled to put into words. Being diagnosed later in life helped her better understand her experiences growing up, and today her creativity provides both a voice and a sense of connection. Her artwork for the exhibition is titled Carnivore.
Entertainment by Lana Mitchell and George Pond
5:00–5:30 pm – Guests arrive
6:00–6:30 pm – Drinks reception
Entertainment
Anna Kennedy OBE welcomes everyone.
Anna introduces George Pond.
Anna thanks George, chats about the artists, and thanks Marcus and the team.
Anna introduces Lana Mitchell.
Ayesha thanks Lana, says a few words about Oracle, and speaks about the charity and her involvement with it.
Anna introduces Vicky Michelle MBE and Samantha Lee Howe, patrons of the charity. for the raffle
Wendy Turner Webster joins midway through the evening, takes over, and says a few words about the artwork.
8:00–9:00 pm – Mingle, network, and enjoy the evening.
As the 50th anniversary tour of The Rocky Horror Show sets off across the UK, there is only one place to begin—on bended knee to the woman who helped make it immortal: Patricia Quinn.
As a teenage boy, among the posters that adorned my bedroom—between David Bowie and Marc Bolan—was Magenta. Wild-eyed, flame-haired, and utterly unforgettable, she wasn’t just a character; she was a calling. The Rocky Horror Showwas the whispered obsession of the Northumberland Experimental Youth Theatre, a badge of honour for those lucky enough to have made the pilgrimage to London.
A year later, I found myself at the National Youth Theatre, and my father—our relationship often complicated—took me to see it on the King’s Road. The theatre is now a cinema, but back then it was a portal into another world. I remember his face vividly: the moment Dr. Frank-N-Furter appeared in suspenders and heels, his jaw dropped. Whatever he had expected, it wasn’t that. And yet, to my surprise, he loved it. It became one of the rare, shining memories we shared—proof that sometimes art bridges even the widest emotional gaps.
That night marked the beginning of a lifelong love affair with both the stage show and its cinematic counterpart, The Rocky Horror Picture Show. Like so many others, I returned again and again, drawn not just by the outrageous spectacle, but by its spirit—its rebellion, its humour, its defiant celebration of individuality.
And then, as life so often does, it delivered one of those surreal, delicious moments. At a showbiz party years later, a familiar voice tapped me on the shoulder: “Darling, do you know where the VIP area is?” I turned—and there she was. Patricia Quinn. Magenta herself.
My dear friend, the ever-fabulous Lester Middlehurst, wasted no time stepping in, guiding her with theatrical authority, and before I quite knew what was happening, we were all heading into the VIP area together. What followed was a night of laughter, stories, and that rare electricity that comes when legends reveal themselves to be wonderfully human.
Now, I have always maintained a personal rule: never meet your idols. Better to preserve the mystique, the enigma. But Patricia Quinn broke that rule beautifully. She was warm, witty, and gloriously unpretentious. Lester, of course, being the consummate showbiz journalist, made it his mission to become her best friend within minutes. And somehow, he succeeded.
We later found ourselves at events together—including Lord of the Dance with Michael Flatley—where Patricia’s presence brought a certain sparkle, a knowing wink to the absurd theatre of it all. She belonged everywhere and nowhere all at once: a true original.
Born in Belfast in 1944, Patricia Quinn’s journey to cult immortality was anything but ordinary. The daughter of a bookmaker, she showed early promise, eventually leaving Northern Ireland at just 17 to pursue her craft in London. Training at Drama Centre London while working as a Playboy Club Bunny in Mayfair, she embodied a kind of gritty determination that would later define her career.
But it was her role as Magenta that etched her into cultural history. In The Rocky Horror Picture Show, her disembodied lips open the film, delivering “Science Fiction/Double Feature” with hypnotic allure—a moment so iconic it has become part of cinematic folklore. Though the vocals were performed by Richard O’Brien, it was Quinn’s presence that made it unforgettable.
Her career, however, extends far beyond Rocky Horror. From I, Claudius to Doctor Who, from Shock Treatment to Rob Zombie’s The Lords of Salem, Quinn has consistently embraced the unconventional. She has never been an actress content to fade into the background; she commands attention, whether in horror, comedy, or cult fantasy.
And now, as the 50th anniversary tour takes to the road, the legacy of Rocky Horror is being celebrated in spectacular style. Joined by fellow original cast members including Barry Bostwick and Nell Campbell, Quinn returns to the stage—not just as a performer, but as a living piece of theatrical history.
The tour is no ordinary revival. Featuring a newly restored 4K screening of the film, accompanied by a live shadow cast, audience participation, and costume contests, it captures everything that has kept Rocky Horror alive for half a century. This is not passive viewing—it is a communal ritual, a celebration of difference, a joyful rebellion against conformity.
Quinn herself reflects on the journey with characteristic charm: recalling her first audition at the tiny Royal Court Theatre Upstairs, she laughs that her agent described it as “something to do with a circus.” He wasn’t wrong. Fifty years later, she is still part of that circus—one that has grown into a global phenomenon.
What makes Rocky Horror endure is not just its shock value, but its heart. It gave permission—long before it was fashionable—to be different, to be bold, to be unapologetically oneself. And at the centre of that message stands Patricia Quinn, a woman who brought wit, intelligence, and a sly subversion to a role that could easily have been one-dimensional.
For those of us who grew up under her spell, she is more than Magenta. She is a symbol of a moment when theatre broke free from its constraints and dared to be outrageous, inclusive, and gloriously alive.
So yes, all hail Lady Patricia Quinn.
Fifty years on, the lips still beckon, the fishnets still shimmer, and the invitation remains the same:
