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THE SCIENCE OF BECOMING: A MEDICAL APPROACH TO SELF-TRANSFORMATION

DR JOSEPH CRESPO chats to Steven Smith

THE SCIENCE OF BECOMING: A MEDICAL APPROACH TO SELF-TRANSFORMATION

By Steven Smith

DR JOSEPH CRESPO

Buy The Science of Becoming on Amazon

There are some people whose careers follow a fairly predictable path, and then there are those who take a completely different route. Dr Joseph Crespo certainly falls into the latter category.

London-based Dr Crespo has a fascinating and varied background. Before entering the world of medicine, he studied law and went on to complete an MBA in London, before working in the financial sector as a consultant and analyst. But his story didn’t end there. He made the considerable decision to change direction and retrain as a doctor — beginning a new chapter that would eventually see him working across both NHS and private healthcare.

His medical career has been equally varied, with experience ranging from GP surgeries and urgent care to walk-in centres, out-of-hours services and even HM Prisons. He has also been involved in teaching the next generation of doctors as a GP tutor and clinical examiner, alongside undertaking medical charity work in India.

It is perhaps not surprising, then, that someone who has reinvented his own life more than once should become interested in the science behind our ability to change.

That interest has now resulted in his book, The Science of Becoming: A Medical Approach to Self-Transformation. Rather than simply telling us to think positively or try harder, Dr Crespo looks at personal change through the eyes of a medical professional, exploring subjects including habits, decision-making, stress, sleep and nutrition — and asking how science can help us make changes that actually last.

At a time when social media seems to offer us a new wellness trend, miracle solution or life-changing hack almost every day, separating good advice from clever marketing has arguably never been more important.

So who better to ask than the doctor who has made transformation not only the subject of his book, but something of a feature of his own extraordinary career?

I caught up with Dr Joseph Crespo to find out more…

Dr Crespo, tell me a little about you. What was your journey into medicine, and what eventually made you want to write a book about changing our lives?

My journey into medicine was long and unorthodox, training first as a lawyer and then a financier. When I finally left it all behind to follow my passion, I trained and practise as a primary care physician, and for years my work sat at the intersection of diagnostics, chronic illness and prevention.

What struck me again and again in clinic was that the biggest lever for most people’s health wasn’t a prescription. It was the slow accumulation of daily choices: how they slept, how they handled stress, what they ate, how they thought about themselves. I kept watching patients try to change with sheer determination and fail, not because they lacked willpower but because nobody had ever given them a framework. Medicine has one. It’s called clinical reasoning, and I realised the same discipline doctors use to diagnose and treat could be turned inward, applied to the process of changing a life rather than treating a disease. That’s where the book came from.

The title is The Science of Becoming. Becoming what? Is there actually an optimum version of ourselves, or are we in danger of constantly being told that we need to improve?

Becoming isn’t about arriving at some fixed, optimised endpoint. There’s no single best version of a person waiting to be unlocked. What I mean by becoming is closer to what we mean clinically by healing: a direction, not a destination. It’s the ongoing process of reducing the gap between how you’re currently living and what your body and mind actually need to function well. I’m wary of the “optimisation” culture that treats a person like a machine to be tuned for maximum output.

That framing burns people out. The question I ask is not “how do I become the best version of myself” but “what is actually true about my biology, my history and my circumstances, and what does that call for right now.”

You argue that we rely too much on willpower. Why doesn’t willpower always work, and what should we be doing instead?

Willpower is a finite, fatiguing resource, and it’s also the wrong tool for the job. In clinic, we don’t tell a patient with a chest infection to try harder not to be infected. We diagnose, then we design an intervention suited to the underlying problem. Most of what looks like a willpower failure is actually a design failure: an environment, a routine or a belief system working against the change someone is trying to make. Instead of asking for more willpower, I encourage people to reduce the number of decisions that require willpower in the first place, by changing defaults, removing friction, and building systems that make the desired behaviour the easy and enjoyable behaviour.

You take clinical decision-making and apply it to everyday life. Can you give me a real-world example? How could I use clinical reasoning to make a better decision tomorrow morning?

Clinical reasoning follows a simple sequence: gather data, form a differential, test it, act, then reassess. Take something as ordinary as feeling constantly tired. Instead of reaching straight for caffeine or willing yourself through it, treat it like a case. What’s the data: how did you sleep, what did you eat yesterday, who did you mix with, what’s your stress load this week. What’s the differential: is this poor sleep quality, is it dehydration, is it emotional load, is it simply overtraining. Pick the most likely cause, make one small deliberate change, and observe the result over a few days rather than guessing forever. Tomorrow morning, that might be as simple as noticing what you automatically reach for and asking, briefly, what problem am I actually trying to solve with this.

We’re bombarded with wellness advice on social media — supplements, fasting, cortisol, sleep hacks, diets and longevity treatments. As a doctor, how do you separate genuine science from very clever marketing?

I look for three things. First, is the claim built on a mechanism that’s been demonstrated in humans, not just in a petri dish or a mouse. Second, does the person selling it benefit financially from your belief in it, and how large is that incentive. Third, is the advice generalised or personalised. Genuine science tends to come with caveats, uncertainty and “it depends.” Marketing tends to come with certainty, urgency and a product at the end of it. If a claim can’t survive the question “compared to what, and for whom,” I treat it with real caution.

Neuroscience has become a fashionable word in the self-help world. What do we genuinely know about changing the brain and forming new habits, and what claims do you think go beyond the evidence?

What we know reasonably well is that the brain retains plasticity throughout life, that repetition genuinely does strengthen certain neural pathways, and that habits form through consistent cues and rewards over time, typically longer than the popular twenty-one-day myth suggests. What goes beyond the evidence is the tendency to take a genuine finding from a controlled lab study and present it as a guaranteed personal transformation protocol. Dopamine, cortisol and neuroplasticity get used as marketing words rather than as the specific, conditional findings they actually are. I try to be honest with readers about where the solid ground ends and the speculation begins.

What about someone in their 60s or 70s? Can we genuinely make substantial changes to our habits, health and outlook later in life, or does change become significantly harder as we get older?

Change is absolutely still possible, and I say that as a clinician who sees it happen. What changes with age isn’t the capacity for change itself, it’s the margin for error and the starting conditions: more accumulated habits, sometimes more comorbidity, less physiological reserve to draw on. The clinical reasoning approach actually suits older patients well, because it isn’t about dramatic overhaul, it’s about identifying the one or two changes that will have the greatest effect given someone’s specific situation, and building from there patiently. I’ve seen patients in their seventies transform their sleep, their mobility and their outlook once they had a clear, individualised plan rather than a generic one.

Stress, sleep and nutrition all feature in your approach. If someone came to you and said, “I’m overwhelmed, I can’t change everything,” which one would you tackle first, and why?

Sleep, almost every time. It’s the foundation the other two rest on. Poor sleep drives stress reactivity, disrupts appetite regulation and blunts willpower and decision-making the following day. It’s also usually the most tractable of the three, because unlike stress or nutrition, sleep responds fairly quickly to specific, well-evidenced changes: consistent timing, light exposure, and a wind-down routine. Fix sleep first and the other two often become noticeably easier to address.

Self-help is an enormous industry, and every year we’re offered another formula for transforming ourselves. What makes your approach different, and what evidence is there that it can produce lasting change rather than the short burst of motivation people often get after reading a self-help book?

Most self-help sells motivation. Motivation is a mood, and moods pass. What I’m offering instead is a method: the same diagnostic, iterative process doctors are trained to use, which doesn’t depend on how inspired you feel on a given day. It assumes you will fail at points, and builds reassessment into the process rather than treating failure as proof the whole effort was doomed. Lasting change, in my clinical experience, comes from small, testable, personalised interventions rather than a single dramatic reinvention. That’s a much less glamorous story than the one the industry usually sells, but it’s the one that holds up over years rather than weeks. In addition, I offer documented medical research studies to substantiate every idea.

DR JOSEPH CRESPO

Not everyone is a reader or someone who would naturally pick up a self-help book. For those people listening to us today, what’s one simple thing they could start doing right now to make a positive change in their lives?

Pick one thing you do automatically every single day, and simply notice it for a week before you try to change anything. Don’t judge it, don’t fix it yet, just observe it the way a clinician observes a patient before making a diagnosis. Most people skip straight to changing behaviour without ever accurately understanding what they’re currently doing and why. That single week of honest observation is often the most useful health intervention I can suggest, and it costs nothing and requires no willpower at all.

Quick-fire questions

Favourite place to relax?

My home.

If you were Mayor of London for a day, what’s the first thing you’d change?

The institutionalisation of common sense, and an understanding that our individual rights end where others’ begin. Sadly, I see a growing number of entitled people imposing their views and beliefs, and condemning anybody who disagrees.

A restaurant you particularly love dining at?

Many, but if I have to choose one, Oliveto on Elizabeth Street, a proper Italian trattoria offering high quality food, friendly service, and a home feel environment. https://www.olivetolondon.uk/about

What has been the proudest moment of your life so far?

Every moment I made the decision to keep growing.

What motivates you to keep going when life gets difficult?

Difficulties are circumstantial, and overcoming them requires only a change in perspective. One thing that has helped me a great deal was when I stopped worrying about things which outcome I cannot change.

https://drjcrespo.com

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THE 13TH FLUX EXHIBITION 2026

By Steven Smith

A labyrinth of talent, colour, diversity and a little bit of fabulousness

By Steven Smith

When I walk into an art exhibition, I feel rather like a kid entering a candy shop. I want to see everything, taste everything and discover something I haven’t encountered before. My thirst for something new, exciting and slightly unexpected is endless.

That is perhaps why FLUX and I get along so well.

Lisa Gray’s wonderful magazine, FLUX Review, never disappoints. It is one of those publications that feels luxurious before you have even turned the first page. Mine sits proudly on my coffee table — not tucked away on a bookshelf — because it is as much an object to admire as it is a magazine to read.

And Lisa’s exhibitions have that same quality.

Now in its 13th edition, the FLUX Exhibition has developed into far more than simply another London art show. There is an energy surrounding it. Artists, collectors, performers, personalities and people who simply love creativity come together, and somehow the evening manages to feel glamorous without becoming stuffy.

In fact, FLUX exhibitions have become so renowned that people apparently turn up without an invitation in the hope of getting inside.

Frankly, I can understand why.

This year’s exhibition, staged at 206 Marylebone Road in London, brought together the work of 70 artists, encompassing painters, sculptors and performance artists from a mixture of established and emerging talent.

But statistics don’t really tell the story of FLUX.

You have to walk through it.

There is something around every corner. One moment you are looking at an extraordinary painting; the next you are confronted by sculpture, textiles, portraiture or something you cannot immediately put into a category at all.

That is part of the fun.

From drag queens to the who’s who of the art and social world, the evening glistened with excellence, eccentricity and individuality. There was a sense that everyone was welcome and that creativity, rather than convention, was running the show.

And I love that.

FLUX has always championed diversity, and it doesn’t feel like diversity has simply been added to satisfy a fashionable checklist. Different people, backgrounds, artistic disciplines and perspectives genuinely seem to belong together here.

Of course, in an exhibition containing so many artists, everyone will discover their own favourites.

Everyone is a star, but inevitably some stars shine particularly brightly.

For me, one of those was Gregory John Ford, whose Snow leopard immediately caught my attention.

His sculptures made me stop — and that, in an exhibition packed with work competing for your attention, is an achievement in itself.

There is something contemporary, playful and slightly rebellious about his work. It has a new-age feeling without trying too hard to announce itself as “modern art”.

Yes, there are some skeletons in his collection.

Regular readers will know my feelings about skeletons in art. I have never understood the fascination and probably never will. I spend enough time trying to avoid becoming one without wanting one staring at me from the corner of the living room.

But put my skeleton prejudice aside and there is an artist here with genuine imagination. Amongst some brilliant work, his pieces made you stop, look again and want to know more.

That, surely, is what art is supposed to do.

Then there was René Porter, who positively slays the canvas with her incredible drag portraits.

These are not timid portraits.

They have glamour, personality, theatricality and attitude. You almost expect the subjects to step out of the canvas, demand a spotlight and ask why the champagne hasn’t arrived yet.

Looking at them made me think what a tragedy it is that the legendary Madame Jojo’s no longer exists. René’s work should be adorning the walls of some fabulous, slightly decadent nightclub where drag queens, performers and assorted creatures of the night hold court until the early hours.

There is something wonderfully celebratory about the portraits. Drag has always been about transformation, exaggeration, humour and, underneath all the glitter, tremendous artistry. René captures that spirit beautifully.

Another artist who made me pause was Tayo Ayelowo, whose textile work felt wonderfully refreshing.

Textiles can sometimes be overlooked when surrounded by traditional painting and sculpture, but here they held their own. There was texture, craftsmanship and a distinctive visual language that felt different from much of the work surrounding it.

And perhaps “different” is the word that kept returning to me throughout the exhibition.

FLUX doesn’t appear interested in presenting rows of artwork that all look as though they have been selected by the same person for the same white living room.

Instead, you find contrast.

The participating artists included Neil Ashton, Annette Aspen, Rina Bakis, John Carpenter, Stuart John Cashmore, Janet Cawthorne, Catarina Diaz, Marcela Olivia Dorantes, Marina Emphietzi, Richard Eveleigh, Bushra Fakhoury, Dawn Fincham, Michael French, Karin Jolly, Gwenda Jones, Greg Kent, Rachel Le Roux, Jamal Masarwa, Caia Matheson, Olga McClelland, Iryna Miro, Holly Nerreter, Gary Nicholls, René Porter, Usha Rajagopal, Nadiia Rom, David Studwell, Wei Keong Tan, Christine Terres and Kathryn Thomas, amongst many others.

It is an extraordinary roll call and illustrates the breadth of talent involved.

Collectors were also given another little incentive: anyone purchasing artwork at the exhibition received a complimentary artwork by Catarina Diaz valued at £200. A rather lovely touch — although, knowing me, I would probably arrive intending to look and leave wondering where on earth I was going to hang everything I had fallen in love with.

But FLUX isn’t only about buying art.

For me, the greatest pleasure is discovery.

We live in an age when so much of what we see is dictated by an algorithm. Our phones decide what we might like based on what we liked yesterday. Social media serves us more of the same, and eventually our visual world can become surprisingly small.

Walking around an exhibition such as FLUX is the antidote to that.

You can turn a corner and be confronted by something you would never have searched for, never expected to like and perhaps cannot even explain why you like.

Suddenly you are having a conversation with an artist whose work you had never seen before.

That is exciting.

Lisa Gray deserves enormous credit for continuing to create a platform where established artists can sit alongside emerging talent and where painting, sculpture, textiles, performance and portraiture can all share the spotlight.

Thirteen exhibitions in, it would be very easy to play safe.

FLUX does the opposite.

It remains colourful, inclusive, occasionally eccentric and gloriously unpredictable.

My mentions of Gregory John Ford, René Porter and Tayo Ayelowo are exactly that — personal shout-outs from a labyrinth of talent. Another visitor could walk the same rooms and come away with three completely different favourites.

And that is precisely the point.

Art should divide opinion. It should make you stop. Occasionally it should make you laugh. Sometimes it should make absolutely no sense to you whatsoever.

And every now and then, something should make you think: I need that on my wall.

The 13th FLUX Exhibition gave us plenty of those moments.

Lisa Gray has once again gathered together an extraordinary collection of people who aren’t frightened of being different, and created an exhibition where individuality is something to celebrate rather than tone down.

Roll on number fourteen.

Steven Smith

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Columns Health and Fitness Lifestyle People Travel

WHERE IS MY LUGGAGE? VUELING AIRLINES

https://www.vueling.com/en

The curious case of the suitcase that went on a European holiday without me

https://www.vueling.com/en

By Steven Smith

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.

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.

https://www.vueling.com/en

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A Sanctuary Built on Compassion

By Dr Anna Kennedy OBE – Guest Writer for 2Shades Magazine

Anna Kennedy Obe

There are some places that instantly remind you just how much kindness still exists in the world, and Kilmarnock Horse, Pony and Donkey Rescue in Sussex is certainly one of them.

Recently, I had the pleasure of catching up with the wonderful Carol Jackson, founder of this remarkable sanctuary, where I have proudly served as Patron since 2015. Every visit leaves me inspired, not only by the incredible work being done but by the dedication, resilience and compassion shown by Carol and her amazing team.

For more than 26 years, Carol has devoted her life to rescuing animals that have been abandoned, neglected, mistreated or simply forgotten. It is a commitment that never stops. Every single day brings new challenges, yet her determination to give vulnerable animals a second chance has never wavered.

Walking around the sanctuary is a truly humbling experience. Horses, ponies, donkeys, goats, sheep and alpacas all live peacefully together, each with their own story. Many have suffered unimaginable hardship before finding safety, while others arrive elderly, frightened or in poor health. Thanks to Carol and her volunteers, they are given exactly what every living creature deserves—care, dignity, kindness and, above all, love.

Not every animal can be rehomed. Many spend the rest of their lives at the sanctuary, where they receive the specialist care they need in a safe and nurturing environment. Watching these beautiful animals thrive after everything they have endured is incredibly moving and a reminder of the difference that compassion can make.

Like so many charities across the country, however, Kilmarnock Horse, Pony and Donkey Rescue is facing increasingly difficult times.

This year’s lack of rainfall has had a significant impact on grazing land, leaving very little natural grass for the animals. As a result, the sanctuary has had to purchase far more hay than usual, and with rising costs, the financial pressure continues to grow.

Carol with some of the donkeys

Alongside these challenges comes uncertainty surrounding the future of the land and its lease. For any charity, that uncertainty can be deeply worrying, especially when so many animals rely on the sanctuary every single day. It highlights just how vital fundraising and public support have become.

Despite everything, what always impresses me most is Carol’s unwavering spirit.

She doesn’t complain. She simply gets on with the job because the animals need her. That quiet determination is something I admire enormously. She understands that every horse, every donkey and every rescued animal depends on the sanctuary, and she never loses sight of why she began this journey over two decades ago.

Of course, Carol could never achieve all of this alone.

The sanctuary is supported by an incredible team of volunteers who generously give their time, energy and compassion. During my visit I met a lovely young woman who spends her holidays volunteering while studying to become a veterinary surgeon. Seeing young people choosing to dedicate their free time to helping vulnerable animals gives me great hope for the future. Acts of kindness like these remind us that compassion is alive and well, and that the next generation is ready to make a difference.

As many of you know through my work with Anna Kennedy Online, I have always believed that communities become stronger when people come together to support one another. Whether we are helping autistic individuals and their families, supporting vulnerable people, or caring for rescued animals, the message is exactly the same—every life matters and everyone deserves kindness, respect and the opportunity to flourish.

That is why I am so proud to be Patron of this wonderful charity.

If you are able to help, no matter how small the contribution, it really can make a world of difference. Carol is currently asking supporters to visit the Kilmarnock Horse Rescue Facebook page, as the charity’s website is being updated. There are many ways to become involved. You might choose to make a donation, volunteer your time, help with fundraising, or even adopt one of the sanctuary’s elderly residents from as little as £5 a month.

Every pound raised helps provide food, shelter, veterinary care and a secure future for these beautiful animals. Your support allows Carol and her dedicated volunteers to continue giving hope where it is needed most.

I would like to thank Carol personally for everything she has done over the past 26 years. Her kindness, resilience and unwavering commitment are truly inspiring. Every time I visit the sanctuary, I leave feeling uplifted, and I always enjoy our conversations as much as meeting the wonderful animals in her care.

It remains an honour to serve as Patron of Kilmarnock Horse, Pony and Donkey Rescue, and I hope that by sharing their story, more people will discover this very special sanctuary and help secure its future for generations to come.

Together, we really can make a difference.

https://www.khrsussex.co.uk

https://www.facebook.com/kilmarnockhorserescue?rdid=WJbKDDcS12dH9RNX&share_url=https%3A%2F%2Fwww.facebook.com%2Fshare%2F1KAsAGiABW%2F%3Fref%3D1
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Steven’s in FLUX REVIEW magazine

Talking Life, Art and Creativity with FLUX Review

As someone who has spent many years interviewing artists, actors, musicians and creative minds from around the world, it felt both exciting and slightly surreal to find myself on the other side of the questions.

I am absolutely delighted to be featured in the latest edition of FLUX Review, one of the UK’s most beautifully produced independent arts and culture magazines. The interview gave me the opportunity to reflect on my own journey through journalism, broadcasting and publishing, while sharing my lifelong passion for art and the incredible people I’ve been fortunate enough to meet along the way.

Art has always fascinated me because it speaks a universal language. It can inspire, challenge, comfort and bring people together regardless of background or circumstance. Throughout my career I have been privileged to interview emerging artists as well as internationally recognised names, and every conversation has reinforced my belief that creativity has the power to change lives.

In the interview I also discuss the importance of championing new talent through 2Shades Magazine, my work with Anna Kennedy Online, and why giving creative people a platform has always been one of the most rewarding aspects of my career.

A huge thank you must go to Lisa Gray, founder and editor of FLUX Review, for such a thoughtful and engaging interview. Under her guidance the magazine has become a respected showcase for artists, photographers, designers and writers from across the globe. Every issue is packed with inspiring features, outstanding photography and exceptional artwork, making it a publication to treasure rather than simply read.

If you would like to discover more about my story, my love of art and the people who have inspired me throughout my career, I hope you’ll pick up a copy. Alongside my interview you’ll find nearly 200 pages celebrating creativity in all its forms.

The latest edition of FLUX Review is available now from the official online store: The FLUX Review Store. Happy reading—and thank you, as always, for your continued support.

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Oh What a Night!

Steven Smith looks at “Autism & Art show 2026 ”

Dr Anna Kennedy OBE artist Matthew Bucko and newest Patron of the charity award winning writer Samantha Lee Howe at Autism &Art

Autism & Art 2026 Opens to Packed Gallery and Inspiring Celebration

There was a wonderful atmosphere at the Firepit Art Gallery on Thursday 23 July as visitors packed the venue for the official opening of Autism & Art 2026, an inspiring exhibition celebrating the extraordinary creativity of autistic artists and their families.

Now in its second year, the exhibition has quickly established itself as one of the highlights of the Anna Kennedy Online calendar. More than simply an art exhibition, Autism & Art provides a platform for autistic creatives to showcase their talents, tell their stories and demonstrate that art has the power to break down barriers, challenge misconceptions and bring people together.

The exhibition also raises vital funds for Anna Kennedy Online (AKO), the charity founded by Dr Anna Kennedy OBE, which has spent more than two decades campaigning for greater understanding, inclusion and opportunities for autistic people and those with learning disabilities.

Opening the evening, Dr Anna Kennedy OBE welcomed guests and reflected on just how far the event has come in only two years.

“When the idea was first suggested, I remember thinking, ‘Can this really be done?’ But then someone reminded me that’s exactly what people said when we launched Autism’s Got Talent and so many of our other events. Seeing this become such a success for a second year makes me incredibly proud.”

The Firepit gallery before the crowd .

Joining Anna was the charity’s newest patron, bestselling and award-winning author and screenwriter Samantha Lee Howe, who had travelled down from Yorkshire especially for the evening. Samantha spent time meeting the artists, chatting with guests and hosted the evening’s popular charity raffle, bringing her trademark warmth and enthusiasm to the event.

The entertainment was every bit as impressive as the artwork. Singer-songwriter Lana Mitchell captivated the audience with a beautiful performance that perfectly complemented the creative atmosphere of the evening. Lana is not only a talented musician but also an accomplished artist, with her artwork featured in the exhibition. One of her pieces has previously been purchased by beloved ‘Allo ‘Allo! actress Vicki Michelle MBE, highlighting the quality of her artistic talent.

Adding even more energy to the evening was George Pond, one of the stars of Autism’s Got Talent, whose powerful performance had the audience cheering and demonstrated once again why he has become such a popular performer within the autism community.

George Pond brought the house down with his performance.

The charity auction was hosted by television presenter, author and passionate animal welfare campaigner Wendy Turner Webster, who was accompanied by her husband, actor Gary Webster. Together they brought humour and warmth to proceedings while helping to raise valuable funds for Anna Kennedy Online.

One of the exhibition’s greatest strengths is the incredible diversity of the artists taking part. Visitors were treated to an exciting mix of painting, sculpture, mixed media and contemporary artwork, each piece reflecting a unique perspective and personal story.

Lisa Allen from Pink Ribbon was on hand with me Steven Smith ,Ayesha Baig Oracle Magazine Juliet Morrison from Pink Ribbon and model Brigitte Suligoj

Among the featured artists was Matthew “BUCKO” Buckingham, who travelled to London to exhibit his work. Matthew 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 own experiences as both a neurodivergent artist and a father, his artwork challenges misconceptions surrounding autism while promoting understanding, acceptance, equality and inclusion. His thought-provoking work attracted considerable interest throughout the evening.

Art By Bucko

Also making the journey from Wales was artist Josh, whose distinctive artwork continues to earn admiration for its originality and creativity. His contribution added another exciting dimension to an already varied exhibition.

Wendy Turner Webster with Lana

Returning for a second consecutive year was the hugely popular Blaster Artz, whose legendary Blanky sculptures once again proved to be one of the talking points of the exhibition. Their instantly recognisable style drew crowds throughout the evening, with collectors eager to secure one of the much-loved creations. Just as they did last year, the sculptures proved to be an outstanding success.

The invasions of the Blanky hugely popular art made a return for a second year.

The exhibition also featured work from an impressive range of talented artists, including Emily Haynes (ShadyShadz), whose fantastical creatures and nature-inspired artwork captured the imagination of visitors; David Downes, whose detailed work reflects both technical skill and emotional depth; Dr Diana Dunca, whose vibrant creativity celebrates individuality and expression; Heidi Simm, whose colourful pieces offered warmth and optimism; Naz, whose distinctive artistic style drew plenty of attention; XLVII, whose contemporary work encouraged conversation and interpretation; and Daisy, whose artwork demonstrated creativity, imagination and confidence. Together they showcased the extraordinary diversity of autistic artistic talent currently flourishing across the UK.

The evening would not have been possible without the support of Marcus Jake, owner of the Firepit Art Gallery, who once again opened his unique venue for the exhibition.

Speaking during the evening, Marcus said he was delighted to host Autism & Art for a second year.

“I’m thrilled that we’ve been able to bring everyone together again. The standard of work is exceptional, and it’s wonderful to see so many people discovering these incredible artists.”

Art by Josh

The Firepit Art Gallery itself deserves special mention. Unlike many traditional galleries, it offers an intimate, welcoming environment where visitors are encouraged to slow down, reflect and truly connect with the artwork. It feels less like a conventional gallery and more like a creative sanctuary—a place where artists are celebrated and everyone feels welcome.

Acting Royalty Gary Webster meets Art Royalty Alistair Blaster

Adding to the exhibition’s significance were two very special contributions. Harvey Price, whose artistic talent has inspired many people, had artwork on display that attracted considerable interest from visitors throughout the evening. His participation highlighted the importance of providing creative opportunities for autistic artists of every background and profile. Also exhibiting was acclaimed artist John Lee Bird, whose distinctive work has earned admiration for its originality and expressive style. His contribution further strengthened an already exceptional collection of artwork and demonstrated the remarkable breadth of talent showcased throughout Autism & Art 2026.

Dez Loveartpix continues to make a powerful impression with his vibrant and thought-provoking artwork. Following his recent feature in FLUX Review magazine, Dez’s growing reputation as a creative force highlights the talent and diversity of autistic artists making their mark on the contemporary art scene.

As guests mingled throughout the evening, there was a genuine sense of pride, friendship and community. Conversations flowed easily between artists, collectors, families and visitors, many of whom were attending an autism-focused exhibition for the very first time. Events such as Autism & Art do far more than display beautiful artwork—they create understanding, open minds and provide opportunities that many autistic artists have historically found difficult to access.

Dez Loveartpix

If the opening night is anything to go by, Autism & Art 2026 is an outstanding success. The exhibition continues throughout most of August and is highly recommended for anyone with an interest in art, creativity or simply discovering something different.

Whether you are an experienced collector, a casual visitor or someone wanting to support autistic artists, this is an exhibition not to be missed. You will leave inspired by the remarkable talent on display and reminded that art truly is a universal language.

For more information about the exhibition, visit:
https://2shadesmagazine.com/2026/06/01/calling-all-autistic-artists-submissions-now-open-for-the-second-autism-art-show-2026/

your reporter Steven Smith patron of Anna Kennedy on line .

Please donate to Anna Kennedy on line

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Steven’s Viewz

BBC Ann Droid is TV Gold .

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.

★★★☆☆

FLUX REVIEW INTERVIEW

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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!

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Anna Chats at 2Shades

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Anna Chats at 2Shades

She’s here… and she’s someone you can always count on for honest advice, a caring opinion, and a little inspiration along the way. It’s Dr Anna Kennedy OBE.

No need to bow or curtsy—there are no airs or graces here. Anna is simply a remarkable woman whose kindness, determination and tireless work have inspired thousands of families across the UK and beyond.

Whether she’s sharing her thoughts, offering practical guidance, or championing acceptance and inclusion, Anna brings warmth, wisdom and real-life experience to every conversation.

So grab a cuppa, settle in, and enjoy Anna Chats at 2Shades—where every chat comes from the heart

Anna Does a book review .

Book Review: Autistically Me by Bradley Riches ⭐⭐⭐⭐⭐

As the mother of two autistic sons, Autistically Me resonated with me on a deeply personal level. Bradley Riches offers readers an honest, insightful and often humorous account of life through his eyes as an autistic person. His warmth, openness and authenticity make this a moving memoir that is both engaging and incredibly easy to connect with.

Throughout the book, I found myself reflecting on many of the experiences my own sons have shared, or struggled to put into words over the years. Bradley has a remarkable ability to articulate feelings, challenges and triumphs in a way that helps readers gain a genuine understanding of autism from an autistic perspective. His voice is refreshingly honest, and his storytelling is filled with compassion, resilience and hope.

I am also incredibly proud that Bradley is one of the patrons of our charity. The kindness, empathy and dedication he brings to supporting the autistic community shine through every page of this book. It is clear that his goal is not only to share his own journey but also to help others feel understood, accepted and valued.

Autistically Me is a book I would wholeheartedly recommend, not only to autistic people but also to parents, carers, teachers, employers and anyone who wants to develop a deeper understanding of autism. It provides genuine insight while reminding us that every autistic person is unique, with their own strengths, challenges and way of experiencing the world.

Thank you, Bradley, for sharing your story with such courage and honesty. I have no doubt this book will help countless autistic people and their families feel seen, understood and far less alone.

An inspiring, heartfelt and uplifting read that I would happily recommend to everyone.

Available from Waterstones.

Anna Talks Art

Anna Talks Art

I can hardly believe that the second Autism & Art exhibition at the Firepit Gallery in London is almost here. The past year has flown by, and I honestly don’t know where the time has gone. It feels like only yesterday we were welcoming visitors to our very first exhibition, celebrating the incredible creativity of autistic artists. Now, we’re back, and I couldn’t be more excited.

This year’s exhibition promises to be even bigger and better, with an extraordinary line-up of artists whose talent, imagination and individuality continue to inspire me every day. From the wonderful Harvey Price to a doctor who expresses her scientific world through vibrant art, a self-proclaimed witch whose creativity is as unique as her personality, and many other remarkable artists and supporters, there really is something for everyone to enjoy. Every artist brings a different story, a different perspective and a reminder that creativity has no boundaries.

One of the greatest joys of this exhibition is seeing people come together to celebrate autism through art. Every piece on display reflects not only artistic ability but also courage, passion and self-expression. Art has an incredible way of communicating feelings and experiences that words sometimes cannot, and I know our visitors will leave feeling inspired.

A very special thank you must go to one of our dedicated patrons, Steven Smith, who has worked tirelessly behind the scenes to help bring this exhibition together. From coordinating artists to helping curate the event, his enthusiasm and commitment have been invaluable. Of course, no exhibition like this happens without a wonderful team. My sincere thanks also go to Marcus Jake, owner of the beautiful Firepit Gallery, Anne-Marie Bickerton, Piluca Artist, and everyone else who has generously given their time and support to make this year’s exhibition possible.

I can’t wait to welcome you all. Whether you’re an art lover, a supporter of autism, or simply looking for an inspiring day out, I hope you’ll join us in celebrating the remarkable talents of our autistic artists. I look forward to seeing you there! 🎨💜

Anna’s talks ” This heat ” Advice: Looking After Your Loved Ones with Autism in This Heat

Hello everyone,

I’m not going to lie – this recent heat has just about been the end of me! Like so many families, we’ve really struggled, and poor Angelo has found it especially difficult. I know many of you will be experiencing exactly the same thing.

We bought a cooler for one of the rooms to create a calm, comfortable space, but even that wasn’t straightforward. The noise of the machine was unsettling for Angelo at first, so we had to introduce it very slowly. We switched it on for short periods, allowing him to become familiar with the sound before expecting him to spend any time in the room. Patience really is key.

Something as simple as cool, damp flannels can make a huge difference. Placing one gently on the forehead, neck or wrists can help lower body temperature without causing discomfort. Encouraging regular sips of water throughout the day is also so important. Some autistic people may not recognise when they’re becoming dehydrated, so gentle reminders can really help.

Whenever possible, keep curtains or blinds closed during the hottest part of the day to keep rooms cooler, and if your loved one enjoys water, paddling pools, cool baths or even playing with water can provide welcome relief while also being fun and calming.

Remember that many autistic people experience sensory differences, and heat can make those sensitivities even more intense. Clothing labels, certain fabrics or even a light breeze from a fan may feel uncomfortable. Try not to worry if routines change or if your loved one seems more anxious than usual. Sometimes just giving them a quiet, cool place where they feel safe is the best thing you can do.

Most importantly, be kind to yourself. Looking after someone with autism during extreme weather can be exhausting, both physically and emotionally. You’re doing your best, and that’s enough.

Let’s hope for some cooler days soon. Until then, take care of yourselves, keep cool where you can, and remember that you’re never alone. Our autism community is always here to support one another.

With love,

Dr Anna Kennedy OBE

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⭐⭐⭐⭐⭐ Turner’s Take on the Big WHY? –

A Film That Will Change the Way You Think

By Steven Smith. https://www.animalaid.org.uk/news/transform-world-roadshow-launches-26-may/

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 .

How can you help?

https://www.lush.com/uk/en

Vegan Pick and Mix – Create Your Own

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Shimi Goodman unveils his new single Adagio

Steven Smith Chats with the star .

Some songs entertain, others inspire, but every so often a piece of music comes along that reaches far deeper, touching something deep within us. Adagio is one of those rare recordings.

After spending years carefully nurturing the project, Shimi Goodman is preparing to unveil a breathtaking classical crossover interpretation of the timeless melody made famous by Lara Fabian. Produced by George Guerrette, with sweeping orchestral arrangements by Shay Alon and performed by members of the renowned Prague Philharmonic Orchestra, Adagio promises to be one of the year’s most ambitious independent releases. Available in immersive Dolby Atmos, the recording combines cinematic grandeur with deeply personal storytelling.

Accompanying the single is a visually stunning music video directed by Omri Dagan and filmed within the haunting beauty of an abandoned Victorian boarding school in Hereford. Together, the music and visuals explore themes of memory, faith, love, loss, hope and redemption, creating an unforgettable experience that lingers long after the final note fades.

Ahead of its release on 3 July, I caught up with Shimi to talk about the five-year journey behind Adagio, the challenges of bringing such an ambitious project to life, and why this deeply personal recording marks an exciting new chapter in an already remarkable career.

Shimi at sea

Tell me about Adagio. How did the project come about?

I’ve loved Lara Fabian’s recording of this song, and the classical piece it’s based on, for years. I was fascinated by the famous story that the piece was reconstructed from fragments found after the bombing of Dresden. I love the idea that even from the darkest of times, something so beautiful could emerge.

In 2020, I approached Shay Alon, whom I knew from the production of Salt & Honey, where he was the musical director and I played the lead role. I asked him to create orchestrations for both Adagio and Feeling Good. We recorded members of the Prague Philharmonic Orchestra remotely while Chris Hamilton and I were performing in Asia. I watched the session streamed live from Prague as Shay conducted from Paris. It felt extraordinary. Hearing members of the Prague Philharmonic Orchestra bring those arrangements to life was one of the proudest moments of my career.

We completed Feeling Good and even filmed a music video for it, but then Covid hit hard. Our work came to a complete halt, the budget disappeared, and Adagio was left unfinished on an external hard drive for years.

During that time, Chris and I officially launched Tiano. We’d been performing together since the day we met, but the duo was really born during Covid. Once lockdown ended, we were fortunate enough to perform around the world, both as Tiano and in our solo shows, so Adagio remained tucked away.

Then, last year, I met producer George Guerrette backstage while he was playing trombone in one of my shows. He suggested we work together and immediately connected with both the song and its story. Together we completely reimagined the project. George suggested producing it in Dolby Atmos, which was a first for me. I loved the idea of giving this timeless classical piece a contemporary sound while honouring its extraordinary history.

George did an incredible job, and when Grammy Award-winning mixer Justin Gray said he loved the recording and wanted to work with us, we knew we might have something rather special. I really hope listeners feel the same.

Would you ever consider entering the Eurovision Song Contest? And what is your all-time favourite Eurovision song?

I absolutely love Eurovision! I’d love to enter the competition one day. I think Tiano could potentially do quite well, and it would be an honour to represent either of my countries.

Chris and I get completely immersed in Eurovision every year. We print score sheets and take it incredibly seriously. We’ve been invited to Eurovision watch parties before, but quickly realised they weren’t really for us. Everyone else wanted to socialise while we were busy analysing every performance. I even ended up shushing people! They weren’t too impressed, so these days we happily watch it at home.

Choosing my favourite Eurovision song is almost impossible. I may be slightly biased, but Hallelujah, which won for Israel in Jerusalem in 1979, still moves me every time I hear it. I also have a real soft spot for Conchita Wurst’s Rise Like a Phoenix.

Milk and Honey

The music video was filmed in an abandoned Victorian boarding school. What was that experience like? And what were your own school days like?

When I spoke to Omri Dagan, the brilliant director of the video, he immediately understood my vision. He found the location online almost instantly, and I knew we’d found the perfect place.

It was a four-hour drive from London to Hereford. As I was away performing, we couldn’t visit beforehand, so it was a bit of a gamble. Thankfully, when we arrived it was exactly as we’d imagined—an abandoned, eerie, beautifully decaying Victorian school that perfectly matched the atmosphere we wanted to create. I loved every minute of filming and also enjoyed designing and sourcing my costumes beforehand.

.It is reconstructed from fragments said to have been found after the bombing of Dresden”

Afterwards, I looked up the school online and discovered it’s one of the UK’s most sought-after ghost-hunting locations. Every time I watch the video now, I half expect to spot a ghost wandering through the background!

My own school days were incredibly busy. I attended a school specialising in science and engineering, but at the same time I discovered my passion for musical theatre. Gradually my focus shifted from academics to performing, and I spent most afternoons at my local community theatre group.

My teachers recognised where my heart truly lay and encouraged me to follow my passion. I began taking private lessons in singing, acting and dance, and thankfully it all paid off.

When did you first realise you had such an incredible voice, and how did your singing career begin

Firstly, thank you—that’s incredibly kind.

It wasn’t something I suddenly realised. Other people believed in me before I believed in myself. I was often given the leading singing roles in youth theatre, but it wasn’t until I started performing professionally that I truly appreciated how audiences connected with my voice.

A real turning point came when I attended a summer course at the Guildford School of Acting. I was unexpectedly offered a place on the full three-year BA Musical Theatre course.

I remember thinking, “Wow… I must be doing something right.”

The plan had been to move to England a year later, but suddenly I had just one month to leave Tel Aviv and begin a completely new life in Guildford.

I was incredibly fortunate to have the full support of my parents, siblings and friends. Sometimes I wonder how different life might have been if they’d said no.

After graduating, I fulfilled my dream of performing in London’s West End in productions including Evita and Chicago. Eventually, however, I realised I wanted audiences to know me as an artist rather than simply as a performer in someone else’s show.

With the encouragement of my now-husband, Chris Hamilton, I created my own concerts. Chris introduced me to his agent at Gary Parkes Music Limited, and before long I was performing around the world.

Who have been your biggest musical influences?

Without question—Barbra Streisand.

I’ve always admired everything she’s achieved, both as a woman and as a proud Jewish artist. Her voice, her acting and her determination have had an enormous influence on my own musical journey.

I was lucky enough to sit in the front row when she performed at London’s O2 Arena. During the show I couldn’t resist shouting, “You’re like butter!”—a reference to the famous Saturday Night Live sketch.

To my amazement she actually stopped, laughed and spoke to me. We joked about creating a product called “Like Butter”—butter without the butter!

If I ever had the opportunity to sing with Barbra Streisand, I could honestly die a happy man.

“Barbra… can you hear me?”

Pa Pa can you hear me the icon that is Barbra Streisand

How did you meet your husband, Chris?

We met while studying at the Guildford School of Acting. Chris had already enjoyed a successful career as an Oxford-educated lawyer and award-winning pianist before deciding to return to performing.

We’ve been making music together ever since.

We’re incredibly fortunate that we both love travelling and performing. We occasionally work apart for short periods, which makes us appreciate our time together even more.

Shimi with his beautiful husband Chris Hamilton

Looking at today’s music scene, who would you most like to collaborate with?

Andrea Bocelli and Céline Dion would be absolute dream collaborations.

I’d also love to work with Bruno Mars, Ed Sheeran and legendary producer David Foster. If David Foster ever asked me to sing for him, I’d probably faint before I reached the microphone!

When you’re not performing around the world, how do you relax?

Honestly, by sitting on the sofa watching all the television I’ve missed while travelling.

I also love going to the gym, which keeps me focused, and whenever I’m back in London I try to get to the theatre as often as possible.

If you were hosting the ultimate dinner party, which five people—living or dead—would you invite?

Judy Garland and Gene Kelly would definitely be there. My father introduced me to their films when I was growing up, and they still remind me of him every time I watch them.

Barbra Streisand would have to be invited, of course, along with Golda Meir—such an inspirational woman.

Finally, Frank Sinatra. A wonderfully complex man with one of the greatest voices of all time.

Finally, what are your ambitions over the next five years?

I’d love to see Adagio enter the classical crossover charts and for Tiano to become a household name.

We’re slowly but surely moving in that direction. We have an incredible US manager who first discovered us through her sister-in-law, a Tony Award-winning Broadway producer. Together they’ve helped introduce us to audiences across America.

We’ve been fortunate enough to receive visas for artists of extraordinary ability and have already performed throughout the United States. We’re hoping to return to New York, Las Vegas and many other venues again this year.

Ultimately, though, success isn’t about fame. It’s about making people feel something.

If audiences leave our shows happier than when they arrived, then we’ve done our job. I sincerely hope Adagio touches people’s hearts in exactly the same way.

Adagio is released on 3 July, with the official music video premiering on 10 July.

Shimi Goodman – Adagio

https://ffm.to/adagio-9780