This Ron DeSantis Statue Can’t Take the Heat

Credit: Far Out / YouTube Still / Colleen Sturtevant Sat 17 October 2026 19:45, UK Since he’s always wanted to have a career like Ron Howard, it’s almost fitting that Jason Bateman worked with an actor neither of them could stand, and at around the same time, too. As a child actor who eventually segued into more adult roles, admittedly after a decade in the wilderness, before diversifying into directing, it makes perfect sense that Bateman views Howard as the blueprint, since few have managed to navigate that transition as successfully as the Happy Days veteran. If anything, it must have felt like kismet when they became collaborators on Arrested Development, allowing the star to tell the narrator and executive producer to his face that he’d spent his professional life dreaming of emulating his path from an on-camera nipper to a behind-the-camera force. One of the key lessons he took from Howard, as obvious as it sounds, was not to be a dick. Bateman had his demons, and he battled them successfully, but it was watching the two-time Academy Award winner’s kind, compassionate demeanour that convinced him if he ever made it back to the big time, he’d try to be a nice guy.

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In August 2019, Omar Rajeh sat in his bedroom, listening to the sound of pounding percussion with his world in crisis. In the midst of political instability, Citerne Beirut, a theatre and cultural centre Rajeh had founded in his native Lebanon, was forced to close, dismantled by order of the local government, who planned to build an incinerator on the site. Heartfelt … Omar Rajeh in Dance Is Not for Us. Photograph: Tristram Kenton/the GuardianRajeh tells us that as a teenager, coming of age at the end of the Lebanese civil war, dance had always seemed like the most revolutionary thing he could do. Now here he is, more than three decades later, still dancing – out of frustration, defiance, resistance and a desire to connect. As the percussive score gains momentum, Rajeh’s busy body builds up a sweat. In this danced stream of consciousness, Rajeh is not always an especially elegant mover, but he dances like it’s a necessary thing to do. Part of this year’s Dance Umbrella festival, Dance Is Not for Us is a solo that appears at times like an explosion of physical instinct, but it is mostly calm, considered musings on the nature of choreography, with all its workings exposed.

Sarah Kane revolutionised British theatre with five provocative plays written between 1995 and 1999. Her final work, 4.48 Psychosis, was her most personal, confronting the clinical depression she struggled with for years. The play was first performed posthumously in 2000, after she died by suicide in 1999. The Royal Opera and Guildhall School of Music and Drama commissioned Philip Venables to adapt the play as an opera, which debuted in 2016. The composer, also known for a certain “in-yer-face” approach, set Kane’s original text almost entirely, realising its 24 disjointed sections in a raw, imaginative score teeming with minimalist licks, prickly synth-pop and consoling nods to the baroque. The libretto shifts between poetic abstraction and scathing exchanges between a patient and a psychologist. An ensemble of six female singers navigates themes of depression, isolation and the agonising choices surrounding medication. One fractured personality … Sophia Burgos, Veena Akama-Makia, Hannah Edmunds and Jacquelyn Stucker in 4.48 Psychosis.

moving between fashion, theater, and music, the dutch spatial designer treats architecture as a framework for encounter, where the relationship between performers and audiences matters as much as the space itself. thomai tsimpou October 18, 2026 8 min prefer designboom on googledennis vanderbroeck on designing experiencesA fashion show or a live performance may last only a few minutes, but what happens in the room is harder to capture. For Dennis Vanderbroeck, this temporary collectiveness is at the heart of his work, which moves between fashion, theater, music, and performance. The Dutch spatial designer approaches his work as a way to bring people together and shape how they encounter one another. With a background in theater, Vanderbroeck focuses on the experience a setting creates. His designs set the scene for encounters between performers and audiences, leaving room for the unexpected. ‘I always say that our designs are just a tool to facilitate the experience,’ he tells designboom.