"I am amazed to be still alive. Two hours of medieval torment.” Franco Zeffirelli - who has died at the age of 96 - had spent the day having a lumbar injection to treat a sciatic nerve. You could hear the bafflement in his heavily accented English.

Tomorrow, Martin Scorsese delivers, via Netflix, two hours and 22 minutes of screen time devoted to Bob Dylan’s Rolling Thunder Revue, following on from the release last week of the latest Bootleg Series boxed set, 14 CDs covering five full concerts from November and December 1975, as well as rehearsals and sundry soundboard cuts from

Every year the Cannes Film Festival is a swirl of chaos, excitement, and controversy. Last year, the festival had a markedly different feel. Gone were the big starry names. Replacing them were less glitzy films that were given a chance to shine.

"One talks, the other doesn’t" is about as crude a description as could be of the Swedish masterpiece, Persona. Profoundly experimental even today, Ingmar Bergman’s film was at base about the intense, vampiric encounter between a mute actress suffering a breakdown and the garrulous nurse assigned to care for her.

With Russian spies murdering people in the UK, a Norwegian pensioner jailed in Moscow on spying charges, Russian hackers believed to have meddled in both the US presidential election and the EU referendum, diplomats thrown out of various countries and Donald Trump being portrayed as Putin’s puppet, it’s hard not to feel that the Cold War is being warmed up for the 21^st century.  

Nadia Murad caught the world’s attention when she spoke at the United Nations Security Council. She spoke of living under ISIS, daily assaults, escaping, and the current plight of the Yazidi people, in refugee camps and still under ISIS control. It was a heart-breaking plea for support to the world’s silent nations. But in a rapidly changing news landscape, it’s easy to stay silent and wait for the next story come to come along.

Thank you. It’s an honour to have been asked to speak here today. Although looking at the h100 List this year, I’ve no idea why I’m presumptuously standing here; given the talent, creativity and achievements far surpassing my own within this room. But I’m also excited, and genuinely inspired, to be part of such a group.

I don’t know about you, but I find working in the arts often seriously discombobulating in either being a far-too-lonely and private endeavour one minute; an overwhelming public and intensely populated one the next.

Fenella Fielding - “one of the finest female impersonators in the business,” joked Eric Morecambe – has died at the age of 90. Most actors of such a great vintage tend to be forgotten, but not Fielding. Last year she celebrated her big birthday with a memoir.

Most of us have very little knowledge of the process of life ending, physically and emotionally, until it comes suddenly into our own experience. Dying remains taboo. We don’t talk about dying, we don’t teach it in schools, and yet this event is as natural and everyday as birth. Having been one of the central subjects for art for a millennium or more, death has come to be one of the least broached. The images we have are medicalised or euphemistic. All of the beauty, grace and candour of death visible in classical painting is gone.

Asked to nominate the most important playwright in America since the war, theatregoers would probably plump for Arthur Miller, Edward Albee or David Mamet. But in terms of sheer popularity there is another candidate.