Post your questions for R&B star Jill Scott

In the age of GLP-1s and the deep-plane facelift making dozens of famous women appear perpetually 32 years old, there’s something extra heartening about Pressha, the lead single from three-time Grammy-winner Jill Scott’s sixth album. “I wasn’t the aesthetic / I guess, I guess, I get it / So much pressure to appear just like them / Pretty and cosmetic,” she sings in a coolly unimpressed kiss-off to a former paramour too cowardly to be seen with her in public.It’s typical of the 53-year-old neo-soul superstar’s direct way with singing about femininity – a quality that’s made her an in-demand collaborator with artists including Dr Dre, Pusha T, Will Smith, Common and Kehlani. As well as having several US No 1 albums to her name, Scott is an artist’s artist: her new record features Tierra Whack, JID and Too $hort; she was originally discovered by Questlove back in her spoken-word days before releasing her platinum-certified debut Who Is Jill Scott? Words and Sounds Vol 1 in 2000.As well as music, Scott has maintained a vivid acting career, starring as James Brown’s wife, Deirdre or “Dee Dee”, in the 2014 biopic Get on Up and taking roles in HBO’s adaptation of Alastair McCall Smith’s The No 1 Ladies’ Detective Agency and BET+’s TV adaptation of The First Wives’ Club

Mindy Meng Wang on the ‘disorienting’ experience of her father’s funeral – and the Chinese cyber-opera it inspired

The guzheng virtuoso remembers being shocked by the traditional ceremony in China’s north-west. Now she’s processing it on stageGet our weekend culture and lifestyle emailWhen Mindy Meng Wang’s father died in 2015, the Melbourne-based musician found herself navigating grief while also organising his funeral in her home city in north-western China. It was to be an elaborate, three-day ceremony filled with prescribed rites, including burning paper effigies, ritualised crying and prayer chants.Looking back, Wang describes the experience as “completely shocking and disorienting”. “There were so many rules for what I had to do over those three days, and so many things that I could not understand,” she says

Hawaii: A Kingdom Crossing Oceans review – a feather-filled thriller full of gods, gourds and ghosts

British Museum, LondonThis retelling of Captain Cook’s death and the merging of two cultures is a trove of miraculously preserved wonders – but beware of the shark-toothed club!Relations between Britain and the Pacific kingdom of Hawaii didn’t get off to a great start. On 14 February 1779 the global explorer James Cook was clubbed and stabbed to death at Hawaii’s Kealakekua Bay in a dispute over a boat: it was a tragedy of cultural misunderstanding that still has anthropologists arguing over its meaning. Cook had previously visited Hawaii and apparently been identified as the god Lono, but didn’t know this. Marshall Sahlins argued that Cook was killed because by coming twice he transgressed the Lono myth, while another anthropologist, Gananath Obeyesekere, attacked him for imposing colonialist assumptions of “native” irrationality on the Hawaiians.It’s a fascinating, contentious debate

Three board members and board chair resign from Adelaide festival as Randa Abdel-Fattah sends legal notice

The Adelaide festival is facing an unprecedented leadership crisis after three board members resigned this weekend.The journalist Daniela Ritorto, the Adelaide businesswoman Donny Walford and the lawyer Nick Linke stepped down at an extraordinary board meeting on Saturday following the board’s controversial decision to dump the Palestinian Australian author Randa Abdel-Fattah from the 2026 writers’ week program.Separately on Sunday evening, festival board chair Tracey Whiting confirmed that she had decided to resign, “effective immediately”.She did not detail her reasons for resigning, saying only in a statement: “Recent decisions were bound by certain undertakings and my resignation enables the Adelaide Festival, as an organisation, to refresh its leadership and its approach to these circumstances.”“My tenure as Chair has been immensely enjoyable, as has working with the terrific AF team

Adelaide festival did not dump Jewish columnist from 2024 program despite request from Randa Abdel-Fattah and others

The Adelaide festival board did not dump a Jewish columnist from its 2024 lineup at Adelaide writers’ week, despite being lobbied by a group of 10 academics – including Randa Abdel-Fattah – to do so.On Saturday South Australia’s premier, Peter Malinauskas, claimed that the board had dumped the New York Times pro-Israel columnist Thomas Friedman in 2024, and reiterated his support for the festival board’s decision on Thursday to remove Abdel-Fattah, a Palestinian Australian academic, from this year’s program.“I note the Adelaide Festival also made its own decision to remove a Jewish writer from the Adelaide Writers’ Week program in 2024 in very similar circumstances,” Malinauskas told the Guardian through a spokesperson on Saturday.“I support that decision, and the consistent application of this principle.”On Saturday News Corp publications picked up on the premier’s statement, reporting the apparent inconsistency between the public outcry against Abdel-Fattah’s removal compared with the alleged removal of Friedman two years earlier, which did not ignite the massive boycott the writers’ week is now seeing, making the 2026 event look increasingly untenable

Eddie Izzard: ‘I once ran 90km in just under 12 hours. That was a tough day’

When you started performing your one-woman Hamlet, how much did you labour over your delivery of the play’s most iconic lines, such as “To be or not to be”?The first thing I found when I was rehearsing Hamlet was that I felt very at home. I thought, “That’s unusual – I should be quaking in my boots!” I just felt very at ease and happy to be there. But the first time I performed “to be or not to be” on stage, there was a sense of – aren’t bells supposed to ring here? Isn’t there supposed to be a klaxon?I come to “to be” in a slightly different way each night so hopefully the audience haven’t seen it done that way before. I was a street performer for years, so I know how to talk to an audience, which is what they were doing in Shakespeare’s time; they were performing to the people, not at them. Actors got into this fourth-wall thing in the 1800s, it wasn’t there in Elizabethan times