Entertainment
Is Kanye West being stigmatized over mental-health issues? One ‘View’ host thinks so

Spurred by a spate of erratic habits on-line, Kanye West’s psychological well being has turn into a preferred matter of debate, even among the many hosts of ABC’s “The View.”
On Monday the co-hosts centered on the private {and professional} penalties the rapper has weathered, together with his high-profile break up from actuality star Kim Kardashian, momentary suspension from Instagram and the reported scrapping of his efficiency on the Grammy Awards, which “The Every day Present‘s” Trevor Noah is internet hosting April 3.
The priority, the “View” panelists argued, is that the Grammy-winning rapper is being reprimanded over his mental-health points and “one thing he could do” on the ceremony. It’s simply certainly one of many sizzling takes on the artist’s habits as broader discourse about his psychological well being have been used to make sense of his newest actions.
Final week, Ye had his Instagram suspended for hurling a racial slur at Noah after the comic delivered a sobering evaluation of the rapper’s “belligerent” habits towards his ex-wife and likened it to abuse.
The transfer got here on the heels of Ye shrugging off the backlash to his gory music movies for “Eazy,” through which his claymation lookalike brutalizes likenesses of the sweetness mogul’s new beau, “Saturday Evening Reside” star Pete Davidson. Ye defended his work and habits by saying “artwork is remedy.”
Panelist Ana Navarro argued that Ye’s questionable habits has gone on for too lengthy.
“Kanye has been doing this now for thus many months. I query what’s taken the social platforms so lengthy to bar him after he’s been posting threats and horrible, vile feedback towards so many individuals for such a very long time,” she argued.
“I completely sympathize with what Trevor Noah is saying— ‘counsel him, don’t cancel him,’ however who’s going to get him to be recommended?” Navarro requested, referring to Noah’s response to the Grammy information.
“Too usually, people who find themselves wealthy, who’re well-known, encompass themselves [with] an entourage who like the trimmings a lot that they’re incapable of confronting you with the reality,” Navarro continued. “So how lengthy is that this going to go on and the way lengthy are we going to say, ‘Poor Kanye, he simply must be recommended,’ whereas different persons are being dragged via the mud, whereas he’s inciting violence towards Pete Davidson, whereas he’s issuing horrible racial slurs?
“Yeah, anyone must get him to counseling, however ‘til then, can we all must put up with this?” she stated.
Insisting that she’s no “apologist” for the 44-year-old rapper, fellow panelist Sunny Hostin was Workforce Kanye, saying she believes the firebrand artist is now being “stigmatized” over his mental-health points and that she’s “uncomfortable” with him being pulled from the ceremony.
Though there was no official announcement that Ye was scheduled to carry out on the Grammys, he’s up for various awards, together with album of the 12 months and rap album for “Donda,” melodic rap efficiency for “Hurricane” that includes the Weeknd and rap music for writing “Jail” with Jay-Z. It’s unclear if the rapper — who’s no stranger to awards-show outbursts — will nonetheless attend the occasion in Las Vegas.
“Efficiency is an artwork and it’s speech in lots of cases,” Hostin stated, referring to what Ye has been posting on social media. “The place can we draw the road? I imply, I imagine in consequence tradition, I don’t imagine in cancel tradition. And I really feel that he’s, due to the stigma of psychological well being, I believe he’s being stigmatized.”
“Backside line, people who find themselves mentally unwell — he’s been identified with bipolar dysfunction — are a lot much less prone to commit violence than have violence enacted upon them,” she stated.
Hostin identified that the musician will not be “this violent individual that must be shunned from society and his artwork taken away from him.”
“We’ve got one thing referred to as the first Modification on this nation. We’ve got freedom of speech. We’ve got freedom of expression, and we’re canceling Kanye West for one thing he could do,” she added.
Co-host Sara Haines argued that Ye has “confirmed himself extra able to going rogue when getting an award” reasonably than performing. She questioned why Grammys producers would “depart him the open mic with no script” if he had been to win as a substitute.
“The issue is he’s in a spot that’s not nice proper now, and despite the fact that … the prospects of hurt are low, you by no means know,” Haines added. “And he retains posting and taking [the posts] down, which is displaying both somebody is looking for him or he’s looking for himself.”
She stated that he has “impulse points” and stated she anxious that “he can’t assist himself and worries that his habits on the present may very well be threatening.”
Navarro additionally stated she’s involved about Ye’s “hundreds of thousands of loyal followers who get ginned up” by his posts towards Kardashian, Davidson, Noah and comic D.L. Hughley.
The daddy of 4 was identified with bipolar dysfunction — a lifelong situation — after a 2016 well being scare landed him in a hospital. Though he has claimed that it was a misdiagnosis, he stated in 2019 that he likens his mental-health points to “a sprained mind, like having a sprained ankle.” Kardashian additionally confirmed the continued battle in 2020 together with her personal social media posts after West launched a failed presidential bid.
The problem can also be mentioned within the new Netflix docuseries “Jeen-Yuhs,” and he addressed it final November on the “Drink Champs” podcast, airing his frustration with individuals who name him “loopy” and saying “all of us are on the spectrum someplace.”
“There’s lots of people who will say, ‘I don’t imagine that you’re truly bipolar.’ And anytime anyone needs to say that I’m fallacious about one thing, cover the reality [or] lie, they are saying, ‘Ye’s loopy.’ It’s simply the final word last cut-off to not must pay attention,” he stated.

Movie Reviews
Movie review: ‘Jane Austen Wrecked My Life’ a warm romance befitting the author

“Jane Austen Wrecked My Life” (or, “Jane Austen a gâché ma vie”) is a catchy, provocative title for writer/director Laura Piani’s debut feature, but it is a bit of a misnomer. Her heroine, Agathe (Camille Rutherford) might harbor that fear deep inside, but it’s never one that she speaks aloud. A lonely bookseller working at the famed Shakespeare and Company bookshop in Paris, she gets lost in the love notes left on the shop mirror, and complains to her best friend and coworker Felix (Pablo Pauly) that she was born in the wrong century, unwilling to engage in casual “digital” connection. Deeply feeling and highly imaginative, perhaps she believes she’s alone because she won’t settle for anything less than a Darcy.
Good thing then that Felix, posing as her “agent,” sends off a few chapters of her fantasy-induced writing to the Jane Austen Residency. And who should pick up Agathe from the ferry but a handsome, prickly Englishman, Oliver (Charlie Anson), the great-great-great-great-grandnephew of Ms. Austen herself. She can’t stand him. It’s perfect.
“Jane Austen Wrecked My Life” is the kind of warm romance that will make any bookish dreamer swoon, as this thoroughly modern woman with old-fashioned ideas about love experiences her own Austen-esque tumble through her own emotions. While she initially identifies with the wilting old maid Anne from “Persuasion,” her shyly budding connection with Oliver and questions about her blurred-lines friendship with Felix is more Elizabeth Bennett in “Pride and Prejudice.” A pastoral English estate is the ideal setting for such a dilemma.
The casting and performances are excellent for this contemporary, meta update to Austen — Rutherford is elegant but often awkward and fumbling as Agathe; Anson conveys Oliver’s passionate yearning behind his reserved, wounded exterior with just enough Hugh Grant-ian befuddlement. Pauly plays the impulsive charlatan with an irrepressible charm.
But it isn’t just the men that have Agathe in a tizzy. The film is as romantic about books, literature, writing and poetry as it is about such mundane issues as matters of the flesh. A lover of books and literature, Agathe strives to be a writer but believes she isn’t one because of her pesky writer’s block. It’s actually a dam against the flow of feelings — past traumas and heartbreaks — that she attempts to keep at bay. It’s through writing that Agathe is able to crack her heart open, to share herself and to welcome in new opportunities.
“Writing is like ivy,” Oliver tells Agathe, “it needs ruins to exist.” It’s an assurance that her broken past hasn’t broken her, but has given her the necessary structure to let the words grow. The way the characters talk about what literature means to them, and what it means to write, will seduce the writerly among the viewers, these discussions of writing even more enchanting than any declarations of love or ardent admiration.
Entertainment
The 10 best movies we saw at the 2025 Cannes Film Festival

Josh O’Connor in the movie “The Mastermind.”
(Festival de Cannes)
Leave it to Kelly Reichardt, who turned Michelle Williams into a seething sculptor with frenemy issues in “Showing Up,” to make the gentlest, most self-deprecating heist movie imaginable. As such, she’s invented a whole new genre. The year is 1970 but don’t expect anything Scorsesian to go down here. Rather, this one’s about a half-smart art thief (Josh O’Connor, leaning into loser vibes) who, after snatching canvases of a lesser-known modernist from an understaffed Massachusetts museum, suffers grievously as his plan unravels. Reichardt, herself the daughter of law enforcement, is more interested in the aftermath: hypnotically awkward kitchen conversations with disappointed family members who won’t lend him any more money and would rather he just clear out. (The exquisite period-perfect cast includes Alana Haim, Bill Camp, Hope Davis and John Magaro.) Danny Ocean types need not apply, but if you hear skittering jazz music as the soundtrack of desperation, your new favorite comedy is here. — JR
Movie Reviews
‘Magellan’ Review: Gael Garcia Bernal Plays the Famous Explorer in Lav Diaz’s Exquisitely Shot Challenge of an Arthouse Epic

If “Gael Garcia Bernal as Magellan” sounds to you like a pretty cool Netflix series, you have never seen a film by Filipino auteur and slow-cinema master Lav Diaz. Known on the international festival circuit for his epically minimalist features with bladder-busting running times, his movies are challenging, high-art dramas made for a very select few — the opposite of the flashy, ADHD-friendly content found on streamers.
Premiering in Cannes, where Diaz’s most awarded film, Norte, the End of History, played in Un Certain Regard back in 2013, Magellan (Magalhães) is not for the impatient viewer who likes their explorer stories action-packed and easy to digest.
Magellan
The Bottom Line
A stunning time capsule that’s easier to admire than watch.
Venue: Cannes Film Festival (Cannes Premiere)
Cast: Gael García Bernal, Ângela Azevedo, Amado Arjay Babon, Ronnie Lazaro
Director, screenwriter: Lav Diaz
2 hours 40 minutes
And yet this exquisitely crafted feature may be one of the director’s most accessible works to date. It clocks in at only 160 minutes (Diaz’s films often run twice that long, if not more), but, more importantly, provides an honest glimpse at a figure who famously opened the world up for exploration, while furthering the mass destruction wreaked by colonialism.
“I saw a white man!” an indigenous woman screams in the movie’s opening scene, which shows her working calmly by a river in a picturesque rain forest. Like the snake appearing in the Garden of Eden — a Biblical reference that will soon be forced upon tribes with their own religious culture — the arrival of Europeans on the shores of unexplored lands will carry evil into an innocent place, changing it for the worse.
That first sequence takes place during the Conquest of Malacca in 1511, which saw Magellan fighting under Portuguese conquistador Afonso de Albuquerque. If you’re not familiar with this dark period, Diaz doesn’t necessarily make things clear enough to grasp. He’s less interested in historical facts and figures than in visually capturing what the start of colonial decimation looked like on both sides. Magellan never appears in his movie as a hero or antihero, but as a bold profiteer reaping what he can out of a global race to secure land through war and plunder. Guns, germs and steel indeed.
The narrative, which stretches from the bloody clashes on Malacca to Magellan’s death at the Battle of Mactan (Philippines) ten years later, portrays this decade of conquest and ruination with elegantly composed tableaux shot from a fixed position. Diaz is known for using black-and-white, but here he teams with Artur Tort (credited as both co-cinematographer and co-editor) to shoot with a rich color palette of green, brown and blue, finding beautifully detailed textures in locations on both sea and land. The villages recreated by production designers Isabel Garcia and Allen Alzola seem so authentic that you would think they had always been there, nestled in the jungle.
Certain images look like they were torn right out of 16th-century paintings, which is why Magellan is a movie you tend to gaze at rather than watch with full attention. Diaz often shows us the aftermath of battles, where dozens of bodies are artfully splayed on the ground, instead of the battles themselves. Lots of other drama happens off-screen, even if we do witness certain key moments from Magellan’s last years — whether it’s his decision to work under the Spanish crown after the Portuguese refused to back his last voyage, or his discovery of a passage to the South Pacific that became known as the Magellan Strait.
But the drama can be very stolid, borderline dull at times. Not that Garcia Bernal isn’t perfect for the part: Costumed in lots of fluffy shirts, he plays a fearless man with an immense ego who suffered for his success, making the whole profession of being a conquistador look less like a valiant enterprise than a major drag. But Diaz’s observant style (he never cuts within a scene; there’s no music to induce emotion) can keep us at arm’s length from events. Perhaps the most dramatic part of the film is the one that’s the most painfully stretched out, depicting Magellan’s long, relentless voyage (1519-1521) from Spain to the Spice Islands, which saw many crew members die along the way.
But whatever the Spaniards or Portuguese went through pales in comparison to all the tribespeople whom we see imprisoned, converted, enslaved or just plain murdered by Magellan and his men. The other main character in the film is Enrique (Amado Arjay Babon), an indigenous man whom Magellan captures on Malacca and takes with him on all his subsequent journeys. He gradually becomes “civilized” (to use a colonialist term) as the narrative progresses, until the tides turn in the Philippines and we see him returning back to his initial state, freed from the shackles of European domination.
As much as Magellan is a film that will play to a highly select audience, it makes a subtle but loud political statement about the colonial mindset both then and now. When the conquistadors claim they are fighting so that “Islam shall finally disappear,” hoping to beat the Moors in securing more territory, it sounds a lot like speeches you hear from far-right pundits and politicians in Europe today. Diaz’s movie may resemble a magnificent time capsule — and one that we watch with a certain distance — but there are moments when its stark realism reminds us how easily history can repeat itself.
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