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The Last Revolutionary Filmmaker
Japanese filmmaker Masao Adachi spent nearly three decades in Lebanon alongside the Palestinian resistance. Today, stripped of his passport and largely ignored at home, he’s making the most politically alive cinema in Japan at 87 years old.
Liam Coen: Jaguars Must ‘Move on and Respond'
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'Survivor 51' full cast: Meet the 21 new castaways battling for $1 million
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How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
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Xulon Press announces a new work where theology and science meet, The Dimensional Universe: Quantum Ontology, Dynamics and Patterns of Duality from author Jack K. Mayfield.
With the existence of a mysterious immaterial dimension governed by quantum mechanics that still baffles the world’s top physicists, Mayfield builds a bridge long thought impossible: rigorous science standing shoulder to shoulder with theology.
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Whether you like it or not, celebrities have an impact on politics
The global groundswell of support for Macklemore’s pro-Palestinian advocacy serves to remind us that maybe celebrity activism really is that deep after all, writes Cheek’s Varsha Yajman. Subscribe In the last week, publications, podcasts, and influencers that have either rarely or never spoken about Israel’s genocide in Palestine have flooded my social feed. And it was all because singer Ed Sheeran and his team dropped Macklemore as his opener for saying “Free Palestine” on stage. Millions raised, millions speaking up in support of Palestine - all of this confirming my view that, whether I like it or not, celebrities do have an impact on political outcomes. And this is interesting when much of the time celebrity activism can induce an eye roll - I love to see Charli XCX pointing out a Palestinian flag in the crowd, but it’s hardly the bold symbol of allyship that some fans would make it out to be. But there’s a line between healthy scepticism and outright dismissal - and I’d argue that the latter lets the rich and powerful off far too easily. For instance, actress Jennifer Lawrence, once outspoken about her political views, last year told The Times she no longer believes celebrities have a role to play: “Celebrities do not make a difference whatsoever on who people vote for. So then what am I doing? I’m just sharing my opinion on something that’s going to add fuel to a fire that’s ripping the country apart.” While it’s a narrative she might find comfort in, it simply is not true. Grassroots movements often garner worldwide attention when celebrities and other high-profile spokespeople bring a mainstream platform to their causes. And this frustrates me. We have had three years of a live-streamed genocide. Macklemore himself has been calling for a Free Palestine long before he booked the Sheeran concert. Yet it’s the high-profile fallout of the last week that finally seems to have made saying “Free Palestine” socially acceptable in the mainstream. It feels like the collective mood has shifted, where calling out censorship is now the obvious response - not just the business of ‘radical’ activists. To recap, Sheeran’s decision followed an ultimatum from billionaire Robert Kraft, owner of Gillette Stadium, one of the venues Sheeran was scheduled to perform at: either drop Macklemore as your opener after only two of the eight scheduled shows, or you do not play at any stadiums. Sheeran’s disappointing decision to stand on the side of billionaire-led censorship has ultimately seen a surge in support for Free Palestine. It began when all his openers and his backing band pulled out of Sheeran’s tour, in solidarity with Macklemore and with the Palestinian cause. It was met with an uproar of support from those who had never or barely touched politics before: influencers lip-syncing to Macklemore’s music, singers like Jack Antonoff singing “Free Palestine,” and publications and podcasts standing with Macklemore. And finally, we saw material support: Macklemore donated $1 million in profits from his two nights opening for Sheeran’s tour to several Palestinian aid groups and called for Sheeran and Kraft to match it, which they have since promised to do. We’ve also seen children’s entertainer Ms Rachel follow suit with a $1 million donation to Palestinian aid, and publication PopBase has donated $10,000. Anera, a humanitarian aid group working in Palestine, Lebanon, and Jordan, said donations since Macklemore’s announcement were more than triple this month’s daily average. The group’s Instagram page has also gained 8,000 followers. Macklemore far from the first celebrity to speak and participate in politics in the Western World. In 1924, singer Al Jolson supported Republican candidate Warren G. Harding for president, and decades later, celebrities such as Harry Belafonte, Lena Horne, and Aretha Franklin voiced their public support for the Civil Rights movement. More recently, in the lead-up to the 2024 US election, ‘The Daily Show with Trevor Noah partnered with the organisation Power the Polls to recruit poll workers to address shortages- a problem disproportionately affecting voters of colour. The campaign saw 170,000 new sign-ups - 35,000 of which came directly through the TV show’s link - resulting in the recruitment of 713,000 total poll workers that year, an almost three-fold increase on the organisation’s goal. Alongside recruiting workers, celebrities in the US (where voting in elections is not compulsory) have made a huge difference by calling for people to register to vote. Taylor Swift’s endorsement of Kamala Harris in 2024 saw over 400,000 visitors on the voter registration site within 24 hours of her Instagram post. In 2023, Swift had urged her fans to register, resulting in 35,000 new voter registrations. Similarly, Ariana Grande promoted voter registration in 2019 by setting up booths at concerts on the American leg of her tour, resulting in over 33,000 voters registering. And the same thing is happening closer to home. This year, musician Jack River successfully called for government action to ensure creatives in Australia do not have their work scraped by generative AI companies. Celebrity as the mediator between the punter and the politician Celebrity activism isn’t just a feel-good news story - research tells us it actually makes a difference. By directing attention to issues affecting the average person, like voting inaccessibility or a lack of action on a genocide, researchers Alfred Archer and Amanda Cawston state that “celebrities can play a useful bridging role between political elites and the people they represent”. Alternatively, in a world where talking about politics is “not cool,” or where people lack exposure or knowledge to engage with politics, celebrities can act as an educational resource or an entry point into the political world - when they speak up about an issue, their audience gets exposed to it. Olivia Rodrigo’s Daisy Chain Fields festival is a perfect example. Rodrigo partnered with twelve organisations focused on women’s issues, such as reproductive rights. These organisations had stalls at the festival for people to meet them and were also featured heavily on social media, giving their issues global attention and raising $20 million for the organisations. We have also seen celebrities at award shows such as the Emmys wearing F*CK ICE pins, referring to the U.S. Immigration and Customs Enforcement’s treatment and detainment of people - generally people of colour. When celebrities speak up about political issues in public forums, they put the issue at the forefront of mainstream media, rally their supporters, and make it clear that, however much they disagree, the government cannot simply ignore it. Our over-reliance on celebrities versus our politicians As much as I love seeing my favourite celebrity use their platform for a good cause, there is an important question to ask: not whether celebrity activism is good or bad, but whether we should have to rely on celebrities. And the answer would, in an ideal world, be no. In an ideal world, or merely a just world, action on Palestine would’ve happened decades ago, climate change would be taken seriously, and most importantly, people would understand their democratic rights. However, that is not our reality. Only around 28 per cent of Australian Year 10 students reach proficiency in civics and citizenship. In the US, almost two-thirds of people under 30 say high school civics education didn’t prepare them to understand voting deadlines, how to research candidates, or how to vote by mail. When civics education is weak, our trust in these institutions and our understanding of change-making processes also decline. This is where celebrity steps in and becomes our main source of reliance. As Mary R. Connelly notes in _The Tartan, “_Celebrities will always be involved in campaigns in one form or another, but their presence is not what causes people to vote blindly. The lack of political engagement and literacy is what allows celebrities to wield their influence on the political sphere so impactfully.” About the author Varsha Yajman is the Digital Content Producer at Cheek Media. She is a youth advocate and lawyer with a background in climate litigation and is passionate about looking at the intersection between race, climate justice, and mental health. Thanks for reading Cheek Media Co. ! This post is public so feel free to share it. Share
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Plug Power vs. Bloom Energy: Which Hydrogen-Adjacent Stock Actually Has a Real Business Model?
Bloom Energy is seeing massive earnings growth, while Plug Power is working to clean up its finances.
Plug Power vs. Bloom Energy: Which Hydrogen-Adjacent Stock Actually Has a Real Business Model?
Bloom Energy is seeing massive earnings growth, while Plug Power is working to clean up its finances.
Farage says he wants to ‘hijack’ Trump’s ICE czar to help secure UK border
Reform leader also tells US event Europe should have ‘more sensible view’ of president’s administration
Kings fall to Golden Knights in the Empire Classic
Jackson Hallum scores twice in the Empire Classic as the Los Angeles Kings lose 4-2 to the Las Vegas Golden Knights Saturday night in Ontario. Andre Lee and Lane Pederson scored for the Kings, but it wasn’t enough for the Knights’ relentless offense.
In the end, Ole Miss got its revenge on Lane Kiffin in the most satisfying way possible
Kiffin's return to Oxford did not disappoint. The Rebels surged, the Tigers rallied, and then Trinidad Chambliss stole the show and Ole Miss sent its former coach home with an 'L'.
I tried to upgrade myself to business class without my kids. I never thought it would work
Chalk it up to a failed experiment.
Misery Index: NC State's all-time collapse brings up questions about Dave Doeren's job security
Mississippi Science Fest brings hands-on STEAM activities to Jackson
Four Jackson museums join for Mississippi Science Fest
Baxter hopes football link will pay off
■By SAM JACKSON EXETER Chiefs have been sharing knowledge with Premier League side AFC Bournemouth in a bid to land the Prem trophy after last season’s final agony. The Chiefs were taken over by the US-based group Black Knight, which also owns the Cherries, at the end of June. So far, Exeter’s heads of strength […] The post Baxter hopes football link will pay off appeared first on The Rugby Paper .
Wales on a high as hard work pays off
By HARRY TOVEY Wales ...............50pts . Tries: Keight 6, Tuipulotu 10, 42; Lockwood 21, Davies 25, Jones 33, Neumann 38, Callender 69 Conversions: Bell 7, 11, 26, 39, 43 South Africa .. 19pts Tries: Jacobs 17, Tshiremba 49, Samboya 55 Conversions: Dolf 50, 56 WALES opened their WXV Global Series campaign with a stunning victory […] The post Wales on a high as hard work pays off appeared first on The Rugby Paper .
Jaguars Must Commit to Running Game to Beat the Broncos
If Jacksonville wants to beat Denver on Sunday, it needs to commit to running the ball against Denver's top defense.
Caglianone returns to lineup, apologizes for punching wall
Jac Caglianone returned to the lineup Saturday against the Pirates after missing Friday night’s game for punching a dugout wall and cutting his hand. Caglianone addressed the media Saturday before the game, calling it a “very selfish and immature move on my part.” “These guys hold me to a higher standard,” said Caglianone. “I hold […]
Packers get good news on Josh Jacobs' pending suspension
The Green Bay Packers are missing running back Josh Jacobs and feeling the sting.
Chris McKenna Made Sure One Special Costar ‘Got Her Flowers’ Before ‘General Hospital’ Exit
Chris McKenna and Paige Herschell exited 'General Hospital' as Jack Brennan and Jacinda Bracken departed Port Charles in dramatic fashion this summer.
Could Jaguars' TEs Make Big Impact Against Broncos?
The Jacksonville Jaguars are seeking another road victory in Denver this Sunday. Look out for the tight ends and running backs to make a big impact.
The growing Dodgers 10-strikeout club
Tyler Glasnow on Friday night struck out 10 Giants in his six innings, his most in a start this season. Aside from securing Los Angeles-area folks a free Jumbo Jack with a purchase of a large drink for the 130th time this season and the 27th time in the last 28 days, Friday affirmed the […]
Packers Get Good News in Latest Josh Jacobs Update
The Green Bay Packers are likely to get RB Josh Jacobs back as soon as possible considering his off-field issues and likely NFL punishment. The post Packers Get Good News in Latest Josh Jacobs Update appeared first on HEAVY.
Jaguars Know Broncos Tackling Issues Won’t Be Repeated
The Denver Broncos were awful on Monday night against the Chiefs, but the Jacksonville Jaguars know it'll be different.
ASU discussing playing more international games in more sports
Given the interest from Sun Devils fans in the Union Jack Classic, ASU is considering playing more international games in more sports.
Three Heroes from Brewers' 6-5 Win vs. Orioles
Jackson Chourio’s home run, clutch hitting in the 10th, and a resilient bullpen fueled a gritty extra-innings victory for the Milwaukee Brewers.
Broncos vs. Jaguars: 3 Players to Watch in Week 2
These three players need to perform well for the Denver Broncos to secure a victory against the Jacksonville Jaguars.
Jacob Render heads to Darlington on loan
Leeds United can confirm Academy forward Jacob Render has joined Enterprise National League North side Darlington on a short-term youth loan.The versatile attacker has made seven appearances for Scott...
Friday Night Football 2026 Highlights & Scores
The full 60-minute Friday Night Football show can be watched on-demand on our KFDX+ app for smart TVs, or it can be streamed online here. Brownwood at Graham Graham defeats Brownwood 64-9 (5)Jacksboro at Bowie Jacksboro defeats Bowie 70-34 (8)Windthorst at Henrietta Windthorst defeats Henrietta 49-21 City View at Iowa Park Iowa Park defeats City […]
Sal Frelick on the plucky Brewers and Jackson Chourio's emergence
Sal Frelick drove in the winning run in the 10th inning of the Brewers' 6-5 win over the Orioles on Sept. 18 in Baltimore.