'The View' host rejects Michelle Obama's claim that country not ready for female president






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Parliament approves law giving police powers to raid and surveil homes in what are demarcated as security risk areas
Slovenia’s government has been accused of turning Roma neighbourhoods into “security zones” after the passing of a law giving police powers to raid and surveil homes in so-called “high-risk” areas.
At midnight on Monday, the country’s parliament backed the “Šutar law”, named after Aleš Šutar, who was killed in an altercation with a 21-year-old Romany man after rushing to a nightclub after a distress call from his son.
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© Photograph: Borut Živulovič/Reuters

© Photograph: Borut Živulovič/Reuters

© Photograph: Borut Živulovič/Reuters



Every scene in Cary Grant’s mistaken identity caper is pure absurdity – including that famous cornfield chase. You can’t look away
Imagine: you’re a handsome and relatively successful ad man in idyllic 50s New York. You’re having a delicious mid-afternoon snack in the lobby of the Plaza hotel, which presumably cost all of $2.50, when suddenly you are abducted in broad daylight at gunpoint by two polite and well-dressed men. You don’t put up a fight. You merely walk with them to their car, trying to object in the only way you know how: asking nicely for them to stop. The kidnappers are gleeful; they’ve finally captured you, George Kaplan. That’s not your name, you exclaim, you’re Roger Thornhill! They must have the wrong man!
Thus begins Hitchcock’s funniest, most ridiculous and visually ambitious film, North by Northwest. All the hallmarks of a Hitchcock classic are here: Cary Grant as the leading man, a completely inexplicable MacGuffin (who is George Kaplan anyway? And more importantly, does anyone even care?), a director cameo, a mysterious and beautiful blonde (the darling and charming Eva Marie Saint), and a 20-minute opening so overstuffed with dialogue that you kind of tune out but it’s fine because once the inciting incident happens, you can’t look away. It’s so Hitchcockian that it borders on parody.
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© Photograph: Allstar Picture Library Ltd/Alamy

© Photograph: Allstar Picture Library Ltd/Alamy

© Photograph: Allstar Picture Library Ltd/Alamy

From Chicago to Stan & Ollie, the Oscar-nominated actor has sung on screen for years. Now he arrives on stage – inside a trunk – to serenade the audience
In one of Hollywood’s nicer ironies, character actor John C Reilly finally made it big with a song about being invisible. His Oscar-nominated performance as the duped and devoted schmuck Amos Hart in Kander and Ebb’s Chicago was defined by his solo, Mister Cellophane. Director Rob Marshall had him sing it in an empty theatre so Amos doesn’t even get an audience for his big number.
More than 20 years later, Reilly has dusted off a not dissimilar tailcoat and rouged his cheeks once more under a new moniker, Mister Romantic, and this time there’s a full house. Backed by a four-piece band he is here to win our hearts with 90 minutes of jazz standards and popular songs, plus the odd chanson and comic verse. After a dozen or so dates in the US, the show has a short run this week in London at Soho Theatre Walthamstow, whose beautifully restored interior and history as a music hall fits Mister Romantic like a glove.
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© Photograph: Bobbi Rich

© Photograph: Bobbi Rich

© Photograph: Bobbi Rich
The Guardian’s picture editors select photographs from around the world
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© Composite: Various

© Composite: Various

© Composite: Various














