Police say Masood Masjoody was most likely murdered; Iranian expats suspect he was killed for his criticism of the theocratic regime

Police in Canada have concluded that a missing Iranian activist was most likely the victim of murder, prompting fears that his disappearance has the hallmarks of a transnational repression campaign targeting critics of Tehran.

Masood Masjoody, a mathematician critical of both Iran ’s theocratic regime and the exiled family of the former shah , went missing in early February in the city of Burnaby, British Columbia.

Police say Masood Masjoody was most likely murdered; Iranian expats suspect he was killed for his criticism of the theocratic regime

Police in Canada have concluded that a missing Iranian activist was most likely the victim of murder, prompting fears that his disappearance has the hallmarks of a transnational repression campaign targeting critics of Tehran.

Masood Masjoody, a mathematician critical of both Iran ’s theocratic regime and the exiled family of the former shah , went missing in early February in the city of Burnaby, British Columbia.

Police say Masood Masjoody was most likely murdered; Iranian expats suspect he was killed for his criticism of the theocratic regime

Police in Canada have concluded that a missing Iranian activist was most likely the victim of murder, prompting fears that his disappearance has the hallmarks of a transnational repression campaign targeting critics of Tehran.

Masood Masjoody, a mathematician critical of both Iran ’s theocratic regime and the exiled family of the former shah , went missing in early February in the city of Burnaby, British Columbia.

Author of more than 30 novels, including Fado Alexandrino and The Inquisitors’ Manual, was widely seen as one of the most important voices in modern Portuguese literature

António Lobo Antunes, the Portuguese novelist whose dark, polyphonic fiction confronted the traumas of dictatorship, war and Portuguese society, has died aged 83.

Widely regarded as one of the most important Portuguese writers of the late 20th and early 21st centuries, he produced more than 30 novels that reshaped Portuguese writing and made him a perennial contender for the Nobel prize for literature. He received numerous honours, including the Camões prize, the most prestigious award in the Portuguese language, and several major European literary prizes. His death was confirmed by the publisher Dom Quixote.

Author of more than 30 novels, including Fado Alexandrino and The Inquisitors’ Manual, was widely seen as one of the most important voices in modern Portuguese literature

António Lobo Antunes, the Portuguese novelist whose dark, polyphonic fiction confronted the traumas of dictatorship, war and Portuguese society, has died aged 83.

Widely regarded as one of the most important Portuguese writers of the late 20th and early 21st centuries, he produced more than 30 novels that reshaped Portuguese writing and made him a perennial contender for the Nobel prize for literature. He received numerous honours, including the Camões prize, the most prestigious award in the Portuguese language, and several major European literary prizes. His death was confirmed by the publisher Dom Quixote.

Author of more than 30 novels, including Fado Alexandrino and The Inquisitors’ Manual, was widely seen as one of the most important voices in modern Portuguese literature

António Lobo Antunes, the Portuguese novelist whose dark, polyphonic fiction confronted the traumas of dictatorship, war and Portuguese society, has died aged 83.

Widely regarded as one of the most important Portuguese writers of the late 20th and early 21st centuries, he produced more than 30 novels that reshaped Portuguese writing and made him a perennial contender for the Nobel prize for literature. He received numerous honours, including the Camões prize, the most prestigious award in the Portuguese language, and several major European literary prizes. His death was confirmed by the publisher Dom Quixote.

Queen Elizabeth Hall, Southbank Centre, London
Adam Linder delivers a zingy riff on Balanchine’s Jewels while Marco da Silva Ferreira masses a raucous party crowd

In 2008 Adam Linder won the Place prize , the biggest choreography award in the UK at the time, and then seemingly disappeared. Actually he went to Berlin, but suffice to say, it’s a long time since his work has been seen on a London stage. Now he is back with a piece made for Ballet de Lorraine’s double bill.

Acid Gems is inspired by George Balanchine’s 1967 abstract ballet Jewels . Instead of the rich hues of emeralds or rubies, as in the original, here we get sharp-sour neon, a backdrop drenched in Wham Bar pink, cut with a palette of other E numbers (lit by artist Shahryar Nashat). Linder trained at the Royal Ballet School before rejecting ballet, but he’s clearly still in conversation with his roots. Although at the outset, this piece seems to owe more to Sharon Eyal than the likes of Balanchine – the unnerving tone, aloof stares, slow undulations and jutting hips, the clan of dancers moving in a group as tight as their Lycra. But it expands into something more interesting that treads the line between forms: entrechat jumps and spiky angles and then a version of the Running Man. Linder makes use of simplistic geometry with zinging clarity.

At Queen Elizabeth Hall, Southbank Centre, London , until 7 March

Queen Elizabeth Hall, Southbank Centre, London
Adam Linder delivers a zingy riff on Balanchine’s Jewels while Marco da Silva Ferreira masses a raucous party crowd

In 2008 Adam Linder won the Place prize , the biggest choreography award in the UK at the time, and then seemingly disappeared. Actually he went to Berlin, but suffice to say, it’s a long time since his work has been seen on a London stage. Now he is back with a piece made for Ballet de Lorraine’s double bill.

Acid Gems is inspired by George Balanchine’s 1967 abstract ballet Jewels . Instead of the rich hues of emeralds or rubies, as in the original, here we get sharp-sour neon, a backdrop drenched in Wham Bar pink, cut with a palette of other E numbers (lit by artist Shahryar Nashat). Linder trained at the Royal Ballet School before rejecting ballet, but he’s clearly still in conversation with his roots. Although at the outset, this piece seems to owe more to Sharon Eyal than the likes of Balanchine – the unnerving tone, aloof stares, slow undulations and jutting hips, the clan of dancers moving in a group as tight as their Lycra. But it expands into something more interesting that treads the line between forms: entrechat jumps and spiky angles and then a version of the Running Man. Linder makes use of simplistic geometry with zinging clarity.

At Queen Elizabeth Hall, Southbank Centre, London , until 7 March

Queen Elizabeth Hall, Southbank Centre, London
Adam Linder delivers a zingy riff on Balanchine’s Jewels while Marco da Silva Ferreira masses a raucous party crowd

In 2008 Adam Linder won the Place prize , the biggest choreography award in the UK at the time, and then seemingly disappeared. Actually he went to Berlin, but suffice to say, it’s a long time since his work has been seen on a London stage. Now he is back with a piece made for Ballet de Lorraine’s double bill.

Acid Gems is inspired by George Balanchine’s 1967 abstract ballet Jewels . Instead of the rich hues of emeralds or rubies, as in the original, here we get sharp-sour neon, a backdrop drenched in Wham Bar pink, cut with a palette of other E numbers (lit by artist Shahryar Nashat). Linder trained at the Royal Ballet School before rejecting ballet, but he’s clearly still in conversation with his roots. Although at the outset, this piece seems to owe more to Sharon Eyal than the likes of Balanchine – the unnerving tone, aloof stares, slow undulations and jutting hips, the clan of dancers moving in a group as tight as their Lycra. But it expands into something more interesting that treads the line between forms: entrechat jumps and spiky angles and then a version of the Running Man. Linder makes use of simplistic geometry with zinging clarity.

At Queen Elizabeth Hall, Southbank Centre, London , until 7 March