Culture

Izzy Smith admires The Cursed Child’s combination of nostalgia and freshness

Sandy Elliot runs through his favourite scary movies

Becky Cook asks why Aaron Sorkin's Studio 60 on the Sunset Strip was cancelled, after one season on air

Thomas Athey looks ahead to Oxford's acapella efforts at the Edinburgh Fringe

Rosalie Wells lists the best science and medicine books to read this summer

Hugo McPherson is left questioning by 'Arseholes', a new play about Rimbaud and Verlaine

Calum Bradshaw lines up three of the best cinematic finishes

Ellie Duncan considers how endings reflect a need for stories

Christopher Goring looks back nostalgically at the final episode of the cult postmodernist sitcom

Sarah Brown reflects on three years at Oxford University as the end draws near

Nina Crisp enjoys an intense and enjoyable performance

Calum Bradshaw celebrates an excellent term for student film, and looks forward to a busy vacation

Priya Khaira-Hanks indulges in a summer holiday certified by Lana Del Rey

Emily Lawford finds little good in the fifth Pirates of the Caribbean movie

Abby Ridsdill-Smith is a fan of the band's deluxe edition of 'California'

Ben Ray finds Miranda Sykes’ latest release reaches dizzying new heights

Alice Robinson explores the phenomena of multiple endings

Sîan Bayley finds much to praise in 'Girls Will Be Girls' at the BT Studio

Miriam Nemmaoui chats to Olly Jackson ahead of the Oxford Revue's hotly tipped performance

Avery Curran discusses curating Text/ure, Trump, and artistic cataclysm in the US There’s an argument, and it’s a convincing one, that all art is political and, in the interim period between the election and the inauguration it felt truer than ever. There was an atmosphere of displacement and shifting ground. Between daily revelations about suspicious calls to Russia and plans to defund sanctuary cities (of which New York is one), no one seemed to know where they stood.