Culture

"More than anything else you might buy, a ballgown represents an odd intersection of disposability."

Sonya Ribner interviews author Elaine Hsieh Chou.

"[...] they descend into paranoia, and carnage unfolds in a network of marvellously-layered backstabbing."

A film that rests so prominently in the public’s psyche can be difficult to watch subjectively. The Godfather is nonetheless a masterpiece in its own right.

"In Chloë and the Next 20th Century, Tillman succeeds spectacularly at creating a new world out of old characters."

Season Two of Bridgerton has given me a newfound desire to grab life by the mallet, so this term I have decided to sign up for Croquet Cuppers.

Whistler orchestrates a symphony of colors, symbols, and gestures that takes art beyond the canvas.

a review of the book 'Stolen Focus' by Johann Hari

If Thomas Hardy had blessed his female characters with more than an “ephemeral precious essence of youth,” perhaps he would have produced something along the lines of Dorothy McDowell’s Casterbridge, an adaptation of Hardy’s 1886 novel The Mayor of Casterbridge.

"Against the backdrop of Majek’s enigmatic blue-toned figures, Spencer, with the help of a multi-roling, all-Black voice cast playing a broad spectrum of characters, reveals tantalising glimpses of these figures’ lives."

"It’s a bit of a mad play, and a lot of quite mad things happen, because that’s what happens when you translate Victorian characters into the modern era."

"The performers [...] delivered a cohesive, entertaining and – dare I say it – heart-warming musical which was received with barrels of laughter."

"From the play’s beginning, this immensely talented cast of Oxford students captured my imagination, and I was swept up by the story they had to tell."

Where do we come from? I mean, where does it all come from, all this? – the books that we read or skim; the...

What links the superhero show Peacemaker with the work of 19th-century German philosopher Georg Wilhelm Friedrich Hegel?

Life, death, and birth are all present in Pablo Larraín’s Spencer and Pedro Almodóvar’s Parallel Mothers. Both films address, in different ways, what the meaning of motherhood is.

But it’s not good enough to leave it to often privileged tutors, canon-compilers and Education Secretaries to dictate which texts we study. Time and time again, they have failed to achieve even the remotest degree of representation, a damning outcome in a subject which is so linked to identity and the self. The texts we study at school and beyond should be chosen and shaped by the diverse populations reading them.

"We’re left with a simple truth: not everything has a deeper answer, and perhaps we shouldn’t be looking for one."

We know that we ought to validate and cherish visible difference. Why is cinema struggling so much to catch on?

It’s no wonder that sequels have a, let’s say, less than stellar reputation when films like Grown Ups 2 exist.