Culture

It’s a bird, it’s a plane, it’s theatre: Defining the ill-defined

It has been 93 years since the first performance of Bertolt Brecht’s The Good Person of Szechwan at Schauspielhaus in Zurich. Many critics cite Brecht as the pioneer of...

Theatre Amy Lawson -

Authenticity and the pop genre: Slayyyter’s ‘WOR$T GIRL IN AMERICA’

Originality could be dead in pop music. The genre is so self-referential that it...

Music Val Michael -

Why you should spring clean your bookshelf this Trinity

In the Northern Hemisphere, astronomers mark the beginning of spring on the date of...

Books Elizabeth Bourn -

Does ‘Euphoria’ no longer speak to our generation?

Should I have been watching Euphoria’s first season as an innocent, bright-eyed 14-year-old? Probably...

Culture Emma Heagney -

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Jonnie Barrow lavishes praise on this recently-released horror masterpiece.

Marvel’s Netflix universe is going badly wrong, and it’s the writing that’s to blame

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Live-action ‘Beauty and the Beast’ is a ‘dose of weaponised nostalgia’

Jonnie Barrow examines whether the recent live-action remake of 'Beauty and the Beast' is worth your time...

Is The Nightly Show an expensive insult to the British public?

Theo Davies-Lewis takes a look at the critically-panned talk show’s place in ITV’s schedule

Friendship, Feminism and Fun(damental Rights)

India Parker talks to Jess Bollands, the President of the Oxford Belles, about the enormous success of their latest music video

Netflix to present Orson Welles’ lost masterpiece

Claire Leibovich discusses Netflix's resurrection of Orson Welles' unfinished final film

Chuck Berry – “One of the greats”

Will Cowie pays tribute to the late Chuck Berry

“When a film depends on siamese stories in the way this one does, it is often hard to keep the whole thing alive”

John Maier finds Tom Ford's re-released second film 'Nocturnal Animals' stylish but confused

“Injections of humour amidst the Beckettian existential angst”

Emily Lawford is impressed by Leveaux’s revival of Tom Stoppard's meta-theatrical tragicomedy Rosencrantz and Guildenstern Are Dead

The Shins – Heartworms review

Akshay Bilolikar finds a confident and valedictory wisdom in the Shins' fifth effort

Review: ‘T2 Trainspotting’

Louise Howland finds an addictive energy in sequel to cult classic Trainspotting

Online discoveries through the Oxford Book Club

Ellie Duncan chats to the editors of the Oxford Book Club's new website

Circa Waves – Different Creatures review

Matt Roller deems the sophomore effort from Circa Waves to be refreshing, but inane

Spotlight: DFO

Will Cowie on those three magic letters

Tiny words: on the art of small talk

Ellie Duncan ruminates on the place of everyday interaction in literary writing

Faces, forgotten and faded

Jonathan Egid visits Christ Church Picture Gallery’s disappointingly small Forgotten Faces exhibition

“Love and humanity scattered amid the horror”

Emily Lawford enjoys a genuinely frightening production of Macbeth

Home is where the art is: Rod Jordan

Sophie Jordan ventures past her grandfather’s notecards only to come back to them

‘Deeper than the Abyss’: Resisting the Holocaust

Sam Sussman reviews Peter Hayes' new book, 'Why? Explaining the Holocaust'

A word from the stalls

Miriam Nemmaoui speaks to a tipsy audience member at Suzy Cripps’ 'The Optimists'

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Culture

It’s a bird, it’s a plane, it’s theatre: Defining the ill-defined

Authenticity and the pop genre: Slayyyter’s ‘WOR$T GIRL IN AMERICA’

Why you should spring clean your bookshelf this Trinity

Does ‘Euphoria’ no longer speak to our generation?

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