RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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TOM KING recommends a groundbreaking performance of Handel's Messiah
Soloist Diyet, pic: Robin Whiffen (Against the Grain)
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
HANDEL’S Messiah — perhaps the most famous piece of choral music in history, chronicling the birth, death and resurrection of Christ — is usually performed to packed audiences the world over at Christmas.
But this year many choirs, amateur and professional, haven’t sung together since March and face the prospect of not doing so again for quite some time.
But every cloud, to employ that well-worn phrase, has a silver lining. Unable to give their annual performance of Handel’s masterpiece, Toronto-based opera company Against the Grain decided to film one instead — with a twist.
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