The bard pays homage to his two muses: his wife and his football club
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Dr Strangelove and the Seven Dwarves of Armageddon
MATTHEW ALFORD questions the establishment-pleasing politics that underlie so-called ‘political satire’
SATIRE DE-FANGED: (L) Peter Sellars in Stanley Kubrick's Dr Strangelove (1964); (R) Steve Coogan in Sean Foley and Armando Ianucci's Dr Strangelove (2024)
[Manuel Harlan]
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
IS ARMANDO IANNUCCI a national treasure? He should be. But for entertainment — not political satire.
In a West End stage adaptation of Armando Iannucci and Sean Foley’s Dr Strangelove, an insane US commander orders a nuclear strike on Russia. Both sides flounder to prevent apocalypse.
The original film was Stanley Kubrick’s masterpiece, skewering Cold War archetypes from subservient RAF pilot to drunk Russian premier. Iannucci’s adaptation, also set in the ‘60s, has the Russian dictator modelled on Vladimir Putin, labelled in a punchline as “cold-blooded, neurotic — and short!”
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