SUSAN DARLINGTON appreciates a retelling of the Merlin myth that emphasises family and belonging
Illuminating noir
The HBO/Sky drama True Detective: Night Country’s indigenous representation offers hope for decolonising television, writes AGATA LULKOWSKA
INSIGHTFUL: (L to R) Kali Reis as Evangeline and Jodie Foster as Liz
[HBO] 
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual
TONY BURKE reviews new releases from Cheikh Lo, Mishra & Deepa Shakthi, N’Faly Kouyate
Gin Lane by William Hogarth is a critique of 18th-century London’s growing funeral trade, posits DAN O’BRIEN
ANDY HEDGECOCK sees his scepticism lessened by a story is more complex and far-reaching than is initially apparent
MARK TURNER holds on tight for a mesmerising display of Neath-born ragtime virtuosity
TRUE Detective: Night Country, the fourth season of the HBO/Sky drama, is a twist on its familiar neo-noir mystery format, starring Jodie Foster and Kali Reis as the lead detectives. It’s the first time women have been at the show’s helm.
The season is set in Ennis, a fictional mining town in Alaska, during a polar night. The local indigenous community, Inupiat, (a real group of indigenous Alaskans) have formed families and social ties with incomers over the years, but their coexistence is not without hurdles.
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