STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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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]
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
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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