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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Illuminating noir
The HBO/Sky drama True Detective: Night Country’s indigenous representation offers hope for decolonising television, writes AGATA LULKOWSKA
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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
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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