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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The tears of a clone
SIMON PARSONS applauds a moving version of Ishiguro’s vision of a world in which science and ethics have diverged
never
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
Never Let Me Go
Bristol Old Vic
SUZANNE HEATHCOTE’S stage adaptation of Kazuo Ishiguro’s highly acclaimed 2005 novel is an assured and theatrically satisfying production.
The dystopian elements of an alternative England that has embraced human cloning are merely the framework on which to hang an elegiac story of friendship and innocent childhood memories recalled from the perspective of an adult world of sacrifice.
Nell Barlow’s effectively restrained and intelligent performance as the narrator Kathy provides a poignant yet non-judgmental commentary on her seemingly idyllic, rural boarding school days as she tries to come to terms with the fate destined for her and her classmates who were once made to feel so special.
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The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
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