IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
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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’
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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
ALEX HALL is intrigued by a detailed history of Gaza that demonstrates its historic resilience and changing economy
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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MATTHEW ALFORD considers the principal four reasons there wasn’t a nuclear exchange this year, despite the Ukraine war, the carnage in the Middle East, the provocations over Taiwan — and his best predictions
No matter how black our satire, the government goes blacker – as shown in the WikiLeaks founders’ case, says MATTHEW ALFORD
MATTHEW ALFORD asks how innocent the arts and the celebrities who front them up really are
As a civilisation we are in thrall to and infantilised by our own righteousness, while ignoring the corporate interests that make war miserably predictable, writes MATTHEW ALFORD
