The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Who’s paying the piano player?
PATRYCJA ROZBICKA surveys the manifestos and is frustrated by the lack of discussion of our music and night-time industries
100 club
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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
SO far the British 2024 elections have been dominated by discussions on migration and fiscal responsibility. As a result, the space dedicated to arts, culture and music has felt relatively minuscule.
But there are important issues to be addressed in these industries, especially in the face of city councils slashing their culture and heritage budgets — such as Birmingham in February. This has been likened to creating a “cultural wasteland” and causing “cultural deprivation.”
Despite both parties calling the sector “world leading,” Labour and the Conservatives have failed to give any concrete commitments for funding the creative industries.
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