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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Gay neonazi
LYNNE WALSH asks why a new play that explores the inner conflict of a 1980s skinhead doesn’t do more to interrogate the creed of fascism
neo-nazi
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
Foam
Finborough Theatre, London
THIS is a flawed piece of theatre, but there is something vitally important at its heart.
The cast can’t be faulted; all four bring immense energy, skill and wit to their characters. The script simply doesn’t serve them well enough.
Nicky (Jake Richards) is full of pent-up aggression, which often finds its pitiful target. At one moment, his neglected teenager falls prey to the charisma of a faux leader, in the next, his strutting, stomping bovver boy, is stormtrooper for any neonazi cause. And he is gay, full of conflict, caught in the conniption of the macho thug versus the simple yearnings of a young man desperate to find his community. We see far too little of the latter, so it’s hard to empathise with the softer soul under the carapace.
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