Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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On the existential threat posed by invading US media conglomerates
Paradoxically sporadic, politically intelligent productions ameliorate the overall negative trends, writes DENNIS BROE
Ossekine, Disney Plus’ first French series
[Disney Plus]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
DURING the largest television festival in the world Series Mania at Lille in northern France, everyone paid homage to the invasion in Ukraine, but what was often unstated was how to deal with another invasion, that of the US streamer conglomerates.
As money is now pouring into Europe, where production values are cheaper and where local production is being driven by the global and Western success of the Korean series Squid Game proving that audiences around the world are no longer adverse to watching native language series with subtitles.
Public television is everywhere threatened by these private monopolies. Typical is the case of Sally Riley, who heads the drama desk of ABC television in Australia where she is also in charge of an Indigenous branch of the network.
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