GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Networks Autumn subscription drive comes with a health warning
DENNIS BROE finds little to commend in the staple fare on offer
OUTSTANDING: Billy Bob Thornton in Goloath
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The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
THE streamers, supposedly free of network TV restrictions, have initiated what amounts to their own autumn subscription drive with each attempting to outdo the other in big special event series that also brand the company.
There is Apple TV+’s celebration of the wonder of technology within a declining empire in Isaac Asimov’s Sci-Fi-classic Foundation, and Amazon with a fourth and last season of David E Kelly’s Goliath which rightfully and insightfully attacks the greed and murderousness of drug companies while also nicely tilting the spotlight away from Jeff Bezos and Amazon.
Both however fail to match the splendour of the remake of a network TV sitcom The Wonder Years on the terrestrial channel ABC (owned by Disney and part of its “diverse” family strategy), this time with a black family and set in the revolutionary period of 1968.
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