MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
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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