It’s taken me years to face up to the fact that, as Neil Finn so eloquently put it, everywhere you go, you always take the weather with you. Your own emotional weather.
While I understand the impulse to watch a show about otters and dry stone walling, I can’t understand the success of Countryfile at all. It’s so awful: so cheesy and laboured.
A grim chase narrative, set in the Lake District at the turn of the 20th century, in which two characters known as the Priest and the Poacher pursue a speechless runaway and her stolen baby across the unforgiving landscape.
What Does It Mean to Be Gay Today? asks Julie Bindel in the subtitle of her new book. For me, it means enduring endless dull and pukey nights out on the scene, says Eleanor Margolis.
Leo Robson reviews three new works concerned with banned literature.
Despite its occasional longeurs and lapses of logic, post-global-freeze thriller Snowpiercer is an intoxicating mishmash of stunts and ideas which deserves to be seen in UK cinemas.
Anthems for doomed youth.
John Bew reviews The Deluge: the Great War and the Remaking of Global Order by Adam Tooze.
Claire Lowdon reviews Your Fathers, Where Are They? And the Prophets, Do They Live Forever? by Dave Eggers.
A new exhibition telling the story of the discovery of Tutankhamun’s tomb at the Ashmolean is briliant on “Tutmania”, but fails to explore the Egyptians’ attitudes.
John Dolan spent almost two decades in the “revolving door” between homelessness and prison. That changed when he adopted George in 2009.
A new report uncovers the gender imbalance in the film industry, made worse by the issue of class.
American banker J P Morgan argued that a company’s top brass should never earn more than 20 times what those at the bottom do. Such a ratio now sounds laughably idealistic.
The reason I’m so excited David Mitchell is writing on Twitter is that he’s one of the few authors who really understands how the medium, as well as the message, makes the story.