Anna Leszkiewicz is the New Statesman's deputy culture editor.
The streaming service is trying out the Hallmark strategy – pumping out intentionally average festive films in absurdly high quantities.
The unlikely rise of the bestselling children’s author.
What the rising trend of violent mothers tells us about our disdain for women.
The show reveals, to moving effect, how humans rely on dogs for more than just companionship.
But the first series of Clique managed to pull off its mix of social commentary.
JK Rowling’s latest film includes new plot details that change the events of the original seven books. Warning: contains spoilers.
Don’t be duped by anyone selling Outlaw King as earnest political drama: it’s silly, over the top and absurd.
He’s undergone a hideous transformation. Oh, and also, he’s a detective. Didn’t you see the deerstalker perched inexplicably on his remarkably flat head?
Guy Gunaratne on his Goldsmiths Prize-shortlisted novel In Our Mad And Furious City, “authenticity” in fiction, and why you can’t write about London today without understanding how the city sounds.
At times thematically heavy-handed, but nevertheless atmospheric, the film’s scaffolding is its three expansive central performances.
