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Helen Lewis is a former deputy editor of the New Statesman, who is now a staff writer on the Atlantic. She is the author of Difficult Women: A History of Feminism in 11 Fights (Jonathan Cape).
It would take a heart of stone not to laugh at the downfall of Dominic Cummings. The eye test! The “Nasa-style control room”!
In her new collection Mantel Pieces, Hilary Mantel’s critical voice is superior, unkind – and deeply enjoyable.
Why gaslighting is not so much about outright lies but obfuscation and sleight-of-hand.
There is no separating the artist and the art in Tom Stoppard’s Leopoldstadt, which draws directly on his life as a refugee from Nazism for its plot.
Set in 1759, this play is messy, ambitious and genre-bending.
Neither Boris Johnson nor Jeremy Corbyn deserves to win the general election.
Plus: The Old Vic’s Lungs.
The man behind Brass Eye and Four Lions tells Helen Lewis about the confected terrorism plots that inspired his new film.
Two new plays, at the Old Vic and the National Theatre, both have incredible assets – but their set designs are on the one hand too bland, on the other too busy.
In this Idris Elba-inspired play, the dialogue is sparse, the characters are sketchy, and the celebratory ending feels unearned and trite.