Arts Reviews

During the 1964 debut of Carolee Schneemann’s ‘Meat Joy’ in Paris, a man in the audience tried to throttle the artist before being hauled off by three female spectators. Schneemann’s performance, an ‘exuberant sensory celebration of flesh’, involved semi-naked dancers tangling and grappling while bits of chicken, raw fish and hot dogs rained from above and buckets of paint sloshed underfoot. Since her expulsion from Bard College ten years earlier for the ‘moral turpitude’ of painting herself in the nude, Schneemann had made a name for getting naked while persisting in calling herself a painter – a claim that was just about tenable in the case of ‘Meat Joy’, less

Gratingly edgy soundtrack, stomach-churning gore, torture, witchcraft, sadism and an indigestible title. The Bastard Son & The Devil Himself sounds exactly the sort of series most of us would wish to avoid. It’s aimed at young adults (based on a trilogy by Sally Green called Half Bad) and the only reason I was keen to give it a try was that it has been freely adapted by Joe Barton. For my money, Barton is – along with Jesse Succession Armstrong – the most exciting and original screenwriter currently working in TV. His scripts (Giri/Haji; The Lazarus Project) are so engaging, pacy, witty, charming and weirdly unannoying that I bet whatever

The screw may twist and the rack may turn: the Tower of London, in Jo Davies’s new production of The Yeomen of the Guard, is a dark place indeed, and that’s as it should be. ‘Men may bleed and men may burn,’ intones Dame Carruthers, as she delivers a magic lantern show about the history of the Tower, complete with colour slides of famous beheadings. In The Mikado Gilbert uses capital punishment as a particularly spiky punchline, but in The Yeomen of the Guard, sentence of death has been passed before the curtain has even risen. The shadows are lengthening from the off, and even Sullivan’s cheeriest melodies have a

Elizabeth the First is a ten-part American podcast series that isn’t about Elizabeth I at all. The assumption of its producers seems to be that the Tudor monarch was all right – a bit of a trailblazer, one might say – but not really worthy of her title. The real ‘Elizabeth the First’ was actually Elizabeth Taylor. The series aims to present the actress as the first ‘influencer’ the world has ever known, even though poor old Taylor didn’t even know what Instagram was. Taylor did, however, court the media before the word ‘social’ was attached to it. And she didn’t need to take selfies because people were always shoving

Sunday’s SAS Rogue Heroes – about the founding of perhaps Britain’s most famous regiment – began with a revealing variation on the usual caption in fact-based dramas about how everything in them really happened, except the things that didn’t. ‘The events depicted which seem most unbelievable,’ it read, ‘are mostly true.’ And from there the same sense of somewhat incredulous, head-shaking admiration for its subjects remained. The unexpected result was a 2022 BBC drama that took an unashamedly gung-ho approach to macho heroism – and that, give or take a spot of swearing and heavy-metal music, didn’t feel very different in tone from those classic British second world war films

King Hamlin is a shock-horror drama about gang crime in London. Hamlin, aged 17, has left school without learning any useful facts or skills. He even lacks a shirt to wear so he shows up for a job interview looking like a vagrant and starts to swear at his future boss. No work for him. He dreams of studying computer software but he doesn’t own a laptop and seems incapable of getting one. His life is devoid of functioning adults. There’s no teacher, relative, or competent older friend to advise him. No father, of course. His poor dad was knifed to death because he was ‘too good for the hood’.