The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
In the centre of the new exhibition Sculpture Victorious at Tate Britain there is a huge white elephant. The beast is not, I should add, entirely colourless. On the contrary, it has a howdah richly decorated in gold and green, and numerous trappings, and tassels covering its pale grey hide. Its whiteness is entirely proverbial.
It’ll be a Skype interview, says the producer from Greek television, and not live. In TV-speak that usually means not urgent and not important, but I’ve become vaguely interesting to Greeks because of the ‘Moscovici draft’ — a doomed attempt to resolve the crisis, leaked to me amid denials of its existence. The interview goes
Go on, admit it, you laughed, didn’t you? When Madonna was yanked off the stage by a dancer pulling her cloak during her finale performance at the Brit Awards, you gasped in horror for one brief moment and then… you laughed out loud. Then you pressed ‘rewind’ and watched it again. And then once more for
A place to see the little things between the monuments and tombs. As in the chapel of St Gabriel, a pencil. Here they are, behind the obvious. Next to the chapter house, a cupboard with a bowl, four toilet rolls. How small things quietly wait, make us forgivable. Inside the vestry, just inside the door,
They’re doing fantastic deals on five-star hotels in St Petersburg the weekend the Francis Bacon exhibition opens at the Hermitage. With tensions between Russia and the west at their highest since the Cold War, ‘no one’, I’m told, wants to come here. No one, that is, except large numbers of elderly but well-heeled people from
Stateside critics, who panned Jennifer Lopez’s new film The Boy Next Door on its US release last month, may be unaware of the ability of the British to enjoy a film so bad it’s almost good. I suspect many Brits will shamefacedly delight in this so-called erotic thriller’s camp silliness, its truly dreadful script and
Torben Betts is much admired by his near-namesake Quentin Letts for socking it to London trendies. Letts is one of the few individuals who enjoys the twin blessings of a Critics’ Circle membership card and a functioning brain so his views deserve serious attention. The title of Betts’s 2012 play Muswell Hill shifts its target
Funny how things turn upside-down with time. A work of contemporary dance that made an iconoclastic splash decades ago is revived today, exactly as it was, as if it were a museum piece. Yet more long-standing dance traditions — such as flamenco and circus — are constantly being remodelled. The contemporary work is that legendary
Is there a more beautiful aria than ‘O mio babbino caro’ from Puccini’s Gianni Schicchi? There are more overwhelming moments in opera, to be sure, but few arias can rival it for the way its beauty kicks you in the back of the knees; its gentle rocking motion causes your shoulders to slump while the
Great works of art may have a strange afterlife. Deracinated from the world that created them they are at the mercy of what people think is important centuries later. Nothing shows this more clearly than the contribution that Tallis’s ‘Spem in alium’ has made to Fifty Shades of Grey. In case you are none the
Sky1’s new hospital drama Critical (Tuesday) can’t be accused of making a timid start. Within seconds, an urgent request had come over the loudspeaker system for ‘the trauma corps’ to head to the emergency department, causing the main members of the cast to sprint down various corridors at impressive speed. Meanwhile, a patient was briskly
No phrase is better calculated to tense the neck muscles of a regular podcast listener than ‘We have something special for you now.’ Having your radio shows downloaded to your phone, music player or computer, rather than plucked out of the air the old-fashioned way, immediately grants the listener a great deal of extra freedom:
These sprightly flowers are no cowards. They poke forth sun seeking heads, proudly proclaim when earth remains clenched in winter’s pale dead. See, before you rise to your day, these shattering yellows hold sway, say something we cannot, or have forgotten, in garden, park and verge, believe, before there is proof, of what will come,
Nicholas Carr has a bee in his bonnet, and given his susceptibilities this might well be a cybernetic insect, cunningly constructed by a giant tech company with the express purpose of irritating him — a likely culprit might be the Tyrell Corporation in Ridley Scott’s future-dystopic film Blade Runner. In 2012 Carr — whose name
The first Marquess of Dufferin and Ava is largely forgotten today — rotten luck for the great diplomat of the Victorian age. In the second half of the 19th century, Dufferin zoomed around the empire, hoovering up the sweetest plums in the diplomatic service: Governor-General of Canada, ambassador to the courts of Russia, Turkey and
Duncan Neville is an unlikely hero for a novel. Approaching 50, divorced and the butt of his teenage son Jamie’s utter contempt, Duncan is also the eloquent yet mild-mannered editor of the Francombe Mercury, a local newspaper on its last legs. Francombe too has seen better days, not least since its pier burnt down in
One day in 2011, while perusing her bookshelves, Ann Morgan realised her reading habits were (to her surprise) somewhat parochial. No worse than most English-language readers’, perhaps, but still with dramatic, unnecessary bias towards the Anglophone, with only Freud and a single battered Madame Bovary representing the other 90-odd per cent of the global population.
If you’d been asked at the beginning of the year whose new novel would feature ogres, pixies and a she-dragon called Querig, I suspect you might have taken a while to guess that the answer was Kazuo Ishiguro. Admittedly, since his career-establishing 1980s triumphs with An Artist of the Floating World and The Remains of
For 30 years Kim Gordon was one half of a cool couple in a cool band. With her husband Thurston Moore she formed Sonic Youth, who sprang partly from the New York art world and partly from the post-punk No Wave music scene. Idealised and romanticised by their fans, they seemed to represent a radical
I’ve got a mathematical problem. Birth of a Theorem is by one of the great geniuses of today, a cosmopolitan, liberal-minded man who helps his wife look after their children, likes big-hearted folk songs, welcomes diversity and wears the same jewellery as I do. But as a contribution to the genre of popular maths, the
Wolfsnow is a dangerous blizzard at sea; slogger the sucking sound made by waves against a ship’s sides; ammil the sparkle of morning sunlight through hoar-frost; af’rug the reflection of a wave after it has struck the shore; blinter is a cold dazzle; sutering the cranky action of a rising heron; èit, a Gaelic word,
The third series of the American adaptation of House of Cards, which stars Kevin Spacey, will see the programme go in a different direction to the political trilogy on which it is based. Despite this, the House of Cards author Lord Dobbs is confident that he will be happier with the end product than he
Birdman soared past longtime favourite Boyhood at the 87th Academy Awards, as Alejandro González Iñárritu’s hilarious Hollywood satire unexpectedly took both of the top prizes – best picture and director – and joint top number of awards overall, in a slightly awkward ceremony where many of the host’s razor-edged jokes drew clear disapproval from the
From ‘Pitfalls in Bookland’, The Spectator, 20 February 1915: EVERY bookman knows that the taste for buying books inevitably outruns the capacity for reading them. At first a man buys a book only when he wants it vehemently—when he is so anxious to enjoy it that he despatches the preface while he is waiting for
It is the end of an era — the Royal Ballet’s extravagant Fabergé-egg Swan Lake production by Anthony Dowell is on its last legs. When this 28-year-old production finishes the current run on 9 April, that will be it for one of the most controversial classical productions of the past half-century. It’s the one set
The artist Malcolm Morley once fantasised about a magazine that would be devoted to the practice of painting just as some publications are to — say — cricket. It would be filled with articles extolling feats of the brush, rather than the bat. ‘Well painted, sir!’ the contributors would exclaim at an especially brilliant display
It hangs, a mobile in the stairwell, always in motion however slight. Each silver scale as it sparkles there a neighbourly lodestar guiding us home to where we shall meet for ever in friendship beyond the darkness of your loss. Nothing you made that did not shine, nothing you dreamed can leave us now. And
Hold the front page! Spitting Image is back! Well, sort of. A new six-part series, from (some of) the team behind Fluck and Law’s puppetry satire show, will be broadcast on ITV this spring. Called Newzoids, it promises to provide a ‘biting look at the world of politics and celebrity’. Cue ecstatic reports in all
Just three months into Ukip’s shock victory as the party of government and already Nigel Farage’s mob are starting to show their true colours: morris dancing has been made compulsory for every able-bodied male between the age of 30 and 85; in ruthlessly enforced union flag street parties, brown-skinned people are made to show their