Published in The Independent December 27, 2018
Part two of BBC1’s new Poirot mini-series confirms Sarah Phelps as a very fine adaptor of Agatha Christie: like her previous Christmastime offerings And Then There Were None and The Witness for the Prosecution, The ABC Murders is developing into a moody thriller that’s far from cosy teatime viewing.
Continue reading “Review: The ABC Murders”
The day I meet Jessica Barden, the first image at the top of her Instagram is a black and white photograph of Harold Pinter captioned “Bae. Harold.” Beneath that, young fans tell her how much they love her Netflix series The End of The F***ing World (TEOTFW). Continue reading “Jessica Barden on Pinter and the return of ‘The End of the F***ing World’”
When you think of LSD, a very specific aesthetic probably leaps to mind: the psychedelic pink-and-orange swirls of the 60s; naked people with flowers in their hair; the shimmer of a sitar. After its psychedelic properties were accidentally discovered in the lab by Albert Hofmann in 1943, the drug was banned in the UK in 1966. LSD is still most strongly associated with hippies who embraced its mind-expanding properties. Continue reading “How LSD influenced Western culture”
Christian Marclay’s video installation “The Clock” is functional: The 24-hour montage of film and TV clips featuring clocks and watches actually tells the time. I spent a day and night at the Tate Modern watching it for the New York Times; read the full feature here
In 1968, The Beatles got in a yellow submarine and sailed away to the sea of green – on screen at least – in an animated caper designed to fulfil their three-picture contract for United Artists, without much effort on their part. Continue reading “Why The Beatles’ Yellow Submarine is a trippy cult classic”
The big advantage, traditionally, of filmed Shakespeare is intimacy: with no need to project, your Iago can whisper, your Hamlet can murmur. But this starrily-cast, modern day version by Richard Eyre for the BBC and Amazon rarely takes advantage of this.
Continue reading “Review: King Lear, BBC”
Andrew Scott, 41, was born and raised in Dublin. Recently seen in the BBC adaptation of King Lear, he is best known for playing Moriarty in Sherlock, and for starring in Robert Icke’s production of Hamlet, which transferred from the Almeida to the West End last year. In 2008, Simon Stephens wrote Sea Wall – a monologue about grief – for Scott; it is being revived as part of the Old Vic’s bicentenary celebrations. Continue reading “Andrew Scott: ‘There was no Hamlet rivalry with Benedict Cumberbatch’”
I interviewed Billie Piper for The New York Times, on Yerma transferring to Broadway, her youthful career as a pop star, her time in Doctor Who and her new writing projects. See the full profile here.
From council estate to outer space: Michaela Coel’s career is going stratospheric. You’ll know her as the writer and star of the adorably filthy, funny, London-set comedy Chewing Gum, a sleeper hit for Channel 4 that went worldwide after being picked up by Netflix. But the 30-year-old is next to be seen in the new series of Charlie Brooker’s Black Mirror. Continue reading “Michaela Coel on her Black Mirror episode & future of Chewing Gum”
I reviewed W. Sydney Robinson’s biography of Ronald Harwood for the TLS – take a look here.