sex
Thomas H. Green
Three of last year’s finest singles were by Luvcat, a classy-but-naughty Eartha Kitt-style bad girl steeped in burlesque-rock’n’roll spirit. In fact, she’s the wanton basque’n’fishnets persona that, during a decadent sojourn in Paris, possessed the soul of Liverpudlian singer Sophie Morgan.The question is, can she engagingly maintain this wordy, filmic conceit for a whole album? The answer is… yes.First, those singles, all golden and placed in sequence early on this 13-track set. Her debut, “Matador”, is a mariachi nightworld chanson of lust and vengeful rage; “He’s My Man” is a sinister Read more ...
Thomas H. Green
Even in our garish online age, most celebrities and pop stars sensibly obfuscate the details of their private lives.Not so much Lily Allen. She seems to work through her issues by laying it all out there. No tabloid can pull a scoop if you’ve Tweeted everything already (as she did when announcing she’d hired female prostitutes on her Sheezus tour to spike Daily Mail revelations). Her 2018 memoir, My Thoughts Exactly, was eye-wateringly candid. It’s not just the juice she shares, but the way it makes her feel, why she reckons she behaves as she does. Our attention is drawn, but engaging can Read more ...
John Carvill
Can a film’s classic status expire, or be rescinded? If it can, I’d say The Graduate is a potential candidate.Yes, it was formally groundbreaking (within the context of American cinema), and is often read as a metaphor for the clash of generations, the burgeoning freedoms and battles for equality being waged as the 60s reacted against the grey flannel stultification of the 50s. But try watching it back to back with, say, Bonnie and Clyde, and some aspects come across today as surprisingly staid, almost atavistic. Roger Ebert labelled Dustin Hoffman’s Ben Braddock an “insufferable creep Read more ...
Nick Hasted
Love was the Norwegian climax of Dag Johan Haugerud’s Oslo trilogy, the most lovestruck vision of his city and boldest prophesy of how to live there, beyond borders and bonds of sexual identity and shame. Released here between Dreams’ meta-memories of swooning first love and Sex’s look at desire undefined by gender, it also settles in Oslo’s heart.Gay nurse Tor (Tayo Cittadella Jacobsen) and his straight doctor colleague Marianne (Andrea Bræin Hovig) are complementary leads in a film as concerned with female desire as the queer lens Haugerud’s work is conceived through. The set-piece speech, Read more ...
Thomas H. Green
The stage musical update of Mean Girls, and the film adaptation, pushed Reneé Rapp into the public eye. She played queen bitch Regina George. She’s become well-known for her forthright public persona, especially since coming out as a lesbian last year.Her second album, Bite Me, is a glorious celebration of her sexuality; bright, witty pop that’s loudly lesbian and full of vim. The most immediate material is sensually alert, but playful too. There’s plenty of getting it on, much enthusiastic cunnilingus. Notable in the latter department is “Kiss It”, a catchy 4/4 yacht-rock-tinted club bouncer Read more ...
Gary Naylor
The safe transfer of power in post-war Western democracies was once a given. The homely Pickfords Removals van outside Number Ten, a crestfallen now ex-PM and family mooching about, for once trying not to be on camera, it's a tabloid front page cliché. Or the pomp and circumstance on Capitol Hill, cold, crowded and celebratory, a rebuke to the slab-faced gerontocracy, back yet again to survey Moscow’s Red Square parade.Shakespeare knew that such displays concealed dramas both political and personal and poured that knowledge (and a whole lot more) into Hamlet, state and court disintegrating Read more ...
Thomas H. Green
Marina Diamandis is a proper pop star, brilliantly full-on, off on her own thing. The Welsh singer is primarily known for success 10-15 years ago as Marina and the Diamonds, but she’s retained global heft as an album artist, including in the US, where she now lives (she played Coachella this year). Her last album was 2021’s enjoyably unfettered Ancient Dreams in a Modern Land. Princess of Power is even more over-the-top, pushing sex-positive girl-power themes further. It’s a welcome counterpoint to contemporary trip-hop-ish “sad girl pop”.Marina 2025 is, perhaps, best summed up by the Read more ...
Kathryn Reilly
Given that Prioritise Pleasure was Rebecca Lucy Taylor’s (RLT) Back to Black, and that there’s been a lengthy wait for this new release, it’s no wonder that there’s so much anticipation around A Complicated Woman. Add to the mix her frankly jaw-dropping performance alongside Jake Shears in Cabaret in the West End, and you might be forgiven for expecting big changes. But Self Esteem knows a winning formula when she’s on to one. The reprise of perhaps her most popular piece, “I Do This All the Time” in the form of “I Do and I Don’t Care” begins with that same Read more ...
Gary Naylor
A single sofa is all we have on stage to attract our eye - the signifier of intimate family evenings, chummy breakfast TV and, more recently, Graham Norton’s bonhomie. Until you catch proper sight of the room’s walls that is, which are not, as you first thought, Duluxed in a bland magnolia shade, nor even panelled with upmarket modernist abstract paintings, befitting of the whiff of wealth that suffuses the space. It’s a man’s head, repeating and repeating and repeating, turned away, bull-necked, present but not present, intimidating from beyond the grave. I was in the stalls and I felt it! Read more ...
Gary Naylor
It’s a greater accolade than a Nobel Prize for Literature – one’s very own adjective. There’s a select few: Shakespearean; Dickensian and Pinteresque. Add to that list, Wildean. That’s all the more remarkable in the light of Oscar Wilde’s personal ruin in the years leading up to his death, aged 46, ostracised from London, self-exiled in Paris. And that reputational recovery is no recent occurrence, no reclaiming of a martyred icon in these more enlightened times (though it is), but predates the remarkable social changes of the last two decades. Wilde’s rehabilitation rested solely on the Read more ...
Gary Naylor
“Don’t put your co-artistic director on the stage, Mrs Harvey,” as Noel Coward once (almost) sang. Tamara Harvey took no heed and Edward II sees her RSC compadre, Daniel Evans (pictured below, kneeling centre), back on stage after 14 years and in the title role to boot. In Daniel Raggett’s stripped back, helter-skelter, 100 minutes version of Christopher Marlowe’s sex, power and violence fest, Evans has certainly jumped in at the deep end (literally so at one point, which you won’t miss!). The noblemen of England disapprove of the king’s flamboyant "friend", Gaveston (Eloka Ivo, blessed Read more ...
Helen Hawkins
The return of Mike White’s hit series can be celebrated for one major reason: its extraordinary music. That may sound like a minor reason, but this third iteration of the show confirms that the show's sound world is key to its success.Composer Cristobal Tapia de Veer has, in each season, created uniquely bewitching sounds that are variously sinister, playful and melodramatic. Inventively using pan pipes and flutes plus a menagerie of feral noises and vocals, fleshed out with synthesizers, this audio backdrop mirror the location, its fauna as well as its musical traditions. Over the opening Read more ...