Artist rose to prominence in 2018 by painting his eponymous tag in public spots across southern England
The street artist Helch, known for murals and tags across England, has died, his gallery has said.
He rose to prominence in 2018 by painting his eponymous tag in capital letters across a string of public spots in London as well as bridges on the M4, M1 and M25.
Jesse Tyler Ferguson and Eric Stonestreet proved that opposites really do attract in the smash hit sitcom. But beyond the bickering and and pranks, there was a romance so special that it changed many fans’ lives
Opposites attract. And spend most of their time arguing. But the love between Cameron and Mitchell Tucker-Pritchett remained strong throughout the 11 years of Modern Family.
The two met at a games night when Mitch rolled his eyes every time Cam “got a little boisterous”. They married in two of the most romantic and near-disastrous TV episodes in living memory and raised two adopted children, Lily and Rexford. Being a groundbreaking gay TV couple came at a price: critics wanted more PDAs and less fighting, but Cam and Mitch’s love shone bright.
Artist rose to prominence in 2018 by painting his eponymous tag in public spots across southern England
The street artist Helch, known for murals and tags across England, has died, his gallery has said.
He rose to prominence in 2018 by painting his eponymous tag in capital letters across a string of public spots in London as well as bridges on the M4, M1 and M25.
As The Story – inspired by a scandal that ended a young Black reporter’s career – makes its London debut, its author explains why, two decades on, it’s more relevant than ever
If our ability to discern fake news from fact is a hot topic today, Tracey Scott Wilson was on to it more than two decades ago. As a child, the playwright’s father trained her to watch the news every night and discuss it with her three siblings. It meant that she was well placed in the early 00s to spot how stations such as Fox News were veering away from objective reporting to become angled towards a given agenda.
By this point a real-life story had been percolating in Wilson’s mind for more than two decades: in 1981, Janet Cooke, a young, ambitious Black American reporter at The Washington Post, had been exposed as a liar. Cooke had just won the Pulitzer prize for her news story about an eight-year-old drug addict, which turned out to be invented. Cooke was discredited, both for her reporting and for embellishing her CV, and was forced to hand back her prize two days after receiving it.
American Scoundrel tells story of McCarthy attack dog, mob lawyer and Trump mentor – will the president be thumbing its pages?
Kai Bird and Susan Goldmark have written a book Trumpworld doesn’t want you to read. Published on Tuesday, American Scoundrel is a propulsive, horrifying biography of Roy Cohn, the New York mob lawyer whose extraordinary life charted, as the book’s subtitle has it, a “Dark Journey from Joe McCarthy to Donald Trump”.
“I told my publicist to reach out to any of the Fox News hosts and reporters, to Joe Rogan, Steve Bannon,” Bird said. “We haven’t gotten a peep, other than Joe Rogan. He said he looked at the galleys, and he got back to my publicist and said, ‘I’m not interested.’ I’m kind of surprised. This is a serious biography of the president’s mentor, whom he publicly admires and says he still misses.”
In Netflix film Turning Point: Generation 9/11, the lives of people forever impacted by the terrorist attack on 2002 are explored
Twenty-five years on, memory is giving way to history. Soon the US will cross the point where half its population were born after 11 September 2001 or were too young to remember the day that terrorists crashed planes into the World Trade Center in New York, the Pentagon in northern Virginia and a field in Shanksville, Pennsylvania.
“When I do that math, I get to the bomb at Hiroshima – that’s how distant it is,” says Brian Knappenberger, 56, director of a new Netflix documentary, Turning Point: Generation 9/11. “When we talk about the second world war, for our generation it seemed like a long time ago but, for the current generation of 20-year-olds, that’s how long ago it was.”
From Waxahatchee and Florry in the US to Brown Horse and Little Grandad in the UK, a wave of young songwriters are reinvigorating the subgenre’s earnest emotion and twang
‘It’s so important to talk about this before it’s gone,” says Francie Medosch, singer, guitarist and songwriter of the band Florry, “because it’s really a flash in the pan.” The flash she means is a brief moment where it feels as though on both sides of the Atlantic, scores of exciting indie bands are playing something that, without slavish copying, has plainly drawn inspiration from alt-country, the music that emerged in the US in the late 1980s and early 90s, when former punks such as Uncle Tupelo – featuring future Wilco co-founder Jeff Tweedy – and the Bottle Rockets picked up picked up fiddles, banjos and acoustic guitars.
In the UK, Brown Horse and Vegas Water Taxi have the weeping pedal steel, in the former case tied to something very heartland and in the latter paired with a very English indie sensibility. Westside Cowboy and Little Grandad both borrow from the spiky rootsiness of early Wilco, while Wyatt play slacker country rock. Over in the US, where there’s always going to be more of this sort of thing, you can point to the current indie-rock holy trinity of Waxahatchee, Wednesday and MJ Lenderman, plus Florry, Ratboys, Thomas Dollbaum, Fust, SG Goodman, Lily Seabird, Ryan Davis and the Roadhouse Band and more.
It was a bumper season for Hollywood, almost back to pre-pandemic levels, with Tom Holland blockbusters winning out, but there was still a string of disappointments
As the world continued to burn and temperatures reached worrying highs, most of us decided to take refuge in the cinema this summer. It provided some relief for audiences, but even more so for the industry at large, with the season pushing past the magic $4bn mark to become the biggest since 2019, up 20% from last year. There were the expected hits (Spider-Man never misses), but there were also unprecedented breakouts (we were obsessed with Obsession) and surprise underperformers (are kids Minions-ed out?)
So at the end of a season with epic highs and cavernous lows, what lessons can Hollywood learn?
Last month, Microsoft’s gaming division told its workforce it was cutting 3,200 jobs, which some say will have big ramifications for game development – as well as taking a huge personal toll
On the morning of 6 July, an email went out from Asha Sharma, the chief executive of Xbox, to all of the division’s employees around the world. Under the headline “Resetting Xbox”, it announced the most significant restructuring in the history of Microsoft’s console business: 3,200 staff would be laid off throughout the financial year to 2027, and 1,600 of those roles would be eliminated immediately.
An hour later, at studios throughout company, the Teams meeting invites started arriving. “It was a virtual call with our studio manager,” says Anne Barrett, who was laid off from Bethesda Game Studios Austin. “All of our cameras and microphones were turned off so we weren’t able to say anything or react to anything. We were just brought in, told the news and it was like: ‘You guys are going to lose access to your Slack channel.’ So you saw a flurry of goodbye messages before everything was just shut off.”
A grieving couple who have lost their son find a way to a mirror universe where time runs backwards – but the narrative machinery is shonky and distracting
There is something farcical – grotesque, even – about life played in reverse. A child falling into a tree. A sandwich emerging from a mouth, bite by reconstituted bite. A doctor unstitching a wound. The world is strange in any order, but rewind helps us notice – makes the ordinary absurd.
Novels that pick a fight with forward momentum tend to harness this absurdity, revel in it. In The Cockroach (2019), Ian McEwan gives us a sneering Brexit fable about political nostalgia. If voters want to turn back the clock, let them. He unleashes “Economic Reversalism”, which sees employees pay for the privilege of work, and every pound sent back to where it came from. In Time’s Arrow (1991), Martin Amis inverts the Holocaust. Just imagine it, he dares us: a network of sanatoriums instead of death camps. A vast machinery of reparation run by benevolent Nazis. How monstrously laughable.
Iko Uwais directs and acts in the story of a band of elite soldiers who must rescue a group of researchers taken captive in the jungle
Can an elite team of soldiers rescue a band of innocent hostages from a bunch of mean old terrorists? Yes, probably, since there are few (if any) action movies in which the hostages are wiped out and the terrorists win. Not to be confused with the Extraction action franchise starring Chris Hemsworth as a mercenary named Tyler, nor with action thriller Escape Plan: The Extractors, starring Dave Bautista as a prison security expert named Trent, this is an Indonesian action thriller in which actor/director Iko Uwais plays a soldier named Timur. The film was actually called Timur originally, but there’s no denying that The Extractor is a more commercial title (unless you are particularly interested in the medieval Mongol khanates) and will attract more viewers to this tale of hostages, heroes and long-ago childhood friends.
In some ways, though, the rebrand is a shame, because the new title suggests the film is more generic than it is. While the basic plot, in which a bunch of researchers are taken hostage in the jungle by an armed group of wrong ’uns, is hardly unique, there are sequences in the film that stand out from the direct-to-video action content mill. In Indonesia, timur means “east”, where the sun rises, and it carries the connotation of hopefulness. That softer feeling in the original title is a key part of the film’s identity, which includes sentimental flashbacks to the childhoods of various characters whose lives have taken tragically different paths. (Can you imagine a world in which a terrorist and a soldier knew each other as children? The Extractor can.)
Christine Edzard’s The Man With the Plan tours the country with a timely message about tackling want, disease, squalor, idleness and ignorance
A new film that addresses issues fundamental to the new prime minister’s declared mission will star Simon Callow as a historical British political figure.
The hero of The Man With the Plan is William Beveridge, who helped to lay the foundations of the postwar welfare state. It shows that the Liberal peer was much more radical than is usually assumed – and certainly far more so than Churchill anticipated when he asked Beveridge to draw up a report into the future of Britain’s fragmented social insurance and national health system after the second world war.
Author and Kentucky native, who celebrated the farming world of his home state and warned of the excesses of industrial society, died at home
Wendell Berry, the Kentucky-born author and agrarian whose poems, stories, novels and essays celebrated the farming communities of his native state and warned of the excesses and misjudgments of an industrial, commercialized society, has died aged 92.
His daughter, Mary Berry, confirmed on Monday that he died in his home in Port Royal, Kentucky.
She spent the biggest moment of her career at the Paris Olympics thrashing around like a toddler having a tantrum – then went viral globally. Now, a new Netflix film reveals how the much-mocked breakdancer got over it
Netflix’s Untold is ostensibly a series of sports documentaries. However, since its inception five years ago, it has been most successful when sport collides with the wider celebrity machine. There have been films about Caitlyn Jenner, Jake Paul and Vinnie Jones. The gold tends to come when the subjects spill over into public notoriety. With that in mind, it was only a matter of time before they made a film about Raygun.
You may remember Raygun as the Australian breakdancer who spent the biggest moment of her career at the Paris Olympics thrashing around like a toddler having a tantrum in a supermarket. If you didn’t see her routine, you will almost certainly be aware of the memes she inspired. Adele discussed her during a concert. Rachel Dratch did an impersonation of her on Jimmy Fallon. For months, Raygun was everywhere. As this film demonstrates, she really didn’t want to be.
John Fabiano has travelled the globe photographing dogs with jobs – from Italian truffle sniffers and Greenlandic sled dogs to Perla the hotel receptionist in Cologne
This exhaustive biography of the Booker winner brings her properly out of the shadows for the first time
‘Dr Weiss, at forty, knew that her life had been ruined by literature.” The first fictional sentence Anita Brookner ever published, aged 53, in A Start in Life, certainly set a tone. If people have heard of Brookner today, Hermione Lee says, they imagine a lonely, cardiganed woman yearning for an absent lover. “This,” says Lee (an emeritus English professor at the University of Oxford), “won’t do.”
The cardiganed image confuses the author with her protagonists. Of 24 novels written across 30 years, only the first four – A Start in Life, Providence, Look at Me and Hotel du Lac – are about a single woman pining for love. There is certainly a “Brooknerian” style, characterised by elegance, restraint and melancholia, but her fiction engaged with our emotional lives broadly, examining family, exile, home, trauma, ageing and much more.
Beckett’s masterpiece is given a postmodern cinema slant, with characters in different locations, music and humour in a free and fanciful interpretation
Remember remixes? Where you take a song and swap out parts of it with new or pre-existing material, changing it just enough to be still recognisable? Argentinean director Alejo Moguillansky applies this quintessentially postmodern aesthetic to film with a funky cinematic remix, or even series of remixes, of Samuel Beckett’s one-act play Fin de Partie, AKA Endgame. The result feels a little retro and possibly a bit too pleased with its own cleverness, and the spoonerist title is juvenile. But in the end this really achieves something with both the source material and the remix that’s fresh, pleasingly provocative, and at times moving.
Beckett’s 1957 absurdist masterwork has just four characters on stage throughout, two of whom do most of the talking: cantankerous blind, disabled Hamm banters with his servant/slave Clov, while Hamm’s parents, Nagg and Nell, live in dustbins upstage and talk rather less. There’s an air of apocalyptic doom, much talk of drugs, food and, above all, time running out.
He was Queen’s flamboyant frontman. She was his shy girlfriend, dreaming of marriage until they both realised he preferred men. Thirty-five years after his death, in the week he would have turned 80, Mary Austin talks about their unbreakable bond
There were four silver trunks in Mary Austin’s attic that she packed in the mid-1980s and hadn’t opened since. It was too painful. Almost 40 years on, in 2022, she opened one. It was crammed with lyrics from songs written by Freddie Mercury – Don’t Stop Me Now, Killer Queen, We Are the Champions and, of course, Bohemian Rhapsody. She shut the case. It was still too painful.
“To say I was overwhelmed is an understatement,” she says. “I couldn’t look at the lyrics. I felt as I did when I originally packed them – that they were his personal belongings and I was being offered an opportunity to delve into them, and I couldn’t do that.” Eventually she asked her two sons to sift through the treasures on her behalf.
The most anticipated exhibition of the year centres on an embroidered epic of war and conquest that miraculously preserves an intimate window on the Norman invasion of Britain in 1066. Yet, you may find yourself simply fascinated by the artistry of the Anglo-Saxon women who used coloured wool to depict billowing sails, charging horses and King Harold’s spectacular moustache. Jonathan Jones
• British Museum, London, 10 September to 11 July
The last time she displayed a sculpture in public in Britain, someone covered it in white paint. But, undeterred, the acclaimed artist is a placing a black woman in Trafalgar Square
Tschabalala Self is relentlessly positive and unstoppably optimistic. The US artist is waiting for the unveiling of Lady in Blue, her new sculpture for the fourth plinth in Trafalgar Square, London, a towering, colourful painted bronze of a black woman striding (positively, optimistically) into the future. Self seems resolutely hopeful about the work, which is pretty impressive considering what happened to her last public sculpture in the UK. “Yeah,” she says, speaking from her home in upstate New York. “I mean, that was a completely racist act.”
In 2022, Self unveiled Seated at Coal Drops Yard in King’s Cross, London. Like Lady in Blue, it was a vast, brightly painted bronze depiction of a black woman, this time seated demurely on a chair. After being shown at Coal Drops Yard without incident, it was moved to the De La Warr Pavilion in Bexhill-on-Sea, where the reception wasn’t quite as warm. “Within the first week,” says Self, “it was spraypainted white, but only on the skin of the sculpture.” As vandalism goes, it doesn’t get much more pointed, or racist. “The first feeling I had was just pain that my sculpture had been harmed. That someone had enacted violence on an object I had imbued with love and affection.”
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