Big names from Leonardo DiCaprio to Timothée Chalamet are aiming for a win at Hollywood’s most important Oscars precursor
Hollywood’s A-list will assemble this weekend for the 83rd Golden Globes ceremony, a night that will reveal where this year’s Oscars race is headed.
Stars including Leonardo DiCaprio, Timothée Chalamet, Jennifer Lawrence, Emma Stone, Michael B Jordan and Ariana Grande are among those nominated for film awards while small screen nominees include Helen Mirren, Jenna Ortega, Jude Law and Glen Powell.
The author on the trouble with the Brönte novels, what she gained from reading John Updike and Martin Amis – and the brilliance of Barbara Pym
My earliest reading memory
Swallowdale by Arthur Ransome, aged seven. I didn’t learn to read in the first years of school and became entrenched in illiteracy until my grandmother, a retired primary school teacher, intervened. I loved the Swallows and Amazons series, and especially Swallowdale in which a shipwreck is redeemed and the adults provide exactly the right support when the children mess up.
My favourite book growing up
The Little House on the Prairie series by Laura Ingalls Wilder, whose politics I now find obviously objectionable. I often tell students that what you don’t get is what gets you, and I’m sure the obsession with rugged independence and the repression of foundational violence did me no good, but I liked the landscapes and the combination of domesticity and adventure.
From cosy museums and tropical islands to nightmarishly difficult adventures – and revamps of favourites including Mario Kart and Pokémon – there’s something for everyone
Nintendo’s newest console has been out for a less than a year but it already boasts an impressive catalogue of excellent new games, as well as a variety of enhanced Switch greats. Here’s our selection of the 15 best titles currently on offer, ranging from family favourites to grittier, more adult challenges.
Ce vendredi, le périphérique parisien bloqué par des tracteurs de la Confédération paysanne. Des blocages routiers sont aussi en cours en régions et à l’étranger, notamment contre le traité Mercosur.
Ce vendredi, le périphérique parisien bloqué par des tracteurs de la Confédération paysanne. Des blocages routiers sont aussi en cours en régions et à l’étranger, notamment contre le traité Mercosur.
Quelques mois après une saison 2 en demi-teinte, Mercredi devrait revenir sur nos écrans pour une saison 3, déjà commandée par Netflix. Mais les fans devront s'armer de beaucoup de patience pour découvrir la suite de leur série préférée.
Cela fait 2 770 jours que The Elder Scrolls 6 a été annoncé, et les fans n’ont toujours rien à se mettre sous la dent. Aucune image, aucun détail, même pas un titre officiel. Rien. Alors, quand une nouvelle tombe sans prévenir, aussi insignifiante soit-elle, c’est un peu comme une goutte d’eau dans le désert pour une communauté assoiffée d’informations.
(Self-released) The Beirut-born producer’s masterly second album revels in dark tension to cinematic effect, finding beauty in ruinous sound
Arabic electronic experimentalism is thriving. In recent years, diaspora artists such as Egyptian producer Abdullah Miniawy, singer Nadah El Shazly and Lebanese singer-songwriter Mayssa Jallad have each released records that combine the Arabic musical tradition of maqam and its slippery melodies with granular electronic sound design, rumbling bass and metallic drum programming to create a dramatic new proposition.
Beirut-born and Amsterdam-based composer Toni Geitani is the latest to contribute to this growing scene with his masterfully produced second album Wahj (“radiance” in Arabic). Working as a visual artist and sound designer, Geitani is well versed in creating imaginative soundscapes for films such as 2024 sci-fi Radius Collapse, as well as referencing the shadowy nocturnal hiss of producers such as Burial on his dabke-sampling 2018 debut album Al Roujoou Ilal Qamar. On Wahj, he harnesses soaring layali vocalisations, reverb-laden drums and analogue synths to leave a cinematic impression.
Yet again, minority ethnic players are being booted off in the early stages of ‘The Traitors’. Micha Frazer-Carroll looks at why this is becoming a bleakly predictable pattern
(Transgressive) In Jenny Hollingworth’s first solo venture, her singular songwriting powers shine in swooping vocals and transcendent pop melodies
Over the past decade, 27-year-old Jenny Hollingworth’s musical output has become steadily less strange. As half of Let’s Eat Grandma, the Norwich native started out making freaky synth-folk the arch syrupiness of which chimed with the then-nascent hyperpop scene: I, Gemini, the duo’s 2016 debut, was outsiderish juvenilia of the most thrilling variety. For its follow-up, I’m All Ears, Hollingworth and her bandmate, Rosa Walton, sharpened their songwriting skills while holding tight to their eccentricities; the result was an album of sensational futurist pop. By 2022’s Two Ribbons, they were slipping into slightly more subdued, conventional territory – albeit retaining enough idiosyncratic sonic detailing to maintain their place at the edge.
So it takes a moment to adjust to the overt familiarity of Hollingworth’s first solo venture. Like Two Ribbons, it reflects on grief (she lost her partner in 2019) and the temporary disintegration of her lifelong friendship with Walton, except this time the introspection is set to knowingly nostalgic 1980s new wave. When the choruses don’t sparkle, Quicksand Heart can feel like plodding through the past, but the moment Hollingworth lands on an irresistible melody – see: Every Ounce of Me, whose bittersweet bounce bridges the gap between Olivia Rodrigo and the Waterboys – the effect is transcendent. The record peaks with the archetypally perfect powerpop number Appetite and the genre-bending Do You Still Believe in Me? in which Hollingworth patchworks together breakbeats, vertiginously swooping vocals, squealing hair metal bombast and shoegazey dissonance, reminding us of her singular powers in the process.
His brutal movies put Korean cinema on the map. Now the director of Oldboy is back with a blistering satire about a man driven to murder after redundancy
The Korean wave is being feted around the world right now but Park Chan-wook is not feeling too celebratory. From the outside, South Korea seems to be a well-oiled machine pumping out a stream of world-conquering pop music, cuisine, cars, cinema (especially the Oscar-winning Parasite) and TV shows, as well as the Samsung flat-screens to watch them on. But Park’s latest film, No Other Choice, bursts the balloon somewhat. It paints modern-day Korea as an unstable landscape of industrial decline, downsizing, unemployment and male fragility – with no KPop Demon Hunters coming to save the day.
“I did not mean it for it to be a realistic portrayal of Korea in 2025,” says Park, a serene, almost professorial 62-year-old. “I think it’s more accurate to view it as a satire on capitalism.”
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