I’ll be the first to say it: feminism ruined romance.
Flora Tucker writes about 7 common tropes in film and TV about giving birth.
Georgia Austin discusses the exclusion of Netflix original films from the Cannes Film Festival
‘Public Domain Day’, otherwise known as New Year’s Day , marks the expired copyright on texts entering the public domain. A. A. Milne’s Winnie the Pooh, Ernest Hemingway’s The Sun Also Rises and Agatha Christie’s The Murder of Roger Ackroyd to name a few released in 2022. The significance of giving way to creative licence can be seen in the development since The Great Gatsby’s release in the US in 2021, with 34 new print editions published in the past year and the development of a television adaptation by Michael Hirst.
Wes Anderson’s The French Dispatch and why there is still space for artistic films in modern cinema.
Edsard Driessen discusses changes in the cinema industry and why The French Dispatch was the refreshing film we all needed.
When was the last time you binge-watched a TV show? It feels like just yesterday I woke up at 8 am to watch the third season of Sex Education. 8 long hours later, I felt drained. Was I watching this so quickly because I was engrossed by the Netflix comedy? Or was it the increased FOMO from the memes and Tiktoks sprawled across my social media feed?
Ricky Gervais, genius though he is, has fallen from his role as a totemic titan of British comedy to a vaguely desperate, sensationalised caricature.
Florence Rolston Ashford explores the success of BBC series ‘Ghosts’ and asks if it is a reflection of today’s creative industries.
Hannah Jorgensen writes in defence of the unlikeable female character, exploring specifically Eve in BBC drama ‘Killing Eve’.
Isabelle Merralls highlights the recent rise of the biopic and questions this raises regarding historical accuracy.