It has been over a month since Adolescence hit Netflix, but the enthusiastic response from viewers and critics alike is yet to slow down. Within its first week, the series became the most streamed television program in the UK, with Prime Minister Keir Starmer praising it in Parliament and supporting the idea of it being shown across schools.
Best known for his award-winning documentaries The Act of Killing (2012) and The Look of Silence (2014), Joshua Oppenheimer makes his narrative film debut with The End, a post-apocalyptic musical about family, oil, and the lies we tell ourselves to survive.
Recently, raving has become a central—if slightly out-of-reach—mainstay in what it means to be young, cool, and underground. From 2000s-era raves on the outskirts of Bristol in Skins, to New York warehouse parties in Euphoria, Boiler Rooms, and the cultural moment that was Brat Summer, the last thirty years have seen a steady proliferation of the scene—its sound, its fashion, its energy.
Art Paris Fair 2025 felt something like an artworld terrarium. Nestled in the glass skin of Paris’s Grand Palais for its 27th anniversary, the prestigious fair’s return to the venue after three years of renovations and repairs, the affair worked as a microcosmic allegory for the art ecosystem.
The collection of larger-than-life artworks are all consuming. Walking into the space, it was hard not to be awe-stricken by their sheer breadth, accompanied by a powerful emotional energy imbued throughout each brush stroke. The collection expertly underscores “themes of self-reflection, temporality, and the profound emotional depth of his creative process”.
At the beginning of the year, Pinterest projected “castlecore” as one of fashion’s in-trends for 2025, a mezze plate of Internet-inflected medieval gestures including coquettish white lace, chainmail accoutrements, and ornate antique jewellery.
In a dimly lit performance space, tucked away in Old Street, HAIRFUCK by artist Vittoria Penalosa unfolded as a visceral confrontation with the pressures imposed on women.
David Lynch gave us fever dreams on film that feel more real than reality itself, breaking the rules to create his own bizarre language of backward-talking dwarves, industrial soundscapes, and cherry pie that somehow means more than just dessert.
Viennese Actionism was one of the most shocking art movements of the 20th century, emerging in post-war Austria to turn the body into a site of provocation, violence and ritual.
The bed, which represents rest and intimacy in everyday life, has undergone a drastic alteration in the artistic sphere over the years, redefining the boundaries of the private and the public.
There is something self-assuredly confident about picking poetry as your artistic muse in today’s online climate, crippled – at least according to American singer Ethel Cain’s viral blogpost – by an irony epidemic.
No urban ambiance is as bleak as the office. It is an aesthetic and temporal void, the corporate acme of anti-human modernity, an all-grey capitalist cumstain where time goes viscous, where we, mere humans, have been dragged from out of our idyllic forests and fields to instead fester in front of computer screens – hunchbacked, pixel-eyed and lobotomy-brained.