It’s a Sin: ”There is such a raw truth to it”

How well does the Russell T Davies drama capture the 1980s Aids crisis? Influential queer figures who lived through it and in its wake – including Owen Jones, Rev Richard Coles, Lisa Power and Marc Thompson – give their verdicts

A joyful yet devastating series centred on a group of friends whose lives are changed irrevocably by the HIV/Aids epidemic, It’s a Sin is not only the most talked-about TV show of 2021 so far, but also Channel 4’s most watched drama series in its history. Russell T Davies’s 80s-set series has started conversations around Britain about the realities, both political and personal, of living through the HIV/Aids crisis, led to an increase in people getting tested for HIV, and helped raise awareness about preventive medication (PrEP) and the effective treatment now available for people living with the virus.

To discuss these topics, we convened a roundtable discussion with influential queer figures who lived through the crisis, and those who have grown up in its wake. Taking part in the conversation are Lisa Power, a co-founder of LGBT charity Stonewall who also volunteered for Switchboard during the Aids crisis; the Rev Richard Coles, the vicar of Finedon in Northamptonshire and former member of the pop group the Communards; Marc Thompson, an HIV activist, the director of the Love Tank CIC and the co-founder of PrEPster; Guardian columnist and author Owen Jones; Omari Douglas, who plays the character Roscoe in It’s a Sin; and Jason Okundaye, a writer and the co-founder of Black & Gay, back in the day, a digital archive honouring and remembering black queer life in Britain.

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Catherine O’Hara on the joy of Schitt’s Creek: ‘Eugene Levy is the sweetest man!’

The biggest TV hit of the pandemic? A comedy about a family holed up against their will. Its star discusses warmth, wigs and why she loves playing Moira Rose

Catherine O’Hara and I spend most of our time together anxiously apologising to one another, me for my terrible wifi connection, her for what she describes as her “ramblings”. Her infraction is more forgivable. A frozen Zoom screen is just annoying. O’Hara’s verbal meanderings (“Oh dear, what am I on about?”) are far more fun, swooping among the highlights from her career as a comedy cult star in the 1970s (the Canadian sketch show SCTV), 80s and 90s (Beetlejuice, Home Alone), and then Christopher Guest’s series of brilliant and largely improvised films (Waiting for Guffman, Best in Show, A Mighty Wind and For Your Consideration).

Now, at 66, she has peaked yet further, with her glorious performance as Moira Rose in Schitt’s Creek, the most endearing sitcom to come along in yonks. The show came to an end last year after six seasons and it went out with fireworks, setting the record for the most Emmys won by a comedy series in a single season. One went to O’Hara, almost 40 years after she won her first, for her writing on SCTV, in which she starred alongside John Candy, Harold Ramis and, most importantly, her Schitt’s Creek co-star Eugene Levy.

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Radical, angry, creative: British women lead a screen revolution

The Golden Globe nominations prove that the industry is in the throes of a sea change for female writers and directors

Corks popped across the film industry when three female directors made history by getting Golden Globe nominations last week. Alongside Regina King and Chloé Zhao was British newcomer Emerald Fennell, until now best known as Camilla in The Crown and for stepping into Phoebe Waller-Bridge’s shoes as show runner on Killing Eve. Her alarming feminist thriller, Promising Young Woman, picked up a clutch of coveted nominations.

“When those directors’ names were announced I ran around the room screaming,” said Jessica Hobbs, one of the directors on The Crown. “I messaged Emerald who couldn’t believe it. I told her I knew it was coming.”

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‘I think I’ve written more Sherlock Holmes than even Conan Doyle’: the ongoing fight to reimagine Holmes

Arthur Conan Doyle’s master detective has been endlessly rewritten. But nearly a century after the author’s death, how new writers portray him remains contested

The first ever mention of Sherlock Holmes came in A Study in Scarlet, published in Beeton’s Christmas Annual of 1887. Dr Watson is looking for lodgings, and meets an old acquaintance who knows of someone he could share with, but does not recommend.

Young Stamford looked rather strangely at me over his wine-glass. ‘You don’t know Sherlock Holmes yet,’ he said; ‘perhaps you would not care for him as a constant companion.’

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Toyah Willcox: ‘My mother always wanted me altered in some way. I was never right’

The singer and actor has had a productive pandemic – and gone viral from her kitchen. She talks about escaping her childhood, sexual harassment and persuading her rock star husband to dress in a tutu

Of all the celebrity offerings that have come out of the pandemic, the gloriously weird videos made by Toyah Willcox and her husband, Robert Fripp, are surely the most compelling. It is possible, within each short clip, to cycle through every feeling from wanting to cover your eyes while being unable to look away, to the dawning realisation you may be watching a profound piece of performance art. Mostly, it is impossible not to laugh. There they are in their cosy Worcestershire kitchen, perhaps with the dishwasher open in the background, with Willcox, accessorised with mouse ears, tap-dancing, bouncing off the Aga. Both dressed in black tutus at the end of their garden, the pair dance across the screen to music from Swan Lake. Fripp lies on the floor of the hallway, while Willcox – dressed in red PVC and devil horns – performs the Kinks’ You Really Got Me on the stairs. It’s joyous.

Willcox has been uploading their Sunday Lockdown Lunch videos since April last year; they also do a weekly agony aunt session, and Willcox does her own Q&A, talking about her life and long career as an actor, pop star and general cultural fixture for the past 40 years. It started, she says, as a way to occupy Fripp, the musician and founder of the prog rock band King Crimson. “Here I am in this house with this 74-year-old husband who I really don’t want to live without,” she says. “He was withdrawing, so I thought: ‘I’m going to teach him to dance.’ And it became a challenge.” They posted a video, and it took off. “It was: ‘Wow, I’ve never experienced the power of that connection.’”

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Bezos leaves Amazon in its prime – keeping it that way is the task

Analysis: Running the online retailer should be a dream job, but where and how to grow will challenge Andy Jassy

A pain-free departure of a visionary founder is a difficult trick to pull off for any business. The stakes are even higher for a company the size of Amazon, as Jeff Bezos steps back from his day-to-day management role.

The decision by Bezos, 57, to quit as chief executive later this year took analysts by surprise, but the first step has already gone smoothly, with Andy Jassy appointed as his successor without any public power struggle.

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Saved by the Bell actor Dustin Diamond dies aged 44

The actor, who played Screech in the high-school sitcom, had recently been diagnosed with stage 4 lung cancer

Actor Dustin Diamond, best known for playing Screech on high school sitcom Saved by the Bell, has died at the age of 44.

Diamond had been diagnosed last month with stage 4 small cell carcinoma, or lung cancer, and been in treatment ever since. His representative Roger Paul confirmed the news of his death.

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From The Sopranos to Twin Peaks: the best TV isn’t timely – it’s prescient

The popularity of classic shows in the past year is about more than nostalgia – what pulls us back in is their relevance to today

At least Covid struck during the age of “peak TV”. After all, were this not a time when the shows being piped into our living rooms were better, smarter, starrier, more plentiful and more readily available than ever before, what would we have done to stay on an even keel through a year in lockdown?

Pretty much what we did anyway, it turns out. Because the viewing trend of the past 12 months, which few saw coming, has been a clamour for the classics. At a time when there is more box-fresh prestige entertainment than you can shake a battered remote at, viewers on both sides of the Atlantic decided instead to reacquaint themselves with old friends: Rodney Trotter, Jerry Seinfeld and, overwhelmingly, Tony Soprano.

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Confused about GameStop? Five films to watch to help you pretend to understand the stock market

You don’t have to be a redditer or a big investor to enjoy these Hollywood blockbusters that double as the perfect educational resource

The GameStop debacle has put the stock market on everyone’s radar this week – even those who rarely pay it any attention. Many are depicting the incident as a David-and-Goliath battle between small investors gathering on Reddit message-boards and Wall Street powerbrokers finding themselves unexpectedly on the back foot at their own game. Billions of dollars are in the balance.

Along with such major news events, though, come the instant internet experts. Let’s face it: most of us understand diddly squat about the stock market and rely on Hollywood to inform us about an industry that it portrays as a place in which, to quote from the tyrannical, fictional Gordan Gekko: “lunch is for wimps”.

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Lupin’s Omar Sy: ‘We wanted to show what the French are capable of’

The actor stars in Netflix’s biggest French-language hit as a gentleman thief. He and the director, Louis Leterrier, explain how the drama drew in 70 million fans worldwide

“We wanted to show what the French were capable of in terms of making a series, but frankly we didn’t expect it to do what it has.” Omar Sy, the star of the latest Netflix smash hit, Lupin, is speaking over the phone from Senegal. The line between London and Dakar isn’t great, but the charm that has helped his slick, charismatic character – a modern day gentleman thief – connect with audiences around the world is still evident.

Streaming services have been the dominant source of cultural output in the past year, so the chances are that you have at least heard of Lupin, even if you haven’t got round to bingeing Netflix’s biggest French language hit to date. Ranking in the Top 10 on the platform in multiple countries – climbing to No 2 in the UK and the US – as well as being projected to have reached 70 million households in the first month of streaming, Lupin is a family-friendly show – perhaps one of the elements that has given it an edge over the likes of Bridgerton and The Queen’s Gambit.

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Larry King dies, Tom Brokaw retires – and the ‘heroic age’ of TV news slips further away

Experts agree the great days of US news broadcasting are long gone, but this week still brought poignant reminders

As Tennyson – and Withnail’s Uncle Monty – had it, the old order changeth, yielding place to new. Larry King, whose death was announced on Saturday, was not the only giant of US TV news to leave the scene this week.

Related: Larry King, talk-show titan who lit up worlds of politics and showbiz

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Larry King, famed cable news interviewer, dies aged 87

Broadcaster and celebrity interviewer had been hospitalized in Los Angeles with symptoms of coronavirus

Larry King, the American broadcaster and cable news interviewer of celebrities and public figures, has died. He was 87 and had been hospitalized at Cedars-Sinai medical center in Los Angeles with symptoms of the coronavirus.

Related: Larry King: 'The secret of my success? I'm dumb'

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‘In Paris, we are terrified of vulgarity’: lessons in French style from Call My Agent!

The costume designer from the hit French show on how the clothes make the characters – and how you can channel their effortless chic

In France, the hit Netflix series Call My Agent! is called Dix Pour Cent in reference to the fee charged by French cinema agents. For those in the know, the name says it all. For others, like me, the reference was opaque at first, but it sent the message that this is a show – unlike others representing a cliched take on French life, such as Emily in Paris – that positions itself as an insider’s peek into the capital and its movie business.

The many cameos from A-list actors playing themselves – with Charlotte Gainsbourg and Sigourney Weaver lined up to appear in season four; Weaver called the series “a love letter to the business” – similarly underlines the show’s proximity to the authentic professional world, something that is subtly shown, too, through its clothes.

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Cobra Kai: from dumped YouTube gambit to Netflix smash hit

Turning a sequel to The Karate Kid into a TV series might not have sounded wise but this blockbuster show has found life in a tired franchise

A modern TV reboot of classic 80s teen film The Karate Kid sounds like an almost comically bad idea. It’s the sort of suggestion you can imagine a creatively desperate TV executive leaving for himself in a panicky Partridgean voice note while drunk on a Tuesday night. So many ways it could go spectacularly wrong, and virtually none where it could go right. And yet, with that very same back-of-a-fag-packet premise, Cobra Kai – the smash new Netflix series – has gone miraculously right, racking up 73 million viewers, according to the streamer’s latest figures.

Related: 'There's chunks of wisdom': How The Karate Kid launched MMA careers

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How France’s Lupin became the surprise Netflix hit of the season

The charming series combines Ocean’s Eleven’s slickness with the implausibility of National Treasure to become the first French series to crack the US top 10

The greatest trick by Lupin, a new French series on Netflix, is disguising substantiveness in plain sight. The show, created by the British showrunner George Kay and inspired by the beloved French character Arsène Lupin, packages over 115 years of inspiration (dating back to the character’s invention by writer Maurice Leblanc in 1905) in a slick, swift escape easily binged in a day. Its star, the French actor Omar Sy, towers over his scene partners, perpetually unreadable yet brimming with charisma; his character, Assane Diop, is a con man with a heart of gold able to turn his outsized presence into an uncatchable master of deception.

Related: Call My Agent: get au fait with the smash hit French comedy-drama

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Asa Butterfield: ‘Sex Education reassures people they’re not weird or alone’

The actor on filming the third series of the hit Netflix comedy, being taught cinema history by Scorsese – and the perils of toilet-training his cat

Asa Butterfield, 23, was born in London and started his acting career aged seven. He landed the lead roles in Holocaust drama The Boy in the Striped Pyjamas at 10 and Martin Scorsese’s Hugo at 13. Other film credits include Journey’s End, X+Y, Greed, Son of Rambow and Miss Peregrine’s Home for Peculiar Children. He stars as teenager Otis Milburn in the hit Netflix comedy Sex Education and is currently filming its third season.

How is shooting going on Sex Education?
It’s something of a miracle being back on set. When we started, it was a bit like being let out of prison. It was the first time anyone had been in a big group of people for months and we were all overexcited. We’ve slipped into the rhythm of the new normal now. To work is a blessing. I won’t take it for granted again.

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Joan Bakewell: ‘The world is full of such interesting people’

Joan Bakewell had been a broadcasting pioneer for more than half a century. And she’s still as forthright as ever. Here, she talks to Sophie Heawood about the empowerment of women, her newly streamlined life and why Boris has got it all wrong about the virus

Joan Bakewell writes in her memoir, The Centre of the Bed, about the moment she became an adult. It was 1949 and she was 17, a hard- working grammar schoolgirl from the industrial north, when her frustrated, depressive mother found a photograph of Joan kissing a boy and set fire to it in front of her eyes. Joan felt deep shame, but the shame began to transmogrify.

“Suddenly I was savagely and tremblingly angry,” she writes. “I was being forged in some bitter fire of my mother’s will, and I must survive the moment and emerge as myself. That was the end of innocence, not the loss of virginity or any fumbling that fell short of it. It was when I crossed into adulthood, knew my own mind and was sure of who I was.” Soon afterwards she left for university, where she joyfully discovered the world of ideas, as well as the one of sex, even though, as a student of the Cambridge women’s college Newnham, such things were banned.

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On my radar: Jason Williamson’s cultural highlights

The Sleaford Mods frontman on a favourite singer-songwriter, a hellish horror film and why he spends seven hours a day on Twitter

Jason Williamson, lead vocalist of English electronic punk music duo Sleaford Mods, was born in Grantham, Lincolnshire in 1970. He moved to Nottingham in 1995, where he began working with rock band Spiritualized and electronic duo Bent. In 2009, he met Andrew Fearn and they released the first Sleaford Mods album, Divide and Exit, in 2014. They have since been called “the voice of Britain” by their fans and “the world’s greatest rock’n’roll band” by Iggy Pop. Their latest album, Spare Ribs, is out now on Rough Trade Records. The band will tour the UK in late 2021.

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Call My Agent: the French TV hit that viewers and actors adore

The comedy, whose fourth series hits Netflix this week, shows France’s TV can match its film

Fast approaching 50 and fed up after two exhausting decades at Artmedia, the top talent agency in Paris, Dominique Besnehard decided, one day in 2005, that he would quite like to turn his hand to producing something of his own.

“At the time,” Besnehard told Le Monde, “Desperate Housewives was all over the telly, a huge success. I just thought, with a couple of colleagues, we could maybe make a series a bit like that, but about the job we do for a living.”

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Vive l’indifférence! Netflix’s Room 2806 exposes France’s #MeToo apathy

Centred on a sex-assault case involving former French presidential hopeful Dominique Strauss-Kahn, this docuseries reveals worryingly outdated attitudes

Most people will have only the haziest recollection of the fallout that occurred after the French presidential hopeful and then head of the International Monetary Fund Dominique Strauss-Kahn was accused of sexually assaulting a room attendant in a New York hotel in 2011. That allows the Netflix documentary Room 2806: The Accusation to possess all the qualities of a slick political thriller. Who will be believed? The immigrant, hotel cleaner, a single parent living in a flat in the Bronx or the globally powerful, immensely rich politician?

This tense, four-part documentary has astonishing material to work with. There is plenty of CCTV footage, filmed from the ceiling, of chambermaid Nafissatou Diallo making her way to the presidential suite, and later, visibly distressed, being shepherded by her supervisor to a subterranean network of shabby staff offices in the bowels of the building, away from the gilded foyer, where she wipes away tears and recounts how she has been assaulted by Strauss-Kahn as she cleaned his rooms.

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