Map of the soul: how BTS rewrote the western pop rulebook

Contrary to their dismissive framing as manufactured robots, South Korea’s BTS use social media, documentary and storytelling to make themselves into profoundly human stars

BTS’s leader RM looks up from under a black baseball cap, then stares back down at his hands. “Doing the promotional interviews, [I kept saying], ‘Music truly transcends every barrier.’ But even while I was saying it I questioned myself if I indeed believe it.”

It’s late September, and the rapper is confiding in over one million fans live from his Seoul studio. His “complex set of feelings” about the explosive, record-breaking success of Dynamite – the first fully English-language single from the South Korean megastars – is not the celebration you’d expect from a band that just topped the US Billboard Hot 100, the first K-pop act to do so. But this kind of frank, unfiltered conversation is exactly what their global “Army” fanbase love: BTS’s candid social media presence has included their fans in every step of their artistic journey, and, as they release new album Be this week, has made them the biggest pop group on the planet.

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Rafaella Carrà: the Italian pop star who taught Europe the joy of sex

A new jukebox musical of Carrà’s songs caps a 60-year career for a cultural icon who revolutionised Italian entertainment – and gave women agency in the bedroom

At the beginning of Explota Explota, a new Spanish-Italian jukebox musical comedy set at the tail end of the Franco dictatorship in 1970s Spain, airport employee Maria is making a delivery at a TV studio when she catches the attention of Chimo, the director of a variety show. When she tells him she’s not a dancer, he replies: “No dancer with blood flowing in their veins can resist this rhythm.”

He plays her Bailo Bailo, a hit by Italian pop star Raffaella Carrà, who, on top of becoming one of the best known personalities in her native Italy, ended up a sensation in the 20th-century Spanish-speaking world. Where Sweden had Abba, Italy had Carrà, who sold millions of records across Europe. Sure enough, Maria can’t resist Bailo Bailo, and Chimo hires her.

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‘They created a false image’: how the Reagans fooled America

A new docuseries studies the damaging reign of Ronald and Nancy Reagan and the insidious myth-making that still surrounds their legacy

Ever since Richard Nixon’s sweaty upper lip during a debate with John F Kennedy cost him the election in 1960, television has been the most crucial proving ground for any presidential hopeful. Granting the gift of sight to the general public changed the game, as campaigners and office-holders have been forced to school themselves in careful image management and conscious branding. In American politics, a well-crafted position on foreign policy won’t get a person nearly as far as the easy telegenic charm that makes voters feel comfortable grabbing a pint, a dissonance that’s allowed some dubious characters access to the highest stations of authority.

Related: Ronald Reagan called African UN delegates 'monkeys', recordings reveal

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Check her out: how Netflix hit The Queen’s Gambit thrills with fashion

Stylish chess drama fills the hole left by period pieces such as Mad Men – and puts the clothes front and centre

In chess, the first move is everything. This is also true in TV – something The Queen’s Gambit, a seductive seven-part drama about a female chess prodigy in the American midwest, knows all too well.

In the first few moments, we meet our teenage hero, Beth Harman (Anya Taylor-Joy), asleep in a hotel bath wearing a burgundy Pierre Cardin shift dress from the night before. Moments later, she has changed into a Biba-inspired mint-green viscose one, which matches the tranquillisers she knocks back with a minibar vodka. Grabbing her shoes – black pointed flats, so this must be the 60s – she hurries downstairs to play the most important chess game of her career on the mother of all hangovers.

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Trial 4: how a teen spent 22 years in prison for a crime he didn’t commit

Sean Ellis was 19 years old when he was arrested for killing a police officer in Boston. Decades later, he prepares for his fourth trial in Netflix’s Trial 4

Sean Ellis was 19 when he was arrested by Boston police over the killing of an officer in October 1993. Head down and nearly collapsing, barely keeping pace with police, Ellis wore his best suit as officers dragged him into custody – he had just attended the funeral of Celine Kirk and Tracy Brown, his cousins, who had been murdered by Celine’s ex-boyfriend in Ellis’s neighborhood of Dorchester. Ellis had spoken voluntarily to police about his cousins, with whom he was close; days later, he was on trial over the murder of a crooked cop as he slept in his car in a Walgreens parking lot.

Related: A Wilderness of Error: the year's most troubling true crime series

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The show the military couldn’t stop: Luca Guadagnino on We Are Who We Are

His new TV series about wild goings-on at an army base near Venice horrified the US Department of Defense. Did it also cost him his relationship? The Call Me By Your Name director reveals all

Lockdown was a nightmare for Luca Guadagnino. His dad died, his partner left and his myriad film projects had to be put in mothballs. As soon as restrictions were lifted, he jumped in his car and drove south from Milan, along empty motorways, right through the May night. He realises now he was in search of home.

Guadagnino, true to form, immortalised the trip on his iPhone and the resulting film is a lovely thing: part travelogue, part elegy, rattling around the director’s old village in Sicily. At one point Guadagnino stands outside his former house and inhales the smells from the open window – humidity, old grapes – like Proust with his madeleine. He wonders what kind of world the pandemic has left behind. He asks friends and colleagues for advice and support. “For a forest to stay healthy,” one tells him, “it has to periodically burn down.”

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BBC to hold investigation into how Martin Bashir obtained Diana interview

Diana’s brother Earl Spencer claims journalist produced fake documents to win trust of family

The BBC has pledged to hold a full independent investigation into how Martin Bashir obtained his career-defining interview with Princess Diana in 1995, following fresh claims that he produced fake documents and used other deceitful tactics to win the trust of her family.

Tim Davie, the corporation’s director general, confirmed that the terms of the investigation would be announced in the coming days: “The BBC is taking this very seriously and we want to get to the truth. We are in the process of commissioning a robust and independent investigation.”

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The Trials of Oscar Pistorius review – what about Reeva Steenkamp?

This docuseries could have asked bigger questions on domestic violence, or the murder of Pistorius’s scarcely mentioned girlfriend. Instead, it is a flawed, fawning hagiography

The BBC provoked an outcry last month when it ran a two-minute trailer for this four-part documentary series (BBC Two and BBC iPlayer) that referred to “an international hero who inspired millions” who had “suddenly found himself at the centre of a murder investigation”, without once mentioning the name of the woman Pistorius killed: Reeva Steenkamp. If you did not know the story, you would probably have thought you were about to watch a re-examination of a murder investigation gone wrong and the righting of a terrible miscarriage of justice. The BBC eventually apologised and replaced the advert with something they said was more representative of the tone of the film.

They should just have left it. It was a meretricious trailer for a meretricious film by a director – Daniel Gordon – who, in one of the press interviews for the series, said he was “still flip-flopping” on the matter of Pistorius’s guilt.

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I put my own makeup on for the first time – and saw my face in a whole new light

I had the tubes of moisturiser and foundation, the mirror with lights around it and, most importantly, a professional to guide me

I’ve always taken the view with makeup that it’s a bit like football refereeing: if you notice it, that’s a sure sign a bad job’s being made of it. By that measure, the many television makeup artists who have worked their magic on me over the years have done a fine job, because I’ve never really seen any difference. Sometimes they ask me what I “normally have” – a question for which I never have an answer. My only advice to them is to not bother doing anything with my hair, all attempts to adjust it being in vain.

This week, in the interests of Covid-compliant TV production, I lost my makeup-applying virginity. I had all the gear – the brushes, the tubes, the mirror with the lights around it – and I even had a nice masked and visored makeup artist. But she was only allowed to supervise; no touching permitted.

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Angry TV film-makers stop release of lauded Iranian documentary

Coup 53, which charts MI6’s role in the shah’s restoration, has been blocked by makers of an 1985 show, who say it sullies their names

Coup 53 was heralded by critics this summer as a “powerful and authoritative” documentary “as gripping as any thriller”, and judged by historians as crucial to understanding Britain’s relationship with the Middle East.

Made over 10 years by Walter Murch, the celebrated editor of Apocalypse Now and The English Patient, in collaboration with the Anglo-Iranian director Taghi Amirani, it tells the story of covert British intervention in Iran after the second world war and stars Ralph Fiennes, left, as an MI6 spy in a reconstruction of a key incident.

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Drag Race stars get political: ‘People were like, you queens should stick to wigs and makeup’

They’ve been told to stick to makeup. But for RuPaul queens Latrice Royale, Peppermint and Alaska, and the legendary Lady Bunny, channelling drag’s revolutionary spirit is a must in 2020

Drag and activism have always gone hand in hand. In June 1969, Marsha P Johnson, a Black drag performer reputedly threw the first brick in the Stonewall uprising in New York City; the violence that followed inspired LGBTQ+ people the world over to stand up to oppression and discrimination. Now, 51 years later, drag is more visible than ever, due in no small part to the multiple Emmy award-winning reality series RuPaul’s Drag Race. The show has given a powerful platform to a new generation of drag, trans and non-binary performers. And, whereas early activists often had to contend with police batons, water cannon and prison cells, these queens have more freedom to speak their minds.

“Drag has always been a stronghold against shitty politicians,” says Alaska, in her trademark vocal fry. The ferociously witty winner of RuPaul’s Drag Race All Stars season 2 says her political role models include Act Up (Aids Coalition to Unleash Power), the movement that advocates to end Aids, and Elizabeth Taylor, one of the first Hollywood icons to speak up during the Aids crisis in the 1980s, who “wasn’t technically a drag queen, but she kind of was, right?”

“Act Up had this badass element and ‘enough is enough’ attitude. It was during the Reagan presidency and they were, like: ‘This man doesn’t see us, we have a crisis, people are dying – we’re burying all our friends and the president won’t even acknowledge it.’ They had to take really drastic measures because it was the only way to get through,” she says.

Alaska has also found an effective medium to get her point across. The bi-weekly podcast Race Chaser, which she co-hosts with fellow Drag Race contestant Willam, features Let’s Get Political, a segment in which the queens share crucial information about registering to vote and engaging with good causes, while making no secret of their personal sentiments. Alaska recently said, “An empty suit on a hanger in a closet would do less damage than the current person in the White House.” With 1.2 to 1.5m downloads a month, their platform is not to be sniffed at.

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Red, White and Blue review – Steve McQueen and John Boyega hit gold

Issues of bigotry, belonging, race and redemption and are unpicked in this majestic biopic of police officer Leroy Logan

Steve McQueen’s five-movie series for the BBC, Small Axe, only gets more thrilling and captivating with the appearance of this new episode at the New York film festival. He is setting new gold standard for drama – and cinema – on screens of any size.

Related: Lovers Rock review – Steve McQueen throws the best party ever

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Steve McQueen: ‘Our Marlon Brandos are on building sites, or driving buses’

The director’s new Small Axe series kicks off with the landmark 1971 trial of the Mangrove Nine. It’s his aim to fill these gaps in British history, he says, and to open the industry to other black film-makers

Photographer Misan Harriman is gently cajoling actor Shaun Parkes as the sun burns through the morning cloud above St Michael’s church in Ladbroke Grove, west London. “Look at me as if you’re searching for redemption,” he says, as Parkes looks down the lens. “But it’s redemption for something you haven’t even done.” Parkes, who rose to prominence as a raver in Human Traffic but now has flecks of grey in his beard, doesn’t ask for more clarity; he simply flashes a look at the camera and then slowly changes pose.

Today Parkes and Harriman, who recently shot Vogue’s “Activism Now” September issue, along with portraits of Black Lives Matter protesters, are revisiting the west London area that is the setting of Steve McQueen’s new film, Mangrove. It’s a glorious September morning and, despite the Covid-19 restrictions, the cafes are busy and the flower shops open. It’s hard to imagine that 50 years earlier, a few streets away, there was a pitched battle between the police and protesters that would help change the way Britain thought about race. Parkes plays Frank Crichlow, the real-life figure at the heart of McQueen’s film, which centres on Notting Hill’s Mangrove restaurant and nine West Indians who fought police harassment and then a court case. The look of redemption that Harriman is searching for is something Crichlow and the Mangrove Nine earned the hard way.

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Netflix faces call to rethink Liu Cixin adaptation after his Uighur comments

Five US senators have written to question plans to adapt The Three-Body Problem after its author voiced support for China’s mass internments in Xinjiang

Five Republican US senators have asked Netflix to reconsider its plans to adapt the bestselling Chinese author Liu Cixin’s book The Three-Body Problem, citing Liu’s comments in support of the Chinese government’s treatment of Uighur Muslims.

In a letter to Netflix, the senators said they had “significant concerns with Netflix’s decision to do business with an individual who is parroting dangerous CCP propaganda”. The letter cites Liu’s interview with the New Yorker last year, in which the Chinese novelist was asked about the mass internment of Muslim Uighurs in Xinjiang.

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Watchmen, Succession and Schitt’s Creek dominate virtual Emmys

The most diverse field in Emmys history garnered several awards for black actors and a full sweep for a Canadian sitcom

It was uncharted waters for the 72nd Emmy awards – the first major acting awards show held since the pandemic began, a strange and subdued ceremony in which stars accepted awards on Zoom. But unwelcome new methods (the telecast required more than 100 live feeds), and the end of former Emmys juggernauts Game of Thrones and Veep, ushered in a celebration of new series and talent: Canadian comedy Schitt’s Creek swept the comedy awards, HBO’s Succession dominated in drama and the evening’s most-nominated show, HBO’s prescient, eerie Watchmen, cleaned up in the limited series category.

Related: Emmy winners 2020: the full list

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Diana Rigg: star with an independent streak to match her glamour

From kick-ass screen roles to award-winning theatre and TV ones, with a curious sideline in nuns, the Yorkshire-born actor’s class and spirit earned her a magnificent career

When Diana Rigg made her Broadway debut in 1971, the theatre programme Playbill introduced her in terms that established the wide range of work and appeal that still marked her career at her death today, five decades later, at the age of 82.

The then-31-year-old Yorkshirewoman, theatregoers were told, was “a highly established star of the theatre, motion pictures and films in England” who had recently “become popular in the United States as the glamorous Emma Peel in The Avengers television series and as the leading lady in the latest James Bond film, On Her Majesty’s Secret Service”.

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Diana Rigg, Avengers and Game of Thrones star, dies aged 82

Actor who played Emma Peel in hit spy series and James Bond’s only wife was diagnosed with cancer in March

The actor Diana Rigg, known for her roles on stage and in film and television – including The Avengers and On Her Majesty’s Secret Service – has died at the age of 82.

Rigg, who rose to prominence in the 1960s through her starring role as Emma Peel in The Avengers alongside Patrick Macnee, enjoyed a long and varied career, playing Lady Olenna Tyrell in HBO’s smash hit Game of Thrones, a show she admitted in 2019 that she had never watched. She also played Countess Teresa di Vicenzo, or Tracy Bond, James Bond’s first and only wife to date, in the 1969 film On Her Majesty’s Secret Service.

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Sue Perkins: Along the US-Mexico Border review – darkness leavened with a dash of wit

More of a travelogue than a documentary, Perkins begins in the border town of Tijuana, where she finds tequila-fuelled parties sit uneasily alongside the scale of asylum seekers’ suffering

Watching Sue Perkins present a programme always brings to mind the moment in Blackadder when Edmund, in financial straits, is showing prospective buyers around his home. “You’ve really worked out your banter, haven’t you?” says one of them. “No, not really,” replies Blackadder. “This is a different thing – it’s spontaneous, and it’s called wit.”

Wit is Perkins’ USP. All presenters have warmth and intelligence, though both can vary in degree and kind, and in the proportions in which they are blended. But it is Perkins’ ability to think on her feet – and, I suppose, the willingness of her editors to keep it in and not flatten her into traditional affectlessness – that marks her (and the likes of Grayson Perry and Paul O’Grady when he lets rip) out. It adds zest to proceedings. This is always welcome, even when – as with last night’s opening episode of the two-part Sue Perkins: Along the US-Mexico Border (BBC One) – the programme’s subject matter is notably colourful stuff on its own.

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BBC boss Tim Davie to crack down on staff airing views on social media

New director general says he wants to focus on impartiality after accusations of bias

Tim Davie is to crack down on staff posting their views on social media in a move to restore the view of the BBC as impartial, and raised the question of slashing the corporation’s output by a fifth, cutting more jobs and potentially shutting TV channels.

The new director general said the BBC had to focus on impartiality to address accusations of bias from politicians on both sides of the political divide.

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Does Netflix’s Blood and Water show the ‘real’ South Africa?

The streaming giant’s Cape Town-set series has been a huge hit. But do dramas of its ilk lack authenticity, or is their global feel the key to their success?

Neon lights dance across an infinity pool, while, inside an enormous mansion, couples canoodle in immaculate white corridors and the cool kids sneak away to smoke. At this kind of party, there are those who are recognised at the door and those who have to blag to get their name on the guestlist. As the birthday girl schmoozes with her guests, an awkward attendee does anything to escape the hubbub and keep her head down, as red cups pile up in the garden and a queue forms for the bar.

So far, so teen drama. But this isn’t London or LA: the two girls are Fikile Bhele and Puleng Khumalo, and the show is Blood and Water, set in South Africa. The second African series produced and released by Netflix, it focuses on the class divide between private Parkhurst school in Cape Town and its unnamed public counterpart, as well as Khumalo’s search for her missing sister. Like many dramas aimed at younger viewers, the first instalment kicks off in the midst of a debauched, booze-soaked gathering before branching out into the dark underbelly of popularity – think student-teacher relationships and moneyed parents wielding their power in the education system in the form of “donations”.

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