Carnival Row is a neighbourhood in the fictional, fantastical, steam-punk city of the Burgue. It’s a home to people fleeing the war between the rulers of the Burgue and the Pact—two industrial powers fighting over the riches of a place called fae land.
This briefest of hip hop moments still casts a multi-coloured shadow.
Hatidze Muratova is one of the last wild beekeepers in Europe
A new Netflix documentary tells the stories of workers in a US rust belt car factory
The vision of society here is one full of technology that monitors and records almost everything we do
New TV drama, A Confession, seemingly casts the police in a good light, but grows more sinister and promises troubling questions, says Sadie Robinson
The capture is a thriller made for the “post truth” era.
Deep Water is ITV’s new set piece thriller about three complex women characters, set in the scenic landscape of the Lake District
Once Upon a Time in Hollywood is crammed with tributes to a bygone era of film—but director Tarantino is stuck behind the times, writes?Gabby Thorpe
Far from being grim, this is a programme full of empathy and humour
Tree, by Idris Elba and Kwame Kwei-Armah, is an incredible immersive experience.
The Candidate uncovers the shady side of politics in a way that has us both rooting for a corrupt leader and revelling in his downfall, says Simon Basketter
There have been many attempts to portray Donald Trump’s presidential election victory and the vote for Britain to leave the European Union as linked.
A new book exposes the corruption and dodgy deals behind the 2012 Olympic Games in London, writes Simon Basketter
The international rise of the right and polarised politics bleeds into the annual theatre and arts festival in the Scottish capital, writes critic Mark Brown
Tate Modern’s retrospective of Olafur Eliasson’s work is a breath of artistic fresh air.
Dark Mon£y is a poignant and compelling drama about sexual abuse, class and the corporate elite in the film industry, say?Dean Ryan and Kate Simon
Midsommar uses all the classic hallmarks of folk horror—but it also has an original touch. It’s certainly not for the faint hearted, writes Gabby Thorpe
A glam rock album on a solid label like Sub Pop should deliver something that’s good fun, musically compelling and—given the singer’s self-professed love of Bob Dylan—lyrically engaging.