Bingeable comedy, a Jim Crow-era vampire thriller and William Morris mania – what to watch, read and do this week
Hacks is a whip-smart and hilarious show with 30-minute episodes. It follows Ava Daniels (Hannah Einbinder), an edgy comedy writer who isn't everyone's cup of tea, and spiky Las Vegas comedy veteran Deborah Vance (Jean Smart). This pair are shoved together by their shared manager when Ava is fired from a writing gig for making an off-colour joke on social media, and Deborah loses her headline slot on the Vegas strip as the city moves on without her.
Since its first season, Hacks has provided insightful commentary on the male-dominated world of comedy. The push and pull relationship between Ava and Deborah is hilarious as they clash over generational differences on everything from comedy to sexuality. The show has been rightly lauded for its brilliant writing, which manages to go all the way up to the line without being hateful – a skill many comedians who argue that it's hard to make comedy in our politically correct age could learn from.
Now in its fourth season, our reviewer, Jacqueline Ristola, an expert in the media industry and comedy, says Hacks has managed to maintain the quality (and hilarity) while finding new ground to explore women's precarious place in the entertainment industry.
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If you are in the mood for something a bit moodier and serious, then Sinners might be for you. The film follows twin brothers Smoke and Stack (both played by Michael B. Jordan) who have returned home to Mississippi in an attempt to leave their troubles behind. What they find waiting for them, however, is much worse.
Sinners is set in Jim Crow-era Mississippi, a time of harsh segregation and racial injustice. While the horrors of this period are certainly enough to scare anyone, director Ryan Coogler has decided to tell a story grounded in supernatural evil. Vampires aside, there is a lot of history in Sinners too. Criminology expert Rachel Stuart found it interesting how the real stories of Irish and Choctaw oppression informed the film.
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If you're looking for something to read, we recommend the memoir Red Pockets. In this piece, Alice Mah, a professor in urban and environmental studies, writes about why she was inspired to create this book after a personal detour to her ancestral village she took while on a research trip.
In Red Pockets, Mah chronicles her journey from the rice villages of south China back to postindustrial England. Her research on pollution leads to growing eco-anxiety, and paired with this trip leaves her in spiritual crisis. Part memoir, part cultural history and environmental exploration, this book explores what we owe our ancestors and also future generations.
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Also moody and brilliant is the Victor Hugo exhibition at the Royal Academy in London. I did not know that the French writer was an avid artist, and this exhibition is a wonderful and rare opportunity to gaze into the dark and surreal world of the mind behind Les Misérables and The Hunchback of Notre Dame.
Hugo's inky paintings and drawings of townscapes and watery underworlds invoke a sort of nightmarish and apocalyptic reality. The low lighting in which these extremely fragile works must be kept adds to the whole foreboding atmosphere. The exhibition's title comes from Van Gogh's opinion of Hugo's work as 'astonishing things', and they really are. Our review, expert in fine art Martin Lang, found 'the sense of uncertainty to feel oddly relevant to today'.
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Another man whose art has had enduring appeal is designer William Morris. Most people probably have or know of someone who owns something adorned with one of his hypnotising patterns. His work has remained incredibly popular since he first started producing it in the 1860s. A new exhibition at the William Morris exhibition, Morris Mania: How Britain's Greatest Designer Went Viral, explores how his work proliferated to such a degree.
While you may be able to spot a Morris, you might not know much about the man. He was a fervent socialist who championed a principle of handmade production that didn't chime with the Victorian era's focus on industrial 'progress'. These ideals sit in opposition to how his work has come to be used today.
Our reviewer, an expert in applied art, found that the exhibition was sensitive to this, championing 'ethical and bespoke production, while confronting the darker currents that move objects around our world'.
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This article is republished from The Conversation under a Creative Commons license. Read the original article.
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