Culture

The actor tells The Guardian that practical gore effects marked a vivid turn from DTF St Louis to the Friday the 13th prequel.

Richard Cooke’s Guardian Culture essay traces the people and ideas behind Wikipedia, and the AI pressures he says could unsettle its foundations.

The Guardian reports that the film has earned $37.7m so far, as questions grow around its costly production and hard-to-place pitch.

The Australian comedian told The Guardian that scans showed no cancer elsewhere as she prepared for a double mastectomy, while discussing burnout and her new book on wellness.

The Australian actor says Cruise would beat him, while suggesting oxygen before film stunts could help explain the difference.

Public donations to the Museum of Contemporary Art exhibition include crockery, clothing and souvenirs depicting Aboriginal people and designs.

The Guardian’s Culture critic calls the Kazuo Ishiguro adaptation sentimental and unsatisfying, questioning what it has to say about AI, love and grief.

The Guardian praises the detail in The Country Schoolmaster while questioning how fully it confronts schooling’s impact on Aboriginal families.

A Guardian opinion piece says the Irish author’s decision to direct royalties to Palestine Action could put her UK sales at risk, though no withdrawal is confirmed.

A Guardian gallery revisits selected works shown at the Bondi exhibition from 1997 to 2024, marking three decades since its first event.

The Guardian’s review finds Kate Wyler navigating a stolen missile, political brinkmanship and the strain of a marriage conducted in the corridors of power.

Allison Williams, Jemima Kirke, Zosia Mamet and Andrew Rannells will return as the story resumes a decade after the 2017 finale.

The Guardian reports that Waddell’s decades-long screen career included vivid character roles and a final performance in The Survival of Kindness.

The Guardian praises the WandaVision spinoff’s genre play, while finding its dense plotting and wordy dialogue leave little room for emotional stakes.

Gary Kemp and Simon Halfon turn 404 entries in Epstein’s 1967 address book into an account of the people and pressures around the Beatles’ manager.

The Vancouver musician’s tongue-in-cheek debut title sits alongside a more complicated reality: she still wrestles with imposter syndrome.

Turned On: Dirty Sexy Money follows Gold Coast creators through conflicting ideas about content, the pressures of public attention and the effects of their work on personal lives.

A Guardian review argues that Aaron Sorkin’s film narrows Facebook’s harms to a familiar American crisis, leaving wider questions about social media largely out of view.

The Guardian calls the four-part documentary a “troubling hagiography”, criticising its treatment of the former champion’s conviction and past allegations.

Keira Knightley and Luke Thompson discuss how a revolving set and a new score bring the Stasi story closer to the audience.

The Guardian’s review of the band’s fifth album highlights Grian Chatten’s vocals, an expansive sound and a duet with Rosalía.

Officials say two flight attendants reported injuries after a Delta flight from Los Angeles landed at JFK. The FBI is investigating.

Mitte, who played Walter White Jr across 56 episodes, had cerebral palsy and advocated for disability representation.

The fifth Dolly Parton festival drew a reported record 1,600 ticket sales, bringing line dancing, local performers and a best-dressed contest to the regional town.

Anna Torv stars in Emma Freeman’s six-part Queensland drama, which The Guardian review says turns its attention from the mechanics of assault to the attitudes surrounding it.

In The Heights, DS Gillian Gish investigates a concierge’s murder among the wealthy residents of a Knightsbridge apartment building.

Ahead of their 31 October show at London’s O2, the band reflect on the scrutiny, lean years and reinventions behind a five-decade career.

In The Guardian interview, the British actor reflects on Dustfall, the lasting audience connection to Truly Madly Deeply and the rights she fears are being rolled back.

The platform’s deal with Jordan and Salish Matter reflects a broader shift towards YouTube-born entertainment, as parents weigh fast-paced formats against children’s growing awareness of online content.

Fourteen years in the making, Life Out of Order follows Alba, the time-travelling daughter of The Time Traveler’s Wife’s central couple, into a more politically charged future.

The 12-date Australian run began at Brisbane Entertainment Centre, where The Guardian praised the production and noted the sharp shifts between newer, melancholic songs and older favourites.

In The Lucky Son, the dancer and former Queensland Ballet leader revisits the years after Mao’s Last Dancer, from stockbroking to family life with Mary.

The sitcom follows three young adults facing work, friendship and uncertain futures, with UK and Australian premieres set for October.

Set on Rapa Nui in 1973, the director’s latest film pairs John Malkovich and Sam Rockwell as CIA agents reckoning with their past.

The five members confirmed their return in a social media video; tour locations and performance details are still to come.

The Guardian hears a distinctive pop record moving between shoegaze, Balearic sounds and acoustic pop, with one track failing to land.

Paloma Schneideman’s Big Girls Don’t Cry follows a teenager navigating friendship, queerness and online mischief in 2006.

For Shopfront Arts Co-op’s 50th-year celebrations, young artists are set to perform in one-hour blocks as the Sydney company revisits a fundraiser from its early years.

On Heartsong, the Australian songwriter turns recovery, grief and a changed sense of ambition into folk-influenced songs.

The Guardian praises the high-energy horror-comedy Gnomes, led by Asa Butterfield, as it streams in Australia.

Mike Flanagan’s eight-hour adaptation gives teenage cruelty and alienation room to unfold, with Summer H Howell and Samantha Sloyan at its centre.

The Happy Mondays performer says he has given up cocaine and sugar, while the band returns from an anniversary tour and considers a new album.

House of Stassi sets out as a redemption story. The Guardian review finds a more uneasy portrait of reality TV, family and the demands of making life watchable.