With each season, ‘Better Call Saul’ feels more like a corrective to ‘Breaking Bad’
By Adam Rivett
Director Bong Joon-ho on ‘Okja’, Netflix and the new cinema model
By Luke Goodsell
Malthouse Theatre’s ‘Revolt. She Said. Revolt Again.’ is an exciting but nihilistic condemnation of how contemporary feminism has been derailed
By Alison Croggon
Hobart’s Dark Mofo is an illuminating reflection on myth, ritual, sex and death
By Jenny Valentish
Ian Potter Museum for Art’s ‘Vertigo Sea’ and ‘I was born in Indonesia’ are very different answers to the same question
By Quentin Sprague
‘PACmen’ is a good old-fashioned look at the absurdities of US politics
By Liam Pieper
Rachel Seiffert’s ‘A Boy in Winter’ chronicles the physical and psychological brutality of war from multiple perspectives
By Kevin Rabalais
‘Macbeth’ at Melbourne Theatre Company attempts to draw on the tension between high and low art
By Alison Croggon
The streaming giant is paying big money for big names as it expands into film, but will that be enough?
By Harry Windsor
John Safran explores the human tangles of belief and identity
By Oscar Schwartz
Cover of Anything Is Possible
Viking; $29.99
By Helen Elliott
Cover of Men Without Women
Harvill Secker; $35
By Stephanie Bishop
Image of ‘Snow-covered Field with a Harrow (After Millet)’
‘Van Gogh and the Seasons’ at the National Gallery of Victoria
By Sebastian Smee
Still from Hounds of Love
Ben Young’s ‘Hounds of Love’ presents horror in all-too-familiar surrounds
By Shane Danielsen
Image of Doctor Who producer Verity Lambert reviewing sound-effect tapes produced by the BBC Radiophonic Workshop
The Radiophonic Workshop, creator of those ‘Doctor Who’ sound effects, is back
By Anwen Crawford
Brutalist masterpiece or harbour eyesore? Sydney’s Sirius building faces an uncertain future
By David Neustein
‘The Gulf’ explores the family dynamics of abuse and its effects on children
By Alison Croggon
David Lynch’s ‘Twin Peaks: The Return’ shatters the tedium of prestige television
By Luke Goodsell