Endless photos of dogs, babies, food and office spaces. “Funny” videos. And endless talk of coronavirus.
NME: “Conspiracies come from a place of pain” - director Ben Zand on ‘The Mysterious Murder of Nipsey Hussle’
The BBC Three film seeks to unravel theories around the rapper's death, and prompts the question: what do they say about modern America?
Looming mountains, ghostly presidents, trees that stand like gods … the country star was a trained photographer – and his brooding images caught the sinister side of America
"The Mystery Jets frontman, Blaine Harrison, is showing the world that having a disability shouldn’t be a barrier within the music industry."
For the 35th part of my London on Screen series, I looked at the 'Summerhouse Estate' from Netflix's Top Boy revival.
"On his long-awaited debut Jay Electronica, who raps like a cross between a biblical thunderstorm and Nas if he had a doctorate in ancient philosophy, cements his obvious talent."
For the 34th part of my London on Screen series, I took a look at how David Lynch captured Victorian London at its most gothic and visceral for The Elephant Man.
In this new series, Thomas Hobbs speaks to different musicians about their favourite film scores. Next up is composer Nicholas Britell, who discusses how the iconic score for Chariots of Fire has inspired his work.
NME: Mr. Montgomery on new drill documentary ‘Terms & Conditions’ - “History will prove that this scene helps people”
"Drill doesn’t create violence; it’s just a reflection of violence. If young black men played violins they would try to ban that too.”
From horrorcore fantasies to soul-searching nightmares, here are the greatest moments from the Detroit rapper’s tumultuous career.
For the 33rd part of my 'London on Screen' series, I looked at the bachelor's pad from Alfie and how Notting Hill has changed since the Swinging Sixties.
"The idea of merging different cultures, and exploring his identity within them, is fundamental to Obongjayar’s artistry. This EP spiritually connects with the artist’s African roots, shot through a prism of Western urbanity."
New Statesman: “We argued over the crucifix scene” - what it was like being the demon in The Exorcist
Eileen Dietz is responsible for arguably the scariest face to ever appear in a horror film. She reflects on her experience of working on the 1972 horror masterpiece, and why she’s happy she ruined your childhood.