culture

Beyond the thrills, the glamour and the sexual tension, Killing Eve’s second season asks viewers to confront their own ambiguous morals – and therein lies the series’ greatest strength.

At the National Gallery of Victoria, the ancient terracotta warriors of Xi’an are exhibited with the work of contemporary artist Cai Guo-Qiang, provoking a conversation about history, legacy and immortality.

Love and Shit, an exhilarating double bill by Patricia Cornelius at fortyfivedownstairs, expose the uncomfortable realities of Australia’s underclass. In doing so, these plays remind us how vital theatre can be.

On Vampire Weekend’s ambitious new album, which contrasts the band’s most upbeat music with some of its darkest lyrics, the New York three-piece has staked its claim to longevity.

At the Art Gallery of New South Wales, The Essential Duchamp casts the work of the iconoclastic artist Marcel Duchamp in a contemporary light.

In the second season of Netflix’s series The OA, its creators question the relentless technological progress of our time, but the result is somewhat scattered.

With an energetic cast and Peter Evans’ strong direction, Bell Shakespeare’s production of The Miser proves that Molière’s satire is still right on the money.

In Miracle Workers, the latest program about the afterlife, the crisis on Earth is taken to extremes with Steve Buscemi in charge of Heaven Inc.

Her astonishing debut album saw SOAK become the youngest artist to be shortlisted for the prestigious Mercury Music Prize. So, can her ambitious follow-up, Grim Town, reach the heights of her early success?