Bethan Turner’s excellent article (“We don’t do well in times of reaction”, July/August SR) focused on the frightening increase in attacks on LGBTQ+ people and explained how LGBTQ+ rights are being cynically used, for instance by Trump, as a cover for state oppression of Muslims. Bethan ended her article with a call for “unity of the oppressed”.
The Flood opens with these words: “Currently some 70 million individuals have been forcibly displaced by persecution, conflict, and violence around the world… Over 18,000 have died while trying to reach Europe in the last five years alone.”
Based on interviews with migrants and ex-Home Office officials, this dignified and dramatic film describes the horrors and risks endured by people seeking refuge in Europe, and the chilling, politicised calculations of the UK border agency.
The cultural explosions that took place amid the social and political upheavals of 1960s America threw up extraordinary new forms of expression that articulated incendiary challenges to state injustices and atrocities of that postwar era.
Corita Kent was a radical artist, activist, designer and art educator whose exuberant, subversive and at times controversial work revolutionised typographical design and cried out against injustice. Corita seized pop art by the throat and set it to work for human liberation.
Eat your heart out George Smiley, here comes Eve Polastri, earthily played by clever Sandra Oh.
Connecticut-raised and London based, Eve’s on the staff of MI5 with a routine job in security, but her background in criminal psychology drives her to look more deeply than her boss likes into a string of professional assassinations across Europe — and begin to draw some connections.
Lauren Greenfield is an American photographer and filmmaker who documents culture on a global scale. Her previous films include The Queen of Versailles, about a billionaire’s scheme to create a vast mansion in Florida styled after the French palace; and Thin — following four young women being treated in a specialist eating disorders centre, again in Florida.
Cathy Come Home, the 1966 BBC TV play directed by Ken Loach, exposed how unemployment, poverty and overcrowded and inadequate housing were condemning thousands of families to homelessness — and dividing parents from their children. The play provoked a public outcry, the setting up of homelessness charity Crisis, and eventually the Housing (Homeless Persons) Act of 1977.
Bombshell tells the extraordinary story of the film actor and scientist Hedy Lamarr, Hollywood’s “most beautiful woman in the world”, who starred in films from the late 1930s to the 1950s opposite icons such as Clark Gable and Spencer Tracy.
Journalists have tended to focus on digging out details of her early nude appearance in an erotic arthouse film, her turbulent journey through six marriages, her plastic surgery, drug addiction and reclusive later years.
Hillary Clinton never thought her wealth, political elitism, corruption, contempt for working class people, opposition to public health care, Wall Street connections and military backing for jihadists in Libya and Syria — triggering the worst refugee crisis in living memory — would get in the way of her inexorable journey to the White House.
Endorsed by Obama, she assumed she could sweep aside socialist nomination contender Bernie Sanders. She was confident because she thought that the truth about her operations would never get out.
Fans of Peter Ackroyd’s visceral histories will welcome this enthralling and compassionate exposé of LGBT+ life across 15 centuries in the UK capital. The book starts with the open homoeroticism of the ancient Romans, mining original sources previously expurgated of their “queer” content by nervous commentators.
Tate Britain’s first ever LGBT+-related exhibition explores connections between art and a diverse range of sexualities and gender identities. It covers the period between the abolition of the death penalty for sodomy in 1861 and the Sexual Offences Act of 1967 which partially decriminalised consensual sex between men over 21 (both legal changes affected England and Wales only). This is a historic exhibition then, inventive, fascinating, surprising and affecting. Nevertheless there are some interesting contradictions at play.
