Culture

The powerful adaptation of PlayStation’s zombie game The Last of Us has unexpected glimpses of human grace amid the primal horror.

For feminist punk icon Kathleen Hanna, the re-formation of Bikini Kill after 22 years is an exhilarating vindication of her early career.

Adelaide has the largest fringe festival outside Edinburgh, and its increasing dominance by big-name acts means it caters less and less to emerging artists.

One day, some older boys had a tomato sauce fight at recess, squeezing their sauce packets and wiping them on squealing victims. When the boy ran the wrong way, straight into the path of a kid from year 5 who was primed and waiting, he received a smear of tomato sauce down the front of his shirt. He was not upset – none of them were – they were having the time of their lives. But over the following days when the game was long forgotten, the boy still sported his wound. It dried and hardened and eventually flaked off, leaving behind a henna stain that he wore every day like a birthmark.

When he first heard Paul Simon’s song ‘The Boy in the Bubble’, Brendan Cowell realised that he wanted to be a writer.

Charlotte Wells’s Aftersun is a haunting excavation of memory and loss, seen through the eyes of a young girl.

Vidya Rajan’s chatbot artwork In Search of Lost Scroll prompts existential questions about sentience, surveillance capitalism and mortality.