Culture

They let us ride the deer. That’s the best part. The worst part is the deer trashing everything they can bite or stomp their feet on, but the best part is riding the deer. When the new deer-mates get here they don’t believe it. They’re feeding, watering and mucking out the shit but the perks are unbelievable, and it’s easy when they’re sedated – the deer, I mean. We got Abbie Folder shooting up tranq before her first ride and she just stumbled into a hakea bush.

An exhibition of Alexander McQueen’s work highlights the visceral, perverse pleasure of his designs but misses the point of his subversion.

Ruben Östlund’s Triangle of Sadness, which just earned the director his second Palme d’Or, builds on a reputation for satirising the social elite that he’s carefully cultivated in earlier works.

It’s not easy, being on the road. The roads being what they are, and my companions always keen on finding something low-budget. Melchior is generally okay with a twin share, but Gaspar – another story. It’s embarrassing, standing there in your crowns at reception as Gaspar quizzes some poor desk clerk about whether breakfast is included and whether there are extra pillows.

Some of our favourite arts critics look back over the highlights of 2022 from television, music, architecture, film and visual art.

The melding of old and new in Igor Stravinsky’s radical score The Rite of Spring has been a lifelong inspiration for composer Mary Finsterer.

For Michael Sheen – in Sydney to star in Amadeus, in which he performed more than two decades ago – past and present are inextricably entwined.