Romantic hero, sex addict, troubled intellectual, IRA hunger striker. He can play the lot, and more. And an astonishing run of performances has taken him from obscurity to the brink of the Oscars
The gods knew, Odin knew, that the time of the wolf would come." AS Byatt's statement goes to the heart of what makes Norse myth so compelling. Its gods, are not immortals, but have precisely specifiable beginnings and a prescribed, and unavoidable, ending. For all the terrors they wreak and inspire, their power is ultimately finite.
If you could put money on a word combo coming up empty on Google, one of the best bets would surely be "Dire Straits" and "hate crime". But apparently the Canadian Radio-Television and Telecommunications Commission has just amended a 15-year-old ruling that the Straits' "Money For Nothing" was unfit for broadcasting, due to three uses of the word "faggot".
Cronenberg is the latest director to give Freud the movie treatment
As a new production of Frankenstein, directed by Danny Boyle, opens at the National Theatre, Paul Taylor looks back at almost two centuries of monsters inspired by Mary Shelley's 1818 masterpiece
It's a gloomy world that Rachel Kneebone has created at White Cube. The walls are painted in shades of grey, dark and brooding in the downstairs gallery and paler upstairs, the paint streaked in rain or tears. Kneebone makes extremely complex, delicate porcelain sculptures that teem with confusing, writhing tiny body parts arranged like urns or wreaths: a leg here, a penis or vagina there, and twisting forms that look as though they could be vines or spinal chords. Pieces of bodies in a horrific jumble. The sculptures are at times hideous visions that present bodies in states of fear, sadness and horror.
Seeking self-awareness by sharing your dreams with total strangers is becoming more popular
As David Cronenberg reveals he is to make a film about Sigmund Freud and Carl Jung, Arifa Akbar analyses the relationship between psychiatry's biggest brains
The Supreme Court's rejection of a faith school's admissions policy has revived an ancient but fierce debate in the Jewish community about what it takes to be considered 'one of us'
A daring, dynamic duo built to withstand the glare
The Freudian mind is a busy place. Better to keep it simple
Here's a first. As the sweetly atmospheric prelude fades away, the stillness is rudely shattered by the abrasive wail of an air-raid siren sounding the all-clear. Two gas-masked faces peep around a gigantic door. It sits at the centre of sinister, charcoal-drawn walls depicting the forbidding forest beyond. We are in wartime, for sure, a time of fear and austerity and rationing, but whether in Germany or dear old Blighty (there are resonances of both and the sung language is German, of course) is pretty much irrelevant to Stephen Barlow's wittily effective staging. What matters to Hänsel and Gretel is that it's a strange world to be growing up in.