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Adele Bertei's memoir, 'No New York', provides an essential slice of New York's bohemian history, particularly its no wave music scene in the late 1970s. Bertei, a relative unknown, brings a fresh perspective to the era, unencumbered by cultural baggage.Bertei's journey begins with her arrival in Manhattan in 1977, a city struggling with a municipal debt crisis and frequent fires. However, this period also saw a creative explosion, with the avant-garde art scene thriving post-Warhol. Bertei immerses herself in the alternative scene, crossing paths with future counter-culture icons like Joey Ramone and Alan Vega.Her writing vividly captures the era's spirit, describing the no wave music scene as "Dada brutalism" and a "negation of every way that had come before". As a member of the Contortions, Bertei experiences firsthand the challenging nature of the music, which was an expression of a darker collective reality. She also highlights the barriers faced by women and queers in the music industry, where sexism and homophobia were prevalent.Bertei's memoir is not without its challenges, as the focus shifts post-no wave, and she becomes a witness to subsequent cultural moments rather than a central figure. Despite this, her vivid and visceral account remains essential reading for anyone interested in alternative music.No New York: A Memoir of No Wave and the Women Who Shaped the Scene by Adele Bertei is published by Faber (£20).

Riz Ahmed's latest venture, 'Bait', is a comedy series that masterfully blends humor with poignant commentary on identity, fame, and the entertainment industry. Ahmed, who created, co-wrote, and stars in the show, plays Shah Latif, a rapper turned actor from a lively west London Pakistani Muslim family.The series navigates Shah's journey as he finds himself in contention to replace Daniel Craig as the new James Bond, a career milestone that brings about a crisis in his life. This predicament leads Shah to question his authenticity and fear of becoming 'bait' – both in the London slang sense of being 'obvious' or 'naff,' and in the sense of being used by the British state to co-opt legitimate dissent.'Bait' skillfully balances humor with emotional authenticity, particularly through its portrayal of family dynamics. Sheeba Chaddha shines as Shah's mother, Tahira, bringing depth and warmth to every scene she's in. The show's humor is largely derived from its witty dialogue, which showcases a dazzling display of linguistic dexterity, effortlessly switching between Urdu, Arabic, MLE, and RP.The series also highlights the strength of the British south Asian actor community, with notable cameos and roles for Himesh Patel, Nabhaan Rizwan, and Sagar Radia. Ritu Arya is excellent as Yasmin, Shah's love interest, and her chemistry with Ahmed is undeniable.While 'Bait' occasionally veers into self-indulgence, its self-referential humor and industry satire add layers to the narrative. The show's exploration of themes such as identity, cultural representation, and the pressures of fame makes it a compelling watch. With its talented cast and clever writing, 'Bait' is a must-watch on Prime Video.

Lisa Kudrow reprises her role as Valerie Cherish in the third season of 'The Comeback', a character often compared to Steve Coogan's Alan Partridge. Both are narcissistic figures clinging to past showbiz successes. The show initially gained acclaim for its satirical take on the entertainment industry. This season, Cherish is offered a lead role in a new sitcom called 'How's That?', which is secretly written by an AI program. The use of AI in comedy writing is a key concern, especially following the 2023 US writers' strikes. However, the show fails to effectively satirize this concept, instead opting for a more sentimental approach. The Comeback's earlier seasons were praised for their meta approach, blending reality TV and mockumentary styles. However, the latest season struggles with its format, frequently switching between mock-doc and traditional sitcom modes without clear justification. Cherish, once portrayed as a sharp-elbowed has-been, has evolved into a reformed character. She is now universally praised by those around her, making her less relatable and less humorous. The show's attempts at humor fall flat, with the AI-generated scripts producing generic and unfunny gags. The season concludes as a heartfelt paean to traditional comedy, but its lack of humor and toothless satire leave little confidence in its future. The show's shift towards sentimentality over satire is a significant disappointment.

Mark Simmons, a rising star in the comedy world, has made a name for himself with his quick wit and clever one-liners. In a recent interview, Simmons opened up about his journey as a comedian, his inspirations, and his latest tour, Jest to Impress.Simmons' love affair with comedy began when he was starting out. He devoured DVDs and videos of standups, drawn to those who dared to be different. Stewart Lee, Rhod Gilbert, Lee Mack, and Noel Fielding were among his early inspirations. Simmons' own style is characterized by his ability to craft clever one-liners and gags, earning him the title of Dave's Joke of the Fringe winner in 2024.When it comes to writing new material, Simmons has a keen eye for wordplay. He recalls a conversation with a friend that sparked a joke, showcasing his ability to find humor in everyday life. Simmons' process involves collecting notes and ideas, which he then crafts into jokes.Simmons has had his fair share of memorable gigs, including a standout performance at Glastonbury festival and a recent show at Nottingham Playhouse, where he performed to a sold-out crowd of 700 people. His show, Jest to Impress, is a celebration of silliness and wordplay, offering audiences a chance to forget their worries and have a laugh.Simmons also hosts a podcast where he discusses jokes that haven't quite landed. He shares an example of a joke that works on paper but not in front of an audience, highlighting the challenges of comedy. While awards like Dave's Joke of the Fringe are fun, Simmons acknowledges that they can be reductive, but he's proud to be the undefeated champion.Jest to Impress is currently on tour in the UK and Ireland until November 28. Fans of Simmons can catch him live, enjoying his unique brand of comedy that promises to leave audiences laughing and entertained.

The UK's Competition and Markets Authority (CMA) has concluded its investigation into vet chains, finding that pet owners have overpaid roughly £1bn in fees over five years. This significant finding has led to the implementation of new rules aimed at making the market work better for consumers.The veterinary sector has undergone a rapid transformation, with 60% of vet practices now wholly or partly owned by one of six large groups, three of which are owned by private equity investors. This shift has resulted in higher prices for pet owners, with large veterinary groups (LVGs) charging more for their services.The CMA's investigation revealed that pet owners are willing to pay more for services at LVGs, despite a strong preference for independent vets. The new rules will require vets to publish prices, itemize bills, and clearly indicate when a practice is part of a chain. Additionally, the fee for writing a prescription will be capped at £21, and complaints processes will be strengthened.The Veterinary Surgeons Act of 1966 is set to be updated, with proposals including the creation of a new regulator with powers over businesses and individuals, as well as protection of the job title 'veterinary nurse'. These changes aim to address the lack of transparency and accountability in the veterinary sector.The overhaul of the UK veterinary market serves as a lesson in how an old-fashioned market can be swallowed up by larger, more profit-oriented businesses. The CMA's review of the veterinary sector is part of a broader effort to examine private dentistry and other markets.

The final season of Netflix's Heartbreak High has concluded, but its farewell has left much to be desired. The show, a remake of the 1990s Australian series, had potential with its fresh-faced cast and energetic tone. However, it ultimately succumbed to a polished but contrived approach, straying far from the gritty realism that made its predecessor compelling.The original Heartbreak High was praised for its near-verite realism and diverse cast, tackling tough issues with fearlessness and courage. In contrast, the new series opted for a blinged-out U-turn, adopting a jokey tone and pat writing. While it still addressed important issues like abortion, mental health, and racial tensions, it did so without the same level of authenticity.The final season follows the gang's last year at Hartley High, kicking off with a chaotic muck-up day prank. However, even this moment felt painfully contrived, lacking the realism that once defined the series. The show's approach to emotional moments was similarly forced, designed to generate feeling rather than earn it.Creator Hannah Carroll Chapman may have aimed for a show akin to Sex Education, but Heartbreak High fell short. Its colourful but contrived approach rarely achieved a strong emotional pull, instead favouring sentiment over subtlety in its conclusion.Despite its shortcomings, Heartbreak High still explored complex relationships and character aspirations. However, the show's failure to balance humour and drama, coupled with its contrived emotional moments, left this reviewer underwhelmed.

The Orange Tree theatre in London is currently hosting a captivating production of Nicholas Wright's 2002 play, Vincent in Brixton. This poignant piece imagines a lesser-known chapter in the life of Vincent van Gogh, who spent a year in south London pursuing a career as an art dealer and possibly had a romantic relationship with his landlady or her daughter.In Georgia Green's tender production, the play blossoms into more than just a footnote in art history. The story revolves around Vincent, portrayed by Jeroen Frank Kales, and his landlady Ursula, played by Niamh Cusack. Their characters share a deep mental perturbation, uncovering a kinship in misery that eventually blossoms into romance.The setting, designed by Charlotte Henery, is a cozy kitchen on the Orange Tree stage, perfect for quiet confidences. The sound design by Donato Wharton adds a sensory layer with birdsong, the sound of pans on the stove, and the rush of Vincent's blood during his first kiss. The chemistry between the leads is palpable, with Cusack's rich-layered voice conveying Ursula's distraught emotions.The play is remarkable for its non-judgmental writing, allowing the characters to express their feelings in personal and poetic ways. The cast delivers full-hearted performances, including Rawaed Asde as the other lodger and Ayesha Ostler as Ursula's vigilant daughter. The relationship between Vincent and Ursula is portrayed as a brief, radiant interlude, offering a glimpse into Van Gogh's life before he found his vocation as an artist.This production of Vincent in Brixton runs at the Orange Tree theatre, London, until 18 April, offering audiences a chance to experience a unique and emotional exploration of restless souls.

Jenni Murray, a trailblazing broadcaster and longest-serving presenter of Woman's Hour, has died at the age of 75. Murray brought a unique calm authority to the BBC Radio 4 weekday show for an impressive 33 years, transforming it into a platform for discussing subjects such as the menopause, domestic violence, genital mutilation, and sexual politics.Under Murray's tenure, which began in 1987, Woman's Hour evolved significantly from its origins in 1946 as a program focused on cooking, cleaning tips, and romantic serials. By the time Murray took over, the show had become a sisterhood of the airwaves, as described by the Sunday Times in 1996.Murray was renowned for her fearless and thoughtful questioning of guests, which included politicians, film stars, authors, poets, chefs, gardeners, lawyers, and anxious parents. One notable interview was with Margaret Thatcher in 1990, where Murray exposed the ideological differences between the feminist approach and Thatcher's views on childcare and gender equality.Murray also conducted incisive interviews with other prominent figures, including Edwina Currie, who revealed her affair with John Major, and Tessa Jowell, discussing her financial decisions. Her conversations were marked by a flair for the dramatic and a deep empathy for her guests.Throughout her career, Murray was not without controversy. In 2017, she faced backlash for an article she wrote questioning the use of the term 'real woman' by trans individuals. The BBC subsequently warned her about maintaining impartiality on controversial topics.Murray's contributions to broadcasting were widely recognized. She was awarded an OBE in 1999 and a dame in 2011. Woman's Hour won the Television and Radio Industries Club's award for best radio program in 2004, and Murray received two Sony awards in 2010 and 2011.Murray's legacy extends beyond her broadcasting career. She was a champion of women's rights and a prolific author, writing several books, including her memoirs and a history of women's suffrage.

In the end, a comedy show leaves you with a feeling that tells you whether it worked or not. The general consensus about the inaugural episode of Saturday Night Live UK is that it did work, though some may feel the cast of 11 actors and 20-strong writing team only just got away with it.The show began with an impression of Keir Starmer by George Fouracres, followed by the guest host monologue by Tina Fey, former head writer at the original SNL. Like many sketches to come, it started stiltly but warmed up to end in relative triumph.One of the stronger sketches featured a skincare range called Undérage by Pedolay, with the tagline "everyone will think your husband is a nonce!" While some sketches went on too long—a tradition almost as longstanding as the cold open—others hit their mark better.A sketch about David Attenborough's Last Supper with reanimated icons offered a disturbingly good Diana impression by Jack Shep, followed by two successful bits featuring Hammed Animashaun as an honest film critic and as part of a team dedicated to making the internet "as bad as it can possibly be."The team recovered with a solid Weekend Update presented by Ania Magliano and Paddy Young, which contained proper jokes for grownups, including references to "Boris Pistorius/Saddam Walliams" and a joke about "It's a Sin becoming a musical as if a TV show about the Aids crisis could get any gayer."While a Shakespeare sketch and a bra-fitting sketch had mixed results, and performances by Wet Leg were described as "god-awful," the reviewer concluded that the show did not fail and could become more successful as the team and audience settle in over coming weeks.The review acknowledges that while the show could have been a lot worse, it also could have been better. However, the attempt to retool a legacy American brand for British audiences was refreshing and ambitious, with potential for growth and improvement.