Dating can take a toll on your emotions. Now it is wrecking people’s finances as “dateflation” makes standard dating-related expenses out of reach for many singles. Faced with the economic pressure of inflation, many are turning to “infladating,” which is the practice of going on budget-friendly dates.

Rising costs hit the dating scene

Finances impact “nearly every aspect of life, to varying degrees,” said USA Today. Your dating life is “no exception.”

Not only does the “state of the economy impact the kinds of dates people go on,” said USA Today, but it may also “influence who people decide to go out with.” As dating expenses continue to rise, “people become more selective about who they choose to take out.” People use calculations to determine “which dates to go on” and not just “what they’re doing on the date” but “who is worthy of that date,” Damona Hoffman, a dating coach, said to USA You’ll likely “wait to see that there’s some possibility of this relationship going somewhere” before you’re willing to “make a monetary investment in someone.”

On average, Gen Z spends $205 on a date, and millennials spend $252, according to CNBC analysis of BMO Financial Group’s survey of 2,501 U.S. adults. Yet, nearly 47% of singles feel dating isn’t worth the money, while 48% of Gen Z and 40% of millennials say the high costs of dating are an obstacle to reaching their financial goals.

Those who have embraced “infladating” are “being more mindful about spending on dates due to rising costs,” Susan Trombetti, the matchmaker and CEO of Exclusive Matchmaking, said to Vice. Infladating does not mean “investing less energy into your dating life,” said Vice. Rather, it’s “investing less money into it.” Effort goes a “long way with the right person.”

Better than giving up

If infladating worries people, experts note the alternative could be worse. In reality, many people are “struggling in today’s economy” and are “opting out of dating completely because it’s too expensive,” dating coach Amy Chan said to USA Today. She sees it more in her “male clients who feel embarrassed that they cannot take a date out to a nice restaurant.” If the “antidote for that is infladating,” then she is “all for it!”

In any case, singles should be “wary of the person who pulls out all the stops on a first date,” said Chan. People are taught to “read that as romantic,” but that level of intensity “hasn’t been earned by anything real between you.” It’s a “performance,” and often it says “more about how they want to be perceived than how they feel about you.”

This isn’t “just a dating story” but a story about “how our finances and the things that impact them affect every area of our lives,” including “how we pursue relationships,” Michael McAuliffe, the president and founder of Family Credit Management, said to Vice. Basic everyday costs have been “increasing much faster than most people’s paychecks.”

Produce shelves are becoming sparser and featuring fewer options. Economic, cultural and environmental factors have reduced the variety of vegetables available to consumers. Prioritizing the same produce can have negative health effects and could make crops more susceptible to climate change.

The same stock

Vegetable diversity is “declining due to market homogenization, land-use change and other threats,” and its “current conservation is insufficient,” said a study published in the journal PNAS. There have been “substantial declines in the range of traditional vegetable varieties grown over the past century, while almost one-quarter of assessed wild relatives of major vegetable crops are threatened with extinction,” said a release by the World Vegetable Center about the study.

“Vegetable biodiversity is one of the world’s greatest assets for improving diets and adapting agriculture to a changing climate,” Colin Khoury, the global conservation lead at the crop diversity preservation nonprofit Crop Trust, said in the release. “But we’re losing it at exactly the time we need it most.”

Several factors have reduced vegetable biodiversity. Initially, “humans selected only a portion of wild plants for cultivation, and then the variety narrowed even further due to the industrialization of agriculture, globalization and the spread of mass production,” said the news publication BB. As a result, traditional varieties of vegetables and “their wild relatives have fallen out of favor, leaving just a shrinking selection of tamed vegetables on supermarket shelves,” said IFL Science.

Also, agricultural practices like “monoculture, the practice of growing a single crop variety across vast areas,” are a “risky business, both economically and ecologically,” said IFL Science. If a “disease takes root in one plant, it rapidly spreads through the entire identical field like wildfire.”

Underrated options

People “consume nearly 40% fewer vegetables than recommended by the World Health Organization,” said the release. Low vegetable consumption is “among the five leading dietary risk factors contributing to the global burden of disease.” In addition, “relying on the same familiar crops,” like “standard varieties of eggplant, kale, cabbage, carrots, lettuce, onion and tomato,” may “not be enough to meet the climate challenges ahead,” said Food & Wine. The good news is that there are 1,480 known species of edible vegetables, most of which are underused.

“The solution isn’t simply to grow more vegetables,” Maarten van Zonneveld, who led the research, said in the release. “It’s also to grow more kinds of vegetables.” Many nutrient-rich vegetables, like “spider plant, slippery cabbage and other dark-green leafy vegetables, receive little breeding attention due to their lower commercial value compared to crops such as pepper and tomato,” said the study. The less-consumed vegetables also “carry traits that could help breed new varieties better able to withstand heat, drought, pests and disease,” said IFL Science.

Unfortunately, these underutilized crops “receive only a tiny fraction of the research, breeding and conservation efforts devoted to globally traded vegetables and staple grains,” said the release. The study highlights the need to “strengthen breeding capacity among both public and private organizations, combined with investment in participatory breeding with farmers,” said the study.

“Much of the vegetable biodiversity we need is still out there,” Zonneveld said in the release. The “urgency is to conserve it properly so that we can use it wisely to diversify diets amid climate change.”

“Has any actor, especially a glamorous former ‘EastEnders’ star, embraced the grotesque on stage as admirably and wholeheartedly as Tamzin Outhwaite,” asked Nick Curtis in The London Standard. Following her “utterly un-vain” performance as Kath in “Entertaining Mr Sloane”, Outhwaite now reprises her “monstrous” turn as Beverly, the “egomaniac” hostess from hell in Mike Leigh’s 1977 comedy “Abigail’s Party”.

“In a diaphanous orange frock and ratted Farrah Fawcett wig”, she gives a “tour de force” star turn in Nadia Fall’s assured revival: “every gesture, every wag of her sandalled ankle, reeks of self-satisfaction and command”, even as her drinks party descends into chaos. And there’s fine support from Kevin Bishop, deploying a roster of “sitcom harrumphs and double-takes” as Beverly’s “pretentious, prating” husband, Laurence.

“Revitalised by a crack cast, this is a party you won’t want to miss,” agreed Kirsten Grant in The Telegraph. Casting two Asian actors in the roles of new neighbours Angela and Tony adds edge to certain lines about the local area (in suburban Essex) going downhill. Lauren Patel is “deliciously tactless” as the prattling Angela. As the taciturn Tony, Omar Malik winces with “embarrassment and pent-up frustration”.

And Pandora Colin is “superlative” as Sue, said Fiona Mountford in The i Paper. A divorcée whose teenage daughter, Abigail, is holding her own party a few doors down, she’s an “unassuming woman who would just like some proper dinner”.

“Abigail’s Party” has often been accused of snobbily punching down on the aspiring working classes, said Clive Davis in The Times. In fact, like “The Diary of a Nobody” – of which Mike Leigh is a huge fan – the play is a brilliant study in “how we construct facades”.

The only flaw in this show, said Arifa Akbar in The Guardian, is that the darkness of the ending does not quite land. The play has all been so enjoyably comical that the switch to tragedy leaves Beverly “speechless and at sea, for once”. Otherwise, Fall’s production “proves that this period comedy of manners is eternally resonant”.

Harold Pinter Theatre, London SW1. Until 19 September.

The first series of the BBC’s “affable cosy crime saga” “Ludwig” was “almost irresistible”, said Rebecca Nicholson in the Financial Times. David Mitchell starred as John Taylor, a famous puzzle setter known as Ludwig, who has a knack for solving “seemingly uncrackable” murders.

When his detective twin brother, James, disappears, Ludwig impersonates him to help his sister-in-law, Lucy (Anna Maxwell Martin), solve the mystery. Series two continues in the “same lively vein as the first” with each episode combining a murder-of-the-week mystery set against the overarching storyline about James’ disappearance.

I was worried that the new series couldn’t possibly be as good as series one, said Anita Singh in The Telegraph. “Relief: it is.” The script is “cracking”, Mitchell is “great”, and the supporting performances, including Sian Clifford as a slippery lawyer and Mark Bonnar as a local newspaper editor, are “faultless”. The first crime, featuring an elderly woman stabbed to death, is “a belter”: John’s method of unmasking the killer “made me squeak with delight”.

How you feel about series two will depend on your tolerance for cosy crime, said Annabel Nugent in The Independent. “Ludwig” remains “as light as ever”, and the murders, though plentiful, are still bloodless – they are “cases lifted from a ‘Cluedo’ board” that are often “barely plausible”.

Still, it is a solid comfort watch for autumnal nights – “best enjoyed like a mug of milky tea, sipped down easily and without much thought”.

“Teenage Sex and Death at Camp Miasma” is “a title so good you feel the film to which it’s attached should really have to earn it”, said Robbie Collin in The Telegraph, and “happily it does”.

Starring Gillian Anderson as “fading horror queen”, it is both “extravagantly funny” and “recklessly bizarre”. Hannah Einbinder plays Kris, an “earnest yet self-loathing” director who has been asked by a Hollywood studio to reboot “Camp Miasma”, a fictional 1980s US slasher franchise.

The original is now regarded as “embarrassingly non-PC”, chiefly because its villain, Little Death, is the spirit of a gender-nonconforming child killed by other campers. As a celebrated, self-styled “queer filmmaker”, Kris is just the person to make the rebooted film: she’s a horror nerd who has been obsessed with the original since childhood, particularly with Squeak, its “final girl” (the last female character left alive). She tracks down Billy Presley (Anderson), who played Squeak and now lives, in creepy “Norma Desmond-esque” seclusion, at the former summer camp where the original was filmed.

As Kris tries to convince Billy to appear in the reboot, the pair form a bond, said David Sexton in The New Statesman. And as their relationship deepens, fiction and reality begin to blur, and the film turns into something both “sexy” and “slaughterous”.

“Teenage Sex and Death at Camp Miasma” “won’t be to everyone’s taste”, said Larushka Ivan-Zadeh in the Daily Mail – the title gives a fairly good sense of whether it’s for you or not. “It gets messy. It gets pretentious.” And it’s not particularly scary (the violence is “almost cartoon-like”). But it is beautifully shot, funny and “marvellously camp – in both senses of the word”. “Either way, Anderson is terrific.”

Kazimierz Moczarski, the author of this “astonishing” book, was a Polish Resistance officer in the Second World War captured by Stalin’s secret police in 1945, and declared an enemy of the state and incarcerated for 11 years in Warsaw’s Mokotów Prison, said Frances Wilson in The Telegraph.

While there, he “endured 49 different types of torture”, one of which was to share a cell for 255 days in 1949 with the former SS Commander Jürgen Stroop, an “architect of the Holocaust and liquidator of the Warsaw ghetto, now awaiting execution”.

Moczarski, who had once tried to assassinate Stroop, discovered that his cellmate was entirely unrepentant, and willing to discuss his crimes freely. Lacking notebooks, he memorised what he was told and later used those memories to produce “Conversations with an Executioner” – a book first published in a censored edition in Poland in 1977, and only now fully translated into English. Composed largely of dialogue, it offers a unique perspective on the “narcissism of Nazism” – and deserves to be considered a “masterpiece”.

Moczarski, a trained journalist and former law student, “grasped that he had been handed the opportunity of a professional lifetime” when he was forced to bunk up with Stroop, said Roger Boyes in The Times. Guided by Moczarski’s promptings, Stroop told him everything: about his rise through the Nazi ranks; about his time setting up Jewish labour camps in southern Poland; and finally, about how he oversaw the destruction of the Warsaw ghetto in 1943, which he still regarded as a “career high”.

With relish, Stroop recalled “tucking into steak and pommes frites” after spending the day watching flame-throwers being “blasted at Jews in hiding”. Asked if he ever pitied his victims, Stroop replied: “Praise be what hardens.” Superbly translated by Sean Gasper Bye, this book will “gnaw at you like a prison rat”.

Because Moczarski was forced to rely on memory, questions have been raised about the reliability of his account, said Jo Glanville in The Guardian. He argued that imprisonment had so intensified his recollections “that he could replay his conversations with Stroop as if they were a tape recording”. While writing the book after his release in 1956, he “fact-checked Stroop’s version of events” – and found that everything the SS general had told him seemed true. Moczarski died in 1975, two years before his book was finally published. It offers a “remarkable insight into the genesis and mindset of a Nazi war criminal”.

The Week is partnering with Stratford Literary Festival and Dorchester Literary Festival

Autumn is the busiest season of the publishing year, with new books by Richard Osman, Marlon James and Barbara Kingsolver set to hit shelves. That means it’s time to start planning which literary festivals to visit. The UK is home to an array of events where you can meet your favourite authors, attend talks and workshops, discover rising stars and, of course, come away with plenty of reading to keep you busy right through the winter. Here are some of our top picks.

Cheltenham Literature Festival

Launched in 1949, Cheltenham Literature Festival is still going strong over seven decades later. The revered author of “Empire of Pain”, Patrick Radden Keefe, will be discussing his latest book about the mysterious death of a 19-year-old in London with The Sunday Times chief literary critic Johanna Thomas-Corr, and Mary Beard will be making an appearance to examine the surprising ties between antiquity and the present. Budding writers can also book a lively two-hour workshop that will help them finally write their first novel.
cheltenhamfestivals.org; 9–18 October

Durham Book Festival

Pet Shop Boys icon Neil Tennant will join Durham University Chancellor Fiona Hill to talk about how growing up in Newcastle shaped his music, as part of the festival’s “Forged in the North” series. And if you’re interested in life writing, join Louise Doughty and Nicola Wilding to find out how they used letters and photos to examine the complex lives of family members for new memoirs. Bestselling author Susanna Clarke will also be introducing her historic novella, “The Bishop of Durham Attempts to Surrender the City”.
newwritingnorth.com; 9–11 October

Dorchester Literary Festival

Dorchester Literary Festival returns in October for an exciting week of star-studded talks, debates and live events covering everything from poetry to politics. Highlights include Jung Chang discussing the follow-up to her epic memoir, “Wild Swans”; the creator of “Downton Abbey”, Julian Fellowes, reflecting on his glittering, multi-decade career; and bestselling author Victoria Hislop sharing details of her thrilling new novel set in post-war Greece. Don’t miss the literary walk hosted by Mark Chutter, chairman and academic director of the Thomas Hardy Society, followed by a cream tea.

Tickets are on sale from 31 August, and The Week readers can receive a 10% discount using code T4YVJSDM (valid for a maximum of 10 tickets bought before 30 September). dorchesterliteraryfestival.com, 17–24 October

London Literature Festival

Dua Lipa has curated this year’s festival at the Southbank Centre. The pop star and founder of the Service95 Book Club will be hosting a series of conversations with her favourite writers including Zadie Smith. Other literary stars to look out for include “Noughts & Crosses” author Malorie Blackman and the Sudanese Canadian poet Mustafa.
southbankcentre.co.uk; 20 October – 1 November

Stratford Literary Festival

Expect another jam-packed line-up at Stratford Literary Festival this year, with fascinating talks by the likes of Celia Imrie, Greg James and Marina Litvinenko. Baroness Margaret Hodge will be discussing her memoir, “Battle Axe”, and Bonnie Garmus will be talking about her new novel, “Peck and Peck”, about a young man whose life is turned upside down when he lands a job at a prestigious poetry journal. Neill Cameron will also be discussing the latest instalment of his bestselling kids’ graphic novel series “Donut Squad”.

The Week is the Festival’s media partner and there is an inclusive discount on tickets to some events for The Week readers with the code SLFW26A on checkout. stratfordliteraryfestival.co.uk, 29 October–1 November

“You should be ashamed of yourself,” said a hiker as Jamie Richardson climbed the final steps to reach the summit of Snowdon. Alongside a friend, he was scaling the mountain to raise funds for a motor neurone disease charity in May, Richardson said he was “getting booed”, and a man “physically tried to stop” him from bypassing the line of people waiting.

This month, Marc Screeton went viral after he posted a video of himself being heckled for queue-jumping. “I haven’t endangered anyone or ‘shoved or barged’ past anyone,” he said. “Imagine queueing on a mountain.”

Hikers have been up in arms over Wales’ 1,085m summit for years, with mixed views over the etiquette of accessing Snowdonia’s best views.

Like ‘insulting Paddington Bear’

Queuing is what Britain is known for doing “better than anyone else”, said travel editor Alice Murphy in Metro. It is part of an “unspoken” social contract, Johann Go, assistant professor of ethics at University College London told the outlet. If you were to jump the queue, you are effectively saying “to hell with them” and “my time is more valuable”.

At Snowdon, also known as Yr Wyddfa, if people just “barged past each other”, there could be serious consequences, etiquette expert Jo Hayes told the paper. “People could potentially fall” or be “crowded in like sardines”, and it would be “unpleasant, and very likely, unsafe”. Some say it should be “different strokes for different folks”, said Murphy. If you are just wanting to touch the top to complete the hike, “fire ahead”, but if you’re “doing it for the ‘gram”, then “get in line”.

Queuing on Snowdon may be “frustratingly long”, said The Guardian, but what do you expect? As one of the “most beautiful parts of the UK”, it is “bound to attract crowds – so people should expect to queue”. This debate has been going on for a “decade and a half”, and recent queue jumpers have added to the outrage. “Skipping a queue is the least British thing of all time. It’s like insulting Paddington Bear.” Blame over-tourism and social media all you like, but “if you want to climb a mountain in 2026, expect to join a line”.

Queues ‘ruining’ the climb

Sorry, this is “Snowdon, not Chessington World of Adventures”, said Carol Midgley in The Times. This episode is an example of “taking docile queueing too far”. “Yes, it’s nice to be polite and wait your turn, blah blah, but what next – waiting in line to enter the sea at Bridlington?” The reason there are so many queues is because “morons tit around at the top” taking their “stupid selfie for their stupid social media post that interests no one”.

Screeton probably “secretly” made his fellow hikers’ day. The only thing Brits enjoy more than “meekly joining the end of a pointless queue” is “bitching about people who disobey that pointless queue”. However, queuing is essential in “supermarkets, cash machines and public lavatories”. Failure to do so is always an “outrageous violation of the social code and a recipe for a fat lip”.

Mountain summits have traditionally been associated with “achievement, community, and endurance”, said Portia Jones on Wales Online. But in recent years they have become “akin to a tourist attraction, subject to queuing rules and hostile public policing”.

Additionally, experts say that in extreme conditions, whether hot or cold, stationary queuing can create “safety concerns”. The practice is “absurd”. The “real achievement” is reaching the summit, not taking a “staged photo”. “If you want to wait in a long line, may I suggest Alton Towers instead of our wild and precious mountains and stop ruining them for the rest of us.”

“Standing in an orderly line is the closest thing we have to a national hobby,” said The Times’ editorial board. But it “has its limits”. Snowdonia (Eryri) National Park Authority’s refusal to intervene – advocating a policy of “self-policing” – is a “refreshing departure from nanny statism”. “Good.” And regardless, there are many other viewing points in the park from which to “admire its majesty”, instead of waiting an hour at the top on a “mindless quest for social media fodder”.

‘Comes in Waves’ by Carly Simon

★★★

“At this stage in her life, Carly Simon has every right to turn in a biblically gloomy record,” said Victoria Segal in The Times (U.K.). Yet despite her recent announcement that she has been struggling with Parkinson’s disease, her first album of new material in 18 years proves to be “far from doom-laden.” Recorded mostly at her studio on Martha’s Vineyard, the record’s dozen songs are “remarkably full of good cheer, quiet wisdom and, at times, a twinkling playfulness that rolls back the years to Simon’s 1970s glory days.” Anyone who thought the storied singer-songwriter might tiptoe away from her career “need only listen to the opening track,” said Melissa Ruggieri in USA Today. “Over a jaunty piano melody,” Simon “bulldozes” into a chorus in which she advises a friend to “howl like the wind” to get over a breakup. “Maybe I Never Loved You,” the very next song, addresses her famous ex, James Taylor, but its touches of bitterness matter less than Simon’s still-superb delivery. With just a slight hesitation in the final line, she “turns the song’s intention inside out,” creating just enough ambiguity to let listeners find their own meaning.

‘The Womack Sisters’ by The Womack Sisters

★★★

“The Womack Sisters’ self-titled debut album is a throwback to the heyday of soul,” said Shawn Donohue in Glide. Little wonder, seeing that Kucha, Zeimani, and BG Womack are the granddaughters of Sam Cooke, daughters of the 1980s duo Womack & Womack, and nieces of R&B legend Bobby Womack. “This music is their heritage” and the three sisters are “perfectly paired” with the retro-soul label Daptone for their 11-song coming-out. “If I Let You,” a Latin-jazz detour, was co-written by Daptone chief Gabe Roth. The sisters’ “tour de force” debut channels a host of influences, said Jonathan Bernstein in Rolling Stone. You can hear ’60s girl-group pop in “Monster,” echoes of socially minded message songs in “Laughter and Tears,” plus “gospel-infused sibling harmony” from start to finish. Despite their lineage, the sisters struggled for more than a decade to get a record like this made. After being told for years how to build a career, the opening track is the sound of a group “finally taking the proverbial wheel.” The song is “Chauffeur,” and it references one of the many side jobs the sisters took on to support their ambitions: driving for Uber.

‘Fata Morgana’ by L’Rain

★★★

“For an artist like L’Rain, the boundaries of genre are places to explore rather than fences hemming her in,” said Grant Sharples in Paste. On her fourth album recorded under that name, the Brooklyn-based musician born Taja Cheek “constructs sonic realms that feel both tactile and free-form”—a fitting trick, given that the album’s title refers to an optical illusion affecting objects seen at a distance. This “beautiful yet unsettling” record blurs the border between pop and experimental such that “Soulless Cycle,” by far the “heaviest” song of her career, “feels right at home with the soft key arpeggios of ‘With Time’ and the ambient soul of ‘Blue.’” With her lyrics here, “Cheek speaks in riddles and questions everything, especially herself,” said Stephen Kearse in Pitchfork. On “Borderline,” she “picks at insecurities like scabs,” while “Birthday” is less a celebration than Cheek trying to talk herself into even caring. At the same time, she and her two bandmates “bury the malaise under layer upon gorgeous layer of instruments and vocals.” This is music that’s “dense as a thundercloud in one moment, sheer as gauze in the next.”

When you make a purchase using links on our site, The Week may earn a commission. All reviews are written independently by our editorial team.

Acclaimed Scottish journalist and nature writer Cal Flyn is the author of Thicker Than Water and Islands of Abandonment. In her new book, The Savage Landscape, she travels to remote corners of the world while wrestling with the meaning of wilderness. Below are her six favorite books.

‘Dart’ by Alice Oswald (2002)

A strange, potent, even mystical text, Dart is a polyphonic poem that flows down England’s River Dart from source to sea, as voiced by those who frequent it: anglers, canoeists, naturalists, sewer workers—and occasionally the otherworldly voice of the river itself. I recommend this book to someone about once a week. Buy it here.

‘The Light Eaters’ by Zöe Schlanger (2024)

A work of soulful science writing, The Light Eaters brings together many recent, confounding botanical findings that raise provocative questions about the sentience of the vegetable world. Intelligent and responsibly reported, but still wondrous and full of possibility. Buy it here.

‘A Field Guide to Getting Lost’ by Rebecca Solnit (2005)

This must be my favorite of Solnit’s books, amid stiff competition. (I also have a soft spot for 2003’s River of Shadows.) As befits the title, Solnit offers meandering meditations on exploration, art, and family history. Her book’s beauty reminds me of the pleasures of the freely roaming mind. Buy it here.

‘Fathoms’ by Rebecca Giggs (2020)

Elegantly interweaving natural history, science writing, philosophy, and cultural criticism, this contemplative book concerns the lives and impact of our cetacean cousins. Factual yet as haunting as any fiction. Giggs does what I’m looking for in a writer: She makes me look at the world anew. Buy it here.

‘Osebol’ by Marit Kapla (2019)

Composed of poetic extracts from interviews Kapla recorded with residents of a settlement deep in the Swedish forest, this book offers a collage of everyday gripes, lyricism expressed in everyday language, and unexpected glimpses of the sublime. I recognized those clashing chords from my time living on an island off the far north coast of Scotland. Buy it here.

‘The Animals in That Country’ by Laura Jean McKay (2020)

McKay’s novel is a mind-expanding work of speculative fiction in which an epidemic of “zooflu” allows people to suddenly hear the voices of animals. This is not the cutesy, singsong world of Disney, but a deafening chorus of demands and unsettling declarations. Hilarious, surprising, and disconcerting. Buy it here.

‘On the Mark: From Periods to Interrobangs, How Punctuation Remade the World’ by Florence Hazrat

Not so long ago, said Judith Shulevitz in The Atlantic, “WRITINGLOOKEDLIKETHIS.” We’re all thus fortunate that punctuation gradually emerged, beginning with the Babylonians’ breakthrough idea of grouping words inside boxes. A bigger leap occurred in the 2nd century B.C. when Aristophanes of Byzantium, head of Alexandria’s unmatched library, came up with a system odots to indicate pauses amid written language’s rivers of words. In the years since, “the rules of punctuation have been codified, but they have never stopped evolving,” and Florence Hazrat’s entertaining new book ushers us through that history. The book is “no mere wacky usage guide,” said Steven Poole in The Guardian. It’s instead “a lavishly researched scholarly inquiry into punctuation over the centuries,” all of it undergirded by Hazrat’s “admirable insistence that punctuation is part of writing itself, an essential component of style and of the architecture of thought.”

“Dashes, colons, parentheses—they are all covered here, as are emojis,” said Jim Kelly in Air Mail. The ancestor of the question mark debuted in the 5th century while the spaces that we place between words didn’t exist until Irish monks introduced them three centuries later. Hazrat makes the particulars of each of these developments “utterly delightful.” Speaking of which, “let’s give a shoutout to Italian poet Iacopo Alpoleio,” the godfather of the exclamation point. Hazrat is “a keen user” of that particular mark, said Constance Higgins in The Telegraph (U.K.), and her spirited style can grow annoying. But she’s also willing to accept that her story can’t remain one of constant innovation. Most of the punctuation marks we know today were “cooked up in the rhetorical hotbeds of Renaissance Italy.” If we’re honest, “progress more or less stopped there.”

“There’s a lot of good in On the Mark,” said Meghan Cox Gurdon in The Wall Street Journal. Unfortunately, Hazrat’s achievement is undercut by her determination to enlist punctuation’s history in scoring political points. While she’s on firm ground when she notes that the editors who added exclamation points to Shakespeare’s plays forever changed how readers view the female characters, we quickly “go whizzing off into the land of political grievance.” Ignoring countless less hateful political figures who littered their pronouncements with exclamation points, she calls out Nazi propagandist Joseph Goebbels for the offense, then links Goebbels’ speechwriting to Donald Trump’s social media posts. She even finds proIsrael bias in the hyphen at the heart of the phrase “Israel-Palestine conflict.” Ignore the partisan preaching in this book, though, and you’re likely to agree with its central message. In short, “punctuation marks do matter.”

‘They Stole a City: Wilmington’s White Supremacist Coup and the Families Who Live With Its Legacy’ by Lauren Collins

“The Wilmington Massacre constituted a watershed moment in American history,” said Sally Greene in American Scholar. Lauren Collins’ “brilliant” new book isn’t the first to shed light on the events of Nov. 10, 1898, when a mob of armed white men launched a deadly attack on the Black political and business leaders of Wilmington, N.C., ending the city’s rule by a multiracial coalition and its successful post–Civil War run as a Black-majority municipality. At least 22 and perhaps hundreds of Black residents were killed in the violence. But Collins, a white New Yorker writer who was born and raised in Wilmington, “expands the timeline and widens the lens,” building on David Zucchino’s 2021 Pulitzer Prize–winning Wilmington’s Lie to show how the massacre’s aftermath continues to shape her hometown more than 125 years after it inspired the systematic disenfranchisement of Black voters across the South.

Collins’ book is “distinguished by its deep interest in the origins of the horror,” said The Economist. She opens by introducing an enslaved teenager working on a 1770s plantation and, while developing the stories of four families still tied to Wilmington, builds toward the 1898 clash. The elite planners of the coup wanted power back, and they ensured that the militia they assembled was “armed to the teeth in advance.” As Collins follows the ripple effects of the resulting massacre, “she rightly measures the crime not just in violence but in loss of livelihoods, opportunities, connections, and futures.”

Collins’ book “uncovers history that even many longtime Wilmingtonians don’t know,” said John Staton in Wilmington’s Star News. One of the white families she chronicles is celebrated locally for having brought European workers to the area in the early 1900s, but Collins notes that the landowner who did so was an 1898 insurrectionist who refused to hire Black workers. She also connects 1898 to the city’s troubling school desegregation battles of the 1960s. It’s “sobering” to realize that Collins was right when she decided that the story of the massacre couldn’t be contained to its own time period, said Jennifer Szalai in The New York Times. “It had numerous antecedents, and its effects continued to reverberate across generations.”

Filmgoers love sports movies for the same reason that networks linger on players celebrating championships after the big game, then cut to the losers to capture their heartbreak: Sports narratives are innately moving. These nine superb dramas keep audiences riveted because they are about much more than winning or losing.

‘Bang the Drum Slowly’ (1973)

John D. Hancock’s largely forgotten “Bang the Drum Slowly” is the story of a friendship between New York Mammoths star pitcher, Henry Wiggen (Michael Moriarty), and his unsophisticated catcher, Bruce Pearson (Robert De Niro), a frequent target of his teammates’ cruelty who receives a terminal diagnosis and plays brilliantly through it for one last season.

“From here on in, I rag nobody,” Henry announces at the end of this quiet, moving character study, a mantra more people could stand to adopt. Its “mixture of fatalism, roughness, tenderness and bleak humor” hit home despite the lack of “telegraphed big moments on the field,” said Roger Ebert at the time. (Prime Video)

‘Rocky’ (1976)

For a niche sport, boxing has produced an outsized share of the greatest sports movies, including “Rocky,” a movie that still inspires countless people to run up the stairs at the Philadelphia Museum of Art. Sylvester Stallone (“Rambo”) is Rocky Balboa, a down-on-his-luck Philly boxer who gets an unexpected shot at greatness when reigning champion Apollo Creed (Carl Weathers) chooses him to fight in the exhibition bout that comprises the film’s final set piece. A movie that features “some of the most wildly exciting fight footage ever put on the screen,” its most winning element is Rocky himself, a “character of enormous appeal and charm,” said Arthur Knight at The Hollywood Reporter. (Netflix)

‘Raging Bull’ (1980)

The turbulent life of boxer Jake LaMotta gets the biopic treatment in director Martin Scorsese's instant black-and-white classic. Robert De Niro plays LaMotta as almost tortured with kinetic jealousy and bottomless insecurity, at one point pummeling another boxer in front of his wife, Vickie (Cathy Moriarty), because she had said he was handsome.

“Raging Bull” is also a groundbreaking film in the depiction of domestic violence, one of the first commercial films to take the scourge seriously. This “brutally nihilist tale” is told in a “stunning, dreamlike series of episodes in and out of the ring,” with the boxer ultimately “brought down by his own toxic machismo,” said Peter Bradshaw at The Guardian. (MGM+)

‘Hoosiers’ (1986)

Gene Hackman delivers one of the best performances of his long, storied career as Norman Dale, a fallen college basketball coach who steps in to lead the high school basketball team in tiny Hickory, Indiana. Tasked with transforming a motley crew of unseasoned players into a contender, he hires the recovering alcoholic Shooter (Dennis Hopper) as assistant coach, and the team gels and starts winning.

“Hoosiers” sounds like a hundred other sports films. But its attention to detail sets it apart, produced in large part by casting mostly unknown local actors as the players. In director David Anspaugh’s film, the “emotions it asks us to feel are genuine and fairly achieved,” so its “artful familiarity becomes a balm instead of a stumbling block,” said Kenneth Turan at ESPN Classic. (YouTube)

‘Bull Durham’ (1988)

Annie Savoy (Susan Sarandon) is a baseball groupie who picks one ballplayer a year on the minor-league Durham Bulls to sleep with and tutor. She picks the gloriously named Nuke Laloosh (Tim Robbins), a fireballer with an unfortunate lack of depth and wisdom but comes to prefer the aging veteran Crash Davis (Kevin Costner).

Full of timeless observations like Crash noting that “strikeouts are boring and besides that they’re fascist,” it is uproariously funny but also succeeds as both a romance and a baseball film. Written and directed by former minor-league ballplayer Ron Shelton, it is a “long, smart kiss to baseball” with the “loping narrative rhythm of a baseball season,” said Richard Corliss at Time. (Mubi)

‘Million Dollar Baby’ (2004)

After spending the bulk of his career on Westerns and vigilante films like “Dirty Harry,” Clint Eastwood underwent an astonishing transformation into a widely respected directing auteur. Here he also stars as Frankie Dunn, an aging, dyspeptic coach who agrees to take on the unpolished Maggie Fitzgerald (Hilary Swank), as she seeks to rise through the ranks of women’s boxing.

The film’s turning point is a tragedy during a fight arranged by Frankie, making its second half more of a dirge than a sports film. A “rueful rumination on sin and absolution,” Eastwood’s “striking framing has the muscular simplicity and directness of Ernest Hemingway's prose,” said Colin Kennedy at Empire. (Paramount+)

‘Moneyball’ (2011)

A movie about the data analytics revolution in baseball is an unlikely contender for one of the best sports movies, but director Bennett Miller’s take on Michael Lewis’ 2003 book gets it done. Brad Pitt stars as Billy Beane, the general manager of the woebegone Oakland Athletics, who hires data wizard Peter Brand (Jonah Hill) to revolutionize the team’s scouting and gain an edge over the team’s better-funded peers. Featuring a “sharp, sleek script,” it is as much about a “fundamental cultural shift and the rise of the information elite” as it is about baseball, said Manohla Dargis at The New York Times. (Netflix)

‘The Fire Inside’ (2024)

Ryan Destiny (“Grownish”) anchors “The Fire Inside” as Claressa Shields, the two-time Gold Medal-winning boxer from Flint, Michigan, and her coach, Jason Crutchfield (Brian Tyree Henry). Written by Barry Jenkins (“Moonlight”) and directed by Rachel Morrison in her feature debut, it is both an unflinching look at the obstacles faced by a community that would soon be plunged into a national news-worthy water crisis and an unusually well-shot sports film whose boxing sequences jump off the screen. It asks a question rarely posed in sports films: “If you don’t come from privilege, what happens when you fight your way to the top, only to realize that it looks a lot like where you started?” said Alissa Wilkinson at The New York Times. (MGM+)

‘Marty Supreme’ (2025)

One of the only feature films about the niche sport of ping-pong, “Marty Supreme” is a character study of the distinctly unlikeable antihero Marty Mauser (Timothée Chalamet), one of those people who leaves a wake of chaos, heartbreak and destruction wherever he goes. He also happens to be a truly gifted table tennis player who pursues his dream of becoming the world’s top-ranked with savage self-interest, running cons on everyone from his own love interest, Rachel Mizler (Odessa A’zion), to Gwyneth Paltrow’s depressed, aging film star Kay Stone. Buoyed by Marty’s “endless slippery charm,” it is also a “very unconventional coming of age story,” said Kieran Battams at Voice. (HBO Max)

What happened

Dolly Parton, the country music superstar who wrote and recorded iconic songs like “I Will Always Love You” and “Jolene,” died Tuesday in Nashville, Tennessee, after “bravely facing a brief battle with cancer,” her publicist said. She was 80. Over her six-decade career, Parton wrote more than 3,000 songs, sold more than 100 million records, and won 11 Grammys, along with numerous other accolades. She also gifted more than 300 million books to children worldwide through her Imagination Library program.

Who said what

From “hardscrabble beginnings to glittering stardom,” Parton’s life was the “stuff of make-believe,” said The New York Times. Her songs “vividly captured details of her impoverished Appalachian upbringing” and “shared her views on love, faith, loss and regret,” said Rolling Stone. Parton’s “curvy physique, massive blond wigs and skin-tight outfits” served her “self-deprecating wit,” The Associated Press said, and she was the “rare celebrity whose appeal transcended generations, geography and politics.”

Parton’s legacy is “not celebrity but humanity,” Country Music Hall of Fame CEO Kyle Young said in a statement. She was a “champion of equality and literacy” and a “picture of dignity, even when dressed outrageously.”

What next?

“At Dolly’s request, a small, private service will be held for immediate family,” Parton’s family said in a statement. “In lieu of flowers,” fans and friends can donate to Imagination Library.

Spearheaded by “Jolene”, her 1974 hit that has been covered more than 90 times, Dolly Parton’s extraordinary back catalogue has “long taken on a life of its own outside country music”, said Alexis Petridis in The Guardian.

Right up until her death this week, Parton “seemed as present in pop music in the mid-2020s as she had been in the late 70s”, having been a notable influence on Taylor Swift, Beyoncé and Sabrina Carpenter in particular.

“A world without Dolly doesn’t feel possible, real, or right,” said Taylor Swift on social media following Parton’s death yesterday. She will leave an “everlasting” legacy for younger artists and fans. Beyoncé, who recorded a reimagined version of “Jolene” in 2024, said Parton was the “barometer” and “north star” of the industry.

‘Cocktail of mixed emotions’

“The country music icon amassed countless hits and accolades,” said USA Today, “but few songs have stood the test of time quite like her beloved tune ‘Jolene’”. The song first appeared on Parton’s 13th studio album, of the same name, released in October 1973, and reached No. 1 on the US chart in February 1974. It was inspired when a “red-haired bank clerk flirted” with her late husband, Carl Thomas Dean.

The song has not only become “one of the most renowned songs in country music”, but has also “transcended genre lines”. In 2004, it was No. 217 on Rolling Stone’s “500 Greatest Songs of All Time” and No. 63 on the revised list in 2021. “Jolene” has become a “constant presence throughout pop culture, with multiple generations discovering, covering and falling in love with the tune”.

A large part of the song’s appeal is how “open-ended” and relatable it is, said Annie Zaleski on The Boot. We may know how upset the “inadequate” protagonist is, but “we're not quite sure how her story ends”. Some of the final lyrics – “I had to have this talk with you / My happiness depends on you” – can be interpreted as “breezy, a stern warning shot or downright passive-aggressive”. In just three minutes, Parton digs into a “cocktail of mixed emotions – jealousy, anger, sadness, fright – that to this day captures the complicated dimensions of the human condition”.

Given that ambiguity, what’s curious is how different artists have interpreted the core messages of “Jolene” in recent years, said David Honigmann in the Financial Times. At its heart, the song “walks the line between dignity and desperation”. Tellingly, this has usually led male artists to replay Parton’s “quiet dignity as hysteria”, while women tend to be “more sympathetic”.

In 2018, rapper Stormzy “embarked on a lengthy exegesis” of the song on social media, saying that he wished Parton had “more self-love and confidence or the strength to just leave my man cah it ain’t really Jolene’s fault”. David Rotheray of The Beautiful South wrote in a 2013 blog that it “always sounded to me like a delusional ‘low self-esteem’ song”.

Yet women artists, such as Laura Marling and Strawberry Switchblade, have tended to refrain from judgement, while Parton’s god-daughter Miley Cyrus (Parton was a close friend of her father, Billy Ray Cyrus) has recorded a “splendidly tougher, more assertive version”.

Musical ‘blueprint’ for artists

“Jolene”, as well as other major hits such as “I Will Always Love You” and “9 to 5”, shows a “skilful musician who knew how to blend the story of lyrics with the drama of music”, said creative arts academic Wendy Hargreaves on The Conversation. Her lyrics are known to tell the story, but, importantly “her music matched it”.

The chords “pound out an appropriately bleak minor key, ascending to higher chords with each dramatic call of the name ‘Jolene’”. Underneath the accompanying vocals, an “intriguing, rapid-fire, finger-picking guitar” maintains an “incessant motion that not only adds tension but draws admiration for skilful playing”.

In a technical sense, “Jolene” also “lends itself to malleability”, said Zaleski on The Boot. For Parton, the song’s simplicity is a “big plus”, with her “proud warble” up front, supported by “genial acoustic guitar augmented by occasional whispers of pedal steel and strings”.

It strikes a perfect balance, at once “galloping” enough to be “effective” as a folk song, but also “skeletal enough” for subsequent artists to use it as a “blueprint or guiding sketch” for their own vision. This is what has made the song “timeless”; “there’s nothing in the production or instrumentation to tie it to a particular era or musical movement”.

This summer, Dominic Sessa stars as a young Anthony Bourdain in “Tony”. The “coming-of-age” film set during a summer restaurant job which “helped shape the beloved late chef and TV host into the icon he ultimately became”, said Deadline.

Alongside his work as a chef and presenter, Bourdain was also “one of the best food memoirists of all time”, said Izzy Titherington in The i Paper. His “seminal” 2000 book “Kitchen Confidential” opened readers’ eyes with an “unfiltered” portrayal of “work in professional kitchens”, including everything from poor food practices to his own “struggles with drug use”. Here are some of our other favourite culinary memoirs.

‘Blood, Bones, and Butter’ by Gabrielle Hamilton

“If Bourdain wrote like a rock star, Hamilton writes like a poet,” said Abhya Adlakha in Esquire India. She rose to fame at the helm of Prune, which she described as a “tiny restaurant with 30 seats and a kitchen the size of a school bus”. Bourdain called her “magnificent” book “simply the best memoir by a chef ever. Ever.” The sentences are “so beautiful you forget to be impressed that she's also feeding people”. The opening to her work, describing a lamb roast in a New Jersey field, with her “bohemian mother in espadrilles” is “one of the great first chapters in American memoir, full stop”.

‘The Devil in the Kitchen: Sex, Pain, Madness and the Making of a Great Chef’ by Marco Pierre White

This memoir is simply “exhilarating”, said Titherington in The i Paper. White gives us an insight into the “obsession and sacrifice” behind his journey as the “youngest-ever chef in the UK (and the youngest anywhere at the time) to earn three Michelin stars – and then the first to give them all back”. We follow him through his working-class upbringing in Leeds, dealing with the death of his mother when he was six, and his subsequent “rise as one of the culinary world’s original rock-star chefs”.

‘Cellar Rat’ by Hannah Selinger

“If you harbour romantic ideals of what it’s like to work in a fast-paced, high-pressure restaurant, here’s a reality check,” said Jim Webster in Smithsonian Magazine. Hannah Selinger’s memoir explores her years working in some of the “most recognisable temples of gastronomy” in New York. For all the adrenaline, in a professional kitchen “drama can be more like trauma, and a lot of the actual romance falls far short of ideal”. She tells “raw” stories, “names names” and “takes responsibility for many of the things that happen along the way”, in adventures that are “as believable as they are heartbreaking”.

‘Accidentally on Purpose’ by Kristen Kish

Having grown up as a South Korean adoptee in the American Midwest, Kish “interlaces kitchen anecdotes, the rigours of culinary school and restaurant life with deeper reckonings about identity, belonging and love”, said Saskia Kemsley in The Standard. Still only 42, Michelin‑trained Kish won the 10th season of “Top Chef”, and, most recently, became the “Emmy‑nominated host of the show she once watched as a young child”. She writes “candidly” about coming out, the “pressures and pleasures of professional kitchens, and how comfort can take shape in both food and relationships”. This is not just about the prodigal rise of a chef, but a “reflective account of how an unpredictable life can resolve into purpose on its own terms”.

‘Salt, Sweat & Steam: The Fiery Education of an Accidental Chef’ by Brigid Washington

In Washington’s “fast-moving coming-of-age” memoir, there are “injuries, flirtations, squabbles, name-drops, and dishes gone awry”, said Bettina Makalintal in Eater. It has been described as “‘The Devil Wears Prada’ for the ‘yes chef’ generation”. The work explores her “gruelling” days at the Culinary Institute of America, where she “reluctantly chose to enrol after a breakup pushes her to get out of North Carolina”. She reconstructs “vivid scenes” and recalls distant characters “with a sense of ease”. This book will appeal to “anyone who’s been curious about culinary school but hasn’t made the commitment themself. You might even learn a few things.”

Imagine being thrown into No 10. Downing Street and being forced to contend with a “public that is always fuming, a press that is consistently hostile, a cabinet that behaves badly, and backbenchers who never stop moaning about something”, said GQ Magazine. No, it’s “not one of Starmer’s recurring nightmares,” but a mobile game that has “skyrocketed in popularity”.

In the last fortnight, the average daily userbase of “No. 10: Full Confidence” has “leapt from 300 to 21,000”, propelling it to near the top of the UK paid-games leaderboard. “Absurd, nihilistic, so-tragic-it’s-hilarious – the perfect allegory, you might say, for British politics in 2026.” And its popularity, along with other similar apps, reveals a lot about the “current political mood in the UK”.

‘Close to the bone’

The game – which costs £2.99, with the option to pay extra for a “special adviser pack” – suggests that “becoming prime minister isn’t the difficult part, it’s staying one that’s tricky”, said Metro. The current average term achieved by players is 2 years and 11 months (in game time), which is “longer than the last three real prime ministers, and only a little shorter than the reigns of Theresa May and Boris Johnson”. Released in May, in a case of “excellent if accidental timing”, the “jury’s still out on whether this will make people more sympathetic to former PMs” such as Keir Starmer, but historical precedent suggests it seems “very unlikely the new incumbent will be able to beat the game’s high score in real-life”.

The app’s creator and developer Benjamin Brewis told GQ that the game is meant to focus on “satire rather than political advocacy”. All 350 potential scenarios are tailor-made, and some are influenced by real events, from both sides of the political divide. “Scarily”, when I speak to people in politics or the civil service, they say how “close to the bone it is”, Brewis said. Especially in scenarios where decisions need to be made quickly, and “chaos just ensues and then nothing gets done in the end”.

The first decision is selecting a chancellor. Players must decide between Harriet Voss, a “former investment banker who has ‘never expressed a political opinion in public’”, or Reginald Forthwright, who advocated for “a flat tax of 3% on everything” and “has written a book described as ‘dangerously coherent’”. While people tend to only last a couple of years, the record is “1,885 months, which is a long time. 157 years”, said Brewis. And at that point, “that’s no longer a democracy at all”.

First among equals

“Full Confidence” is not the only game based around Westminster “wheeling and dealing”, said the BBC. “Fantasy Parliament”, designed by Evan Roberts, is a “browser-based game”, where players can draft a “fantasy league” of real-life cabinet ministers and MPs, who score points based on their real-world media coverage. And later this year, Black Cannon Games are scheduled to release “UK Politics Simulator”, which is “built on real UK data down to ward level”.

The success of such apps suggests that the “dramatic recent ebb and flow of Westminster may have inspired a popular new sub-genre”. Dr Russell Foster, a lecturer in British and International Politics at King’s College London, told the broadcaster that the “churn of prime ministers” and “growing presence of politics on social media” could also explain the burgeoning popularity of such games.

This game shows us the “depressing” environment that has been “co-created by us, the unforgiving voters”, said Zoe Williams in The Guardian. Prime ministers are “evasive” because they don’t trust the reaction of the electorate, who in turn “lose trust” in their figurehead.

“Westminster hasn’t been so united by an app since the early 2010s, when everyone was trying to figure out what David Cameron saw in ‘Angry Birds’.” But “Full Confidence” is also a “useful corrective”, challenging dissatisfied voters to put themselves “in a prime minister’s shoes”.

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People in the U.S. eat so much Mexican food in restaurants that you could be fooled into thinking there’s no such thing as Mexican home cooking. You would be wrong. The best Mexican cookbooks lift the veil, revealing a world of lush, inviting, easy recipes that have all the elements you adore in Mexican food. And if you are doing it right, it will be different than you ever knew Mexican food could be.

‘My Mexico’ by Diana Kennedy

Prolific researcher and author Diana Kennedy is a complicated figure in the world of Mexican cookbooks. She did champion the cooking of “rural Mexican women, Indigenous women and working-class women,” said Tejal Rao at The New York Times. But she also “never reckoned with her authority over Mexican cuisine as a white British woman.”

Nonetheless, “My Mexico” is a benchmark, a personal travelogue. Kennedy wanders across the country, picking up a recipe for pozolé de camarón in Jalisco, chuletas de puerco en agridulce (sweet-and-sour pork chops) in Morelia, and chilaquiles en salsa verde from her longtime home state of Michoacán. These are purist dishes that tell the story of place as only cooks from those locales can. ($45, University of Texas Press, Amazon)

‘Oaxaca: Home Cooking from the Heart of Mexico’ by Bricia Lopez with Javier Cabral

Serious food people know that Oaxaca, in central Mexico, has some of the finest cuisine in the country, if not the world. It’s the land of many moles, inspired uses of corn, and sparkling seafood on the coast. And one of the U.S.’s best trumpet-bearers for Oaxacan cuisine has long been Los Angeles’ family-run restaurant Guelaguetza.

In “Oaxaca,” one of the restaurant’s owners, Bricia Lopez, works to “demystify this idea that it takes days to make mole” and other signature Oaxacan dishes, she said to the Los Angeles Times. It’s less anthropology and outsiders looking in and more hands-on cooking. “We are just people, and this is our story. We are not exotic.” ($45, Abrams, Amazon)

‘Pati’s Mexican Table’ by Pati Jinich

With her boundless positivity and irrepressible curiosity, Pati Jinich is a cross-border Pollyanna. She has hosted 15 seasons of her PBS show, “Pati’s Mexican Table,” and her first book, by the same name, is a cheerful invitation to embrace an open-ended version of Mexican cooking. There’s nothing slavishly authentic here, but the recipes’ bones are pure Mexico.

Burgers are laced with ancho chiles and served with lime aioli. A variety of dried chiles are snipped into a plucky take on spaghetti with garlic and olive oil. And hibiscus flowers appear in a vinaigrette that dresses spinach festooned with goat cheese and caramelized pecans. Cook from “Pati’s Mexican Table,” and you too will be a beacon of optimism. ($35, HarperCollins, Amazon)

‘The Taste of Mexico’ by Patricia Quintana

Published in 1986, this book is a “straightforward guide” to the “fundamentals of regional Mexican cooking,” said Saveur. Patricia Quintana, a Mexico City chef and author, introduced American readers to the nuances of good Mexican cooking long before the country’s cuisine took over the U.S. in all its varied glory.

“The Taste of Mexico” operates like a greatest hits of Mexico’s regional food styles. Chiles en nogada from Puebla, draped in a creamy walnut sauce, capture the tricolors of the Mexican flag. Including Oaxacan black mole, beer-soused pinto beans from the north, and European-influenced dishes from Mexico City, the cookbook celebrates the “sumptuous breadth” of Mexican cuisine, said Publishers Weekly. ($20, ThriftBooks, Amazon)

‘Truly Mexican’ by Roberto Santibáñez

Sometimes you want an anchor, rather than the full catamaran, when you aim to understand one of the world’s finest cuisines. In Mexican cooking, those moorings are salsa, moles and their kin. “Truly Mexican” shows you how to prepare them and only them.

You will learn to assemble both cooked and raw tomato salsas and be reminded that endless other traditional salsas have never seen a tomato in their life. Adobos, whether with three chiles or the lone suave guajillo chile, become life-giving purees for marinated fish, chicken and beef shank. Moles are here too in many hues of the color wheel. With “Truly Mexican,” you will gain the “necessary skills to master other recipes,” said New World Review. It’s precisely what one wants from a cookbook. ($38, HarperCollins, Amazon)

‘Yucatán: Recipes from a Culinary Expedition’ by David Sterling

A grand self-contained microcosm much like its subject, “Yucatán” hovers at nearly 600 pages, telling the varied food stories of the far southeastern edge of Mexico. The food of the Yucatán Peninsula, aside from a few restaurants in several U.S. cities, is not known well north of the border. And Sterling, who died in 2016, aimed to change that.

This “beautiful and comprehensive” book opens with an ingredient primer, then grabs the reader by the wrist and wanders across cities like Valladolid and Mérida, from coast to inland, and into the region’s pueblos and their singular foods, said Portland Book Review. Few books mark the scope of a place so thoroughly, let alone a locale so underrepresented in the U.S. ($60, University of Texas Press, Amazon)

Most people who visit Ireland head straight for Dublin or Galway, said Andrea Bussell in National Geographic. Even some locals aren’t familiar with the “great green valley that stretches through County Tipperary” in the heart of the country’s “Ancient East”. But, tucked between the Galtee Mountains and a “forest-clad sandstone ride known as Slievenamuck”, the Glen of Aherlow is the perfect place for a “slower, nature-centric” holiday.

Here, “tall emerald mountains” rise from “cattle-grazed pastureland flecked with miles of trees” and “scattered rural villages”. To get to know this stunning landscape and discover its “most sacred corners”, explore the Heritage Trail. Along it, there are many artefacts and landmarks to visit, including the “striking, well-preserved” remains of Moor Abbey on the banks of the River Aherlow, and St Pecaun’s Holy Well between Bansha and Cahir, where people have visited for centuries to pray and drink the “therapeutic waters”.

County Tipperary is known as Ireland’s equestrian capital and a visit here “wouldn’t be complete” without taking a riding lesson; Ballyhoura Trekking Centre and Hillcrest Equestrian Centre are good options.

“For me, nothing beats an evening by the water at Garrykennedy,” said Vic O’Sullivan on Lonely Planet. This tiny village on the eastern shore of Lough Derg is a “sublime” setting, with an “old stone harbour” and bobbing sailboats moored at the pier. Enjoy “hearty pub fare” and a pint in the Larkins’ beer garden before wandering down to Ryan’s to listen to live music and watch as “sky and shoreline darken to an inky blue”.

Sports fans should visit Thurles’ Semple Stadium to catch some hurling. Watching this native sport with a roaring crowd is a “thrilling cultural immersion”: “even if you don’t know the rules, the speed and passion of the game will leave you hooked”.

Travelling by car is the best way to soak up the area’s “magic” and reach the villages where buses don’t go. Before you leave, be sure to pay a visit to the Rock of Cashel. Perched on a “limestone outcrop”, the medieval ruins are home to a round tower, a 13th-century cathedral and Cormac’s Chapel, “where faint Romanesque frescoes still survive”.

How big is China’s EV industry?

Chinese automakers last year made nearly 16 million electric vehicles, a whopping 75% of all EVs sold globally. The U.S. produced only 5%. More than half of new cars sold in China are now EVs—here it’s about 10%— and those vehicles are in heavy demand around the world: Tariffs of up to 127.5% have kept them out of the U.S., but 80% of EVs sold in Latin America are Chinese, as are 75% in Southeast Asia, and 57% in Australia. It’s a staggering turnaround for China, which in 2000 made only 2 million cars a year, all of them gas-powered. Today, Chinese EVs impress with their affordability—budget models run as low as $7,800, compared with $29,000 for a Chevrolet Bolt in the U.S.—reliability, battery range, and luxury features that come as standard, such as massage chairs, big screens, and built-in refrigerators. With every major nation except the U.S. shifting from gas- to battery-powered cars, a move that’s been accelerated by the Iran war driving up oil prices, China’s dominance is expected to grow. “We’ve reached a genuinely existential moment” for U.S. automakers, said Stephen Ezell of the Washington-based Information Technology and Innovation Foundation.

How did China become an EV power? 

It began in 2001, when Beijing realized EVs would help it “solve multiple problems at the same time,” said China-based auto analyst Bill Russo: “energy security, environmental pollution concerns, and industrial competitiveness.” It pumped more than $230 billion into the EV sector over 15 years, funding new automakers and new battery and charging technologies. Beijing also offered EV buyers rebates and tax incentives, constructed the world’s largest network of public charging stations, and helped automakers build vertically integrated supply chains. BYD, which overtook Tesla last year as the world’s top EV producer, mines its own lithium, makes its own batteries and semiconductors, and even exports cars on its own ships. Recognizing the challenge, President Barack Obama in 2009 launched a $2.4 billion grant program to boost EV development in the U.S.; a $465 million loan helped Tesla get its breakout Model S to market. Under President Joe Biden, the federal government put $7.5 billion toward charging networks and offered billions more in incentives for buyers and automakers. Many of those efforts were scrapped following President Trump’s return to the White House last year.

What did Trump do?

Calling climate change a “con job,” Trump signed into law a GOP mega-bill that nixed a $7,500 tax credit for new EV buyers. His administration has dismantled clean-air regulations and fuel economy standards that spurred carmakers to move toward EVs; it has also challenged states’ authority to set their own tougher standards. “You’re not going to be forced to make all those cars,” Trump said last year, while signing a law aimed at killing rules from California, which would phase out the sale of new gas-only cars by 2035. EV sales had already stalled in the U.S. before those actions, with potential buyers discouraged by high prices and concerns over range and charging access. But the withdrawal of federal support caused the market to slump, with new EV sales plunging 27% year over year in the first three months of 2026.

How have U.S. automakers responded?

Starting in December, the so-called Big Three—Ford, GM, and Stellantis, owner of Chrysler and Jeep—announced more than $52 billion in write-downs on EV-related losses, and set about what GM called a “strategic realignment.” The companies canceled planned EV models; stopped production of current ones, such as Ford’s F-150 Lightning pickup; and repurposed their battery plants for other uses, including making batteries for data centers. The retreat has alarmed industry analysts, who say U.S. automakers are dooming themselves to irrelevance by doubling down on gas-guzzlers.

What’s at stake? 

The U.S. auto industry generates $1.2 trillion each year, nearly 5% of GDP, and directly employs some 7.4 million Americans. It indirectly supports millions more jobs. To safeguard the industry, Republican and Democratic lawmakers have rallied behind legislation that would ban companies with more than 15% Chinese ownership from selling cars in the U.S. “We are not competing on a level playing field when China subsidizes its manufacturers” and “uses slave labor,” said Rep. Debbie Dingell (D-Mich.). Some analysts call protectionism a losing cause. They suspect public demand for Chinese cars will ultimately prove too great, especially as they proliferate in Mexico and Canada, which in January began letting in up to 49,000 Chinese EVs annually. That same month, Trump expressed openness to letting Chinese firms make cars here so long as they use American workers and inputs. Proponents say that approach would light a fire under U.S. carmakers and build their knowledge and capabilities while driving up consumer demand for EVs.

Are U.S. carmakers ready for that? 

Not yet. Some are developing smaller, cheaper EVs they hope will challenge Beijing’s offerings; Ford is rolling out a $30,000 midsize pickup EV next year. The Detroit giant is also trying to grow its EV skills by partnering with Chinese firm Geely on models for the European market, while attempting to strengthen its operations here at home. Ford is pitching the Trump administration on a plan that would let Chinese automakers into the U.S. only through joint ventures in which an American firm would hold the controlling stake. That setup would mirror the deals Beijing struck decades ago with Western automakers eager to enter the Chinese market. Ford CEO Jim Farley, who in 2024 said he’d been driving a “fantastic” Xiaomi SU7 sedan for six months, believes U.S. firms have no choice but to learn from China. “You don’t become fit like the rest of the Chinese,” he said, “you aren’t going to be around much longer.”

For every traveler who wants to kick back and relax on their vacation, there’s another who refuses to sit still. These seven hotels and experiences are for the active voyager who is never too far from their golf clubs, knows where all the best tennis courts are and is always game for a new sport.

Play padel at Adare Manor, Ireland

Pickleball had its moment, and now it’s padel’s time to shine. A mix of tennis and squash, this racket sport is growing in popularity, and Adare Manor has the perfect spot to learn the game or hone your skills.

The Padel Club houses two custom-built padel courts, with instructors on hand to teach newbies and a selection of racquets to borrow. Once the ancestral home of the Earls of Dunraven, the grand Adare Manor sits in a “secluded” area, and its many activities on top of padel, like fishing and falconry, are “fit for Irish nobility,” said Forbes.

Hit it out of the park at the rooftop batting cages at ‘Alohilani Resort, Oahu

It’s all swings, no misses when you have a view like this. The rooftop at ‘Alohilani Resort is part of the property’s fitness hub, and guests can gaze out at Waikiki Beach and feel the Pacific Ocean breeze while practicing their hitting in the batting cages. An open-air TRX gym and red clay tennis courts are also located on the recreation deck, which often hosts yoga classes and other wellness events.

Pick up polo at Coworth Park, England

It’s “hard to imagine a more pleasant setting” than Coworth Park, tucked away in the Berkshire countryside, said The Telegraph. There’s a lovely meadow filled with wildflowers, lake with swans and polo fields where you can take customized lessons through the Guards Polo Academy. Learn to properly swing a mallet and glide across the field, or for the more confident rider, enjoy a day out playing with polo club members.

Get your heart pumping at Miraval Arizona, Tucson

At Miraval Arizona, you’re encouraged to take a flying leap and go out on a limb — safely, of course. While on the property’s Challenge Course you can also swing through the air, climb up a giant ladder, cross a tightrope and elevated platforms and zipline.

The course “encourages you to step out of your comfort zone, both physically and mentally” and is “designed for personal growth,” said Condé Nast Traveler. The Sonoran Desert spreads out around you, a “stunning backdrop” to your adventure.

Hang 10 at Nobu Ryokan Malibu, California

The Pacific Ocean is your playground when staying at Nobu Ryokan Malibu. The 16-room property is right on Carbon Beach, and through its new surfing program, guests can ride the waves on a custom surfboard during a private lesson from Malibu Fit Concierge. Afterward, put on your best bathing suit for a two-hour water photo session with celebrity photographer (and former competitive surfer) Steven Lippman.

Try wing foiling at Oil Nut Bay, British Virgin Islands

Water sports are a big deal at Oil Nut Bay. This beautiful property provides “pure laidback luxury,” and that extends to its activities, said Travel and Leisure. Tubing, waterskiing, wakeboarding, snorkeling, kayaking, paddleboarding, kiteboarding and Hobie Cat sailing are all offered (with instructors and experienced drivers), plus two more unusual options: wing foiling and Seabobbing. Wing foiling is developed from windsurfing and kitesurfing, while a Seabob is an electric underwater scooter.

Explore the trails at Río Perdido, Costa Rica

The outdoors is your gym at Río Perdido. Hike, run, do yoga or take a peaceful stroll on the property’s 1,500 acres.

Guests have access to a vast network of solid rock trails for mountain biking that twist and turn through dry forest and a thermal canyon, and can spike their adrenaline by whitewater rafting on the Tenorio River. This proves to be “both intense and exhilarating if the rapids are strong,” said Condé Nast Traveler. Wind down in the property’s naturally heated thermal river and mineral pools, covered by a canopy of lush tropical foliage.

Baros Maldives is the grande dame of resorts in the archipelagic country. A tiny island located near the capital Malé, it’s been open since 1973, one year after the first hotel appeared in the Maldives. It channels many years of experience to provide flawless service as well as one of the most easily accessible house reefs teaming with colourful fish.

Why stay here?

It takes 25 minutes by speedboat to get to Baros from Malé – no waiting around for a seaplane transfer after you land. The atmosphere is low-key but looks-wise the island is a showstopper – it’s surrounded by a beautiful aquamarine lagoon with stunning beaches and vibrant marine life.

You can walk around the whole island in 10 minutes. It was peaceful and quiet during my visit. I didn’t see any children even though it’s not explicitly an adults-only resort (kids over eight are welcome).

The most impressive thing about the resort is the house reef, with abundant fish, just a few metres from the beach. I saw colourful schools of fish flashing neon as they whizzed past me, a stingray bobbing along and a small shipwreck on the seabed, with coral nurseries threaded through the withered remains. Night snorkelling is also available and you’ll often see people floating on by, illuminated by their torches in the darkness, as you eat dinner on the terrace at one of the restaurants.

Beach and overwater villas are styled like traditional cottages, while the interiors are decorated in greys and beiges with colourful patterned rugs. The terraces come with a large outdoor sofa, sunbeds and an infinity pool for guests to do laps as they gaze out into the startlingly blue sea. The look is understated rustic chic that is simple and unobtrusive.

Eating and drinking

Lime Restaurant is located by the pool with sea views. At the breakfast buffet you’ll find plates of freshly cut fruit, sushi, several types of Maldivian curries, dumplings, cold cuts, salads, cereal and pastries galore. There’s also a fantastic à la carte menu, which includes eggs benedict, a chia mousse açai bowl and a Japanese breakfast set, which comes with grilled salmon and miso soup.

For lunch, there are two options – Sails Bar on the beach or Cayenne, the grill restaurant overlooking the sea. They both serve the same menu at lunch. At Cayenne, I ate delicious tiger prawn skewers covered in olive oil and punchy garlic with the tastiest chargrilled flatbread. I returned for dinner one night and enjoyed a perfectly grilled whole lobster with steamed vegetables and their zingy signature salad with mixed leaves, avocado, plump mangosteen and hazelnuts.

The Lighthouse is a fine dining restaurant that serves up French cuisine with an Asian twist – the bar upstairs is also the perfect spot to watch the sunset. I ate a tender wagyu steak with a tasty peppercorn sauce, crisp potatoes and artichokes. Around me, other guests opted to have dishes cooked at their table. I saw a lobster bisque being flambéed from a cart – this is classy dining with dramatic flair.

Things to do

It’s hard to beat a sunset cruise. As I floated along on their traditional boat Nooma, I enjoyed non-alcoholic champagne and canapés. The roof is padded so you can sit down comfortably while taking in the views. Watching the sky turn orange and pink while surrounded by the sea was really peaceful. Dolphin-watching and sunrise fishing trips as well as other excursions are also on offer.

Baros has a piano deck – a wooden platform shaped like a piano – that sits in the middle of the sea, where it’s the dreamiest shade of aquamarine. It’s only reachable by a short speedboat trip and once there you can eat a sunrise breakfast or have a romantic dinner during the sunset. It’s an intimate and novel destination for a cosy meal with an endless expanse of the sea cocooning you.

The verdict

Even though it’s close to Malé, Baros is incredibly tranquil. This is the resort to come to if you want to while away your days watching sea chickens scuttling across the sand or herons flying on to your pool in the early hours. Many of the guests are repeat visitors who come back year after year and it’s easy to see why – this intimate island is an oasis of calm.

Ann was a guest of Baros Maldives

We’re used to puréeing watermelons with sugar syrup and freezing it into granita. Or at barbecues, plugging their “emerald-rinded posteriors” with “an upturned bottle of vodka” for a boozy treat, said Ravinder Bhogal in the Financial Times. But more and more people are now pairing watermelon’s “refreshing flesh” with salty, herby, even hot flavours to unlock vibrant new levels in savoury dishes. Here are some of our favourite deliciously unusual watermelon combos.

Peanut and Watermelon Chaat

Chaats are crunchy, spicy fried snacks, often served as appetizers throughout South Asia. “Every chaat has a little bit of sweetness, a little bit of tartness, a little heat, and a little crunch,” said chef Vishwesh Bhatt in Food & Wine. He flavours his peanut-based chaat with chilli, cayenne, chaat masala, thinly sliced cucumber, red onion, radishes, mint, basil, coriander, lime juice and “the fleeting succulent sweetness of watermelon”.

Sour watermelon and monkfish curry

For a “bold, new” take, I combine watermelon with “dashes of umami fish sauce, blistering chillies and mouth-puckering tamarind”, said Bhogal in the FT. In a monkfish curry, watermelon chunks bring “bright, pleasing bursts of sweetness” to temper the spiciness of the sauce. “Serve with sticky rice, topped with plenty of fresh Thai basil.”

Spiced pork belly with quick-pickled watermelon

Watermelon pickled with grapefruit, lime, chilli and fish sauce makes a “chunky salsa” so tempting you’ll want to eat it “straight out of the bowl”, said Diana Henry in The Telegraph. But, paired with “punchy” pork belly, marinaded in chillies, lime, ginger and garlic, it makes a “delicious sweet-meets-savoury main”.

Watermelon and tomato salad with spicy feta sauce

Chef Ana Sortun has given a much-loved Mediterranean classic a spicy twist, said Adam Dolge Food & Wine. Sprinkling charred jalapeño onto the simple chopped melon and tomato base adds a “subtle smokiness and gentle heat”, and the creamy feta sauce brings a “tangy, savoury richness” that strikes a “pleasing balance with the sweet fruit”.

Watermelon rind pickles

“Don’t toss out that watermelon rind,“ says Jodie Kautzmann in Food & Wine. With ginger, allspice, black peppercorns, bay leaves and lemon peel, you can turn it into “crunchy, tangy” pickles that are “perfect for adding to a charcuterie board” or “chopping into a relish for burgers and hot dogs”.

After spending years building audiences and influencer careers showcasing traditional gender roles, some of the earliest so-called tradwives are now denouncing the category, including those who say they never claimed the label for themselves in the first place. While this could be seen as a shift away from conservative influencers, a new crop of teenage tradwives is already waiting to prove that notion wrong.

Influencers dropping the label

Despite having built much of her more than 12 million followers on TikTok through an “outlandish portrayal of domestic perfection,” model and influencer Nara Smith made waves after she “vehemently disavowed” the tradwife label during a recent interview with the “Call Her Daddy” podcast, Jessica Grose said at The New York Times. Viewers of Smith’s content were “stuck in this narrative” about traditional gender roles that she didn’t create on purpose, Smith said on the podcast. They used her as the “poster child for the tradwife movement,” which was “very bizarre.”

She is not the only popular so-called trad wife who has veered clear of the terminology. Earlier this year, Estee Williams, another tradwife influencer with hundreds of thousands of followers, announced on TikTok that she would be stepping back from making that kind of content to “focus fully” on her family. In June, Ballerina Farm’s Hannah Neeleman, who is rumored to be the inspiration behind the popular thriller book “Yesteryear,” admitted that she “steers clear of conversations around tradwives,” said Vanity Fair.

For some, the sudden shift can be tied to tradwives being regarded as MAGA-coded. It is no longer “considered cool” to be “tacitly embracing the Trumpian vision,” Grose said. It is “not cute anymore” to be “spending hours making Skittles from scratch” when so many people “can’t even afford haircuts and toilet paper.” Beyond the “superficial politics” of content like Smith’s, there is evidence that “one-note influencers are having trouble retaining their audience” because what used to “get them brand deals and followers has become stale.”

Next generation is here

The first-gen trad wives’ “renunciation” has had “little impact on their progeny,” who “studied them for years” and “viewed their content as a portrait of a viable future,” said Vanity Fair. Now there is a new cohort of “young — often teenage — married influencers.” They have gone viral in the last few months by “mimicking the content formula perfected by their tradwife forebears.”

The new generation cooks, cleans and “fights disaffected former tradwives” who tell them to “stash emergency money away from their husbands,” said Vanity Fair. These teens, typically between the ages of 17 and 21, “present their life as a balm to generational ennui.” In some ways, they are proof that what felt like an “overhyped, postpandemic symbol of an ascending conservative culture” has become an “enduring content category that nearly guarantees virality,” one now “taken over by ever-younger creators.”

The new wave of “young creators making stay-at-home content” appears more than ready to “accept the homemaker label,” Isabel Bekele said at Dazed. The young women “film themselves performing domestic tasks” and post the same “ragebait-esque provocations” with an attitude that “demonstrates an awareness of how their content might be received.”

The lifestyle choices of “teen tradwives” are “certainly not reflective of the country as a whole,” especially as Gen Z women are still “going to college and entering the workforce at a higher rate than their male counterparts,” said Bekele. Still, the fact that these videos “exist and are gaining traction at all” feels indicative of the “current cultural dissonance in America,” where conversations around “work, gender and labor” have changed in line with “women’s lived realities.”

Nara Smith may not be a tradwife, but that “doesn’t mean that the movement is going anywhere,” said Bekele — whether that’s due to the country’s “shift to the right,” the internet’s “obsession with hate-watching,” the algorithm’s “tendency to reward extreme content” or all of the above. With or without the first-era influencers, “tradwives will continue to exist.” Considering the limited options young women have today, “maybe it isn’t that shocking that this romanticization of the past will still be in our future.”

Boothbay, Maine

Three Flags, a 2021 contemporary shingle-style home on Midcoast Maine’s Linekin Bay, has a waterfront porch for dining and lounging, with a wood-burning fireplace and motorized screens.

The five-bedroom’s vaulted great room features wide-plank oak floors, a staircase with helical white-oak rails, illuminated built-ins, a wall of sliders, and a central lofted catwalk. On almost 4 acres, the lot includes a private dock and mooring. $7,850,000. John Scribner, LandVest Christie’s International Real Estate, (207) 749-5148

St. Helena, Calif.

This restored 1940s two-bedroom cottage on the 76-acre Durham Ranch in Napa Valley has a screened porch that overlooks a pool. Styled by designer Ken Fulk, the home includes reclaimed-fence-board cabinets, bluestone floors, a stacked-stone fireplace, and board-and-batten walls.

The former cattle ranch features a party barn, two year-round tent cabins, and a “cowboy shack,” plus oak trees and seasonal streams. $4,500,000. Hillary Ryan, Sotheby’s International Realty—St. Helena Brokerage, (707) 312-2105

Downers Grove, Ill.

Acorn Glade, a 2017 modern passive house designed by Tom Bassett-Dilley Architects, has a wood-frame screened porch overlooking a garden, plus a second-story screened sleeping porch. The open-plan four-bedroom features polished concrete floors, built-ins with pale wood, and windows placed to maximize energy efficiency.

Outside are a rooftop garden, a fenced backyard, and stone paths. Green spaces, a golf course, and transportation options are nearby. $1,050,000. Elaine Pagels, Berkshire, (630) 601-8558

Asheville, N.C.

In the Ramble Biltmore Forest community, this 2013 four-bedroom contemporary has a Phantom-screened porch with stone floors, a pizza oven, a grill, and dining and lounge areas. Inside the home are ebonized bamboo floors, high ceilings, a marble floor-to-ceiling fireplace, and a chef’s kitchen with Brazilian granite counters.

The nearly 1-acre lot includes a firepit sculpture and hot tub, plus access to a gym, pickleball, and a pool. $3,999,999. Josh Smith, Howard Hanna Beverly-Hanks Real Estate/Luxury Portfolio International, (828) 606-0974

Woodstock, N.Y.

Once the home of assemblage artist Lenny Kislin, this 1971 rustic-modern three-bedroom has a roomy porch with walls of screens and high ceilings, surrounded by mature landscaping. The home features wood floors and a sunken living room anchored by a stone fireplace, and Kislin’s designs are integrated throughout.

On nearly 2 wooded acres crossed by the Sawkill Creek, the property includes a studio, pool, courtyard, and tree house. $1,495,000. Kathyrn Johnson, William Pitt Sotheby’s International Realty, (917) 826-7050

White Lake, N.Y.

Built in 1935, this four-bedroom Catskills bungalow on White Lake has a screened porch with water views and space for alfresco dining. The furnished home has color-drenched bedrooms, a refreshed modern farmhouse kitchen, and updated baths. The vaulted great room features exposed trusses and a fireplace.

Outside are a deck, firepit, and lake access; dining is walkable, cultural venues are a short drive, and New York City is about 2 hours away. $449,000. Eddie Rabon, Compass, (412) 414-2309

‘The End of Oak Street’

Directed by David Robert Mitchell (PG-13)

★★★

“I can’t fathom how The End of Oak Street actually exists,” said Alison Willmore in NYMag.com. The movie is, after all, “a perfect example of what the big studios should be doing right now: making original spectacles, ideally ones in which Anne Hathaway fires a rifle at a velociraptor.” Hathaway plays a suburban mom whose neighborhood is suddenly and mysteriously transported from 1982 to prehistoric times, putting family and neighbors at the mercy of hungry dinosaurs. The movie marks the big-budget debut of It Follows director David Robert Mitchell, and “the glee he takes in the carnage he inflicts on this stretch of suburbia is infectious.”

Mitchell “doesn’t have any loftier ambitions for The End of Oak Street than spinning a tale of familial bonding through dino fighting,” said Keith Phipps in The Reveal. “That’s mostly OK,” especially because the four actors playing the Platts, including Ewan McGregor as the dad, “establish a believable family dynamic” as they overcome dysfunction to pursue survival. But given the rote marital woes and shortage of thrilling set pieces, Oak Street turns out to be “one of those movies that’s good enough to make it hard not to wish it was just a little better.” Whatever its flaws, it’s “easily the best homage-slash-ripoff of a Spielberg movie in ages,” said David Fear in Rolling Stone. Unsurprisingly, “Hathaway is the linchpin, pirouetting from exasperation to affection to hysteria to steeliness in a way that would inspire a fist bump from The Odyssey’s Penelope.” The Oscar winner is “in a serious groove right now.” We and Mitchell are lucky to have her.

‘The Rivals of Amziah King’

Directed by Andrew Patterson (R)

★★★

Matthew McConaughey has appeared in only two movies since 2019, and you can see why the 56-year-old star signed on for this one, said Owen Gleiberman in Variety. The role of a gregarious, bluegrass-playing beekeeper “fits his scraggly aging-bad-boy redneck charm like a glove”; at the same time, the film itself is “different from anything he’s ever done,” although different “in ways both good and not as good,” with a second half that betrays the promise of the first. The movie “intentionally never settles on one particular tone,” said Ryan Lattanzio in IndieWire. As McConaughey’s Amziah King is pulled into the investigation of a honey heist and reconnects with a young Choctaw woman who once was his foster child, director Andrew Patterson “cross-pollinates a bluegrass musical, a beekeeping drama, a Native American Western, and a winding Mark Twain journey up a river.”

The daughter figure, played by newcomer Angelina LookingGlass, assumes lead duties once the title character falls. “There’s too much movie,” in short, “but isn’t that better than none at all?” It helps that Kurt Russell plays the villainous businessman who instigates the mid-story shift, said Nick Schager in The Daily Beast. Even so, this picture belongs to its headliner, who delivers “a performance so great it looms over everything—and serves as a reminder that when he’s really cooking, McConaughey is much more than just alright.”

With tourists starting to be deterred by the frequent heatwaves and soaring prices in the Mediterranean, Lithuania has been growing in popularity as a beach-holiday destination. It is generally cooler and more affordable than the Med, and it doesn’t lack for natural beauty, said Sarah Rodrigues in The Guardian.

On a recent trip, I visited the beach resort of Palanga, “kitsch” and “rowdy” in parts, but I loved its 19th-century Tiškeviciai Palace and “uncrowded” sections of white-sand beaches, where the sea is shallow for a long way out (making them perfect for families). And the Curonian Spit – a forested sandbar more than 60 miles long – is magnificently “untamed”.

I stayed there at the “basic, comfortable” Hotel Nidus, cycled along some of the spit’s wild trails, climbed the 220-metre-high Vecekrugas Dune, and particularly enjoyed eating smoked fish with fresh tomatoes and drinking cold beer at one of the lagoon-side shacks in the village of Preila.

New York’s real Little Italy

There aren’t many Italians living in Manhattan’s Little Italy these days, just a lot of “mediocre” Italian restaurants, aimed at tourists. For the real deal, New Yorkers will tell you to head to Arthur Avenue in the Bronx, said David Farley in The Telegraph – accessible on the B train. A century ago, this low-rise street was known as “the Italian colony” for its community of Italian labourers, and it is still packed with restaurants, delis and bakeries selling produce from the old country. Don’t miss the pinolate biscuits in the 108-year-old Madonia Bakery, or Pace’s Italian Market, which has 100 varieties of Italian cheese. But you should explore the side streets too. They are full of Balkan and Mexican stores and restaurants, the fruits of a new cycle of immigration that began decades ago: “This is America”, after all.

Luxury boltholes in the wild Algarve

Known as the Costa Vicentina, the southernmost stretch of Portugal’s west coast is famed for its towering cliffs and “pristine” surfing beaches. Much of it lies within a protected natural park, but a couple of boutique hotels have recently opened on the site of old farms, said Amelia Duggan in The Times – ideal for travellers who “prefer their wilderness to come with a high thread count”. Set about five miles back from the sea near the medieval town of Aljezur, the Vale Palheiro Earth Resort nestles in an “emerald” valley, its “vast” villas built with rammed earth. And further north, closer to the sea near the village of Odeceixe sits Amaria, a “white farmhouse complex”. Its suites have a “pared-back, contemporary aesthetic”, with walls of glass, “diaphanous” drapes and freestanding baths.

I’ve never liked camping, riding or group travel, so I wasn’t an obvious candidate for a group camping and riding trip in Kyrgyzstan, said Rachel Johnson in The Sunday Times.

I hadn’t reckoned, however, with the “adventuress and entrepreneur” Alexandra Tolstoy, a distant cousin of Leo, who has spent years guiding visitors through this landlocked Central Asian country on horseback (past guests have included the actor Dominic West, the “pie magnate” Charlie Bigham and the late satirist P.J. O’Rourke).

She’s a “natural saleswoman” who made the prospect sound “irresistible” – and thus it was that I found myself on a Turkish Airlines flight to Bishkek in May, to join her and some “yummy mummies from the Cotswolds and Chilterns” for a six-day, 120-mile trek among the “jagged”, snow-capped peaks of the Tian Shan, or Celestial Mountains.

We were accompanied by five Kyrgyz horsemen and a support team who moved our camp daily, packing our tents and the two “plastic thrones that served as our khazis” into former Soviet army trucks and transporting them along sheep tracks. A cook prepared “slap-up” breakfasts, lunches of plov (rice with “gobbets” of lamb) and good dinners (including freshly baked cakes), and I soon found I was enjoying myself – even falling “in love” with riding, camping (“you sleep so well in a snug tent by a rushing river”) and the “nomadic life”.

What helped most, of course, was the “indescribable” beauty of the surroundings – a mountain range that rises above 7,000 metres, and is “Edenic” in the late spring, its green valleys alive with wildflowers. We rode through walnut forests, skirted villages where boys on donkeys herded sheep, and watched a game of kok boru – polo with a goat carcass for a ball (the “tenderised” flesh is then cooked). But honestly, there were “too many highlights to list”, from swimming in “swirling” rivers to galloping beside magnificent lakes to siestas in verdant glens.

The Ultimate Travel Company has a 10-night trip from £7,215pp, excluding flights.

In the summer of 1976, there was a record-breaking heatwave, inflation and youth unemployment were worryingly high, a Labour prime minister had recently resigned – and a new subculture known as “punk” was spreading rapidly among the young.

Its seed was the Sex Pistols, a band formed only the previous winter, who wouldn’t release their first single, “Anarchy in the UK”, until 26 November. But their early gigs inspired the formation of The Clash, The Damned, Buzzcocks and many other punk bands.

Plenty of adults were appalled, but punk had a powerful influence on fashion, filmmaking and graphic design as well as rock music – well beyond punk itself. Members of the tiny audiences at two shows the Pistols played that summer – in Manchester in June and July – went on to found The Fall, Joy Division, The Smiths, Simply Red and the Creation and Factory record labels.

What even is a punk?

In Shakespeare’s time, the word meant a prostitute. In American-English it became a put-down for an inept youngster and/or petty criminal, as in 1971’s “Dirty Harry”: “Well, do ya, punk?” At around the same time, US music critics were starting to use the term “punk rock” for the amateurish, shouty garage rock bands that appeared in the 1960s. It was also applied to various New York acts – the Ramones, the New York Dolls, Richard Hell – who experimented with outlandish outfits, back-to-basics songwriting, and themes of teenage alienation. But “punk rock” didn’t become a media phenomenon until it crossed the Atlantic.

Why did it take off in Britain?

Britain, at the time, had a hyperactive music press and an entertainment industry with an appetite for eccentricity and theatricality. As American record companies had long understood, these made London an ideal launchpad for pop-culture trends. (The Ramones, who drew crowds of about 150 in New York, were astonished to find themselves in front of thousands of people when they played in Camden Town in July 1976.) The Sex Pistols crystalised punk into an easily imitated package, striking every pop musician who encountered them as “shock troops from the future”, as one critic put it. “It just blew all the other rubbish away,” said Joe Strummer, who joined The Clash after seeing the Pistols play in April. They were the hottest band in London by March 1976, and by 2 December they were household names in the UK.

How did they manage that?

John Lydon (aka “Johnny Rotten”), Steve Jones, Paul Cook and Glen Matlock were bolshy, in their late teens or early 20s, and from deprived backgrounds. (Jones, the guitarist, was functionally illiterate until his 40s.) Lydon, the singer, was smart, gobby and gleefully provocative, which endeared him to the band’s manager, Malcolm McLaren, a fashion designer who’d briefly managed the New York Dolls. Armed with a look provided by McLaren and his then-girlfriend, Vivienne Westwood – ripped clothes, safety pins, bondage gear, spiky, dyed hair – they swiftly outraged respectable opinion. People had used rude words on television before, but never in such uncouth tones as Lydon and Jones in a regional ITV interview on 1 December 1976. The next morning they were on the front page of every newspaper (“The FILTH and the FURY!” splashed the Daily Mirror).

Was that really groundbreaking?

The Pistols’ cartoon-yob image was an important part of their confrontational, anti-establishment appeal: spitting, pogoing, fighting and vandalism were rife at punk gigs. Their raw, confrontational attitude and do-it-yourself musicianship were a reaction against expensively produced “progressive” outfits such as Pink Floyd, “hippies” and over-dressed stadium rockers such as Elton John. “Up to that point, we’d all been singing about bowling along California highways,” one Northern Irish rocker recalled of punk’s impact.

Many found it intensely liberating: female-fronted bands such as Siouxsie and the Banshees, The Slits and X-Ray Spex got a leg-up from the movement. Jamie Reid’s iconic cut-out designs for the Sex Pistols’ record covers, with their “ransom note” lettering, inspired countless posters and fanzines, helping to democratise graphic design. Vivienne Westwood became one of the UK’s leading fashion designers.

How authentic was punk really?

McLaren, who’d been to art school, liked to say that the Pistols were “my sculpture, my painting, my little artful dodgers” – an artwork inspired by the French situationists, who aimed to shock people out of their complacency with unexpected spectacles. Lydon rejected this furiously, but McLaren certainly did mould the band. He chose their name (probably), selected band members and planned their media stunts; and they did record their only album, “Never Mind the Bollocks”, in a state-of-the-art studio with a producer who’d played keyboards on The Beatles’ “White Album”. While The Clash later made it big in America, sales figures for 1976 suggest that punk was largely a hipster and media preoccupation. No punk single made the year’s UK top 50; Abba, Rod Stewart and Demis Roussos dominated the album charts.

What became of the first punks?

The Sex Pistols reached new heights of controversy by releasing “God Save the Queen” (“She ain’t no human bein’”) during the Silver Jubilee in 1977, then broke up in chaotic circumstances the following January. The Clash’s original line-up soldiered on until 1982, by which time punk rock had mutated into post-punk and new wave. Countless noisy American guitar bands with an outsider ethos have been inspired by punk, and more purist scenes still exist across the Americas, Europe, Asia and Australia. More importantly, whenever someone with no training or credentials picks up a guitar, a brush or a pen, the spirit of punk lives on.

Sweet figs and salty prosciutto make an irresistible pairing, said food writer and cookbook author Sue Quinn. And it’s even better combined with the tang of blue cheese and the crunch of nutty pangrattato in this light but luxurious appetiser.

Ingredients (serves 4)

• 80g creamy blue cheese
• 4 ripe figs, halved lengthwise
• 4 slices prosciutto, halved lengthwise
• 1 tbsp runny honey, plus extra for serving
• 1 small handful of basil leaves, torn

For the pangrattato

• 1 tbsp olive oil
• 30g fresh breadcrumbs (not too fine; ideally sourdough)
• 20g chopped hazelnuts or walnuts
• 1 small garlic clove, minced finely
• grated zest of 1⁄2 a lemon

Method

• Preheat the oven to 200°C. Place a small spoonful or slice of blue cheese on the cut side of each fig half. Wrap each with a strip of prosciutto, and arrange them snugly in a baking dish.
• Drizzle with the honey and roast until the cheese has melted and the figs are soft – about 10 minutes.
• Meanwhile, make the pangrattato. Warm the olive oil in a small skillet, add the breadcrumbs, nuts and garlic and fry over a medium-high heat, stirring until crisp and golden. Stir in the lemon zest and set aside.
• Transfer the roasted figs to a serving plate, pour over the juices from the dish, and scatter with the pangrattato. Top with torn basil leaves.
• Serve straightaway, with an extra drizzle of honey, if desired.

Taken from Cheese Please by Sue Quinn.

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Westerns are often thought to glorify the violence and vigilantism of the 19th-century towns on the expanding American border. But the best films of the genre, including these eight superb entries, generally interrogate rather than reinforce that mythology.

‘My Darling Clementine’ (1946)

Director John Ford’s classic — perhaps better known to modern audiences by way of 1993’s retelling of the same story in the excellent “Tombstone” — is well worth revisiting. Henry Fonda stars as Wyatt Earp, one of three brothers en route to California when they encounter Old Man Clanton and his sons.

While Wyatt goes into the rough-and-tumble town of Tombstone, the Clantons murder his brother James. Wyatt then takes the open job of marshal in Tombstone and sets his sights on revenge — and on Clementine Carter (Cathy Downs), the ex-fiancee of local gambler Doc Holliday (Victor Mature). The movie’s themes of transition from lawlessness into civilization on the frontier are explored with “elegance, poignancy and dexterous economy,” and the film builds its world by “eschewing clear-cut character rivalries in favor of more complex emotional and social configurations,” said Matthew Connolly at Slant Magazine. (Prime Video)

‘High Noon’ (1952)

Gary Cooper is Marshal Will Kane, who receives word that Frank Miller (Ian MacDonald), an outlaw he banished to prison, is coming back on the noon train with his gang to exact revenge. Kane’s wife, Amy (Grace Kelly), begs him to reconsider, but he feels duty-bound to show up.

He tries to rally support from the town’s citizens but finds that they would prefer to let him face the music alone, a plot machination widely regarded as a commentary on how Hollywood treated those blacklisted during the McCarthy era. Director Fred Zinnemann’s “unusually circumspect and politically loaded” film “stands out as the proto antiwestern, questioning the conventions of a genre long before doing so was in vogue,” said Scott Tobias at The Guardian. (MGM+)

‘The Man Who Shot Liberty Valance’ (1962)

Part romantic triangle, part political parable about the underbelly of pushing the frontier westward, director John Ford’s “The Man Who Shot Liberty Valance” might be his finest work. Told in the form of an elaborate flashback, the narrative follows newly minted lawyer Ransom Stoddard (Jimmy Stewart) from his arrival in a freewheeling town in unincorporated territory through his deepening friendship with Tom Doniphon (John Wayne), their love of Hallie (Vera Miles) and his final confrontation with the nefarious Liberty Valance (Lee Marvin).

The give and take between the institutionalist Ransom and the take-matters-into-your-own-hands Tom mirrors long-running debates in American society about law and order and justice. The film is a “somber reflection on what was lost when education and morality” moved westward with the U.S. government and its “civilizing influences,” said Sight and Sound. (Prime Video)

‘The Good, the Bad and the Ugly’ (1966)

Director Sergio Leone popularized a new subgenre of frontier cinema: the spaghetti Western, named as such in honor of the Italian filmmakers who dominated the format, including Leone himself. The final and best entry of Leone’s trilogy, “The Good, the Bad and the Ugly,” is an origin story for Clint Eastwood's sharp-witted antihero “Blondie.” It’s a preautomotive road movie, as Blondie, Angel Eyes (Lee Van Cleef) and Tuco (Eli Wallach) race across the Civil War-era American West in search of a trunk full of Confederate gold. Featuring characters “united by their greed and virtually shorn of any humanity,” it “makes a mockery of any conception of good and evil,” said John Naughton at Empire. (YouTube)

‘The Grey Fox’ (1982)

Much less well known than most films on this list, director Phillip Borsos’ “The Grey Fox” stars Richard Farnsworth as Bill Miner, a stagecoach bandit who heads to the Pacific Northwest in Canada to rob trains when he is released from prison after thirty years. He falls in love with a radical, Kate Flynn (Jackie Burroughs), as he tries to stay ahead of Detective Seavy (Gary Reineke).

Setting the film on the Canadian frontier rather than the American sets it apart from its peers, and the more languid pacing and character-driven plotting continue to distinguish it as a mannered classic. Featuring a “smorgasbord of wide shots of the Pacific Northwest,” the movie’s “slower pace works, challenging the audience to appreciate not only the nuanced performances of its actors” but also the “natural beauty,” said Thaddeus Buttrey at Loud and Clear. (Kino Film Collection)

‘Unforgiven’ (1992)

Clint Eastwood directed 40 films, but it is this riveting Western that will be remembered as his masterpiece. He also stars as Will Munny, a retired outlaw with a checkered past who is talked into pursuing one last bounty. He enlists his friend, Ned (Morgan Freeman), to help track down and kill the men who brutally scarred a prostitute named Delilah (Anna Thomson). To do so, he must go through Big Whiskey’s corrupt sheriff, Little Bill Daggett (Gene Hackman).

“Unforgiven” is full of both quotable quips and savage violence, in the process upending sentimental notions about the American frontier. A film that explores a “range of moral ambiguities and profound historical questions,” it also challenges the “history of the American West and furthermore Eastwood’s own role in defining the West in cinema,” said Brian Eggert at Deep Focus Review. (Prime Video)

‘The Assassination of Jesse James by the Coward Robert Ford’ (2007)

Despite containing a plot summary in its title and a tepid reception when it was released, director Andrew Dominik’s meditative film manages to be both suspenseful and insightful. It narrates the last months of the notorious Jesse James (Brad Pitt), whose gang is riven by suspicion and rivalry. Robert Ford (Casey Affleck) is a young gunslinger who joins James’ gang along with his brother, Charley (Sam Rockwell), but grows resentful of the legendary outlaw. Offering a “kaleidoscope’s prismatic tunnel vision on the Old West,” this is an “immaculately conceived, perfectly cast epic” that “patiently and meditatively observes an outlaw’s obsolescence,” said Nick Rogers at Midwest Film Journal. (Prime Video)

‘True Grit’ (2010)

Once upon a time, the Hollywood landscape was littered with Westerns of varying quality, but today they are somewhat scarce, making gems like directors Joel and Ethan Coen’s remake of the 1969 original all the more notable. When her father is murdered by the bandit Tom Chaney (Josh Brolin), 14-year-old Mattie (Hailee Steinfeld) hires U.S. Marshall Rooster Cogburn (Jeff Bridges) to track him down.

The hard-drinking, washed-out Cogburn is joined by LaBoeuf (Matt Damon), who is after Chaney for a different reason. It “adheres to many of the familiar touchstones of the Western genre, while remaining unmistakably Coenesque” and full of “all kinds of wonderful exchanges, unforgettable scenes and moments of weirdness,” said Ryan Lambie at Den of Geek. (Paramount+)

The Spectre, Rolls-Royce’s first electric car, launched in 2022 and is its bestselling model in Europe. The “Series II picks up where Series I left off”, said Matt Bird on Piston Heads: it is “Rolls’ most desirable car, made even more so”.

The two-door, four-seat coupe has 18% more range (up to 390 miles WLTP), 14% faster charging and a boost in power to 600hp, or 680hp for the Black Badge model. Combining “the best parts of the EV experience with the majesty and swagger of a Rolls-Royce really is a match made in heaven”.

The effortless nature of electric power is the perfect fit for a Rolls, said Will Dron in The Times. The extra weight of the battery isn’t a problem in such a hefty car; with “epic levels of brute force”, the dual-motor system can propel this “near-three-tonne lump” from 0-62mph in just 4.5secs (or 4.3 in the “potent” Black Badge version).

Putting your foot down feels “surreal” – there’s a “deceptive” sense of speed, as the cabin is so “ridiculously hushed” and the performance so smooth. “Deftly tuned”, “the steering feels light” and the chassis “beautifully pliant”. The Series II is “supremely comfortably sprung”, with a “dignified poise” even when it’s covering ground “disarmingly quickly”.

With a “truly sumptuous cabin”, the Spectre II feels “ultra luxurious without being fussy”, said Yousuf Ashraf in Evo. It’s far less digitised than most luxury cars, with a modest central screen and physical switches for major functions. A “5.5-metre blank canvas” for bespoke paint choices and trims, the Series II offers new options, including a blended two-tone paint scheme and fabric like a “Gucci bag with puffy quilting”. This update isn’t radical, but it “ticks pretty much every box”.

All the signs that summer is winding down are here — kids heading back to school, the days getting shorter and Halloween decorations taking over stores. Before giving in to fall’s arrival, celebrate the end of summer by going on a seaside escape. These six destinations offer one last beachy thrill.

Hampton Bays, New York

A weekend in the Hamptons is a summertime ritual for many New Yorkers. There are nearly two dozen hamlets and villages to spend time in, each with its own personality. Hampton Bays, part of the town of Southampton, is a relaxed option.

Set up shop on Ponquogue Beach or Meschutt Beach, and enjoy frolicking in the water and listening to the waves. Spend the night at Canoe Place Inn & Cottages, a “laid-back” waterfront property where the rooms are “well decorated and cozy” and the summer programing, like free outdoor yoga classes and concerts, “shines,” said Condé Nast Traveler.

Islamorada, Florida

South of Miami and north of Key West, Islamorada is the “perfect blend of Old Florida charm and salty barefoot luxury,” said Travel and Leisure. It’s known for excellent sport fishing, a vibrant arts enclave and the “state-of-the-art” Florida Keys History & Discovery Center. Learn about the area’s “complex” history through exhibitions on “Indigenous peoples, Spanish treasure fleets, Henry Flagler’s railway and the 1935 Labor Day hurricane.”

Kennebunkport, Maine

If you’re looking to experience “iconic” and “charming” New England, head to Kennebunkport, said Condé Nast Traveler. This historic town is filled with beaches and opportunities for kayaking, paddleboarding and lobster-boat cruising. Those who prefer to enjoy the water from land can walk around Dock Square, visit the Seashore Trolley Museum and hit up the Lobster Roll Trail for a taste of local seafood.

Pacific Grove, California

Spend any amount of time in Pacific Grove, and you’ll likely start daydreaming about living in this idyllic town. Victorian homes dot the landscape, and the views of Monterey Bay and its wildlife — otters, whales and seals — can’t be beat. Lovers Point Park is a great spot for swimming and picnicking, while Asilomar State Beach gets you close to tide pools.

Pacific Grove has a quaint downtown with cute shops like The Quill, a fabulous stationery and gift store, and beautiful boutique hotels. The historic Seven Gables Inn is right above the bay, and each charming room has windows you can open, letting in the sound of the waves.

Wrightsville Beach, North Carolina

With its surf, sand and “perfect spots to relax and watch the sunset,” this walkable town is a “beach lover’s heaven,” said Southern Living. Take the paved 2.5-mile Loop path to explore the area and soak up the scenic water views, or veer off for visits to Wrightsville Beach Park, the Wrightsville Beach Museum of History and Wrightsville Beach Arboretum. If the farmers’ market is happening, pick up some locally grown produce or handmade crafts.

Yachats, Oregon

Forget about racing around, trying to pack a ton of activities into your visit. Yachats is all about slowing down, connecting with nature and enjoying the scenery.

The best place to do this is at Cape Perpetua, where the forest meets the sea. Go for a hike through the giant spruces or stay at the overlook and stare at the Pacific. Nearby is Thor’s Well, a collapsed sea cave also known as the Drainpipe of the Pacific. Take caution when walking around here; the rocks can be slippery and waves have swept people out to sea.

By the time he won the Literature Nobel in 2010, Mario Vargas Llosa, the Peruvian novelist who died last year aged 89, had come to be regarded as the “Julio Iglesias of contemporary fiction”, said Nicholas Shakespeare in The Spectator.

For six decades he’d “defined headlines”: a global celebrity, owing not least to his “turbulent private life”, the winner of “numerous literary prizes” (some awarded “for mere famousness”, in the words of a critic). As Gerald Martin puts it in this biography, Llosa was a “literary adventurer, politician, diplomat and warrior” in one.

Politically, he had shifted from communist student to “reverential supporter of Thatcher and Reagan” – and come close to Peru’s presidency. Personally, he was an iron-willed, selfish man motivated by resentment and revenge.

It all began with “a whopping lie”, said Maya Jaggi in The New Statesman. Born in 1936, the Nobel laureate spent his first 10 years living with his mother and her snobby family, believing that his father, a merchant seaman, was dead; then, aged 11, he was told that his father was not only alive, but coming to live with them.

Ernesto Vargas proved to be a tyrant who beat his “spoiled son”. Thus, as Martin puts it, “10 ostensibly idyllic years without a father” were followed by 10 brutal years with one. His subsequent experiences – at a cadet school in Lima, a spell as a reporter on a crime beat – would feed his “brilliant early novels”; later, his decision to elope, aged 19, with his uncle’s sister-in-law inspired his 1977 novel “Aunt Julia and the Scriptwriter”. Portrayed here as a cynical love rat, he dumped Julia to marry his cousin Patricia, 10 years his junior and “practically his sister”.

Martin believes that his “sadistic and often pornographic” fantasies about his “Lima Lolita” fuelled his 1966 novel “The Green House”. Fifty years on, he abruptly left Patricia for the socialite Isabel Preysler (Iglesias’ ex).

Martin – also the biographer of Gabriel García Márquez, with whom Llosa spectacularly fell out – has written a “genuinely critical life”, said Pratinav Anil in The Guardian. He “restores the women whom Llosa reduced to literary raw material”, and argues the writer was never really a socialist, so much as beguiled by a socialist he met at college (Lea Barba).

The book has flaws, said Ian Thomson in Literary Review. There are too many exclamation marks and the writing “can be breathy”. Still, it is a “considerable achievement”: “gossipy, erudite and deeply researched”, it will be the “last word on the man who wanted to be the most famous writer in the Hispanic world since Cervantes”.

‘Lost Weekend’ by Phoebe Bridgers

★★★★

“Phoebe in mourning, or Phoebe madly in love?” asked Chris Willman in Variety. With Phoebe Bridgers’ first album in six years, listeners don’t have to choose, because the alt-rock darling and recent four-time Grammy winner gives us some of both, plus more. As she reflects on the 2023 death of her father, her breakup with actor Paul Mescal, and her current infatuation with comedian-musician Bo Burnham, Lost Weekend proves “alternately spooky, hilarious, mysterious, and sneakily moving.” And though this may go without saying about any record made by Bridgers in the wake of her breakout with the supergroup Boygenius, “it’s not to be missed.” Bridgers remains “one of the most compelling songwriters in music today,” said Angie Martoccio in Rolling Stone. She’s been listening to a lot of ambient music lately, and “you can hear how that,” along with Radiohead, “shaped Lost Weekend.” But she also throws in “Haunted,” a “country-tinged beauty,” as well as “Bobby,” a rocking tribute to Burnham that “basks in dizzying euphoria.” On Punisher, Bridgers’ last LP, numbness was a theme. Here, “she feels it all, encountering every spectrum of emotion.”

‘No Me Arrepiento de Sentir Tanto’ by Karol G

★★★

“No Me Arrepiento is Karol G’s version of a concept album, one stitched together by heartbreak,” said Pedro Camacho in Consequence. The 35-year-old reggaeton star is exercising the power she has won by now drawing stadium-size crowds across the U.S. Why not ask Drake to sing in Spanish for the breezy “Ahí” or bring in Bruno Mars to duet in English on “Still”? And why not explore all the emotions stirred by a late 2025 breakup with fellow Colombian pop star Feid? “The lyrics are at times contradictory, shifting sharply between nostalgia and resentment from one song to another.” The music is a roller-coaster ride too, as La Bichota, as she calls herself, “moves effortlessly from stripped-back ballads to glossy R&B, atmospheric alt-pop, acoustic confessionals, and good old-fashioned perreo,” her signature reggaeton subgenre. Where last year’s Tropicoqueta “envisioned a Latina-led utopia as a tropic floral paradise,” said Andrea Flores in the Los Angeles Times, this album leans into sorrow and plays best when listened to alone. “So light up that candle, lock the doors, and bring the tissues if you have to. Just don’t be ashamed to feel all the feels.”

‘Blue Island’ by Ravyn Lenae

★★★

“Labels feel especially restrictive when applied to an artist like Ravyn Lenae,” said Cassidy Sollazzo in Paste. The 27-year-old Chicago native “has always treated both identity and genre as fluid, often shape-shifting between R&B, synth-wave dance pop, and self-baring folk.” A year after her bouncy single “Love Me Not” became a Top 10 hit and inspired online chatter that she wasn’t Black enough, she’s doubled down with her new album, “weaving between indie-rock angst and 1980s power ballads, with pit stops in psychedelic funk and trappy electronic abstractions.” She also happily lists the Cranberries alongside Santigold and Tracy Chapman as influences. “There’s palpable glee in the album’s sudden stylistic shifts,” said Alexis Petridis in The Guardian. The “sparkly alt-rock” of “In & Out” rubs up against “’90s R&B-infused” tracks like “Babygirl,” which features the rapper Doechii. “Potential” begins as a pretty, up-tempo pop ballad, then “unexpectedly erupts into a squall of guitar noise.” But Blue Island isn’t jarring, “partly because of the unifying power of Lenae’s lovely soprano” and also because the writing is “buffed to a state of pop perfection.”

“The devil not only wears Prada; she issues public pardons,” said Johnny Oleksinski in the New York Post. Anna Wintour, the Vogue editorial director and mastermind of the annual Met Gala, glossed over the antisemitism of British fashion designer John Galliano, 65, when she recently anointed him the gala’s 2027 honoree and subject of an accompanying museum retrospective. In 2011, Galliano was fired by Dior after he was captured on video berating patrons of a Paris bar by praising Hitler and saying their ancestors would have been gassed. “Call me old-fashioned, but didn’t ‘I love Hitler’ used to automatically disqualify people from receiving prestigious honors in Manhattan?” Galliano has claimed he was drunk and in the throes of addiction. But there’s “a difference between forgiveness and celebration,” and every star who’ll walk the gala’s red carpet in May will be glorifying this famed bigot at a moment when anti-Jewish violence is rising worldwide. “Haven’t we spent the last six years being lectured about inclusion by the exact same elite attendees of this $100,000-per-person event?”

Knowing that Galliano is radioactive, Wintour convened meetings earlier this year that were “unusual by any measure,” said Vanessa Friedman in The New York Times. She, Galliano, and museum representatives sat down with prominent rabbis and other Jewish leaders, seeking feedback as well as support of the exhibition. Some of those Jewish leaders have since said the show could be useful if it presented Galliano’s story sensitively, but others worried about being used as cover by Wintour, who has championed Galliano for years. Galliano at least can claim to being a changed man. He was accused of two other antisemitic outbursts and was eventually convicted in France on hate-speech charges. He also once got so drunk that he spent four hours naked in a hotel elevator growling at other guests and declaring himself a lion. Galliano eventually entered rehab and was tutored by a British rabbi and the head of the New York–based Anti-Defamation League, both of whom have declared him reformed. With Wintour’s help, Galliano resumed his career, though at less-exalted houses.

“There’s no denying that Galliano is a creative genius,” said Tania Leslau in The Jewish Chronicle, and “I have no desire to erase him from fashion history.” But Wintour’s decision to grant him one of the fashion world’s greatest honors “has given antisemitism a hall pass to raise its ugly head once again, and as a Jewish fashion editor, I’m furious.” A different type of exhibition might be able to engage viewers in a conversation about his career—“the good, the bad, and the ugly.” But choices like Wintour’s silence the very people hurt by ethnic hatred. Already, Jews who’ve criticized the Met’s pick online have been “bombarded with backlash.” The Met Gala, unfortunately, is now an event that largely plays out online. At best, any attempt at meaningful conversation about antisemitism will be “lost among the tulle.”

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In Sarah Pekkanen’s new thriller, The Women in White, a young health-care aide probes how four female participants in a 1964 parapsychology experiment suddenly vanished. Below, the best-selling author names books that influenced her as she developed the story.

‘In Cold Blood’ by Truman Capote (1966)

In his masterwork, Capote delved deeply into the reporting of the murder of a Kansas family. The result is a nonfiction book that reads like a novel. I love building my novels on a layer of bedrock truth so I can dig into reporting, which is exactly what I did with The Women in White. Buy it here.

‘Watchers’ by Dean Koontz (1987)

A crazy hit-man, a secret lab, and a brilliant golden retriever? These unlikely ingredients turn into a power-house thriller, one of Koontz’s best. Koontz, who is famously devoted to his dogs, delivers a book of nail-biting suspense that’s packed with emotion, illustrating how an expert blends genres. Buy it here.

‘Gone Girl’ by Gillian Flynn (2012)

Flynn delivers a knockout twist midway through this thriller about a picture-perfect young woman who has presumably been killed by her handsome husband. Aside from creating one of the best unreliable narrators in the genre, Flynn taught me a valuable lesson: Don’t save the twists for the end. Sprinkle them throughout your novel, and you’ll make it stronger. Buy it here.

‘The Anniversary’ by Alex Finlay (2026)

The architecture of this book is one of its many strengths. The stories of two high schoolers, Jules and Quinn, entwine on May 1, the day a serial killer attacks one of them. Jules survives, and the book continues across a decade, with chapters telling of the first of May each year, relentlessly building toward a surprising conclusion. Buy it here.

‘Rebecca’ by Daphne du Maurier (1938)

A young woman marries a handsome, wealthy widower and becomes obsessed with his deceased first wife. Along with a gripping plot, this Gothic novel explores the danger of perception versus reality, and how our own minds can become the most dangerous terrain of all, which is a theme I love to build into my thrillers. Buy it here.

‘Bright Young Women’ by Jessica Knoll (2023)

Knoll shifts the spotlight away from a real-life serial killer and onto his victims, imagining the unfulfilled promise of their lives while creating a fictional framework, one that focuses on the lost women. It’s brilliant, it’s compulsively readable—and it’s about time. Buy it here.

“I’m ashamed to say that I’d never heard of the 1901 novel ‘My Brilliant Career’ by Miles Franklin,” said Anita Singh in The Telegraph. Having watched the new Netflix adaptation, I have now “devoured it in one sitting”.

Described as Australia’s answer to “Pride and Prejudice”, it tells the story of a young woman “kicking against convention in turn-of-the-century Australia”. Sybylla Melvyn (Philippa Northeast) is an aspiring writer who has grown up running wild on her family’s outback farm. She is sent to live with her well-to-do grandmother (Anna Chancellor), who hopes to teach her how to be a lady and bag a husband.

Sybylla, who wants nothing more than to be an author, rationalises that she must “fully experience the world before I can write about it”, said Luke Buckmaster in The Guardian. Soon, she encounters a potential suitor, Harry Beecham (Christopher Chung), who in this version is Chinese-Australian and “totally ripped”. Sybylla becomes involved in a love triangle with Harry and an English visitor, Frank.

The six-part series is “steamier” than the novel, and at times “a tad syrupy”. But it has “pluck and sass”, and Northeast gives an “entertaining, high-voltage performance”.

The series “takes a very 2020s approach” to early 1900s Australia, said James Jackson in The Times, with a gay subplot, and another involving a young Indigenous horse trainer. It’s easy to make it sound “pretty naff”, but “My Brilliant Career” is “self-aware” – and thanks to Northeast’s “terrific performance”, it is highly enjoyable.

“Those of us pining to see more Sian Clifford since the end of ‘Fleabag’, in which she played Phoebe Waller-Bridge’s fierce sister”, have been rewarded with this “barnstorming” mockumentary comedy, said Peter Bradshaw in The Guardian.

Clifford plays Lady Isabella, a “haughty, but troubled” aristocrat who lives on a grand country estate (the movie was filmed at Somerleyton Hall in Suffolk), where she hosts an annual children’s talent competition, Stately Stars. Desperate to prove that she has artistic talent of her own, Isabella decides to compete against the youngsters, staging an elaborate multimedia performance, which includes poetry, action art and photographs of her “apparently dead body around the grounds”.

On hand to witness the mayhem is Sam (Laurie Kynaston), a “pushy, insecure young director” who shows up at the stately home to make a documentary. Funny, poignant and increasingly bizarre, “Lady” plays like a psychedelic “B-side to Saltburn”.

There is plenty of David Brent in this “frequently hilarious” film, said Kevin Maher in The Times, along with “bits of Alan Partridge and a dash of ‘This Country’”. The twist comes when the action suddenly veers into science fiction, and Isabella begins quite literally to disappear. The metaphor is clear – Isabella has become invisible to her husband, her peers and herself – and at times, her desire to be seen is almost “unbearably poignant”.

The shifts “from quirkiness to horror to tragedy” aren’t always seamless, said Gayle Sequeira in Sight and Sound, and some of the jokes go on too long. But by the end, the silliness gives way to something “meaningful and life-affirming”. “‘Lady’, much like the aristocrat at its centre, is an odd duck: erratic, but possessed of a tender heart and scrappy spirit.”

A day out in London usually comes with a hefty price tag – but it doesn’t have to. There’s still time to plan an affordable trip to the capital for the whole family before the kids go back to school. Savvy savers take note.

Spend an afternoon museum-hopping

Get your “cultural fix” at one (or more!) of London’s free museums and galleries, said Secret London. Children will love the “glittering jewellery” and “ancient sculptures” at the V&A or you could take them to the Horniman Museum and Gardens in Forest Hill to gawp at the “weird and wacky” objects on display. There’s also an “impressive garden and nature trail” to explore.

Take the kids to an outdoor show

“If you’re running out of juice towards the end of the summer hols” try dropping in at the Greenwich + Docklands International Festival, said Time Out. Running from 21 August–6 September, it’s “absolutely free” and includes a jam-packed line-up of “spectacular” outdoor theatre and dance. You’ll find something to keep “all ages” entertained.

Immerse yourself in nature at a park

Pack a picnic and “reconnect with nature” at one of London’s leafy parks, said Secret London. Stroll along the South Bank to the “hidden” Queen Elizabeth Hall Roof Garden, which is home to more than 200 wild plants and a “luscious lawn”. There are plenty of spot to lounge in the shade too. Or take the kids for a bike ride at Walthamstow Wetlands. Here, there are “over 13 miles of paths across an untamed, wildlife-friendly site”.

Visit a city farm

“You don’t have to head deep into the countryside to experience rural life,” said Which? Bring the kids along to Surrey Docks Farm in southeast London, where they can “make new furry and feathery friends”. For £3 each, you can also book a “meet the small animals” session for little ones to get up close to the rabbits, ferrets and guinea pigs.

Relax at a pop-up beach

The Costa Del Croydon is back on the level 3A rooftop of the multi-storey car park at the Centrale and Whitgift shopping centre. Running until the end of August, entry to the “urban beach” is free, said MyLondon. Once inside, kids can “enjoy creative workshops” and play in the splash zones and sandpit.

‘Biological War: A Scenario’ by Annie Jacobson

Annie Jacobsen’s new best seller “moves like a meteor,” said Dwight Garner in The New York Times. The investigative reporter who previously reignited worries worldwide about nuclear war has this time unfurled a terrifyingly plausible scenario in which weaponized pathogens quickly wipe out humanity. To paraphrase a classic bookjacket blurb, “I paused in my reading only to wipe off the sweat.” Though biological weapons are banned by international law, a handful of countries, including Russia, Syria, and North Korea, have developed and hoarded contagious pathogens. Jacobsen, after interrogating scientific and security experts around the world, has imagined an accident at a Siberian lab that launches a runaway outbreak. She gives her chapters headings such as “Day Two” or “Day Three.” Unfortunately, “Day Six is about as far as civilization gets.”

“The only recent book more disturbing than Jacobsen’s previous one is her new one,” said George F. Will in The Washington Post. In 2024, she made nuclear apocalypse feel trigger-close. The potential of annihilation by genetically engineered pathogen seems closer, in part because of scientific advances of the past 25 years. In this book’s scenario, an explosion at the Siberian lab sets loose a virus that has been designed to spread rapidly, deceive medical professionals, and produce a 100% fatality rate. A handful of people are infected, including a few who hop on planes. Soon, the horrifying virus is everywhere, and resulting scarcities of water, food, and medicine cause panic, which leads to false conspiracy theories, riots, and an utter collapse of social trust. The book is a “summons to seriousness” that should rattle any reader thinking we need to send more pyromaniacs to Washington. “Jacobsen’s message is: Cascading extinction-level events are possible, so sometimes government is a serious business.” My takeaway: “Vote accordingly.”

Though only a tiny fraction of the world’s population survives Jacobsen’s imagined Armageddon, said Gideon Lewis-Kraus in The New Yorker, the post-plague scene she sketches proves “strangely anticlimactic, almost consoling.” She pictures the U.S. largely emptied of people except for survivors in biohazard suits sequestered in fortress-like military facilities. Maybe, though, she has sold the catastrophe short, tying her speculations too closely to historical precedents because she knows many readers will be skeptical about her end-of-days warning. Many of us hear talk of plague and think that humanity, as ever, will manage to muddle through. At least Jacobsen’s book, because it takes account of how deadly a designer virus could be, is “a persuasive argument to the contrary.” If nothing else, “it should destabilize those of us who are quick to sneer at any talk of extinction risk as mere Book of Revelations cosplay.”

‘The Only Cure: Fraud and the Neuroscience of Mental Healing’ by Mark Solms

“Who today would dare attempt a rehabilitation of Sigmund Freud?” asked Scott Stossel in The Atlantic. The father of psycho-analysis has been persona non grata in psychiatric circles for decades. But the field’s subsequent focus on brain physiology and medicinal therapies has done little to reduce the toll of mental illness. Enter Mark Solms who, as a neuroscientist, practicing psychoanalyst, and seasoned Freud translator, represents “the Platonic ideal” of a 21st-century Freud champion. Solms’ goals in his new book are “astonishingly ambitious—and contentious.” While he believes that plenty of Freudian concepts, including penis envy, belong in permanent retirement, he argues that psychoanalysis is the only approach to curing emotional disorders that works.

“Freud can be safely credited with the concept of the unconscious. We’ll give him that,” said James McConnachie in The Times (U.K.). Solms also makes a credible claim that Freud was right in speaking about a subconscious drive to seek pleasure. But while it’s refreshing to see Freud given credit as a researcher, Solms “wants to rehabilitate Freud the clinician, too,” even his belief in the efficacy of dream interpretation, and “that is a much harder case to make.” He can, at times, “come across more like a disciple than a scientist.”

“The story Solms tells seems extremely encouraging—unless, like me, you are obsessional enough to read the research papers to which he refers,” said Raymond Tallis in The Guardian. He wants us to believe that psychoanalysis has been proved more effective than other therapies, particularly drugs, but he often misrepresents the studies he cites. Still, he’s “a wonderfully witty and lucid writer,” and he has filled this book with “deeply moving” case histories, including that of a patient of his who was suffering depression, seizures, and evidence of possible dementia before four years of psychoanalysis revealed that all the symptoms were tied either to prescribed medications or to resolvable emotional troubles rooted in childhood experiences. While “the jury is still out as to whether psychoanalysis is a cure, never mind the only cure,” Solms “has nudged the attitude of this skeptic from scorn to agnosticism.”

Whether the ’80s were “morning in America” or the beginning of the end for the post-war political consensus, there is no question that the decade produced its share of landmark cinematic achievements as well as seat-filling blockbusters. These nine memorable films include huge box office hits as well as gems known mostly to dedicated cinephiles.

‘The Shining’ (1980)

Novelist Stephen King famously despised director Stanley Kubrick’s take on his story of hard-drinking writer Jack Torrance (Jack Nicholson), who slowly loses his mind when he serves as the winter caretaker at the snowy Overlook Hotel with his wife, Wendy (Shelley Duvall), and son, Danny (Danny Lloyd). Beyond its now-iconic scenes, including Danny scribbling “murder” backwards on a door and Jack announcing “Wendy, I’m home!” as he chops his way through a door with an axe, Kubrick’s visionary film continues to lure in new generations of viewers with its mixture of technical wizardry and delirious performances. It’s a film that succeeds in “elevating horror to a different plane, removing its camp wiggeries and bogeymen to infuriate and bedazzle,” said Ian Nathan at Empire. (Prime Video)

‘Blade Runner’ (1982)

Harrison Ford, at the peak of his fame, plays Rick Deckard, one of the titular agents who hunt and retire rogue synthetic “replicants” in a bleak, polluted future Los Angeles set in 2019. Deckard is tasked with eliminating a band of rebellious replicants led by Roy (Rutger Hauer) who have returned to Earth to confront their creator, the CEO of the Tyrell Corporation.

In the process Deckard meets and falls in love with Rachael (Sean Young), a replicant programmed to believe that she is human. Director Ridley Scott’s sci-fi masterpiece raises still-relevant questions about the nature of synthetic consciousness, wrapped in a stylish noir casing. A “visionary” film that presents the “future as a black market, made up of scrambled sordid aspects of the past,” its unforgettable visual canvas gives it its “place in film history,” said Pauline Kael at The New Yorker. (YouTube)

‘Amadeus’ (1984)

A gripping biopic of Mozart (Tom Hulce), told from the perspective of the envious Antonio Salieri (F. Murray Abraham), “Amadeus” is one of director Milos Forman’s two masterpieces, along with “One Flew Over the Cuckoo’s Nest.” Salieri plots to destroy the arrogant, often-unhinged Mozart, upend his relationship with Emperor Joseph II (Jeffrey Jones) and steal his final composition, “Requiem.” It gives us a “surprisingly true Mozart — young and tragically flawed, riddled with childlike tendencies whilst possessing the beautiful voice of God through his music” while “exploring themes of legacy, success, betrayal and the nature of talent,” said Victoria Vireikyte at Voice. (Prime Video)

‘Paris, Texas’ (1984)

Director Wim Wenders helms this slow, often surreal drama about a man, Travis (Harry Dean Stanton), who suddenly appears in the desert four years after going missing following the dissolution of his troubled marriage to Jane (Nastassja Kinski). His brother, Walt (Dean Stockwell), and his wife, Anne (Aurore Clément), have been raising Travis and Jane’s son, Hunter (Hunter Carson), in Los Angeles, and Travis decides he wants to try to find Jane in Houston. It’s a film that “shreds the emotions, leaving the viewer as raw and wounded as Travis,” while also being a “wholly American piece of storytelling in that the country’s ethos is rooted in self-discovery and redefinition,” said Brian Eggert at Deep Focus Review. (HBO Max)

‘Back to the Future’ (1985)

The ’80s were full of enjoyable pulp science fiction films, including E.T., but it is director Robert Zemeckis’ “Back to the Future” that left the most enduring mark on cinematic culture. Michael J. Fox is Marty McFly, a high school student whose mad scientist mentor, Emmett “Doc” Brown (Christopher Lloyd), accidentally sends him back in time to the 1950s in a DeLorean.

While there, Marty inadvertently interrupts the meet-cute that brought his parents together and threatens to snuff out his own existence if he can’t fix it. A movie that turned Fox into a superstar, it is the “modern era’s zippiest comedy about the collapse of the American dream” that might also be “Hollywood’s richest, cleverest blockbuster,” said Amy Nicholson at the Los Angeles Times. (Starz)

‘The Sacrifice’ (1986)

While certainly not the best-known 1980s film about nuclear war, celebrated Russian director Andrei Tarkovsky’s “The Sacrifice” remains one of his finest. Erland Josephson is Alexander, an actor and journalist celebrating his birthday at his family’s Swedish estate when he and his family get word that World War III has broken out, with much of the world likely already destroyed.

Desperate to avoid the coming nuclear holocaust, he agrees to a bargain with God — to give up all of his earthly loves and possessions if the disaster can be reversed. An “extraordinary and rich film with profound depths,” it represents a “bravely uneasy capstone to a titanic career,” said Tim Brayton at Alternate Ending. (Prime Video)

‘Full Metal Jacket’ (1987)

Hollywood’s belated reckoning with the disastrous Vietnam War reached its apotheosis in the late 1980s, with two classic films released within a year of one another, first “Platoon” in 1986 and then Stanley Kubrick’s “Full Metal Jacket” in 1987, which follows a platoon of Marines including razor-witted Private Davis (Matthew Modine) and much-ridiculed Private Lawrence (Vincent D’Onofrio) from basic training through the ordeal of combat in Southeast Asia. The first half of this “astonishingly assured piece of film-making” depicts the “steady dehumanization of Marine recruits” at the hands of the abusive Gunnery Sergeant Hartman (R. Lee Ermey) while the second half builds to a tragic climax that is a “mini-inferno of sniper fire and gushing bullet wounds, hard to live through but impossible to forget,” said John Patterson at The Guardian. (Prime Video)

‘Do the Right Thing’ (1989)

Writer-director Spike Lee’s groundbreaking film made him a household name, and Lee was only the second Black writer nominated for Best Original Screenplay at the Academy Awards. He stars as Mookie, a young father and delivery man at the eponymous neighborhood pizza joint run by Sal (Danny Aiello), a flashpoint for racial tensions between the largely black community and the restaurant’s racist owner. When Radio Raheem (Bill Nunn) is killed by police after a confrontation with Sal, the neighborhood erupts in violence. Lee’s seminal film is a “virtuoso act of creation, a movie at once realistic and symbolic, lighthearted and tragic, funny and savage,” said Roger Ebert at the time at The Criterion Collection. (YouTube)

‘When Harry Met Sally’ (1989)

The standard against which all modern romantic comedies are measured, director Rob Reiner’s “When Harry Met Sally” is more than the sum of its well-known vignettes, including Sally (Meg Ryan) publicly demonstrating to Harry (Billy Crystal) the ability to fake an orgasm, and Harry’s unforgettable riff about how men and women can’t be friends. Harry and Sally are thrown together for a car trip from Chicago to New York after they graduate from college and dance around one another for years into their 30s as friends before taking the plunge into a romantic relationship. A movie that “treasured its characters, atmosphere, and setting,” it is also a “collection of finely hewn set pieces — nearly all of which pivot around nothing more than a conversation,” said Sonia Saraiya at Vanity Fair. (Prime Video)

Lisbon, Portugal’s beautiful capital by the sea, mixes pastel buildings and pretty tiled churches with incredible restaurants and quick access to beaches and mountains. Andaz Lisbon is the newest addition to the city’s hotel scene. Located right in the heart of central Lisbon, staying here is like being blasted with a rush of dopamine – its quirky and fun design choices make it a must-visit for style-conscious travellers.

Why stay here?

Andaz Lisbon is a maximalist’s colour-drenched fantasy bursting into life. Housed in a former bank – with the original doors intact – there’s nothing staid or corporate about this glamorous new hotel. If you’re a fan of Japanese artist Yayoi Kusama, you’ll love the hotel’s pick ’n’ mix clash of colours and patterns that are emblazoned on every corner.

When you first walk in you’re greeted by the original marble staircase decorated with Joan Miro-esque vases. The hotel’s design delights in making everything big and bold with giant murals as feature walls in public spaces like the hallways.

Rooms are warm and inviting. A bright orange velvet armchair, pale blue-grey sofa and abstract 3D art on the walls provide pops of colour. There’s open shelving for your clothes with a floor-length mirror. The decor is a modern take on mid-century cool. There’s also a small mini bar with snacks – the first round is complimentary, which is a nice touch.

The bathroom is sleekly decorated with burgundy tiles and matching walls, beige marble, and bronze fittings, with Byredo Eleventh Hour toiletries on offer.

Eating and drinking

With its views out to São Jorge’s castle, an abundance of plants and a patchwork of clashing patterns, rooftop restaurant Luzzi is achingly stylish and brightens up your day instantly – and that’s before you even get to the food. For breakfast, it offers a well-curated buffet with crispy artisan bacon, homemade hash browns, a selection of cold cuts and cheeses, a mini salad station, and coconut pastries and plump doughnuts in their sweet corner. There’s also an à la carte menu where you can order fluffy pancakes or eggs however you like them.

Andaz Lounge downstairs pays homage to the kiosks you find dotted around Portugal offering casual light bites. It’s the perfect spot for lunch – try the cod and sweet potato fritters and the smash burger with port-caramelised onions. Then sink into one of the squidgy bouclé sofas with a tipple – all of the wines offered by the glass there are made by female winemakers.

At night, Luzzi is the perfect spot for a romantic dinner or group party – chef Bruno Alves has created a menu with nods to Portuguese heritage so there are Brazilian chicken coxinha, a doughy snack, and Peking glazed duck rice, which pays tribute to former Portuguese colony Macau. The standout dish is lobster acorda, juicy chunks of charcoal-roasted lobster served with a soup made of bread, garlic and olive oil, infused with a rich seafood flavour – and it’s a hearty enough portion for two. For dessert, try serrasura, made from cream and crushed biscuits. Luzzi’s heavenly version is layered with almond, fig, honey and bavaroise.

There’s also a bar with colourful checked walls, comfy low chairs decorated with geometric cushions, and little outdoor terraces – be sure to bag the one closest to the view of Rua Augusta Arch. With its marble tables and dedicated DJ booth, it’s like an upscale club without the sticky floors. Make sure to check out the loo at Luzzi – there’s red (yes, red) toilet paper, which somehow works with the rest of the decor.

The staff are uniformly kind and attentive – at breakfast one day I mention I won’t be staying long as I have to rush off for a day trip and someone brings me a takeaway box and cutlery, with a bag to carry it all in, so I can pack a lunch from the buffet.

Things to do

The hotel’s location right in the heart of Lisbon makes sightseeing a breeze. The iconic – and enormous – square, Praça do Comércio, and the riverside are just metres away. Take a walk around Baixa Chiado, marvel at the Santa Justa outdoor lift connecting the lower areas of the Baixa with the higher Carmo Square, and head to the ruins of an old church at Carmo Archaeological Museum. Don’t forget to grab a pastel de nata – egg custard tart – from the famous pastry shop, Manteigaria.

The verdict

Andaz Lisbon makes a welcome change from the stark minimalism that seems to be the default decor of many luxury hotels. It’s bold, loud and proud, catering to guests who care about good style, and offers an avant-garde twist and fine dining in a trendy new space. Don’t be surprised if it starts popping up on your Instagram feed very soon.

Ann was a guest of Andaz Lisbon

There are many stretches from Anthony Bourdain’s “gritty” and “well-chronicled” life that could work for a biopic, said Tim Robey in The Telegraph. But in “Tony”, Matt Johnson sticks with “just one summer” in 1975, when the celebrity chef was 19 – long before he found fame and fortune.

Based on the opening chapters of Bourdain’s bestselling memoir, “Kitchen Confidential”, the film opens as Tony – Dominic Sessa, the “deeply talented” young actor from “The Holdovers” – leaves home after failing to get a prestigious summer writing fellowship. He follows the “girl he fancies”, Nancy, to Cape Cod and gets “self-pityingly drunk” when he finds out she has a boyfriend.

After being thrown out of an oyster shack, a kindly chef (Antonio Banderas) gives him a job washing dishes and Tony finds himself in the “cramped, all-male milieu of flying expletives and cruel practical jokes”.

Johnson effortlessly mixes the “toxic camaraderie” of these scenes with montages of Bourdain’s slow-but-steady daily improvements. “It plays like ‘Rocky’ with kitchen knives”.

Gradually, Tony’s “insufferability” is “hosed away”, said Danny Leigh in the Financial Times, and Sessa dazzles in the “contradictory” role of the “charismatic sad-sack”. Johnson has made a “funny, sun-kissed biopic” that is “spry” and “enjoyable” despite the “complicated brief”. “Tony” is aimed at those who know that the chef’s life story will lead to both “glory and tragedy” (Bourdain died by suicide in 2018). The film “isn’t the whole story”. But that’s “probably fitting” – the chef was “nothing if not a spinner of yarns”.

I found it a bit “strange”, said Peter Bradshaw in The Guardian. “Tony” is an “entertaining” watch but the “feelgood trajectory is compromised by what we know” about Bourdain’s troubled life and death. A scene in which Banderas tells Tony about a chef to Louis XIV who “killed himself in shame when the key ingredients didn’t arrive for a banquet” is “presumably there tacitly to acknowledge Bourdain’s heartbreaking fate. It sits oddly.”

Mostly, though, it’s a “rollicking, surprisingly sunny coming-of-age tale”, said Larushka Ivan-Zadeh in The Times. “Picture ‘The Bear’ with less angst and more innocence.” Johnson manages to capture the “blistering, sizzling energy” of Bourdain’s memoir and Leo Woodall is “succulently charismatic” as Tony’s “cocksure, coke-snorting” co-worker, Sal.

But the real star is Sessa who “nails Bourdain’s annoying young Turk braggadocio” while giving us a peek at the “unformed vulnerability beneath”. In all, it’s a portrait of the fiery young chef that’s “spicy, salty, and just sweet enough. I’d happily have second helpings.”

A Detroit-style pizza hits all the right notes — a thick crunchy crust, caramelized brick-cheese edge called the frico and rich red sauce spooned over the toppings. Find the real deal at these seven Motor City institutions, including the spot where the glory began.

Buddy’s Pizza

This is the birthplace of Detroit-style pizza, so it’s “no surprise its pies rank among the best,” said Detroit Metro Times. Back in 1946, Italian immigrant Gus Guerra borrowed forged-steel pans from an auto plant and made his first square pizza, its interior “soft” and bottom crust “crispy.”

The rest is history, with countless other pizza places putting their own spin on the style. Buddy’s dough is “light and airy” and the “gooey, flavorful” cheese “caramelizes into crispy perfection,” said Detroit Metro Times. There are multiple locations; the flagship is at 17125 Conant St.

Cloverleaf Bar & Restaurant

Gus Guerra didn’t just leave his mark at Buddy’s. After selling the pizzeria (and his recipe) in 1953, he went on to establish the beloved Cloverleaf Bar & Restaurant in Eastpointe, which his family still operates today.

The menu features a build-your-own pizza option, alongside more adventurous specialties like the BLT with bacon, lettuce, tomato and mayonnaise and the Mexican Pizza covered in ground beef, banana peppers, green peppers and cheddar cheese and served with sour cream and salsa.

Grandma Bob’s

Grandma Bob’s “creative” flavors bring traditional Detroit-style pizza into a “new age,” said Bon Appétit. Take the Lobster Roll Pizza. It’s a classic, crispy square pizza topped with lobster, “herbaceous” crème fraîche, crushed kettle chips and chives, with drawn butter and lemon on the side for your “dipping and drizzling pleasure.” Vegans can also get in on the fun combinations; the Big Mack is loaded with Impossible Burger, vegan mozzarella and Thousand Island dressing, pickles, white onion, iceberg lettuce and sesame seeds.

Loui’s Pizza

This “iconic” pizzeria “stands in a league of its own,” said the Detroit Metro Times. Loui’s pies start with crusts that are the “ideal mix of crunch and fluff,” and only get better as a “bold and tangy” sauce is “generously ladled” over an “abundance of cheese.” The atmosphere inside the restaurant is “just as inviting as its pizza,” with wine bottles hanging over the tables covered in checkered cloths.

Michigan & Trumbull Pizza

There’s always a new pizza to try at Michigan & Trumbull. The menu is “guided by Detroit’s seasons,” with monthly specials featuring locally grown ingredients, said Bon Appétit. While Detroit-style pizza is known for its “racing stripes of red sauce,” Michigan & Trumbull has a robust selection of white pizzas, like the Cadieux e Pepe, which “reimagines” cacio e pepe, and the Bagley Chorizo with pickled red onion and cilantro ranch. For the “staunch traditionalists,” you can build your own pie with red sauce, mozzarella, parmesan and whatever toppings you’d like.

Shield’s

Open since 1937, Shield’s is a “real old-school pizza restaurant,” and you can savor history in every bite, said Tasting Table. Pies are cooked in pans that have been used for years, and it’s almost like the flavors from the past are “infused into every new pizza made.”

For all of its “fantastic” pies, said Tasting Table, Shield’s uses the customary brick cheese, which melts all over the crust. There are nearly a dozen specialty pizzas to choose from, with the spicy Gold Medal, featuring Italian banana peppers and sweet red bell peppers, an award winner.

Sicily’s Pizzeria & Subs

Sicily’s, known for its sourdough crust, has been feeding Detroit since 1989. Fans appreciate this twist on the traditional approach, along with Sicily’s dedication to using locally produced ingredients. Other menu items that set the place apart include the Tomato Pie, which eliminates the mozzarella, and the East Coast White Pie that’s heavy on the garlic and multiple cheeses.

Betye Saar could make the humblest of objects sing and shout. The Los Angeles–based artist, an early leader in the Black Arts Movement, repurposed trash, heirlooms, and flea market finds into provocative sculptures and dioramas that exploded stereotypes of Black women. Many have a searching, mystical quality, informed by her mixed African American, Irish, and Choctaw ancestry and her trips to Africa and Haiti. Her work is now featured in at least 80 museums worldwide, but the best known may be her landmark 1972 assemblage The Liberation of Aunt Jemima. It featured a plastic, thick-lipped, “mammy” figurine hold ing a broom in one hand and a rifle in the other. “I wanted to put a rifle and a grenade under her skirts,” Saar said in 2016. “I wanted to empower her. I wanted to make her a warrior.”

Born in L.A., Betye Irene Brown grew up in Pasadena, where the family moved after her insurance salesman father died. “Art was in the air” throughout her childhood, said the Los Angeles Times. Her seamstress mother encouraged her in crafting projects, and she graduated from UCLA with a design degree. Brown became an interior decorator, marrying ceramicist Richard Saar and bringing up three children in Laurel Canyon, “a hotbed of hippiedom.” Inspired by the radical politics around her, she started making prints and sculptures. “One of her most important” early works was a decorated windowpane called Black Girl’s Window, said The New York Times. In it the silhouette of a girl with her palms pressed against the window shares space with celestial bodies, astrological symbols, and a daguerreotype of her grandmother—a scene of “ancestral yearning.” She gained a measure of early recognition, winning a 1974 grant from the National Endowment for the Arts.

But it wasn’t until the 2010s, when she was in her 90s, that her fame reached “an international scale,” said ArtNews. Scholarly attention focused on overlooked Black artists, and in 2019 Saar had simultaneous retrospectives at New York City’s MoMA and the L.A. County Museum of Art. The artist was thrilled both by the new attention and by Quaker Oats’ decision to scrap the Aunt Jemima logo in 2020. “She’s liberated!” Saar posted online. She continued working until her death, days short of her 100th birthday. “Not everyone has a reason to get out of bed, something they love to do and that gives their life meaning,” she said. “I am so lucky that I have that.”

Katendrecht was “once at the heart of the world’s busiest port” and home to a “lively sailors’ quarter”, said Pat Riddell in The Guardian. But this “thin peninsula” on the south bank of the Nieuwe Maas River in central Rotterdam has undergone a dramatic transformation.

The regeneration of historic warehouses has seen the former red-light district turn into one of the city’s “most vibrant” spots, with craft breweries, boutique shops and galleries popping up everywhere. Last year, the opening of the Fenix museum of migration gave a boost to the “formerly downtrodden” neighbourhood’s “lively cultural and arts scene”.

Set within a “century-old warehouse”, this “showstopper” of a museum uses art to portray migration “not as an abstraction or headline, but as a shared human experience”, said Karen Bershtein in Time magazine. Inside, a “mirrored, double-helix steel staircase” winds up to “sprawling views of the River Maas” and the city. Contemporary works include the “Suitcase Labyrinth”: a striking installation “assembled from thousands of donated pieces of luggage”. And “don’t miss the Nederlands Fotomuseum” where you can see a vast collection of Dutch photography, said Derek Robertson in Time Out.

Evenings are easy to fill at the Theatre Walhalla: an intimate venue that hosts an eclectic programme of over 300 performances each year. It’s also worth checking to see whether you can catch a family-friendly show at the youth circus school, Circus Rotjeknor.

When it comes to food and drink, Delistraat is “buzzing from morning to night”, said Riddell in The Guardian. Here you’ll find “flaky pastries” at Jordy’s Bakery, a “huge range of whiskeys” at Café de Ouwehoer, and the “small but perfectly formed fine dining establishment”, De Matroos en Het Meisje, which offers a daily changing menu of four to six courses.

Consider booking a room at Hotel New York where you’ll find luxurious suites in the “former offices of the Holland-America Line’s directors”, or check in at the “permanently moored” former cruise ship, SS Rotterdam, which has been turned into a 254-room hotel. With much of its original decor preserved, it feels like “stepping back in time”.

“Is Ariana Grande’s body any of our business?” asked Monica Hesse in The Washington Post. Facing a deluge of commentary about her apparent weight loss, the 33-year-old pop star and actress recently announced that she’s stepping away from public life after her current tour concludes. Her “emaciated” appearance in a new music video for her song “Petal” escalated years of speculation that she has an eating disorder. The camera shows sunken cheeks, a protruding clavicle, arms that look like “sinew on bone,” and spindly legs. A former child actress and superstar, she has “defined beauty standards” for young women for years. But Grande has experienced trauma even beyond the pressure cooker of youthful stardom: A suicide bomber killed 22 fans at one of her concerts in 2017. Should we explain to kids and teens that “this is a body born of deprivation?” Do we tell them that “most women’s bodies will not naturally look like this unless something is very wrong?”

“The images of Grande really are alarming,” said Emma Camp in The Wall Street Journal, but “all this concern starts to feel like rubbernecking.” Grande’s early celebrity and her various “romantic entanglements” have made her a hate object for some online critics, and her skeletal frame enables them to portray her as a bad role model while enjoying “the thrill of watching someone self-immolate.” But “sharing another scary screenshot” of her bony body “won’t stop others from starving themselves”—and indeed, the public attention “might encourage those with eating disorders to keep going.”

As someone who suffered from an eating disorder, said Emma Madden in The Guardian, I can tell you “there’s no right answer” about how to respond to Grande’s worrisome weight loss. The body positivity movement preached “don’t comment on women’s bodies” in reaction to “misogynistic tabloid treatment of celebrities in the aughts,” but perhaps that was “an overcorrection.” Eating disorders “thrive in secrecy and denial,” so we shouldn’t ignore “visible suffering.” Grande maintains she’s healthy, said Scaachi Koul in Slate, but it’s hard to avoid comparisons to Karen Carpenter, the 1970s pop singer who died of anorexia at 32. In this Ozempic/Wegovy era, our culture is strongly pushing women “toward winnowing,” and Grande is “seemingly suggesting the same” by example. We’re left with “an unsavory choice”: “the complicity of silence or the complicity of judgment.”

How widespread is AI use in publishing? 

It’s almost impossible to gauge how many authors are using tools like ChatGPT. But it appears that generative AI, which can churn out a novel-length work with a few simple prompts, is driving a boom in book publishing. More than 4 million books were released in the U.S. in 2025, up a whopping 33% from the previous year. That jump was largely due to a spike in new self-published works, which rocketed 39% year on year to 3.5 million. While it is easier than ever to self-publish, research suggests many of those books were not written by humans. A National Bureau of Economic Research study found that about half the books published in 2025 and sold on Amazon contained AI-generated text, up from 23% in 2023. (ChatGPT was released in late 2022.) AI writing is most common in popular genres such as romance fiction, which tends toward formulaic plots, and in nonfiction, where major news events can trigger a flood of AI books within hours. Online influencers “have been spreading the word for some time: Use AI to write a book. If it sells, it’s free money,” said tech journalist Kashmir Hill, who recently discovered an AI-generated, error-riddled biography of herself on Amazon. The “author” of Hill’s biography published nine other books the same week. But AI writing is not just confined to the self-publishing world: In recent months, at least two major publishing houses have withdrawn books over suspicions of AI use.

Which books were pulled? 

Most recently, the hotly anticipated debut novel from Nigerian-born Jerry Falade. Fourteen publishers bid for the U.S. rights to Call Me, I’ll Hide the Body; Falade, a grad student at Southern Methodist University, signed with a Macmillan imprint for more than $2 million. But the deal collapsed last month after Falade’s agents told the publisher they could no longer support the “stunningly good” crime novel because of AI concerns. Falade says he used AI only for research “and not for writing the book itself” and argues the deal’s cancellation was racially motivated. A few months earlier, Hachette nixed the U.S. release of Mia Ballard’s horror novel Shy Girl over suspicions it was largely AI-generated. After the book was published in the U.K., readers pointed to linguistic tells of AI, including word repetition (“sharp” or “sharply” appears 159 times in 247 pages); the grouping of adjectives, phrases, and ideas into threes; and the frequency of “something x, something y” sentence construction, such as, “In his hands is a cake, gleaming, its pink frosting too smooth, like plastic dipped in sugar, like something that belongs on a screen.” Ballard claims that an acquaintance who edited the book used AI, not her. “Everyone liked” the book, one publishing exec told the Financial Times. “After Shy Girl, every editor is nervous.”

Are publishers trying to weed out AI? 

Most publishers require writers to affirm that their work is “original,” which is increasingly being interpreted as a ban on AI-created text and images. That’s a sensible safeguard because AI-generated works are not protected by copyright, the foundation of the $140 billion global publishing industry. But publishing houses are loath to entirely bar authors from using AI, because there are other ways it can usefully be deployed, such as to check grammar and conduct research—although there are risks in handing that latter job to a chatbot.

What kind of risks? 

Media entrepreneur Steven Rosenbaum used AI tools to research and organize The Future of Truth, a nonfiction book about how AI reshapes reality. In May, The New York Times revealed the book contained numerous fabricated and misattributed quotations dreamed up by AI. Rosenbaum said that if the episode “serves as a warning about the risks of AI-assisted research and verification, that is why I wrote the book.” To avoid such embarrassments, a growing number of publishers are turning to AI detectors: software that promises to scan a text and accurately reveal how much of it was likely AI-generated.

Does the technology work? 

That depends on whom you ask. One popular detector, GPTZero, claims to be 99% accurate. Pangram, another favored detector, claims a false positive rate of only 1 in 10,000. But critics argue that AI detectors are deeply flawed. After his sci-fi manuscript was rejected by numerous publishers, Antonio Bricio, an engineering consultant and aspiring author, ran the text through the AI detector Originality.ai. The program was 100% certain he’d used AI, but when he deleted just a few sentences, it declared the manuscript to be 100% human. “What if publishers or agents start running these AI tools on everybody?” asks Bricio. Thriller writer Andrea Bartz— a lead plaintiff in a copyright lawsuit against Anthropic that secured a $1.5 billion settlement for authors over the firm’s use of pirated books to train its models—was enraged when a detector labeled her writing as 82% AI-generated. “I guess that’s what happens when your books were stolen to program AI,” said fellow novelist Rene Denfeld, whose own work was also flagged as AI.

What do readers think of AI books? 

Most want books “to come from the author’s brain and heart and not a computer that’s robbed the writer’s brain,” said author Laura Taylor Namey. And that argument is supported by the fact that book charts are still dominated by human authors. But the flood of AI works is making it harder for flesh-and-blood writers like Jess Michaels to grab attention and make a living in an increasingly crowded market. A historical romance author, Michaels has released 117 novels since 1999— most of them self-published—and has notched 10 USA Today best sellers. But she has recently seen sales drop so drastically, and the number of AI-powered imitators rise so rapidly, that she’s considering giving up publishing. “You’re talking about directly pirating my work, putting it into an engine so that you can produce a ‘Jess Michaels–type book,’ and then glutting the market with it,” she said. “I cannot tell you how soul-crushing it is.”

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Cold, al dente truth: What we generally know about Italian food in the U.S. is a mere snapshot of the country’s grand diversity. These cookbooks unveil that scope. Some include full-kitchen immersions in foodstuffs like balsamic vinegar and prosciutto, while one laser-focuses on a northern Italian region less-known in America. Together, the books expand the mind and guide the hands in the myriad delicious ways Italian cooking exists.

‘Cooking by Hand’ by Paul Bertolli

The right obsessive is destined to write a cookbook that will “wake up the imagination and capture a cuisine in both recipes and prose,” said Serious Eats. “Cooking by Hand” is that book, a personal homage and textbook from a man entrenched in a lifelong fascination with Italian cooking.

Bertolli, once a chef at a number of legendary San Francisco Bay Area restaurants before debuting his salumi company, Fra’ Mani, devotes 14 pages to his fondness for true balsamic vinegar and 12 ways to think about cooking with tomatoes. It is that kind of book, one that commemorates the “heart and soul of Italian cooking as much as its technical execution,” said Serious Eats. The recipes and instructions are built for a cook to “marvel at” because Bertolli’s “enthusiasm for the result is infectious,” said Publishers Weekly. ($40, Clarkson Potter, Amazon)

‘Essentials of Classic Italian Cooking’ by Marcella Hazan

No cuisine is a monolith. Even traditional recipes from one city can be interpreted immeasurable ways by various families. “Essentials of Italian Cooking,” however, purports to be the one true path to true Italian cooking. In truth, it is a vision of Italian food seen through the strong-willed lens of its author, Marcella Hazan, who had opinions and “was not afraid to share them,” said Aimee Levitt at Eater.

A strong point of view is a boon for kitchen literacy. You learn Hazan’s way as you cook through this “foundational text,” said Serious Eats, that aims to “enlighten, instruct and offer key cultural insights in one fell swoop.” Then, in time, you excavate your own path so that you too might be full of righteous opinions about the proper way to cook Italian food. ($45, Knopf, Amazon)

‘Pasta e Verdure: 140 Vegetable Sauces for Spaghetti, Fusilli, Rigatoni, and All Other Noodles’ by Jack Bishop

Cook with pasta and vegetables for an extended period of time, and you learn that the repertoire expands with possibility every time you shake your dinner from skillet to serving bowl. “Pasta e Verdura” is like an infinity mirror: a collection of more than 100 sauces organized alphabetically by vegetable base. Flavor and variations that go on and on.

These are “simple recipes that combine common ingredients into gourmet vegetarian meals,” said Teri Bickmore at Midland Daily News, including asparagus with mushrooms and shallots, leeks with white wine and parmesan, spinach with melting gorgonzola, and butternut squash with sage. “Pasta e Verdure” might soon be one of a “very few indispensable cookbooks” in your kitchen. ($27, ThriftBooks, Amazon)

‘The Silver Spoon’ [NO AUTHOR]

There are tomes, and then there is “The Silver Spoon.” At almost 1,500 pages, the most magnum of Italian magnum opuses was first printed in 1950. “No matter where you turn” in the beloved cookbook, you’ll be faced with the “sight of something delicious,” said Serious Eats.

“The Silver Spoon” leans toward recipes that are forthright, ones that combine a “few ingredients to make simple dishes with rustic appeal,” said Serious Eats. The allure of these recipes’ “simplicity is that many can be combined or tweaked at will.”

Still, it is too large of a book to be perfect. Sometimes the recipes are so terse, they confuse. But as a source for creative thinking in the kitchen, for expanding one’s resourcefulness in the kitchen, “The Silver Spoon” is an expansive gift. ($55, Phaidon, Amazon)

‘The Talisman of Happiness’ by Ada Boni

An almost century-long journey brought one of Italy’s most beloved cookbooks to the United States. The book’s author, Ada Boni, published “The Talisman of Happiness” in 1929, and its more than 1,500 recipes aimed to capture the breadth of Italian cooking, the cuisine of a country that was still rather new when the book was written. Boni, said the book’s publisher, Michael Szczerban, to NPR, is the “most important forgotten culinary icon in Italian cooking history.”

As of 2025, “The Talisman of Happiness” is available in English. “Regional home cooking was essential to maintaining Italy’s national culture, and the book evolved along with the cuisine,” said Kim Severson at The New York Times. Cook through “The Talisman of Happiness,” and you learn that a national cuisine is, in truth, a compendium of how home cooks across various topographies and miles feed their people with what is available nearby. ($60, Voracious, Amazon)

‘La Terra Fortunata: The Splendid Food and Wine of Friuli Venezia-Giulia, Italy's Great Undiscovered Region’ by Fred Plotkin

So much of what we consider Italian food in the U.S. is, predictably, a product of migration patterns. We know well the red-sauce extravagances of southern Italian cooking. A culinary blind spot for most Americans is the cooking of the far north of Italy, which has more in common with Italy’s neighbors, Slovenia, Croatia and Austria, than it does with a tomato.

Plotkin’s essential book, “La Terra Fortunata,” captures the food and wine culture of Friuli-Venezia Giulia, the northeasternmost region of Italy. It is a locale where gnocchi are stuffed with plums, and penne with cinnamon and ricotta sauce turns the “palate upside down,” said Amanda Hesser at The New York Times. You will also learn an ensnaring new way with cheese: the frico, in which shredded Montasio cheese melts then hardens into a “crisp, golden cheese snack,” said New York Daily News. ($35, ThriftBooks, Amazon)

This is the way to enjoy the British summertime. Battered fish and salt-and-vinegar-seasoned chips have been a staple for hundreds of years, best paired with stinging seaside winds and spray. Wherever you are in the UK, there will always be a handful of chippies vying for your order. Here are some of the best seaside establishments, giving you decades-crafted favourites, and some newer twists on tradition.

Anstruther Fish Bar – Fife, Scotland

“My heart belongs to Anstruther Fish Bar,” said Gordon Thomson in The Telegraph. Edinburgh has “salt and sauce”, a “piquant brown-sauce-and-vinegar combo”, and in Glasgow, the “mighty ‘fish supper’ reigns”, but fish on the east coast of Scotland is something else. Once you’ve navigated the queue under the “watchful eye of the mannequin fisherman”, you settle down into an “old-school caff table”. Last time I was there, I had haddock, with the “most incredible chips – perfectly crisp and yet fluffy inside – and mushy peas, all washed down with white wine and a craft beer”. Truly “award-winning fare”.
anstrutherfishbar.co.uk

Aldeburgh Fish & Chips – Aldeburgh, Suffolk

“The Cooney family and their faithful tribe of fryers have been frying in beef dripping on Aldeburgh High Street since 1967,” said Chris Haslam in The Times. There are actually two spots on the high street to pick up your supper, and you’ll get the “same shatteringly crispy battered fish” at both. Above the second location, the Golden Galleon, there’s a small dining space, but Aldeburgh’s “windswept sand and shingle beach is an unbeatable picnic spot”. I’ve even known a seal to have “bobbed along to say hello”.
aldeburghfishandchips.co.uk

Whelan’s Fish and Chips – Lytham St Annes, Lancashire

Whelan’s has been visited by some esteemed figures in the culinary world – such as Gordon Ramsay and Rick Stein – and yet it primarily “remains a favourite with the locals”, said Delicious. It was established in 1937, and “since it started, not much has changed and for all the right reasons”. They source fish from “sustainable stocks, they use local produce (wherever possible)” and you are always looked after by “welcoming” staff. Of course, you can’t go wrong with something traditional, but keep your eyes peeled for one of the “gourmet fishcakes which often feature as a daily special”.
whelansfishandchips.co.uk

Ainsworth’s – Bridge Street, Caernarfon, Gwynedd

Now this is a “treasure trove of a place”, said Joanna Whitehead in The i Paper. Naturally, “no two chippies are the same”, and each place is “dazzling with individuality”: a “gratifying phenomenon in a homogenised world of chain eateries”. It is hard to beat cradling a “box of their glowing offering under your arm” and heading “to the waterfront to eat between bay and castle”.
ainsworthscaernarfon.co.uk

The Rockfish – Dartmouth, Devon

If you need convincing, look no further than celebrated chef Mitch Tonks’ “65 awards”, said Food and Travel Magazine. “Set overlooking the bucolic River Dart with its fishing boats meandering up and down with the ebb and flow of the tide, you can almost taste how good The Rockfish’s wares are going to be before they arrive.” In winter, the restaurant’s log burner is the perfect antidote to “long yomps across the moors”. There are a few West Country change-ups from your classic chippy menu: the “South Coast calamari with aïoli” and a “South Devon crab roll, served with pickled cucumber, Marie Rose sauce and lashings of sweet white crab meat” are fan-favourites.
therockfish.co.uk