What does Jeremy Deller make of modern Britain?
The Turner Prize-winning artist who inflated Stonehenge gives his take on where we are, where we’ve been, where we’re headed – and the British dish that trumps the rest.
The Turner Prize-winning artist who inflated Stonehenge gives his take on where we are, where we’ve been, where we’re headed – and the British dish that trumps the rest.
He broke out as Normal People’s bad guy. Now he’s playing Samuel Beckett and a WWII hero – and embracing a messy new hobby courtesy of Austin Butler.
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The angry Irish girl – the Sinéad of the savage crop and mouth to match – is a thing of the past. At 22, Sinéad is discovering the joys of marriage, motherhood and, not least, mysticism. You can hear this in the softer, more spiritual songs written for her new LP. It is, says Sinéad, like being visited by the Holy Ghost…
Mike Skinner has made a movie, the whole thing written, directed, filmed, funded and led by the man on the mic. It only took him 10 years.
Bringing Black British music culture to screen in a rollercoaster eight-part BBC/Netflix drama – with a little help from Ghetts and Ray BLK.
He’s a 69-year-old retired businessman and debut recording artist who’s made the chillest album of the year. And all with a little help from his daughter Lana. Do put your father on the stage, Ms Del Rey…
It’s the play that’s gone right: a theatrical phenomenon pulling in young audiences via a chilling story and clever actor choices like Cheryl and Lily Allen. As a UK tour looms, its creator and latest cast explain why audience participation – screams, wine spills, all of it – are welcome.
Arrested aged 25, whistleblower Reality Winner received the longest ever sentence for releasing intelligence to the media. Euphoria star Sydney Sweeney plays her in a stunning new film. Here, in her own words, is Winner’s story.
The Succession “winner” tells us all about Leeds United, red carpet drag and Lukas Matsson's fashion choices.
As the groundbreaking drama anoints its ultimate successor, we quiz Lupe on spin-offs, Succession sleepovers and closing the door on the role of a lifetime. “It’s like getting over a big heartbreak.”
First up: a Blur cover story from May 1994, in honour of the legendary band announcing their first album in eight years, The Ballad of Darren. You don't wanna miss this...
As Kaytranada and Aminé drop their joint album Kaytraminé, THE FACE team picks out some of our favourite collab albums of all time.
Call Sheet: The actor stars in the house’s new campaign, photographed by Hedi Slimane. And he didn’t injure anyone on the shoot – unlike on True History of the Kelly Gang…
In an exclusive extract from her brilliant new memoir about battling breast cancer, the legendary FACE writer asks: how do you wear mascara if you’ve lost your eyelashes?
Call Sheet: in thrilling, chilling Cronenberg remake Dead Ringers, the Oscar-winner plays identical siblings on a mission to right the wrongs of childbirth. And have a bloody – very bloody – good time while doing so.
A24’s Talk to Me is already being touted as the supernatural thriller of the summer. To get you in the mood, we’ve ranked the studio’s most bone-chilling prestige horrors. Click through, if you dare…
Call Sheet: the Australian actor has already played Peter Parker’s classmate, Nicole Kidman’s pupil and Kate Winslet’s daughter. Next up: an Apple TV+ thriller and an all-singing take on that ’00s teen classic.
Celebrating London’s biggest night with an exclusive playlist and a FACE archive special. Your pre-bank holiday dancefloor mash-up awaits…
Ewan Mitchell plays Aemond Targaryen, the power-hungry prince in Game of Thrones prequel House of the Dragon. Aemond’s no one-eyed jester. Yet the actor’s first shoot and print interview are all a bit... what’s the word?... bonkers. And brilliant. A peeper-popping example of an actor, high on the possibilities of the only job he ever wanted. And half a kilo of sugar.
The German epic, an unlikely awards season sensation, is led from the front by the 27-year-old newcomer. The Austrian actor describes his months on the frontline and defends the film’s visceral violence. “Why watch a war movie that isn't too brutal? It's absurd.”