Podcast appearances and mentions of Polly Stenham

Adam Thirwell is an award-winning novelist and screenwriter. Among his best-known books are Lurid & Cute, Politics, Multiples and Kapow!.His latest novel is The Future Future, which Salman Rushdie described as "A dazzling performance, unlike anything else you'll read this (or any other) year". He has twice been selected as one of Granta's Best of Young British Novelists, received a Somerset Maugham Award in 2008, and was a recipient of the EM Forster Award from the American Academy of Arts and Letters in 2015. He wrote and directed Utopia, a short film starring Lily Cole and Lily McMenamy, for Channel 4; and wrote another short film, Everyday Performance Artists – featuring Shia LaBeouf, Gemma Chan and James Norton, and directed by Polly Stenham – which was broadcast on Channel 4 in 2016. His essays appear regularly in the New York Review of Books. He is Advisory Editor at the Paris Review, and a Fellow of the Royal Society of Literature. http://www.adamthirlwell.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

Historical fiction is having a moment, and at the forefront are two of 2023's most hotly anticipated novels: Zadie Smith's The Fraud and Adam Thirlwell's The Future Future. Smith and Thirlwell discussed their approaches to fiction and the ways in which prose can ‘sandblast the dust off history', as Polly Stenham writes about The Future Future.Buy The Fraud: lrb.me/thefraudBuy The Future Future: https://lrb.me/thefuturefutureFind more events at the Bookshop: lrb.me/eventspod Hosted on Acast. See acast.com/privacy for more information.

Get ready for a theatrical feast in our latest podcast! First up, at the Orange Tree Theatre, the talented Niamh Cusackleads a thrilling revival of Polly Stenham's remarkable 2007 debut, That Face. When Mia is expelled from boarding school, her mother Martha seems indifferent, more interested in her son Henry. And with Mia's estranged husband, Hugh, returning from Hong Kong with his new girlfriend, he's determined to fix things. But Martha insists everything is just fine. Polly Stenham's searing debut play peels back the curtain on the hidden lives of the wealthy, delivering anarchic humour that won accolades like the Evening Standard Charles Wintour Award, the TMA Best New Play Award, and the Critics' Circle Award. Don't miss its first major London revival! Next, we venture to the Globe Theatre for a spirited rendition of Shakespeare's As You Like It. In Duke Frederick's court, division and distrust reign supreme. When Rosalind is banished, she escapes with her cousin Celia to the Forest of Arden, free from the court's rigid rules. Here, they explore new identities and discover a place where love and connection know no bounds. In this ancient haven of nature, unexpected friendships bloom, enemies reconcile, and strangers fall head over heels. Join us in our wooden 'O' for an unforgettable journey where you never know what—or who—you might encounter. Director Ellen McDougall's delightful production infuses warmth into the summer's end. At the Hampstead Theatre, prepare for a mind-bending journey in Anthropology. Merril, a leading software engineer in Silicon Valley, faces a life-shattering ordeal when her sister Angie vanishes. A year later, Merril takes Angie's digital traces and constructs a digital simulation of her sister. This 'virtual Angie' initially provides solace, but it soon starts revealing unsettling details about the real Angie's disappearance. Playwright Lauren Gunderson, celebrated for works like "I and You," crafts a gripping narrative in this San Francisco-based tale. Directed by Anna Ledwich, who has an impressive Hampstead Theatre portfolio, Anthropology stars the talented MyAnna Buring alongside Dakota Blue Richards, Yolanda Kettle, and Abigail Thaw. Last but not least, immerse yourself in the mesmerising world of Bob Marley's music with Legend. This unforgettable stage show extravaganza brings to life the timeless hits of the reggae legend. From Could You Be Loved to No Woman No Cry and One Love, you'll experience Marley's iconic sound like never before. With impeccable vocals, flawless musicianship, and a supremely talented cast, this two-hour spectacle captures the essence of an icon gone too soon. Don't miss this celebration of the magic and culture of Bob Marley!

Tjaša Železnik se je na začetku svoje igralske poti uveljavila predvsem s televizijskimi in filmskimi vlogami, bila je tudi televizijska voditeljica. Igrala je v SLG Celje, že leta pa je dragocena članica ansambla Mestnega gledališča ljubljanskega, kjer je v zadnjih nekaj sezonah ustvarila vrsto zanimivih in močnih vlog. O svojem življenju in ustvarjanju ter o svojem pogledu na igralsko umetnost je pripovedovala tik pred premiero Priestleyjevega Neznanca na velikem odru MGL decembra 2022. Na fotografiji: Tjaša Železnik v vlogi Marthe v predstavi Ta obraz (avtorica Polly Stenham, režija Tijana Zinajić, sezona 2020/21). Foto: Peter Giodani https://www.mgl.si/sl/predstave/ta-obraz/#gallery-597-11

Hello, gorgeous. This week, the kids tackle fashion horror with 2016's The Neon Demon. From Wiki: "The Neon Demon is a 2016 psychological horror film[4] directed by Nicolas Winding Refn, co-written by Mary Laws, Polly Stenham, and Refn, and starring Elle Fanning. The plot follows an aspiring model in Los Angeles whose beauty and youth generate intense fascination and jealousy within the fashion industry. Supporting roles are played by Karl Glusman, Jena Malone, Bella Heathcote, Abbey Lee, Desmond Harrington, Christina Hendricks, and Keanu Reeves."But first! Depression! But also Caltiki the Immortal Monster, The Haunting of Julia, Idylwilde, horror mazes, Secret Ceremony, and 1,000 Years of Longing. Next week: Personal ShopperWebsite: http://www.bloodhauspod.com Twitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkel Joshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel/

Jeremy Herrin trained as a theatre director at both the National Theatre and the Royal Court, where he became Deputy Artistic Director in 2008. Between 2000 and 2008 he was an Associate Director at Live Theatre in Newcastle upon Tyne. Jeremy replaced Rupert Goold as Artistic Director of Headlong Theatre in September 2013 In 2007, he directed the UK premiere of David Hare's play, The Vertical Hour, as well as Polly Stenham's award-winning That Face at the Royal Court. That Face later transferred to London's West End, where it starred Lindsay Duncan and Matt Smith and was produced by Sonia Friedman. Two years later, in 2009, Jeremy directed Polly's second play, Tusk Tusk for which he was nominated for an Evening Standard Best Director Award. Other work at the Royal Court includes EV Crowe's Hero, Richard Bean's The Heretic, Kin, Spur of the Moment, Off The Endz and The Priory, which won an Olivier Award for best Comedy. In 2012 Jeremy directed the Olivier-nominated This House, written by James Graham, at the National Theatre and was named as one of the Stage top 100. The production was revived at the Garrick Theatre at the end of 2016 and toured the UK in 2018.In 2014 Jeremy directed the critically acclaimed adaptations of Hilary Mantel's novels Wolf Hall and Bring up the Bodies for the RSC and was nominated for an Olivier Award for Best Director. The productions transferred to the West End at the end of 2014 and opened on Broadway in April 2015. He also directed the Broadway production of Noises Off which opened in January 2016. His production of People, Places and Things at the National Theatre transferred to the Wyndhams Theatre in March 2016 and then to St Ann's Warehouse in October 2017. Jeremy directed James Graham's Oliver Award winning Labour of Love which opened in November 2017 and his production of David Hare's The Moderate Soprano transferred from Hampstead Theatre to the West End in April 2018.Most recently Jeremy directed Noises Off at The Garrick Theatre and The Visit at The National Theatre. For TV Jeremy directed Talking Heads and Unprecedented for the BBC. Instagram: @jerherrin Host: Jamie Neale @jamienealejn Discussing rituals and habitual patterns in personal and work life. We ask questions about how to become more aware of one self and the world around us, how do we become 360 with ourselves? Host Instagram: @jamienealejn Podcast Instagram: @360_yourself Music from Electric Fruit Produced by Tom Dalby Composed by Toby Wright

The Amplify Podcast is a new strand in our Playcast series. Our Amplify Producer, Craig Gilbert, has been holed up in his makeshift bedroom studio talking to a host of exciting artists of national and international renown. These conversations cover career and process as well as offering a few exciting ideas to explore from home during this time of Social Distancing. On this Episode Craig talks with Jeremy Herrin, Artistic Director of Headlong. Jeremy studied at the Royal Scottish Academy of Music and Drama. He trained at both the National Theatre and Royal Court, where he became Deputy Artistic Director in 2009 until 2012.Between 2000 and 2008 he was Associate Director at Live Theatre in Newcastle upon Tyne.Jeremy has most recently directed Labour of Love (Noël Coward Theatre), People, Places and Things (NT/West End/UK Tour/NewYork), The House The Grew Up In (Chichester Festival Theatre), Common (National Theatre), This House (West End), Junkyard (Bristol Old Vic/Theatr Clwyd/Rose Theatre Kingston), Observe the Sons of Ulster Marching Towards the Somme (UK Tour), The Absence of War (UK Tour) and The Nether (Royal Court / West End) for Headlong, and also the world premiere of Hilary Mantel’s Man Booker prize-winning novels Wolf Hall and Bring Up the Bodies in two parts for the RSC, which transferred to the West End in May 2014 and Broadway in March 2015 and for which he was nominated for an Olivier and Tony Award for Best Director.Jeremy has directed several productions at the Royal Court including That Face by Polly Stenham, which transferred to the Duke of York’s Theatre in the West End. He was nominated for an Evening Standard Best Director Award for Stenham’s second play Tusk Tusk in 2009. Other work at the Court includes Stenham’s No Quarter, E V Crowe’s Hero and Kin, Richard Bean’s The Heretic, Michael Wynne’s The Priory, which won an Olivier award for Best Comedy and David Hare’s The Vertical Hour.Other theatre directing credits include The Plough and the Stars (NT, co-directed with Howard Davies), Noises Off (American Airlines Theatre, Broadway) The Moderate Soprano (Hampstead Theatre),Another Country (Chichester/West End), the critically acclaimed This House by James Graham at the National Theatre, for which he was nominated for an Olivier award for Best Director, The Tempest at the Globe, David Hare’s South Downs at Chichester Festival Theatre subsequently transferring to the Harold Pinter Theatre, Uncle Vanya with Roger Allam at Chichester, Absent Friends at the Harold Pinter and Much Ado About Nothing with Eve Best and Charles Edwards at the Globe.Jeremy was also named as one of the Stage top 100 in 2014.

We're in love. It started with a Water Lilies in 2007. Our love grew stronger with Tomboy in 2011. We were devoted by the time Girlhood came around in 2014. And now, well, we scarcely know what to do with ourselves.This month we've dedicated an entire episode of our podcast to Céline Sciamma's Portrait of a Lady on Fire, the film that has set the roof alight with all those fire emojis. Twitter is burning! Sciamma's fourth film as a director took Cannes by storm back in 2019, earning standing ovations and taking home the Queer Palme. Earlier this year it was nominated at the BAFTAs, having already stolen our hearts.Over the course of the show, you'll get expert insights on Céline Sciamma's career up to this point. We'll hear from the director herself all about the inspiration for the film, the title and that stunning choral number. Modern day portrait artist, Nina Mae Fowler, tells us about the reality of portraiture. And we find out from academic Jennie Batchelor just what it was like for women artists in the 18th century.The podcast is hosted by Steph Watts. It is produced by Ryan Hewitt and Jake Cunningham, edited by Mark Towers, and scripted by Jake Cunningham and Steph Watts. With thanks to all of our contributors, and a special thanks to Kelly Powell, Louisa Maycock and Irene Musumeci.WITH THANKS TO OUR SPECIAL GUESTS:Céline SciammaCéline Sciamma is a French filmmaker, a director and writer. To date she has directed four films: Water Lilies, Tomboy, Girlhood and Portrait of a Lady on Fire, and she wrote the screenplay for award-winning animation, My Life as a Courgette.Tricia TuttleTricia Tuttle is Director of Festivals for the BFI. Tuttle's appointment as Artistic Director BFI London Film Festival follows her role as interim Artistic Director in 2018 and five successful years as Deputy Head of Festivals at BFI, including BFI Flare and BFI London Film Festival. She is also a huge champion of Céline Sciamma.Nina Mae FowlerNina Mae Fowler is known for her sumptuously detailed, large-scale drawings and installations which interrogate themes of celebrity, beauty, power and sexuality. Also an established portrait artist her sitters have included the biographer Dame Hermione Lee, biologist Richard Dawkins and ballet dancer Carlos Acosta (for which she was shortlisted for the BP Portrait prize in 2008).Most recently, The National Portrait Gallery has unveiled a major new commission by the artist entitled ‘Luminary Drawings'. The series comprises nine portraits of leading British Film Directors which now form part of the museum's permanent collection, including Sam Mendes, Ken Loach, Amma Asante and Sally Potter. Fowler's work has won widespread acclaim. It is featured in numerous collections of international significance and in 2015 a monograph of her work entitled ‘Nina Mae Fowler: Measuring Elvis' was published by Cob Gallery, London. The book features a commentary from an array of cultural luminaries including the curator Sandy Nairne and the playwright Polly Stenham. Lucy DahlsenLucy Dahlsen is a curator based in London and former Associate Curator of 20th century and contemporary portraiture at the National Portrait Gallery. Recent exhibitions she has curated include solo presentations of the artists Elizabeth Peyton and Njideka Akunyili Crosby.Jennie BatchelorJennie Batchelor is Professor of Eighteenth-Century Studies at Kent University, publishing in the long eighteenth century with a focus primarily on women's writing, authorship and anonymity, periodicals and women's magazines, representations of gender, work, sexuality and the body, book history, material culture studies and the eighteenth-century charity movement.She is the author of two monographs and co-editor of four essay collections. Her most recent book (with Nush Powell), Women's Periodicals and Print Culture in Britain, 1690s-1820s (Edinburgh University Press, 2018), is the ... Hosted on Acast. See acast.com/privacy for more information.

Matt Smith is best known as the eleventh Timelord in the BBC One series, Doctor Who. At 26, he became the youngest actor to take the part. His future looked set to be in football: he played at youth level for Northampton Town, Nottingham Forest and Leicester City until a serious back condition ended his highly promising career prematurely. His drama teacher encouraged him to take up acting and he joined the National Youth Theatre and studied drama at the University of East Anglia. He played Lockwood in the National Theatre's touring production of The History Boys and was nominated for an Evening Standard Best Newcomer Award for his performance in Polly Stenham's That Face. He also appeared as a political researcher in the BBC Two parliamentary drama, Party Animals. Despite being a surprise choice to play The Doctor in 2009, he became the first actor to be nominated for a BAFTA television award for his performance in this role, and has won two National Television Awards. When he left Doctor Who at the end of 2013, he appeared on stage as Patrick Bateman in American Psycho: The Musical. In 2016 he took the part of HRH Prince Philip Mountbatten, The Duke of Edinburgh, in the Netflix series The Crown, and received great acclaim, leaving the role at the end of the second series in late 2017. Presenter: Kirsty Young Producer: Cathy Drysdale.

Few playwrights that arrived on British stages in the last ten years have provoked more fascination or excitement than Polly Stenham.

Nicolas Winding Refn's The Neon Demon would have been, I imagine, quite an easy film to pitch, but a very hard one to describe. Since seeing it I've been explaining it to people as "the Black Swan of modelling,” which might sound very reductive, but given how much it invites comparison with Darren Aronofsky's film, I wouldn't be surprised if that's how Refn had originally conceived it. Both of them begin by introducing a gifted but naive young woman wanting to enter into a soul-crushing profession, one that they short-sightedly think they can handle without losing themselves completely. This time around, we have 16-year-old Jesse (Elle Fanning, giving, to date, the best performance of her career) a natural beauty who wins over everyone with simply her radiating personality. At first, she is aware of this great power she possesses, but only somewhat, only enough to know that, as a girl with no real professional skills and no family or friends to support her, her looks are something she can make money from. Her lack of any personal connections is never explained, but there's no denying it's effectiveness as a writing tool. It makes Jesse a clean slate, a mysterious wanderer with a murky past. Every other character in the film is someone that both she and the audience are meeting for the first time, and so every relationship she forms with them is seen in full, from its very beginning. Two of the most memorable people she connects with are a budding photographer, Dean (Karl Glusman), and a more experienced model, Ruby (Jena Malone) who both take an interest in her, for whatever reason. Out of all of Jesse’s modelling peers, Ruby is the only one to show her any kindness or to offer her any guidance. Funnily enough, she is also the only one who doesn’t have blonde hair, a choice that’s about as subtle as anything else in the film, which gets more expressionistic as it goes along. When a film opens with a vivid wide shot of a blood-splattered girl lying still in a bathtub, followed by a closeup of a young man coolly taking pictures of her, you certainly get an idea of what you’re in for. True to the name, just about every scene in The Neon Demon is bathed in a fluorescent glow, and just about every frame is filled with objects that catch and reflect that glow. However, there is definitely more than just one demon to be found here. Most of them are female, with ghostly faces saturated in makeup, who go from discussing the “Red Rum” brand of lipstick in front of a mirror to eventually turning into literal blood-sucking, flesh-eating monsters. Of course, this is all meant to represent the dangers of the modelling industry, all the harmful things it teaches to young girls and the kinds of women they apparently have to become in order to win over the male modelling agents and fashion designers. Naturally, a lot of this will be common knowledge amongst the audience. While Black Swan took place in the world of ballet, a profession that most people see as benign, respectable and not at all self-destructive, the modelling industry has been under public scrutiny for a while now, so it is doubtful that an emotional, rather than an intellectual film will bring anything new to the table. Still, as annoying as it is to see yet another production about women fighting each other for a man’s attention, it is a pleasant surprise to see a film that commits to having a female protagonist, several female antagonists and a few male supporting characters that remain as much all the way to the end. That said, you can still tell this was written and directed by a man. While some of the scenes between the models are quite clearly heightened, others feel more like a version of group female interaction rendered more comprehensible for men. If it weren’t for his co-writers, Mary Laws and Polly Stenham, I imagine some of the dialogue would have probably turned out even more stilted. Still, the five lead actresses always find ways to make their characters convincing, despite the absurd things they might end up saying or doing. Certainly Elle Fanning, and Melbourne actresses Bella Heathcote and Abbey Lee, all shine in the most intriguing roles they have ever been offered. It’s particularly interesting to hear the two Australians using their native accents in an American production, a subtle reminder that models, unlike actors, are seen but not heard in their profession. Unsurprisingly, Christina Hendricks portrays one of the better stone-cold industry gurus we’ve seen onscreen in a while, and Jena Malone, possibly taking inspiration from Mila Kunis, is genuinely cryptic as the suspicious Ruby. Dean, on the other hand, very quickly proves himself to be a true friend of Jesse’s, and apparently the only decent person in sight. He suitably ends up going head to head with the two most despicable male characters: the fashion designer that all the girls want to be chosen by (a curiously uncredited Alessandro Nivola) who gets to say “beauty isn't everything; it’s the only thing”, and Jesse’s vulgar landlord (Keanu Reeves) who embodies every reason why a woman might be afraid to be out alone at night. Jesse’s power is not just her beauty, but, most importantly, her honesty, her moral integrity, her pure intentions. Initially, she simply wants to make a living and has no wish to step on other people’s toes. Her power comes from the fact that she’s not even aware that this is a power at all. The films presents us with a fascinating paradox when as soon as this neon demon realises how powerful she is, she is rendered powerless, and defenceless against the real demons she thought she could take on. Her pivotal transformation scene, about 90 minutes in, turns out to be the most stylised, well-paced and hypnotic part in the film. Rather than drag out the inevitable with a series of more realistic scenes, Refn wisely chooses to compact this character change into one fluid, dialogue-free sequence, which would have worked brilliantly as a final or penultimate moment. Unfortunately, though, we then end up spending half an hour with this brand new version of Jesse, which, as it turns out, we might have actually needed more than one scene to get to know. There soon comes a point where the style turns into excess, the characters turn into caricatures, the commentary just becomes comedy and the macabre expressionism turns into a full-on gore-fest. Strangely enough, I eventually got a little tired of watching the main character die, in many different ways, and slowly stopped caring if this was another fantasy sequence or if this time she had actually died for real. It’s always hard to know, not because of the complexity of the writing but more because it’s unclear what Refn expects us to accept as realistic and what we can safely assume to be fantasy. There are only so many fake murders that one little Stanley Kubrick reference can justify. I’m sure that the multiple death scenes are meant to show how this profession is slowly killing her from the inside, destroying her piece by piece. It’s a valiant effort to shock us all into sharing his anger, but by the end of the film, just before Sia’s ‘Waving Goodbye’ plays over the end credits, it looks like he’ll be getting more laughs than anything else, which is not to say that The Neon Demon fails as an art film, but rather that it succeeds as a late blooming horror flick.Written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

Nicolas Winding Refn's The Neon Demon would have been, I imagine, quite an easy film to pitch, but a very hard one to describe. Since seeing it I've been explaining it to people as "the Black Swan of modelling,” which might sound very reductive, but given how much it invites comparison with Darren Aronofsky's film, I wouldn't be surprised if that's how Refn had originally conceived it. Both of them begin by introducing a gifted but naive young woman wanting to enter into a soul-crushing profession, one that they short-sightedly think they can handle without losing themselves completely. This time around, we have 16-year-old Jesse (Elle Fanning, giving, to date, the best performance of her career) a natural beauty who wins over everyone with simply her radiating  personality. At first, she is aware of this great power she possesses, but only somewhat, only enough to know that, as a girl with no real professional skills and no family or friends to support her, her looks are something she can make money from. Her lack of any personal connections is never explained, but there's no denying it's effectiveness as a writing tool. It makes Jesse a clean slate, a mysterious wanderer with a murky past. Every other character in the film is someone that both she and the audience are meeting for the first time, and so every relationship she forms with them is seen in full, from its very beginning. Two of the most memorable people she connects with are a budding photographer, Dean (Karl Glusman), and a more experienced model, Ruby (Jena Malone) who both take an interest in her, for whatever reason. Out of all of Jesse’s modelling peers, Ruby is the only one to show her any kindness or to offer her any guidance. Funnily enough, she is also the only one who doesn’t have blonde hair, a choice that’s about as subtle as anything else in the film, which gets more expressionistic as it goes along. When a film opens with a vivid wide shot of a blood-splattered girl lying still in a bathtub, followed by a closeup of a young man coolly taking pictures of her, you certainly get an idea of what you’re in for. True to the name, just about every scene in The Neon Demon is bathed in a fluorescent glow, and just about every frame is filled with objects that catch and reflect that glow. However, there is definitely more than just one demon to be found here. Most of them are female, with ghostly faces saturated in makeup, who go from discussing the “Red Rum” brand of lipstick in front of a mirror to eventually turning into literal blood-sucking, flesh-eating monsters. Of course, this is all meant to represent the dangers of the modelling industry, all the harmful things it teaches to young girls and the kinds of women they apparently have to become in order to win over the male modelling agents and fashion designers. Naturally, a lot of this will be common knowledge amongst the audience. While Black Swan took place in the world of ballet, a profession that most people see as benign, respectable and not at all self-destructive, the modelling industry has been under public scrutiny for a while now, so it is doubtful that an emotional, rather than an intellectual film will bring anything new to the table. Still, as annoying as it is to see yet another production about women fighting each other for a man’s attention, it is a pleasant surprise to see a film that commits to having a female protagonist, several female antagonists and a few male supporting characters that remain as much all the way to the end. That said, you can still tell this was written and directed by a man. While some of the scenes between the models are quite clearly heightened, others feel more like a version of group female interaction rendered more comprehensible for men. If it weren’t for his co-writers, Mary Laws and Polly Stenham, I imagine some of the dialogue would have probably turned out even more stilted. Still, the five lead actresses always find ways to make their characters convincing, despite the absurd things they might end up saying or doing. Certainly Elle Fanning, and Melbourne actresses Bella Heathcote and Abbey Lee, all shine in the most intriguing roles they have ever been offered. It’s particularly interesting to hear the two Australians using their native accents in an American production, a subtle reminder that models, unlike actors, are seen but not heard in their profession. Unsurprisingly, Christina Hendricks portrays one of the better stone-cold industry gurus we’ve seen onscreen in a while, and Jena Malone, possibly taking inspiration from Mila Kunis, is genuinely cryptic as the suspicious Ruby. Dean, on the other hand, very quickly proves himself to be a true friend of Jesse’s, and apparently the only decent person in sight. He suitably ends up going head to head with the two most despicable male characters: the fashion designer that all the girls want to be chosen by (a curiously uncredited Alessandro Nivola) who gets to say “beauty isn't everything; it’s the only thing”, and Jesse’s vulgar landlord (Keanu Reeves) who embodies every reason why a woman might be afraid to be out alone at night. Jesse’s power is not just her beauty, but, most importantly, her honesty, her moral integrity, her pure intentions. Initially, she simply wants to make a living and has no wish to step on other people’s toes. Her power comes from the fact that she’s not even aware that this is a power at all. The films presents us with a fascinating paradox when as soon as this neon demon realises how powerful she is, she is rendered powerless, and defenceless against the real demons she thought she could take on. Her pivotal transformation scene, about 90 minutes in, turns out to be the most stylised, well-paced and hypnotic part in the film. Rather than drag out the inevitable with a series of more realistic scenes, Refn wisely chooses to compact this character change into one fluid, dialogue-free sequence, which would have worked brilliantly as a final or penultimate moment. Unfortunately, though, we then end up spending half an hour with this brand new version of Jesse, which, as it turns out, we might have actually needed more than one scene to get to know. There soon comes a point where the style turns into excess, the characters turn into caricatures, the commentary just becomes comedy and the macabre expressionism turns into a full-on gore-fest. Strangely enough, I eventually got a little tired of watching the main character die, in many different ways, and slowly stopped caring if this was another fantasy sequence or if this time she had actually died for real. It’s always hard to know, not because of the complexity of the writing but more because it’s unclear what Refn expects us to accept as realistic and what we can safely assume to be fantasy. There are only so many fake murders that one little Stanley Kubrick reference can justify. I’m sure that the multiple death scenes are meant to show how this profession is slowly killing her from the inside, destroying her piece by piece. It’s a valiant effort to shock us all into sharing his anger, but by the end of the film, just before Sia’s ‘Waving Goodbye’ plays over the end credits, it looks like he’ll be getting more laughs than anything else, which is not to say that The Neon Demon fails as an art film, but rather that it succeeds as a late blooming horror flick. Written by Christian Tsoutsouvas

Playwright Polly Stenham talks to Emma Freud about her career, her work at at the Royal Court and her new play Hotel playing at the National Theatre. This is a recording of a live Platform event from June 2014.

The Dirties is a Canadian indie film about a couple of friends planning to make a film about a Columbine-style school massacre, where the bullies will be made to pay for what they've done. It begins to dawn on one of them that his best friend might actually be hatching a bloody murderous revenge. The main character in Nicholson Baker's latest novel "Travelling Sprinkler" is a poet who has fallen out of love with writing poems. Trying to become a songwriter, we see his personal life woven into his lyrics. The work of Dutch artist Piet Mondrian is characterised by geometric compositions using blocks of primary colours. A major new exhibition at Tate Liverpool looks at how his work evolved as he moved from studios in Paris and London to New York. Did you know that Vincent Van Gogh lived and worked in London? His job was at an art dealers in Covent Garden and he lived in Brixton. A new audio walk "At the Crossroads with Vincent" explores turning-points in life through the perspective of Van Gogh's letters to his brother Theo. It's non site-specific and anyone can be take part anywhere in the world. Is it enjoyable? Informative? Enlightening? Hotel is the fourth play from Polly Stenham, whose debut was staged at The Royal Court when she was only 19. It focuses on a dysfunctional family on holiday at a flash hotel in a poor country and has strong echoes of Shakespeare's The Tempest. How important is it to know the source to appreciate this play? Tom Sutcliffe is joined by Gillian Slovo, John Mullan and David Benedict. The producer is Oliver Jones.

Performance artist Marina Abramovic discusses her new project 512 Hours at the Serpentine Gallery in London in which there is no art on display, simply Abramovic herself welcoming 300 visitors a day to an empty gallery space; Hotel is a new play by Polly Stenham, best known for writing That Face and Tusk Tusk. Set in an exclusive hotel on a beautiful but poverty-stricken island, a family's luxury holiday is interrupted by violence. Susannah Clapp reviews. Emma Healey's debut novel Elizabeth Is Missing is told from the perspective of 82-year-old Maud who is suffering from dementia. Emma discusses the inspiration behind her book and reveals the tactics of some of the nine publishers who tried to woo her. And composer David Lang on his composition for 1000 voices, Crowd Out, to be performed in Birmingham this weekend, inspired by a trip to the Arsenal football stadium.

With John Wilson. Five of the world's greatest ballet stars are together on stage this week in Kings Of The Dance at The London Coliseum. John talks to principal dancers Roberto Bolle and Marcelo Gomes. John Banville, the Man Booker Prize winning author of The Sea, also writes crime fiction under the pen name Benjamin Black. Now Banville, writing as Black, has taken on the legacy of Raymond Chandler and penned a hardboiled detective novel. John Banville discusses Chandler's iconic private eye, Phillip Marlowe, and the re-creation of Chandler's literary style. The life of French designer Yves Saint Laurent is the subject of two films this year. The first biopic looks at his taking over Christian Dior's fashion house at the age of 21, and finding creative success whilst battling with personal demons. Linda Grant, Orange Prize winner and author of The Thoughtful Dresses, reviews. Director Nicholas Hytner discusses his plans for the National Theatre in the year ahead. It's the last year Hytner will be responsible for the theatre, before Rufus Norris takes over the role. The season is dominated by new works from David Hare, Polly Stenham and Tom Stoppard. Producer: Rebecca Nicholson.

John Sessions at 60; playwright Polly Stenham; cellist Matthew Barley; Jonathan Lynn, writer of Yes, Prime Minister; Kathleen Jamie winner of the 2012 Costa Poetry award; actor Brian Cox.

With Mark Lawson. Columnist Bel Mooney reviews The Sessions, a film based on the true story of poet and journalist Mark O'Brien. O'Brien was paralysed by polio as a boy and at the age of 38 set out to finally lose his virginity with the help of a sex-worker. The Sessions is directed by Ben Lewin who himself is a survivor of childhood polio. The Kennedy dynasty is the focus of a new documentary Ethel, in which Ethel Skakel gives a candid interview about life with her late husband Robert Kennedy. The couple married in 1950, and the film charts their married life together and beyond, including the McCarthy hearings, Vietnam, John F Kennedy's election as president and his assassination, and Bobby own's assassination in 1963. Mark Damazer reviews the HBO documentary. Francesca Segal, who won the Costa First Novel Award for The Innocents, inspired by Edith Wharton's The Age of Innocence, discusses her novel which tells the story of the relationship between Adam and Rachel who live in the Jewish community of north-west London. No Quarter is the latest offering from 26-year-old playwright Polly Stenham. The play is the conclusion to a trilogy which began with That Face, her multi-award-winning debut written when she was just 19. The playwright reflects on how, like the other two plays in the trilogy, No Quarter examines the damaging impact of dysfunctional parent-child relationships. Producer Stephen Hughes.

This week's podcast features director Jennifer Green and stage manager Jessica Forella, who join Anne Nicholson Weber to discuss their experiences working with the young cast of Piven Theatre Workshop's current production of Tusk Tusk by Polly Stenham -- how they went about working on adult materials with child actors, how the processes of casting and rehearsing differ, and why they got better at their jobs doing this show.