The Moment review – Charli xcx struggles through defanged Brat summer satire

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There’s a smart idea at play here, with the star playing a hellish version of herself fighting against corporate forces, but there’s not a lot else In April 2025, the pop singer Charli xcx posted a TikTok reflecting on nearly a year of her seminal album Brat : “It’s really hard to let go of Brat and let go of this thing that is so inherently me and become my entire life, you know?” she said. “I started thinking about culture, and the ebbs and flows and lifespan of things … ” She acknowledged that over-saturation is perilous, and that maybe she should stop, but “I’m also interested in the tension of staying too long. I find that quite fascinating.” The frank, informal admission fit with Brat, a pop culture-shifting album that channeled, with stunning immediacy, the imperious ego and bristling insecurity of an artist keenly aware of her own precarious level of fame . Her ambivalence was understandable – Brat rapidly turned Charli, who spent over a decade as a fixture of pop’s so-call...
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‘It’s like Game of Thrones!’ The return of India’s ancient superhero fantasy epic

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In the 1980s, Peter Brook’s adaptation of The Mahabharata enchanted audiences on stage and screen. As Brook’s son presents a restored print at the Venice film festival, he and his team discuss the work’s extraordinary journey

When Antonin Stahly was nine years old, his mother took him to the Théâtre des Bouffes du Nord in Paris to see a production of the ancient Indian epic The Mahabharata, which translates loosely as “the great story of mankind”. More than 20 actors from 16 countries performed on a stage steeped in red earth and scarred by a water-filled trench; fire also played a leading role. Directed by Peter Brook, whom the RSC founder Peter Hall called “the greatest innovator of his generation”, and adapted by Luis Buñuel’s former co-writer Jean-Claude Carrière, this spectacular Mahabharata weighed in at nine hours, plus intervals. Even at that length, it represented a massive compression of its source text, which runs to 1.8m words. Brook and Carrière’s version has been likened to summarising the Bible in 40 minutes.

Audiences could devour The Mahabharata in three parts over successive evenings or as an all-day weekend marathon; in some outdoor venues, such as the limestone quarry in Avignon where the production premiered in 1985, it began at dusk and climaxed just as the dawn sun lit up the sky. Stahly saw it in a single noon-to-midnight sitting. “It was like a superhero fantasy,” he says, still sounding awestruck. “It had Bhima, the strongest man on Earth, and Bhishma, who has the power to live for ever. Arjuna was the best warrior. And then there were all the gods. It was amazing for me, because I’m half Indian, but I wasn’t brought up in an Indian context.”

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