talk art book review

Psst, Heard the Art World Gossip? Contemporary Art Really IS for Everyone! Talk ART Book Review

Candy Bedworth 2 July 2021 min Read

Tracey Emin, This Was The Beginning, 2020, White Cube Gallery, London, UK

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Our mission at DailyArt Magazine is to make art accessible and fun. When we saw the book Talk ART . : Everything you wanted to know about contemporary art but were afraid to ask by actor Russell Tovey and gallerist Robert Diament, we knew we’d found like-minded souls. From the hot pink cover to the informal, chatty style, you know this is no ordinary art book.

Gorgeous Artworks

Open the cover and you will be spoilt for choice with gorgeous artworks reproduced on full-color pages, gossipy chat about how art relates to and interacts with life, and spotlights on featured artists with personal stories. There is even a step by step guide on how to navigate your way through contemporary art – finding it, looking at it, and enjoying it.

The writing style is both engaging and informative. No elitist art world language or jargon here; old-fashioned art academics will be turning in their graves! This is like listening in to two mates having a conversation. And, in fact, that is exactly where the idea for the book came from – a podcast of the two art fans chatting.

Talk ART Podcast

Russell Tovey and Robert Diament have been friends since they met in August 2008 at a dinner honouring the British artist Tracey Emin . Realising they had similar passions, they began a decade of gallery and studio visits, texting and emailing each other incessantly about what they had seen and found. This friendship led to a podcast, Talk ART , which began in 2018. They reached out to their favorite artists (and gallery owners or curators) for one hour podcasts, where they chatted, asked enthusiastic questions, and generally had fun with art. Talk Art now has a substantial following, with more than 1.8 million downloads. Some episodes are recorded in London, while others are done on location.

Your Art Community

Listening to the podcast and reading the book is like someone has opened a door you thought was barred to you. Suddenly, the door is ajar, you put your ear to it and eavesdrop on a conversation that is not only understandable, but funny. You look around, and there are people of all ages and backgrounds listening with you. It’s a community – your community, and you are welcomed.

Features of the Book

The book features highlights from interviews with artists, curators, actors, musicians, and art collectors. These include: Tracey Emin, David Shrigley, Rose Wylie, Elton John, Lena Dunham, Denzil Forrester, Alasdair McLellan, Billy Porter, Joyce Pensato, Grayson Perry, Cassie Namoda and Toyin Ojih Odutola. In addition, Yinka Ilori, Lenz Geerk and KAWS were among the artists who created artwork specifically for the book.

The different chapters cover subjects such as feminism , politics, how to find art, how to collect art, and even how to become an artist. All kinds of art media are included – performance art, public art, outsider art, ceramics , photography , painting, even sound art and cartoons. The forward to the book is written by Pulitzer Prize–winning art critic Jerry Saltz, and that entertaining essay is itself worth the purchase price.

There are more than 150 images from contemporary artists like Kehinde Wiley , Alvaro Barrington, Katherine Bernhardt, Jon Key, Zadie Xa, and Ana Benaroya. Some of these have never been published before, so this is your chance to see them here first. You won’t like all of it, but that’s ok – the message is to take a look, see what you think, see what you like.

Social Change

Both Tovey and Diament fervently believe that art and creativity are a fundamental part of human nature. The UK government is proposing to cut funding for education in the arts, as if it were a frivolous or unnecessary subject. Both authors argue that cultural expression is vital, and representation is essential. Today more than ever, they argue, we need art which allows us to explore our identity, express our feelings, expose injustice, and pursue social change.

“To see ourselves is to know ourselves… We must all see ourselves represented.” Russell Tovey and Robert Diament, talk ART , Octopus Publishing, 2021 p. 109 and 116.

About the Authors

Russell Tovey is an actor, starring in films such as The History Boys (2006) and The Good Liar (2019), as well as a number of TV series including Years and Years (2019) and Being Human (2008). He is a passionate art collector with more than 300 pieces in his collection and, in 2021, he was a judge for the prestigious Turner Prize. Robert Diament is the director of the Carl Freedman Gallery and Counter Editions, a company that produces prints and multiples from leading contemporary artists. Prior to that, he was the frontman of a successful electropop band, Temposhark.

Having looked at art for decades, Tovey and Diamend show an impressive amount of knowledge, which is shared generously and joyfully. We defy anyone to read this book and not finish it utterly convinced that art is a vital component of daily life.

For even more of the artsy discussion, you can also follow their official Instagram profile.

The Message

The message of the book is simple. Find your local museum or gallery spaces, and visit them. See as much as you can. Find an artwork you love. Don’t worry if it takes a while, just lean in, and trust your instincts. And our advice is this: if you are curious about art, if you like heartfelt and enthusiastic writing, or if you love sumptuous images, then read this book!

talkART was published in May 2021 by Ilex, an imprint of Octopus Publishing Group Ltd.

• Antony Gormley
• Grayson Perry
• Noel McKenna
• Robert Diament
• Russell Tovey
• tracey emin
• Yayoi Kusama
• Yinka Ilore

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Candy Bedworth

Candy's remote, rain soaked farmhouse clings to a steep-sided valley in rural Wales. She raises cats, chickens and children with varying degrees of success. Art, literature and Lakrids licorice save her sanity on a daily basis.

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‘Oh My God. That’s So True’: Talk Art’s Enthusiasms and Contradictions

Nirmala Devi Book Reviews 24 July 2023 ArtReview

Russell Tovey and Robert Diament’s conversations reveal the messy quest to establish what contemporary art is all about

Actor Russell Tovey and gallerist Rob Diament set up their Talk Art podcast in 2018. Thus far it spans more than 200 episodes and 5 million downloads. This book (their second, following 2021’s Talk Art: Everything you wanted to know about contemporary art but were afraid to ask ) collects conversations with 24 artworld and artworld-related figures, and aims, as the authors put it, to be a ‘fun, relatable’, ‘geek out’ rebellion against bosses (the type who run the art media) and elitism that allows us (and them) ‘to hear the voices behind some of the greatest artworks being made on the planet right now’. You’ll have to make up your own mind about that last bit, but here you get to hear from everyone from Tracey Emin and Grayson Perry, to Ramesh Mario Nithiyendran and Tyler Mitchell, to Elton John (‘he represents the very best of qualities found in any genuine art nerd’), Stephen Fry and Paul Smith to help you along the way. Although, in that, Tovey and Diament’s boundless enthusiasm plays an equal role.

Of course, like art in general, the collection is not without its contradictions. The opening interview with New York-based critic Jerry Saltz (who wrote the introduction to their last book and a numbered list of 63 rules on ‘how to be an artist’) comes across as an establishment endorsement of their passions and methods (art has always been a part of life, from cave paintings onwards, everyone is an artist, etc). Stephen Fry’s interview descends into an unredacted form of hero worship (in response to his pronouncements, the pair offer one ‘Oh my God. That’s so true’, three wows, one ‘This is the best moment of our podcast ever, Stephen’ and, in response to Stephen’s ‘I thought that was fascinating’, one ‘that’s fascinating’).

Where the collection really takes off is the interviews with younger artists, which are sensitive, unpatronising, genuinely questioning and fundamentally challenging. Among them are Tyler Mitchell’s analysis of the embedded hierarchies in photography and Michaela Yearwood-Dan on how the systems and conditioned behaviours required by the artworld are sometimes designed to make ‘you feel you can’t be authentically yourself within the work you make’. Indeed, this collection’s strength ultimately lies in the fact that it reveals nothing more than a battlefield in its quest to establish what contemporary art is all about. Which, as Pat Benatar once said, is also the case with love.

Talk Art: The Interviews by Russell Tovey and Robert Diament. Ilex Press , £25 (softcover)

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The First ‘Talk Art’ Book Is Here To Start A Cultural Revolution

By Hayley Maitland

At a moment when the role of art in society has never been more hotly debated, actor Russell Tovey and gallerist Robert Diament have established themselves as staunch defenders of creativity in all its forms through their brilliant podcast , Talk Art , first launched in 2018. With guests ranging from Rose Wylie to British Vogue ’s own Edward Enninful, the lifelong collectors (and dear friends) are on a mission to make the art world accessible and welcoming to everyone. Their first book, Talk Art: Everything You Wanted To Know About Contemporary Art But Were Afraid To Ask , is an indispensable volume – featuring interviews with the likes of Tracey Emin and Grayson Perry alongside expert guides on everything from navigating the world of collecting today to making it as an artist. As the long-awaited volume finally hits shelves, British Vogue catches up with Tovey and Diament about their mission.

What do you feel is the most important message of ‘Talk Art’, both in terms of the podcast and the book?

RD: Both of us are really interested in why people create art. What is it about humans that makes us document our lives and emotions in a visual format, from David Hockney painting in his studio to someone at their kitchen table with a pencil and a sheet of A4 during lockdown? So we’re trying to demonstrate how important creativity is. It’s a fundamental part of human nature.

RT: Definitely. On the podcast, there’s no differentiation between “famous” and “non-famous” artists, and that’s true in the book as well. Actually, we’ve got a whole section called Art on the Margins, about artists outside the commercial market.

RD: Right now there are discussions about cutting funding for education in the “arts”, as if it’s superfluous and whimsical. The reality is that art is everywhere. It’s the fashion you’re wearing, the plates you’re eating from at dinner. Trying to eliminate it is like trying to eliminate 50 per cent of what humanity consists of, as far as we’re concerned.

In a way, it feels almost counterintuitive to launch a podcast about visual art, but ‘Talk Art’ has been a runaway success. Were you surprised by the level of interest? And how do you feel that people’s relationship with art has changed throughout the pandemic?

RT: It’s funny, because Talk Art is basically a platform for Rob and me to be geeks and meet our heroes. So, I feel like, when you listen to anyone being so enthusiastic about a topic, you can’t help but get caught up in it.

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RD: I also feel like being at home over the last year or so, people have genuinely realised the value of art. In moments of trauma, it provides solace – even if that just means ordering a print to stick up on your wall as a Zoom backdrop.

RT: Definitely, and in the outside world, I feel like everyone is noticing public art more for the first time, which we look at in the book. I also feel like we’re going through a sort of renaissance right now. With all of the conversations around Black Lives Matter and anti-racism more generally, we’re beginning to understand how key representation is within the cultural sphere. If you’re represented on gallery walls, your existence cannot be denied.

RD: Right. I mean, when we’ve all died, in the future, art is what remains. It’s a document of our society. And I feel like certain people are beginning to really “get” the weight and importance of that.

Review | Talk Art: Russell Tovey and Robert Diament attempt to make contemporary art more accessible

• A spin-off from the popular podcast of the same name, Talk Art is unashamed to address any question, however naive
• The authors insist that collecting contemporary art need not be an expensive hobby, with a vast variety of art available on a budget of £500 (US$700)

Talk Art – Everything You Wanted to Know About Contemporary Art but Were Afraid to Ask  by Russell Tovey and Robert Diament. Ilex Press

Contemporary art, in the view of Russell Tovey and Robert Diament, authors of  Talk Art , is seen as a forbidden topic of conversation. The well-illustrated book, a spin-off from the wildly popular podcast of the same name, is subtitled “Everything You Wanted to Know About Contemporary Art but Were Afraid to Ask”.

“Over the years,” they write, “we’ve all been taught to follow the rule: don’t ever consider discussing religion and politics when under the influence of alcohol.”

They have omitted the long-established social fatwa against talking about sex, but then that’s frequently the topic of the art they discuss, and it’s discussing art that is the new taboo.

The issue is not the risk of giving offence, but rather the fear of embarrassment – the dread of being in a gallery with a friend and actually having to say something, and perhaps reveal you have no idea what you’re supposed to think or say.

This nervous reticence may be a peculiarly British characteristic, mentioned in what is overall a peculiarly British book, dealing mostly with British artists and collectors, and London gallery-going, yet universal in its ideas. But even Victorian high priest of art criticism John Ruskin wrote condescendingly that the average person is incapable of knowing what he or she ought to like.

Tovey and Diament want to reassure you that it’s perfectly fine not to like much contemporary art, but they want to share their own feelings about the rewards of looking for something with which you can fall in love, preferably without first reading any wall-mounted explanation of what you are supposed to see in it.

Their approach is heartbreakingly earnest, occasionally silly, but unashamed to address any question, however naive: “‘Why does putting an object into a gallery suddenly make it art?’ ‘Why do artists take paraphernalia and experiences of the everyday, give it their ‘artsy’ spin, then claim it to be of importance?’”

Their tone is partly drug rehabilitation programme (“We are Russell and Robert, and we are art addicts”) and partly an encouragement to others to come out of the closet – to discover and to reveal their inner aesthetes.

Podcast and book alike are in the manner of actor Tovey’s regular-bloke-but-with-a-brain persona, seen in various versions on stage ( The History Boys ), on film ( The History Boys  again), and television ( Doctor Who , Sherlock , Quantico , etc). He has tapped into a network of media mates and artists he loves for comment, and as a gay icon he’s been able to attract contributions from yet brighter stars in the constellation of camp – collectors and commentators such as Stephen Fry and Elton John.

But mostly this is him and mucker Diament, a retired electropop-band frontman (for Temposhark) turned gallerist, sharing a warm friendship that began with a particular enthusiasm for the drawings of Tracey Emin, whose My Bed (1998), complete with stained underwear and a used condom, may have sold at auction for about US$4.5 million in 2014, but who still produces limited-edition prints at affordable prices.

Collecting contemporary art, they insist, need not be an expensive hobby. Wandering around galleries on foot or online with a budget of £500 (US$700) still makes a vast variety of art available, such as prints from emerging or even established artists.

Despite their attempts to make the often alienating art world accessible, with much plain-spoken, sensible and practical advice for viewer and shopper alike, they occasionally slip into artspeak but nevertheless remain breezily unselfconscious and not ever afraid to ask simple questions of their interviewees, to use terms such as “humungous”, or to mispronounce (in the podcast) the name of “Proust”.

Various artists beloved of the authors are given potted profiles. Hong Kong’s Wong Ping gets a mention. KAWS’ Holiday (Hong Kong) , a 37-metre-long inflated figure that floated in Victoria Harbour in 2019, appears between a discussion of street art and the ponderous metal acne of Henry Moore’s sculptures. Protest art, cartoon art, performance art, seen-every-day street art and official public art are all introduced.

Antony Gormley’s vast sculptures such as Angel of the North , in Gateshead, Britain, have transformed many a backwater into a place of pilgrimage. In a recent British poll, street artist Banksy’s  Girl with Balloon  (2002) beat John Constable’s  The Hay Wain (1821) and J.M.W. Turner’s  The Fighting Temeraire  (1839) as the most popular British picture. Some art critics decry Banksy as crass and obvious while still going into ecstasies over the equally shallow simplicities of Ai Weiwei. But perhaps Banksy is a gateway drug – a way into art addiction.

Tovey and Diament suggest highs await.

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Talk Art: THE SUNDAY TIMES BESTSELLER Everything you wanted to know about contemporary art but were afraid to ask Kindle Edition

*** 'An indispensable volume' Vogue 'As rabid admirers and collectors of contemporary art and photography we wholeheartedly recommend this passionate and joyous book. Without art the human soul is unfulfilled. This collection by Russell and Robert fully explains why.' Sir Elton John and David Furnish ' Russell and Robert have made talking art not just pleasurable but necessary.' Lena Dunham 'As witty, wise and well informed as Russell and Robert's excellent podcast.' Edward Enninful, OBE When launching the Talk Art podcast in 2018, actor Russell Tovey and gallerist Robert Diament had one clear aim: to make the art world more accessible. Since then, the podcast has grown to be a global hit, featuring exclusive interviews with leading artists, curators, gallerists, actors, musicians and fellow art lovers such as Lena Dunham, Sir Paul Smith, David Shrigley, Noel Fielding, Edward Enninful, Rose Wylie and Sir Elton John. Talk Art , the book, is a beautiful and accessible celebration of contemporary art, and a guidebook to navigating and engaging with the art world. Covering a range of different media from photography and ceramics to performance and sound art, the book explores the way art interacts with our society, highlights lesser-known artists, and provides a snapshot of the art world as it is today. With a wealth of imagery - some never before seen in print and some created exclusively for the book - and an informative, engaging narrative, Talk Art will become the must-have book art lovers return to again and again. The book features highlights from interviews with: Tracey Emin, Jordan Casteel, Jerry Saltz, Elton John, Grayson Perry, Ian McKellen, Alasdair McLellan, Helen Cammock, Somaya Critchlow and many more. Praise for the podcast: 'Lively, accessible and enthusiastic' - Financial Times 'As fast-paced and gossipy as it is genuinely interesting' - Dazed 'Trendy, gossipy, fast-paced conversational fun' - New York Times 'It's an education, but not in an alienating highbrow way' - NME

• Print length 300 pages
• Language English
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• Publisher Ilex Press
• Publication date 13 May 2021
• File size 62850 KB
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• ASIN ‏ : ‎ B08L8WSG3H
• Publisher ‏ : ‎ Ilex Press (13 May 2021)
• Language ‏ : ‎ English
• File size ‏ : ‎ 62850 KB
• Text-to-Speech ‏ : ‎ Enabled
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• Sticky notes ‏ : ‎ On Kindle Scribe
• Print length ‏ : ‎ 300 pages
• 103 in Pop Culture (Kindle Store)
• 207 in Art History (Kindle Store)
• 498 in Contemporary Art

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Actor Russell Tovey and gallerist Robert Diament discuss the world of art on this weekly podcast with exclusive guest interviews from artists, curators, gallerists and occasionally their talented friends from other industries like acting, music and...

Latest episode.

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More episodes, view all episodes, 2. sir michael craig-martin cbe, 3. pedro pascal, 4. sarah hadland and laura aikman, 5. louisa buck, 6. martin creed, 7. sadie coles.

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Talk Art Paperback – Highlights, May 18, 2021

• Print length 224 pages
• Language English
• Publisher Chronicle Books
• Publication date May 18, 2021
• Dimensions 7.65 x 1 x 9.25 inches
• ISBN-10 1797214241
• ISBN-13 978-1797214245
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From the publisher, an engaging and accessible guide to contemporary art.

Based on the must-listen culture podcast, Talk Art acts as a fun, non-elitist guidebook to help you navigate fine art. Featuring interviews from artists, curators, and collectors, this informal and jargon-free book welcomes people of all backgrounds to the art world.

Cowritten by brilliant Talk Art podcast hosts Robert Diament and Russell Tovey.

Featuring stunning, full color works from artists including:

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• Publisher ‏ : ‎ Chronicle Books (May 18, 2021)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 224 pages
• ISBN-10 ‏ : ‎ 1797214241
• ISBN-13 ‏ : ‎ 978-1797214245
• Item Weight ‏ : ‎ 1.9 pounds
• Dimensions ‏ : ‎ 7.65 x 1 x 9.25 inches
• #1,180 in Pop Culture Art
• #1,591 in Arts & Photography Criticism
• #2,517 in Art History (Books)

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Russell tovey.

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Robert Diament

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Arthritis pain: do's and don'ts.

Will physical activity reduce or increase your arthritis pain? Get tips on exercise and other common concerns when coping with arthritis symptoms and arthritis pain.

Arthritis is a leading cause of pain and disability worldwide. You can find plenty of advice about easing the pain of arthritis and other conditions with exercise, medication and stress reduction. How do you know what will work for you?

Here are some do's and don'ts to help you figure it out.

Whatever your condition, it will be easier to stay ahead of your pain if you:

• Learn all you can about your condition, including what type of arthritis you have and whether any of your joints are already damaged
• Enlist your doctor, friends and family in managing your pain
• Tell your doctor if your pain changes

Everyday routines

Pay attention to your joints, whether sitting, standing or engaging in activity.

• Keep your joints moving. Do daily, gentle stretches that move your joints through their full range of motion.
• Use good posture. A physical therapist can show you how to sit, stand and move correctly.
• Know your limits. Balance activity and rest, and don't overdo.

In addition, lifestyle changes are important for easing pain.

• Manage weight. Being overweight can increase complications of arthritis and contribute to arthritis pain. Making incremental, permanent lifestyle changes resulting in gradual weight loss is often the most effective method of weight management.
• Quit smoking. Smoking causes stress on connective tissues, which can increase arthritis pain.

When you have arthritis, movement can decrease your pain and stiffness, improve your range of motion, strengthen your muscles, and increase your endurance.

Choose the right kinds of activities — those that build the muscles around your joints but don't damage the joints themselves. A physical or occupational therapist can help you develop an exercise program that's right for you.

Focus on stretching, range-of-motion exercises and gradual progressive strength training. Include low-impact aerobic exercise, such as walking, cycling or water exercises, to improve your mood and help control your weight.

What to avoid

Avoid activities that involve high impact and repetitive motion, such as:

• High-impact aerobics
• Repeating the same movement, such as a tennis serve, again and again

Medications

Many types of medications are available for arthritis pain relief. Most are relatively safe, but no medication is completely free of side effects. Talk with your doctor to formulate a medication plan for your specific pain symptoms.

Over-the-counter pain medications, such as acetaminophen (Tylenol, others), ibuprofen (Advil, Motrin IB, others) or naproxen sodium (Aleve) can help relieve occasional pain triggered by activity your muscles and joints aren't used to — such as gardening after a winter indoors.

Cream containing capsaicin may be applied to skin over a painful joint to relieve pain. Use alone or with oral medication.

Consult your doctor if over-the-counter medications don't relieve your pain.

• Overtreatment. Talk with your doctor if you find yourself using over-the-counter pain relievers regularly.
• Undertreatment. Don't try to ignore severe and prolonged arthritis pain. You might have joint inflammation or damage requiring daily medication.
• Focusing only on pain. Depression is more common in people with arthritis. Doctors have found that treating depression with antidepressants and other therapies reduces not only depression symptoms but also arthritis pain.

Physical and emotional integration

It's no surprise that arthritis pain has a negative effect on your mood. If everyday activities make you hurt, you're bound to feel discouraged. But when these normal feelings escalate to create a constant refrain of fearful, hopeless thoughts, your pain can actually get worse and harder to manage.

Therapies that interrupt destructive mind-body interactions include:

• Cognitive behavioral therapy. This well-studied, effective combination of talk therapy and behavior modification helps you identify — and break — cycles of self-defeating thoughts and actions.
• Relaxation therapy. Meditating, doing yoga, deep breathing, listening to music, being in nature, writing in a journal — do whatever helps you relax. There's no downside to relaxation, and it can help ease pain.
• Acupuncture. Some people get pain relief through acupuncture treatments, when a trained acupuncturist inserts hair-thin needles at specific points on your body. It can take several weeks before you notice improvement.

Heat and cold. Use of heat, such as applying heating pads to aching joints, taking hot baths or showers, or immersing painful joints in warm paraffin wax, can help relieve pain temporarily. Be careful not to burn yourself. Use heating pads for no more than 20 minutes at a time.

Use of cold, such as applying ice packs to sore muscles, can relieve pain and inflammation after strenuous exercise.

• Massage. Massage might improve pain and stiffness temporarily. Make sure your massage therapist knows where your arthritis affects you.
• Smoking. If you're addicted to tobacco, you might use it as an emotional coping tool. But it's counterproductive: Toxins in smoke cause stress on connective tissue, leading to more joint problems.
• A negative attitude. Negative thoughts are self-perpetuating. As long as you dwell on them, they escalate, which can increase your pain and risk of disability. Instead, distract yourself with activities you enjoy, spend time with people who support you and consider talking to a therapist.

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• Rosenquist EWK. Overview of the treatment of chronic non-cancer pain. https://www.uptodate.com/home. Accessed May 30, 2017.
• Factors that affect arthritis pain. Arthritis Foundation. http://www.arthritis.org/living-with-arthritis/pain-management/understanding/arthritis-pain-factors.php. Accessed May 30, 2017.
• Natural relief for arthritis pain. Arthritis Foundation. http://blog.arthritis.org/living-with-arthritis/natural-pain-relief/. Accessed May 30, 2017.
• Managing chronic pain: How psychologists help with pain management. American Psychological Association. http://www.apa.org/helpcenter/pain-management.aspx. Accessed May 30, 2017.
• Benefits of exercise for osteoarthritis. Arthritis Foundation. http://www.arthritis.org/living-with-arthritis/exercise/benefits/exercise-knee-osteoarthritis.php. Accessed May 30, 2017.
• ACPA resource guide to chronic pain management: An integrated guide to medical, interventional, behavioral, pharmacologic and rehabilitation therapies, 2017 edition. American Chronic Pain Association. https://www.theacpa.org/Consumer-Guide. Accessed May 30, 2017.
• Tips for managing chronic pain. Arthritis Foundation. http://www.arthritis.org/living-with-arthritis/pain-management/chronic-pain/chronic-pain.php. Accessed May 30, 2017.
• Smoking and musculoskeletal health. American Academy of Orthopaedic Surgeons. http://orthoinfo.aaos.org/topic.cfm?topic=a00192. Accessed May 30, 2017.

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“The Great Gatsby” is about to get a shakeup beyond author F. Scott Fitzgerald’s wildest dreams. A new musical adaptation, “ Gatsby ,” makes its world premiere at the American Repertory Theater (A.R.T.) this month featuring a refreshingly diverse cast and an all-star creative team.

The classic American novel and the coming musical probe the themes of the American dream, class, immigration, gender and displacement. Set in the 1920s with the backdrop of glittering parties, complicated characters try to drown their existential dread in glasses of bootleg champagne.

“Gatsby” includes a score by famed rock star Florence Welch (Florence + The Machine) and Oscar and Grammy Award nominee Thomas Bartlett (Doveman) as well as a book by Pulitzer Prize-winner Martyna Majok (“Cost of Living”) and direction by Tony Award-winning director Rachel Chavkin (“Hadestown”).

“Through the visceral visions of Florence, Thomas and Martyna, ‘Gatsby’ will meet Fitzgerald’s romantic and painful story head-on and I think illuminate so much about this incredible American tragedy,” says Chavkin. “I can’t wait to share it with folks.”

“Gatsby” bookwriter Martyna Majok during rehearsal. PHOTO: Ken Yotsukura

The core cast includes Isaac Powell as Gatsby, Charlotte MacInnes as Daisy, Ben Levi Ross as Nick, Cory Jeacoma as Tom, Eleri Ward as Jordan, Solea Pfeiffer as Myrtle, Matthew Amira as Wilson and Adam Grupper as Wolfsheim.

Both Powell and Pfeiffer are of mixed-race African American backgrounds, a profound but fitting shift from the original novel.

“It’s very, very exciting to take up space specifically as yourself within a story,” says Pfeiffer. “I think that is something that doesn’t necessarily happen for mixed-race people of all combin ations, most of the time.”

Those characters share other similarities as well; they are both primarily in pursuit of their own happiness and pleasure, a trait that is lauded in male Gatsby and disdained in female Myrtle. Pfeiffer says the audience spends more time with My rtle and her husband George in the musical than in the book, which allows for a deeper understanding of their characters.

“Gatsby” runs at A.R.T. through Aug. 3. Tickets start at $35 with discounts available for seniors, military personnel, Harvard fa culty and staff and SNAP/EBT, WIC or ConnectorCare cardholders.

A century after the events of “Gatsby” are set, there’s still a lot to unpack in this story. Set in a financial crash in the wake of a pandemic, with volatile political and social systems, fear of immigration and systemic racism and sexism, the “Gatsby” world will feel remarkably familiar to contemporary audiences.

“I want people to walk away from this story thinking about how accustomed we have gotten to seeing certain bodies being on the other end of violenc e,” says Pfeiffer. “How can we examine that this country has been built in a way that has allowed us to treat each other like this? When do we stand up for our neighbors?”

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Claire Bishop’s New Book Argues Technology Changed Attention Spans—and Shows How Artists Have Adapted

By Emily Watlington

Emily Watlington

Senior Editor, Art in America

IT’S AN EPIDEMIC. Umpteen open browser tabs, endless push notifications, and a relentless news cycle are inducing widespread symptoms of ADHD in even the most chemically balanced of brains. It’s changing everything, including the ways we look at art.

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Today, we often treat slow contemplation of a painting as a respite from the onslaught of everyday life, the museum as a rare site of reverent attention. But in her introduction, explaining her interest in attention, Bishop shows this wasn’t always so. Citing critic and historian Jonathan Crary, she writes that the very concept of “attention” emerged in the 19th century as a means of optimizing laborers at the onset of industrial capitalism. Soon, the world witnessed new methods for displaying art meant to focus that attention. By the 1870s, single rows of paintings punctuated by blank wall space replaced crowded salon-style hangs. That same decade, theatergoers began to find their seats facing the stage head-on—no longer arranged in a horseshoe shape offering views of audience and performers alike. And whereas, historically, theatergoing had been a decidedly social experience, talking to seatmates became rude. In theater as in visual art, viewing became a disciplined cognitive experience rather than a sensorial and social one.

As Bishop makes clear in her introduction, there was a classist element to all this. Gabbing peasants, unaware of the new etiquette, were snubbed. “Distraction,” Bishop writes, became “a moral judgment.” Taking this critique into the present, she takes issue with moralizing dismissals of artworks that encourage you to whip out your phone and take a picture, or look something up. It’s elitist, she says, to classify phones and TV as objects of distraction, and set aside art and opera as worthy of reverence.

The four chapters that follow were not originally intended as a book, but are rather four essays written over the course of 10 years; only later did Bishop realize they share the theme of attention. The first chapter, on research-based art‚ is the book’s most significant contribution to the field, and I say this leaving aside my feelings about her claim therein that “the genre has never been clearly defined—or, for that matter, critiqued.” (This magazine dedicated a whole issue to the subject last year, about which Bishop and I exchanged several emails.) Bishop argues that the genre is structured around ways that digital technology organizes information, and even thought: we might not remember the name of something, but we know where to look it up. She defines research-based works as relying “on text—printed or spoken—to support an abundance of materials, distributed spatially.” Typically, such works present viewers with more information than they can meaningfully consume.

For Bishop, Renée Green’s Import/Export Funk Office (1992–93) is a formative example: with archival material on shelves and at viewing stations, visitors could research African diasporic culture, especially the reception of hip-hop in Germany. Green deliberately offered a huge quantity of information: she didn’t want her viewers to walk away feeling they had “mastered” the topic. In 1995, though, she created a CD-ROM edition, because viewers never seemed to have enough time in the museum.

Green’s decidedly post-structuralist proposition, Bishop argues, was a necessary move away from master narratives—and one that evinces digital technology’s impact on attention. But the writer is less convinced by later works of research-based art. She notes that Wolfgang Tillmans’s Truth Study Center (2005–) similarly arranges articles and photographs in vitrines, all absent a grand narrative, or even an obvious theme. By the 2000s, she says, as internet use expanded, people began to feel overwhelmed by information all the time, and stopped needing artworks to reproduce that experience.

The trend of information overload took off, and viewers grew fatigued. The 2002 edition of Documenta featured more than 600 hours of video. Technically, it was possible to watch it all, if you devoted 6 hours per day to the task for all 100 days the show ran. Viewing art came to feel onerous. (If the research-based art trend was the shot, it’s not hard to see why today’s colorful painting became the chaser.) In lieu of information overload, Bishop finds herself “yearning for selection and synthesis,” and here considers Walid Raad exemplary. Raad offers viewers compelling narrative threads in works that often concern Lebanese history, but he always makes clear his stories are one of several perspectives. There are multiple, but not infinite truths.

IT’S NOT JUST RESEARCH ART OR VIDEO ART presenting viewers with more than we can comfortably consume. Several recent major works of performance art have also done away with the idea of comprehensive viewing, and this is the subject of chapter 2. They might offer no seating, inhumane duration, and/or a looping structure so that viewers can come and go. Two examples Bishop cites are recent Golden Lion winners at the Venice Biennale: Germany’s Faust (2017), by Anne Imhof; and Lithuania’s Sun & Sea (Marina), 2019, by Rugilė Barzdžiukaitė, Vaiva Grainytė, and Lina Lapelytė.

Sun & Sea (Marina) was a looping nonlinear opera about climate change; viewers could come and go, or simply stay and tune in and out, much as people both attend to and ignore the anthropogenic apocalypse every day. Faust , meanwhile, was a durational performance wherein hot “health goths” strike poses on a plexiglass platform that doubles as a framing device. If you weren’t in Venice that year, you probably saw it on Instagram. Here, Bishop rebuts simplistic critiques of that work as being “too Instagrammable,” effectively calling such dismissals snobby. She says the work instead reflects “a new form of hybrid spectatorship” that smart phones have produced.

But this begs a follow-up question: does Imhof tell us anything new or interesting about this spectatorship? Does merely indexing a condition make good art? One of Bishop’s more salacious arguments is one she makes matter-of-factly, and offhand: “In the twenty-first century,” she says, “works of art tend to be symptomatic of larger conditions, rather than anticipatory fortune telling.” Due to income inequality, she quickly argues, artists are no longer canaries in the coal mine. Even if I thought that characterization of recent art were true, I’d push (beg!) artists to do more than accept and reflect status quo.

Chapter 3 focuses on performance works that Bishop calls “interventions.” These works swap duration for disruption. Here, she makes a useful distinction between guerrilla interventions and institutional ones, Fred Wilsons’s Mining the Museum being the canonical example of the latter. In 1992 Wilson rehung rooms of the Maryland Historical Society with objects from the institution’s collection in a manner that lay bare the state’s history of slavery. It was a provocative piece—but rather than change the museum’s practices, the gesture, Bishop writes, “gave rise to a glut of compensatory invitations,” with institutions delegating critical gestures to artists rather than rethinking their own practices.

Bishop contrasts these interventions with guerrilla-style ones by the likes of Pussy Riot and Ai Weiwei, who seized public space and attention without permission. While such works offer important political warnings, they are also symptomatic of a changing mediascape: going viral and making headlines is an important part of the strategy for works looking to generate “provocation, disruption, attention, debate.” In 2004 a member of the Yes Men went on BBC posing as a Dow Chemical spokesman to apologize for a deadly disaster the company had caused—then watched Dow’s share price plummet. What’s key here is not site specificity, as is often true for institutional gestures, but what Cuban artist Tania Bruguera calls “political-timing-specificity.”

Interventions, according to Bishop, “tend to foreground a model of authorship that heroicizes the artist … as a daring rebellious outsider.” There’s a reason, she adds, why many of the artists she cites are men: “this kind of intrepid assertion of the self in public space … privileges those who feel secure enough to penetrate that zone and claim it.” Continuing in this vein, she rebuts critics of Bruguera’s #YoTambienExijo project. Her 2014 performance involved asking Cuba to open up not only to free markets, but to free press and free speech. Because the project involved social media, it necessarily linked to an individual’s profile, even though it was a collective endeavor. Yet some complained that the project centered the artist rather than the cause. Bishop writes that such criticism is “much less frequently levelled at [Bruguera’s] male contemporaries like Ai Weiwei, who are more likely to be heroicized as dissidents,” rather than seen as attention whores.

The final chapter takes an unexpected pivot to the many artists today making work about Modernist architecture, a trend that Bishop argues is the product of the internet placing history at one’s fingertips. Such artworks are a useful case study for laying bare the many problems that artistic research can engender. In researching—or simply searching—online, it’s all too easy to strip objects from their context, and to depoliticize or romanticize them in the process. These works “produce historicity in a register of simultaneity,” Bishop writes, and produce the feeling of “everything everywhere all at once.”

Certain motifs can come to take on myriad meanings, with the “universalism” of the so-called International Style lending extra malleability. So much so that in 2009, curator Adriano Pedrosa organized a whole show of non-Brazilian artists engaging with Brazilian modernism; meanwhile, Vladimir Tatlin’s Monument to the Third International (1919–20) has been refigured by the likes of Ai Weiwei, Michael Rakowitz, and the collective Chto Delat. Stopping just short of calling Modernist invocations cheap tricks, Bishop jabs that “mid-century modern became synonymous with grown-up good taste,” and adds that countless artists venerate modernism in “an appeal to ancestral spirits”—that its invocation automatically “lend[s] significance to the contemporary object.” Modernism already holds space in our collective attention, and artists reroute those symbols to new ends.

Somewhat unexpectedly, digital art is wholly absent from Bishop’s book: she argues that “the effects of digital technology upon spectatorship are best seen in art that, at first glance, seems to reject digital technology most forcefully.” For this reason, hers is a much more interesting and less obvious argument about the internet’s effect on art than many made by the preponderance of shows and articles in the 2010s. But the wholesale sidestepping of digital and post-internet art, as well as all the scholarship around it, still seems strange. I found myself eagerly awaiting her take on phenomena like immersive experiences—the apotheosis of blending digital viewership with traditional artworks—but it never came. Her brief mention of works by so-called post-internet artists feels cherrypicked in its focus on artists who reproduce the experience of information overload: she omits the many who warned (21st-century artists do warn!) of what was coming, for our attention span, for AI, and so on.

I suspect this omission is for one of two reasons: either Bishop didn’t consider digital art a subject worthy of attention—(would that not also be elitist, I genuinely wonder?)—or because the patched-together essays that constitute her chapters were, as Bishop acknowledges, never meant to form a master argument. Either way, ironically, I have to hand it to her: the elision proves her point.  

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What matters most? Eight CEO priorities for 2024

What matter most? Eight priorities for CEOs in 2024

What matters most? It’s a question we’ve been investigating for a few years now (here are reports from 2022  and 2021 ). This year, we’re reminded that what matters most are family, friends, values, principles, and commitments.

One of our commitments is to CEOs. It’s a tough job and getting tougher all the time . Just in the past few years, they’ve had to cope with a global pandemic, busted supply chains, war, stubborn inflation, and many other disruptions. Any one of these is enough to derail a CEO’s agenda. Taken together, it’s the most difficult operating environment we can remember.

Both of us talk to hundreds of CEOs every year, and many of our colleagues do the same. We admire how CEOs are leading their companies for the benefit of all stakeholders. We’ve consolidated the views that have come out of these conversations and are pleased to offer what we’ve heard about how companies can do better for society, communities, and employees—and the prosaic business of how they can pay for it all, and reward investors too.

Here are eight priorities for CEOs in 2024.

Gen AI goes from proof of concept to scale

The biggest story of this year (or decade) was the arrival of generative AI (gen AI). This is the real deal, folks. Thousands of companies in every industry and in every part of the world are already using a simple gen AI interface to radically transform every imaginable business activity. But while innovators dominate headlines, it’s scalers that dominate markets. CEOs need to figure out three things, posthaste: which parts of the business can benefit , how to scale from one application to many , and how the new tools will reshape their industry .

How to outcompete with technology

As the digital era enters middle age, most companies have at least started a digital and AI transformation. But few are getting the results they want; that’s usually because they haven’t done the fundamental organizational rewiring needed to extract maximum value from the hard work of digitizing the enterprise. This year, our colleagues published a bestselling book Rewired: The McKinsey Guide to Outcompeting in the Age of Digital and AI . It’s a collection of our best insights for digitizing the enterprise. Digital winners grow revenues and cut costs  faster than others.

The biggest capital reallocation in our lifetime

That’s what we said last year  about the energy transition. The bill has only gone up since then, for the simple reason that amid uncertainty, investors and companies have held back from committing their capital, even as the Earth grows hotter. Let’s be clear: what needs to happen is the creation of thousands of new green-technology businesses, in every part of the emerging business system. We have ideas about where , how , and when  companies should invest.

What’s your superpower?

Think of any company you admire, and you can likely rattle off one or two superpowers  that make it uniquely successful. Toyota and its Toyota Production System. LVMH and its exquisite craftsmanship and the entrepreneurship of its brand leaders. Disney and imaginative customer experiences. A distinctive capability can lift a company out of the mire of clogged, commoditized markets and on to the high ground of outperformance. Exceptional implementation  is part and parcel of building a new capability.

Learn to love your middle managers

Waffle House, an American restaurant chain, is famous for never closing; some say its doors have no locks. It should also be famous for its management philosophy. The restaurant’s grill operators are the stars of the show; after years of training, the best get to be called “Elvis of the grill.” After that, they don’t get promoted; how do you top being King? But most other companies would likely promote such people into senior management roles that they don’t want and are not suited for. Companies need to rethink their philosophy  about middle managers and recognize them for what they actually are : the core of the company.

Geopolitics: Beating the odds

As Niels Bohr once said, it’s very hard to make predictions, especially about the future. As CEOs watch the changes unfolding in the global geopolitical order, all agree with the sentiment. What comes next? One thing is for sure: events have an uncanny way of defying the expectations of experts. In the face of that, management teams and boards  should consider black swans and gray rhinos  in their scenarios and build geopolitical resilience  that will serve them well, no matter which side of the coin comes up.

Navigating the road to courageous growth

It’s a funny thing: growth is always job one for CEOs, but the path to get there is never clear. Sometimes it’s about seizing market share ; sometimes it’s about expanding into new markets ; sometimes it’s about making a left turn  into something completely new. The one constant is the ten rules of growth . How will the rules play out in 2024? For many, it will mean rule 4: turbocharge your core, by using technology to power growth . For others, it might mean rule 6: grow where you know, by improving sales productivity . And, as always, the most constant of all is rule 9, acquire programmatically, as the latest installment of our 20-year research effort  demonstrates.

A new lens on the macroeconomy

Nearly four years after COVID-19 rewrote history, some CEOs are still waiting for macroeconomic certainty. That’s unlikely to happen—and that’s OK. Leading firms capitalize on uncertainty: they assess their risk appetite, then invest near the bottom  of cycles. Most rely on scenario planning , not least because the exercise usually reveals the core actions that companies need to take no matter which way the economy trends. CEOs might want to populate their models with the new scenarios we’ve developed to look at the ways the global balance sheet  might develop. Over the past two decades, assets on the global balance sheet grew much faster than GDP—the real economy. But the continuation of that trend is uncertain. Yet another curve ball is the rapid shift of assets from the banking system  to private markets , and what that means for public companies.

We hope this article and the in-depth readings available within it give CEOs and executives some clarity on the big issues on their 2024 agenda. And don’t forget that CEOs need to look after the little things and take care of themselves too.

This article was edited by Mark Staples, an editorial director in the New York office.

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The Heart in Winter by Kevin Barry, review: Every sentence is a work of art

We're spoilt with fine irish novelists - but kevin barry might just be the best.

Kevin Barry writes short, punchy, often pungent books. Among his three novels to date (and three short story collections) is a hallucinogenic tale about John Lennon ( Beatlebone ) and an escapade comprising two ageing criminals on the lam ( Night Boat to Tangiers ), both filled with a great rackety charm. Now, for his fourth, the 55-year-old enters America’s 19th-century Wild West, heading to frontier towns filled with immigrants hoping – mostly in vain – to strike it rich.

The Heart in Winter tells the story of Tom Rourke, an Irishman settled in Butte, Montana, in 1891. He’s a poet and balladeer, and to help pay the rent he composes letters to prospective brides for men who wouldn’t know one end of a pencil from another. But things become complicated when he meets mail-order bride Polly Gillespie, recently hitched to a local mine owner.

He is much taken with Polly (“I would kiss her if I could,” he sings to himself), and is thrilled when his feelings are reciprocated. In the madness of love , they decide to flee on horseback – robbing the boarding house safe before they go – and hoping to make it to San Francisco where everything, they tell themselves, will be better: the American ideal.

The abandoned husband, of course, is unhappy at this turn of events, and by putting a bounty on their heads he ensures that Tom and Polly’s road out West shall not be yellow-bricked.

And that is pretty much it, in terms of story. But as with all of Barry’s novels, plot is very much secondary to the writing. This isn’t to say the story lacks jeopardy, but in an Ireland filled to bursting with brilliant writers who dazzle linguistically – Anne Enright , Louise Kennedy, Donal Ryan – there might be no better stylist than Barry. Here he outdoes himself: every sentence is a work of art. If you’re in the habit of highlighting bon mots and winning lines in books, this novel would likely be bright yellow by the time you finished it.

New motherhood can be grueling - and even Paloma Faith isn't immune

Even the age of someone he transforms into a tiny poem. “He was 29 years to heaven and must never feel this old again,” he writes of his protagonist. On a night out, Tom notices how the sun “glowed sombre and gold and an ignorant wind brought news of the winter. He was appalled at the charismatic light.”

In a town where nationalities rub up against one another – and not always happily – Tom is suspicious of his familiars. “He would not live among his own kind. The Irish bastards were sentimental pig f**kers to a man. The Croats knew at least that they were bound for hell and they had a knacky way with boot leather.”

And when he and Polly, camping by night under the stars , find themselves in the mood for romance, “they made love extravagantly. Right there in the snow. Rolling and chuntering.” He continues: “They didn’t even feel the cold on their moonwhite hinds. The lovemaking was raw and animalistic and took them from themselves entirely and they would both confess at a slightly later time that in fact it was a bit much. Felt like they’d rollicked in a butchery.”

The Heart in Winter is both a romance and a travelogue. It is filled with lust and knife fights and people of a contemplative bearing whose existential concerns can be intimated in the little “V” that forms between their eyebrows. In other words, life is hard in America in 1891, and pity the fool who dares to hope otherwise. Barry brings all this to the page in a sensory overload of language and imagery, and with boundless impish glee. What a writer he is.

The Heart in Winter by Kevin Barry is published by Canongate and is out now, £16.99

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Sweet tooth season 3 review: the netflix series sticks the landing with death-defying final season.

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Sweet Tooth's Christian Convery & Nonso Anozie Talk Emotional Final Season & Saying Goodbye To Show

The caribou man in sweet tooth explained, sweet tooth season 3 new cast & character guide.

• Sweet Tooth season 3 ends the series with an epic final chapter.
• Gus has developed profoundly since the start of the show, and season 3 highlights his growth.
• Sweet Tooth season 3 has some of the series' best visuals.

Sweet Tooth season 3 brings back the Netflix series to end Gus' story in the way it should — with necessary love and care. Based on the DC (Vertigo) comic book of the same name, Sweet Tooth tells the story of a world where humans have been almost completely eradicated by a disease called the Sick . In their place are the hybrids, a growing population that consists of young children who are half-human and half-animal. The series focuses on Gus, who is seemingly the first hybrid, a deer boy with the biggest heart of all.

Sweet Tooth

Last season put an end to the biggest villain of the series thus far. In the Sweet Tooth season 2 finale , Neil Sandilands' General Abbott dies alongside his army, the Last Men, in a fierce battle at Yellowstone. With the group of hybrid kids secure, Gus, Big Man, Wendy, and Becky set out on a difficult mission of making their way to Alaska in order to find Gus' mom, Birdie, who is a scientist still looking for a way to cure the Sick and save humans from going extinct.

Sweet Tooth stars Christian Convery and Nonso Anozie discuss the emotional final season, their characters' arcs, and saying goodbye to the show.

Sweet Tooth Looks As Stunning As Ever In Season 3

Sweet Tooth is an exciting series because of the nuanced and hopeful take it brings to post-apocalyptic stories . On the one hand, things are dire for the human race, with a bleak ending approaching fast. However, there is also a huge deal of beauty to be found in this new world. With fewer humans, there is less destruction and killing, and thus nature has been allowed to heal in the ten years that take place between the start of the Sick and Sweet Tooth season 3.

There is a specifically poignant episode where the character is mostly by himself that shows the huge changes in Gus' life since leaving the comfort and safety of Pubba's Cabin to venture off into the world.

Sweet Tooth has had some amazing visuals throughout its run, paring off nicely with the emotional story that showrunners Jim Mickle and Beth Schwartz set out to tell. Season 3 continues that perfect mix of a world that is both full of wonder, seen through the eyes of Gus, Wendy, and other young hybrids, and violence, the default setting of most humans still alive by this point in the show's timeline. Gus and his friends face a long and tumultuous road to find a way to get to Alaska, while the villainous Helen Zhang has other plans for Gus.

It is interesting to see how much Gus has grown throughout this journey. There is a specifically poignant episode where the character is mostly by himself that shows the huge changes in Gus' life since leaving the comfort and safety of Pubba's Cabin to venture off into the world. While Gus is more mature and aware of the dire situation of the world outside his sunny Yellowstone home, the young boy still retains that spark that only a child can have, never faltering in his compassion towards others.

Sweet Tooth Season 3 Brings Closure

The cast gives it their all.

Sweet Tooth season 3's cast sees the return of the series' core stars and adds a few new names that help bring the show through to the finish line in the best way possible. Christian Convery makes season 3 his best yet in the lead role of Gus. He shows growth in his acting skills and makes the character deeply compelling. Gus is more mature but retains his child-like wonder, with Convery slightly switching his approach depending on what kind of obstacle or new character Gus and the gang find on the way to Alaska.

Sweet Tooth has always been a story of finding your own family and creating deep bonds that grow stronger than blood, and season 3 really hits that emotional beat.

After appearing as a towering mountain that rolled forward no matter the adversity, Nonso Anozie's Jepperd, aka Big Man, is much more nuanced in Sweet Tooth season 3. Now older, the toll of a life of action, both before and after the Sick, is catching up with Jep, with the character remaining adamant about protecting Gus no matter the personal cost. In a way, Sweet Tooth has always been a story of finding your own family and creating deep bonds that grow stronger than blood, and season 3 really hits that emotional beat.

Star Wars ' Kelly Marie Tran appears as Rosie, and her dynamic with the new Wolf Boys shows more of the conflict between humans wanting to restart human birth and hybrids, who just want to live their lives unafraid. Birdie finally gets the time to shine this season. Dr. Singh's morals continue to fight in his head throughout the season. Wendy and Becky grow closer as sisters, and new characters help add a fresh perspective to the question: Do humans deserve to live after all they've done? Sweet Tooth season 3 answers that and brings a fitting ending to the series.

All 8 episodes of Sweet Tooth season 3 are now streaming on Netflix.

Based on the comic series of the same name, Sweet Tooth is set in the not-too-distant future, post-apocalyptic United States in the wake of a devastating viral pandemic. After the disease decimated the world's population, some children began to be born with human and animal hybrid characteristics.

• Visuals continue to impress
• Returning and new stars mix well together
• Gus' growth is exciting to watch
• The tragic end of a major character was a shock value moment