While many musicians are happy to stick a “na-na-na,” a “baby, baby” or any old throwaway rubbish over their thoughtless three-chord ditties, Jenny Hval is determined to push her language just as far as her music.

If Cloud Atlas, Lost, and The Wire shared a pot cookie then indulged in a threesome, the resulting offspring would most closely resemble Sense8. The brainchild of J. Michael Straczynski (Babylon 5) and The Wachowskis (The Matrix), Sense8 follows the lives of eight people across the world who are mentally linked such that they can share perceptions and, eventually, skill sets.

When an international arms dealer steals a nuclear weapon and blows the cover of every operative in the field, the CIA has no choice but to turn to Susan Cooper (Melissa McCarthy), a mild-mannered analyst with no combat experience.

As blood (or is it wine?) cascades at a dream-like speed, I echo the voices of many when I assert that Bryan Fuller’s Hannibal is art house on the small screen: as much as Mad Men, more so than True Detective, and certainly on par with that group of television serials that have been deemed “prestige television,” but reside on other networks.

When London racket-makers Palma Violets emerged back in 2012, the British music press had been looking for the new Libertines since 2004.

Love & Mercy diverges from the tired rock-pop biopic track—the one typified by films like Ray and Walk the Line, and parodied so perfectly by Walk Hard—by pinpointing focus on two specific periods of Brian Wilson’s life.

Toninio Valerii’s Day of Anger is one of the best Spaghetti entries not directed by Sergio Leone.

The San Diego-formed garage psych duo Crocodiles (Charles Rowell and Brandon Welchez) released their simple, scuzzy first album Summer of Hate in early May 2009 when the most credible aesthetic in music was distortion.

Based on Vera Brittain’s bestselling memoirs of the First World War, Testament of Youth chronicles the young British writer’s life from 1914 through 1918.