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I’d honestly written off the entire Alien franchise a long time ago. It’s hard not to lose faith when something you love is picked at again and again, like an old wound that never gets to heal. But Alien: Earth does something I didn’t think was possible: it makes me believe in the darkness again.
Normally, we only end up running through mud if it’s at a festival. But this time we’re heading for OCR — Obstacle Course Racing at Reffen. And no, our OCD won’t help us one bit.
Andreas Odbjerg’s concert at Royal Arena was a party — but not just the noisy kind. With guests, a twinkle in his eye, and that special blend of self-irony and pop instinct, he hit both the dance floor and the heart.
We line up in front of the light, take the picture and hashtag #installationart — but what, exactly, did we just experience? Copenhagen Contemporary has become the place where contemporary art and social media culture clash so hard that you’re left wondering whether you should take a position — or just take the shot.
With a blend of historical authenticity, bloody battles, and power games, Shōgun is a unique and gripping TV series. Disney+ delivers a true masterpiece that both entertains and challenges.
A stripper from Brooklyn meets the son of a Russian billionaire — and the fairy tale begins. Or the tragedy. Anora looks like a love story, but it ends up as something else entirely: raw, moving and real.
It begins with a flag, a fanfare, and an attempt to convince us that this matters. Captain America: Brave New World is Marvel’s latest shot in the locker, and it lands… somewhere very far from the target. This is not a brave new world. It’s the old one, wrapped in CGI and dialogue so flat you start missing the ad break.
Some series begin like a slow build toward something. Paradise does not. It starts like a pressure wave. Not because anything explosive happens in the opening scene — but because everything feels off. Too neat. Too much white picket fence. Too many barbecue sausages and smiles. And as always, when people smile a little too hard in an American suburb, you know this is going to end badly.
Teenage life is war, and Adolescence is the frontline dispatch. Netflix’s latest series pulls you into a universe where youth isn’t glossy snapshots and sunsets, but a storm of feelings, forbidden dreams and mistakes that feel like the end of the world.
Deep beneath the ruined world above, thousands of people live in a silo without knowing the truth. Apple TV+’s Silo is a gripping sci-fi thriller that blends mystery, paranoia, and razor-sharp worldbuilding into a story that hooks you from the very first episode.
A therapist drops the filter and says exactly what he thinks — with unexpected results. “Shrinking” blends humor and warmth in a moving story about grief, friendship, and change.
The sun hung heavy over Gentofte Sportspark, and it suited the festival. On Friday and Saturday, two generations drifted toward the stages, and suddenly there were young people in summer uniform and grandparents with festival spirit on the same stretch of grass. Musik i Gentofte is still young enough to stumble a little, but in 2026 most things clicked. The mood held, the crowd stayed put, and there was something quietly satisfying about watching a festival find its footing.
Mortal Kombat has always lived off a single, almost childlike promise: that violence can be choreographed with style and self-irony. It’s a legacy that stretches back to the games and to the 1995 film, directed by Paul W. S. Anderson, and on to the 2021 movie, which at least had enough off-kilter energy to keep you from falling asleep straight away. So there was, in fact, a little anticipation for the sequel. That remaining scrap, frankly, was not treated kindly.
Øhavet Festival is a special experience because it doesn’t try to be the biggest or the most spectacular. Instead, it’s built on local energy, community and a feeling that is both solidaristic and trust-based. In Marstal, the town, the harbour and the festival become part of the same whole, and that gives the event a pace unlike most other festivals.
Wonderfestiwall is one of those festivals where you almost have to remind yourself that there’s actually music involved. First you just stand there looking out over Hammershus, the cliffs, the sea and the sunset thinking: What the hell are we doing here? In the best possible way. And then five minutes pass, and someone shouts that Kesi is playing later.
I remember the days when it was obvious when bands had blown up on Myspace. They carried a certain energy with them onto the stage. On Wednesday night at Lille Vega, I learned what happens when you become famous through YouTube.
I quickly reached the part of Saros where the thumb does more work than the brain. Dash right. Shoot. Dash back. Repeat. That’s not a complaint, just a physiological observation. When the game clicks, it feels tight and fast. When it doesn’t, it feels like being dragged through the same corridor with a new wall color.
After more than three years of waiting, Stranger Things returns with its fifth and final season. A finale that promises answers, catharsis, and one last showdown in Hawkins — and delivers on scale, effects, and fan service. But the bigger the series has become, the harder it has been for it to hold on to its core. Season 5 is an ambitious, often entertaining, but also messy farewell to a universe that once thrived on mystery, simplicity, and genuine dread — and now struggles under the weight of its own success.
It was like blending Italo Brothers, goofy Eurovision-style metal and a Rammstein-light aesthetic in a Temu blender with the lid off. Everything was flying around, but nothing landed. Mostly I stood there thinking: who exactly is this for?
An epic night with Billie Eilish, whose music and presence filled Royal Arena with an intensity that seemed to reach every single soul.
There are series that try to be subtle. And then there is Outlander. Nothing here is small, and that is precisely the charm. For seven seasons, Claire and Jamie have fought history itself — against empires, disease, slavery, violence, and the constant risk of losing each other to time’s insatiable current. But Outlander season 7 feels neither like repetition nor exhaustion. It feels like a culmination. A beautiful, brutal, and often overblown symphony about love, trauma, and survival in a world where nothing is given — and everything can be taken.
Lorde delivered her first Danish headline show with an ultra-sharp, choreographed and emotionally charged concert universe. A rarely complete pop night.
There are dark November evenings, and then there are evenings when darkness doesn’t just fall — it gets organized. The kind where everything suddenly smells a little of incense, latex, and anticipation.
Damon Albarn now has more Roskilde stamps in his passport than any other living Brit. Blur, Gorillaz, The Good, The Bad & The Queen — and now this: Africa Express. A kind of humanitarian musical superpower, with Albarn as UN secretary-general and eyes that never quite sit still. I still don’t fully know what I witnessed — but I’d quite like to vote for it.
On 17 July 2024, Lunden in Horsens was transformed into a resonant chamber for two of the strongest live bands of our time. Mew and The War on Drugs met in the open, green amphitheatre — and let their melancholy sound worlds mirror one another in the summer light.
