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There is something beautiful in stupidity. It just has to be the right kind. The one that doesn't try to be clever. The one that doesn't wrap itself in irony or prestige TV ambition. And that's exactly what Reacher season 3 does: It stands proudly bare-chested, screaming “U-S-A” with a blasting charge in his hand. And we clap. With one hand. The other is holding the phone.
The film opens with George (Michael Fassbender) at a nightclub. The music pulses, the lights are low and flickering, and everything feels just as opaque as it should in a film like this. He's there to meet with a source. It's one of those kind of opening scenes where you immediately sense the tone: everything has meaning and no one says what they mean.
You click on an article on how to grow tomatoes in apartment. Bum — the entire page is a banner for White Lotus. You scroll past reality videos, nail fungus and loneliness banners, and have forgotten why you clicked in the first place. You don't read -- you get upset.
It starts out as a joke. A strange woman, a free cup of tea, a slightly too long conversation. But Baby Reindeer is no joke -- it's an emotional thunderclap disguised as standup. An autobiographical, skinless and uncomfortably dense series in which Donny Dunn (played by the creator himself, Richard Gadd) doesn't just open the door to his life, but rips it off its hinges. It's Netflix when they dare -- and you watch it with your body.
You know you're on to something special when, in the middle of episode three, you're sitting Googling quantum physics at 11:41 p.m. -- not because you want to understand it all, but because you'd like to be able to nod wisely if someone brings up the series to a dinner you're not invited to.
Heartland at Noma. The title alone smells of conceptual crap and natural wine with a little too much attitude. But in the midst of the pretentious inferno -- well, perhaps precisely in spite of that -- I had the greatest musical experience of my life.
Benny Jamz in a tuxedo with a penguin tail. Not for acting, but because he meant it. And because DR's Concert Hall is the kind of space that requires you to either duck or lift. He chose the latter.
There's something about MØ that feels like home. Home in a kind of chaotic youth energy that refuses to grow up yet sounds exactly as it should in a hall above Christiania on a cold Friday night in March.
Sabrina Carpenter went from Disney star to TikTok queen — and now to an almost over-perfect pop gem in the Royal Arena. But how much glitter can an evening actually carry before yearning for a bit of bias?
Imagine you go to the movies to see Bill Murray and Pete Davidson. They're in the trailer, they're on the poster, they're on your social media. And then they're in... three scenes? Welcome to Riff Raff, a film that proves marketing departments have taken over the screenwriting.
If you've ever wondered what it would look like if a joint smoked back, and then started doubting the meaning of the film industry -- you've got The Studio. Seth Rogen stars in a series about losing his grip on what you never quite grasped.
What do Catholic guilt, dancefloor in Tivoli and Danish People's Party have in common? Morten Messerschmidt wrote Showbizz — and it's far more entertaining than it should be.
He's had the leather jacket longer than you've had backbone. Lenny Kravitz entered the Royal Arena with the guitar as an extension of his hip bone and sunglasses glued to his face. It was rock, it was retro, it was... a bit like being at a concert with a mirror image of yourself from 2002.
There are nights when you go to a concert and there are nights when you are embraced by a whole world. Emma Sehested Høeg's performance in the DR Koncerthuset was her last. A performance, a show, a concert — and something reminiscent of a conversation with someone who dares to say everything you think only in the shower.
Some people say they don't get it. That you're standing in the middle of a concert, with the world's biggest band on stage, and yet filming the whole shit on a phone you're never going to see the footage from. But maybe it's not because we're idiots. Maybe it's just because the concert was never about the music. Not anymore.
It sounds like a joke, but it's not: the most honest, hell-bent and experimental voices of 2025 are not to be found in the bookstore. They can be found in vertical videos featuring lo-fi beats and a 22-year-old reading poetry into his phone.
His name is Ripley. Tom Ripley, A character so slippery he could slip through an Italian mansion without leaving a trace. Now he's back in black-and-white on Netflix -- and it feels both cold, beautiful and utterly seductive.
We line up in front of the lights, take the picture and hashtag #installationart, but what was it really that we experienced? Copenhagen Contemporary has become the place where contemporary art and SoMe culture clash so hard that you don't know whether to take a stand — or just take the picture.
Teenage life is a war, and Adolescence is the front story. Netflix's newest series takes you into a universe where youth is not glory shots and sunsets, but a storm of emotions, forbidden dreams and mistakes that feels like the end of the world.
Med en blanding af historisk autenticitet, blodige kampe og magtspil er Shogun en unik og fængslende TV-serie. Disney+ leverer et sandt mesterværk, der både underholder og udfordrer.
En stripper fra Brooklyn møder en russisk rigmandssøn – og så starter eventyret. Eller tragedien. Anora ligner et kærlighedseventyr, men ender som noget helt andet: råt, rørende og ægte.
Det starter med et flag, en fanfare og et forsøg på at overbevise os om, at det her er vigtigt. Captain America: Brave New World er Marvels seneste skud i bøssen, og det rammer… et eller andet sted langt væk fra målet. Det her er ikke en ny verden. Det er den gamle, pakket ind i CGI og dialog så flad, at man savner en reklamepause.
Der er serier, der starter som et langsomt optræk til et eller andet. Og så er der Paradise. Den starter som en trykbølge. Ikke fordi der sker noget voldsomt i første scene – men fordi det hele emmer af noget forkert. Der er for meget pænt. For meget hvidt stakit. For mange grillpølser og smil. Og som altid, når nogen smiler lidt for meget i en amerikansk forstad, ved man godt, at det her kommer til at gå galt.
I en underjordisk silo, langt fra den ødelagte verden ovenfor, lever tusindvis af mennesker uden at kende sandheden. Apple TV+’s Silo er en betagende sci-fi-thriller, der kombinerer mystik, paranoia og knivskarp verdensopbygning i en fortælling, der griber fra første afsnit
En terapeut dropper filteret og siger præcis, hvad han mener – med uventede resultater. “Shrinking” blander humor og hjertevarme i en rørende fortælling om sorg, venskab og forandring.
