Category: 5. Entertainment

Join us at the e-flux Screening Room rooftop for History Remade, the final program of the four-part series Decision Moment, presenting artists’ films and cinema features that reflect on historical moments of action and inaction and examine cinematic ways of approaching them.

At the core of each screening lies a past event shaped—knowingly or not—by a decision pursued, postponed, or left unmade, whose consequences continue to linger. Rather than reconstructing the past events as heroic acts, the films presented in this program embrace the limits of linear narration as ethical commitment to the complexities of historical decisions, and encourage viewers to reflect on their own actions and decisions in the present.

Screenings take place on Tuesdays from July 8–29, 2025, and begin after sunset.

IV: History Remade
Tuesday, July 29, 2025, 8:30pm

Can cinematic reenactments create new spaces for critique and self-reflection? Rea Tajiri’s Off Limits (1988) and Mohsen Makhmalbaf’s A Moment of Innocence (1996) reflect on the ethical and aesthetic implications of remaking past events—not only in order to achieve a deeper understanding of history but also to envision new perspectives for the future.

Rea Tajiri, Off Limits (1988, United States, 8 minutes)
Juxtaposing the text of another film titled Off Limits (1987), which portrays Saigon in 1968, with the soundtrack and visuals of the ending of Easy Rider (1968), Tajiri plays with the evocation and emptiness of the image across the two representations. She blacks out parts of Easy Rider while the words of a Vietnamese assassin crawl up the screen, building a structure of selective memory. The film points to the similarities and contradictions between 1960s hippie iconography and memories of the Vietnam War.

Mohsen Makhmalbaf, A Moment of Innocence (1996, Iran, 78 minutes)
In a deeply self-reflexive film, Mohsen Makhmalbaf casts himself and his former adversary—a policeman he stabbed in his youth—as directors of parallel reenactments of the event. The film folds autobiography into fiction, revolutionary fervor into post-revolution disillusionment, and reopens the wound it cannot heal. Cinema for the Iranian director becomes the site of unfinished business, where memory is reconstructed not to settle the past, but to examine its enduring claims on the present.

For more information, contact program@e-flux.com.

The jury in the trial of Sean “Diddy” Combs will keep deliberating after reaching a partial verdict, but deadlocking on the most serious charge faced by the hip-hop mogul.

At the federal court in New York, the 12 jurors announced they had agreed on four of the five counts, but were unable to decide on the racketeering charge, which carries a possible life prison term.

The atmosphere was tense as the rapper sat with head bowed, hands folded in his lap. His lawyers occasionally put their arms around him. Deliberations will resume on Wednesday morning.

Mr Combs, 55, has pleaded not guilty to all five charges, including sex trafficking, racketeering and transportation to engage in prostitution.

At around 16:30 EDT on Tuesday (20:30 GMT), the jury announced they had reached a verdict on four of the five counts, after two days of deliberations.

Judge Arun Subramanian heard arguments from both the prosecution and the defence on how to proceed, before urging the jurors to keep trying.

The prosecution urged the judge to use an Allen charge, which is a set of instructions given to a hung jury to press its members to reach a unanimous decision.

Allen charges are controversial, as some believe they can put undue pressure on juries, forcing them to change their stances or cave to peer pressure – especially when their opinion is in the minority.

The foreperson eventually sent a note to the judge saying the jury had finished for the day.

They will return on Wednesday, and could potentially continue on 3 July – when the court is normally closed ahead of the 4 July public holiday.

Over the past two months, the jury has heard from 34 witnesses, including ex-girlfriends, former employees of Mr Combs, male escorts and federal agents.

The defendant, who has also gone by the names Puffy, Puff Daddy, P Diddy, Love, and Brother Love, is a well-known figure in the music industry.

In 2023, he released his fifth record The Love Album: Off The Grid and earned his first solo nomination at the Grammy awards. He also was named a Global Icon at the MTV Awards.

Anyone awaiting the second series of Rivals can sate their desires with this new play by Laura Wade who follows her episodes of Jilly Cooper’s 80s Rutshire bonkbuster with an adaptation of W Somerset Maugham’s almost century-old comedy of manners. The RSC’s production serves its own tennis-court lust, flagrant philandering, poisonous gossip and fabulous fashion.

In Maugham’s play, 36-year-old Constance responds to her surgeon-husband John’s affair with her best friend, Marie-Louise, by gaining economic independence through her new career as an interior decorator. Wade retains the 1920s Harley Street setting, trims the list of characters and gives space to Constance’s maternal concerns. She also seamlessly integrates some extremely funny one-liners alongside Maugham’s while gaining extra gags from riffing on his dated expressions such as “you’re a brick”. The play remains the same drawing-room comedy but plumped up, stylishly rearranged and with a fresh coat of paint (we’ll get to Anna Fleischle and Cat Fuller’s sumptuous designs later).

One of Wade’s principal changes is to explode the play’s straightforward chronology of three acts separated by the passing of a fortnight and a year respectively. She brings forward the moment in which Marie-Louise’s husband Mortimer bursts in to expose her affair and, in a lengthy flashback, adds a new scene to show Constance catching them in the act when she returns from dropping off their daughter at a Yorkshire boarding school brilliantly referred to as “Wuthering Gymslips”. Witnessing that discovery, and her mutual confidences with the butler Bentley (given a deepened character), heightens empathy for Constance who was rather more crisply calculated as written by Maugham.

In the lead role, Game of Thrones’ Rose Leslie – back on stage after a nine-year absence – arrives like a summer breeze in cool blue sailor chic. Leslie captures what Maugham called Constance’s “alert mind” and succeeds in the tricky balance of composed resolve with rawer emotion.

Despite the innuendo, some choice double-takes and the frantic cover-ups, Tamara Harvey’s poised and perfectly cast production finds more humour in a raised eyebrow or pursed lip than anything farcical. The more larkily handled scene changes, with swerving fireplace and slo-mo cast moves, have not yet quite gelled with the rest of the evening. Jamie Cullum’s original jazz compositions, alternately bristling and velvety, complement both mood and milieu while bringing their own comic notes accentuated by Ryan Day’s perky lighting design.

Fleischle’s set, with its elegant curves, screens and geometric patterns, is adorned with a chaise longue and painted in shades that evoke Fortnum & Mason’s lavish confectionery. Fleischle and Fuller’s costumes heighten the imperiousness of Constance’s mother (Kate Burton) as much as the shrewdness of her sister, Martha (Amy Morgan, in a role gaining elements of the excised character Barbara).

Wade astutely reckons with the double standards and hypocrisies at play and frankly considers the financial and emotional investments of marriage and the ways in which marital harmony is sustained after the first flush of romance. While the play’s take on generational shifts in feminism recalls Wade’s Home, I’m Darling – and these 1920s debates feel apt today – there is also a meta playfulness, never overdone, akin to her comedy The Watsons.

Some choice observations about theatre match a clever self-awareness in the staging. In one scene, Constance recognises the audience as another set of neighbours waiting to judge her reaction as “the wronged woman”. When Martha tells her sister that her next move could become a blueprint for others it is almost as if she is speaking to Ibsen’s Nora.

Emma McDonald is ridiculously good as the calculating Marie-Louise, grovelling towards Constance on her knees for forgiveness, even if as in Maugham’s play you never believe their friendship in the first place. John (Luke Norris), Mortimer (Daniel Millar) and Constance’s puppyishly devoted Bernard (Raj Bajaj) remain more purely comical as in the original but Mark Meadows’ devotion as Bentley cuts deeper.

It’s a roundly well-acted and sophisticated evening that offers plenty of light delight while seriously considering a marriage rerouted not by a seven-year itch but a 15-year switch.

Warner Music Group will lay off an unspecified number of employees as part of a months-long restructuring plan to cut costs, Chief Executive Robert Kyncl said in a memo to staff Tuesday.

Kyncl said in the memo that the plan to “future-proof” the company includes reducing annual costs by roughly $300 million, with $170 million of that coming from “headcount rightsizing for agility and impact.” The additional $130 million in costs will come from administrative and real estate expenses, he said.

The cuts are the “remaining steps” of a period of significant change at the company, Kyncl said, with previous rounds of layoffs and leadership switch-ups happening in the last two years as he worked to “transform” the company.

“I know that this news is tough and unsettling, and you will have many questions. The Executive Leadership Team has spent a lot of time thinking about our future state and how to put us on the best path forward,” Kyncl said in the internal memo that was reviewed by The Times. “These decisions are not being made lightly, it will be difficult to say goodbye to talented people, and we’re committed to acting with empathy and integrity.”

It’s unclear how many employees will be laid off or what departments will see cuts, but Kyncl emphasized the company will be focused on increasing investments in its artists and repertoire department and mergers and acquisitions.

Hours before the news of layoffs, the company announced a $1.2-billion joint venture with Bain Capital to invest in music catalogs. The collaboration will add to the company’s catalog-purchasing power across both recorded music and music publishing, Kyncl said.

“In an ever-changing industry, we must continue to supercharge our capabilities in long-term artist, songwriter, and catalog development,” he wrote. “That’s why this company was created in the first place, it’s what we’ve always been best at, and it’s how we’ll differentiate ourselves in the future.”

In 2024, Warner Music laid off 600 employees, or approximately 10% of its workforce, and in 2023, 270 jobs were cut.

Warner Music Group shares closed at $27.83, up 2.17%, on Tuesday.

The latest: James Gunn’s Superman flies into theaters July 11.

Over the years, James Gunn has established himself as one of Hollywood’s top blockbuster directors. From early screenwriting credits like Scooby-Doo (2002) to his breakout with the Dawn of the Dead (2004) remake, and eventually helming Marvel’s Guardians of the Galaxy (2014) franchise, Gunn has carved out an entertaining and action-packed film career. Now, he’s stepping into the DC Universe with his latest project, Superman, which soars into theaters July 11. Here’s a look at some of his most iconic projects, followed by a Tomatometer ranking of his films. (Michael Cahn)

James Gunn’s path to becoming a blockbuster filmmaker started in an unconventional way. As a child, Gunn found comfort in comic books, a passion that would eventually shape his career. He began making Super 8 horror films, played in a rock band, and even worked as a hospital orderly while creating underground comic strips. After earning an MFA in creative writing from Columbia University, Gunn got his start in low-budget filmmaking with Troma Entertainment, co-writing and co-directing the film Tromeo and Juliet (1996). He broke into Hollywood with the surprise success of Scooby-Doo (2002) and its sequel, followed by the hit Dawn of the Dead remake, making him the first screenwriter to top the box office two weeks in a row.

Slither (2006): James Gunn’s directorial debut Slither is a gloriously grotesque throwback to creature features and alien invasion flicks, soaked in gore and dark humor. When a parasitic extraterrestrial crashes into the sleepy town of Wheelsy, chaos ensues, and it’s up to the local sheriff (Nathan Fillion) to stop the spreading infestation. Powered by sharp writing and a strong cast including Elizabeth Banks and Michael Rooker, Slither is a loving, slimy salute to schlock horror. The film was a cult favorite that put Gunn on the horror genre map.

Variety’s Joe Leydon on Slither: “Gunn—a Troma Entertainment alumnus whose writing credits range from Scooby Doo to 2004’s Dawn of the Dead remake—deftly balances broad humor, rude shocks and gross-out special effects for a fang-in-cheek extravaganza that often feels like a slightly more upscale version of cheapie-creepy Troma product.”

Guardians of the Galaxy (2014): After Slither, Gunn made the dark comedy Super (2010) and contributed to the sketch film Movie 43 (2013), before making the unexpected jump to big-budget superhero filmmaking with Guardians of the Galaxy. The film was a bold and wildly entertaining entry in the Marvel Cinematic Universe, where Gunn was able to turn C-list comic characters into pop culture icons, such as the wisecracking Rocket Raccoon. With Chris Pratt leading the charge as roguish outlaw Peter Quill, the film blends stunning visuals, humor, and a killer retro soundtrack to deliver one of the MCU’s most beloved adventures. Gunn followed the success of Guardians of the Galaxy with two more installments, Guardians of the Galaxy Vol. 2 (2017) and Guardians of the Galaxy Vol. 3 (2023).

Jeffrey Rexl on Guardians of the Galaxy: “The way the plot elegantly alters the setting and the story step by step is remarkable, and the tone quickly feels similar to Back to the Future or Ghostbusters. Gunn manages to keep control of the plot, and manages to introduce the main characters in a way that makes them likeable and interesting. This movie makes you care about a talking tree and a raccoon in need of anger management.”

The Sucide Squad (2018): After the release of the second Guardians of the Galaxy installment, Gunn brought his twisted wit and savvy storytelling to the DC Universe with The Suicide Squad. Fired (temporarily) from Marvel in 2018, Gunn was quickly scooped up by Warner Bros. The resulting collaboration is a blood-soaked, comedic, and unexpectedly heartfelt Suicide Squad standalone sequel. Margot Robbie returns as Harley Quinn, joined by Idris Elba’s Bloodsport and John Cena’s scene-stealing Peacemaker. The Suicide Squad is pure Gunn: irreverent and wildly entertaining.

Vulture’s Bilge Ebiri on The Suicide Squad: “The Suicide Squad works best when Gunn the director can go to town with the dirty jokes and the over-the-top gunplay. He’s a slick filmmaker, to be sure. He shoots action cleanly and has a flair for visual punchlines that make his more grotesque indulgences acceptable.”

Superman (2025): In 2022, was appointed co-CEO of the newly restructured DC Studios, alongside producer Peter Safran. Now one of the most influential voices in comic book cinema, Gunn is writing, directing, and producing Superman, the first chapter in his reimagined DC slate. Rather than retell the familiar origin story, this reboot will focus more on Clark Kent’s dual identity and his relationship with Lois Lane. Stepping into the cape is David Corenswet, offering a more earnest and optimistic take on the character to contrast Henry Cavill’s brooding version. While the casting change stirred controversy, Gunn’s track record of reinvigorating well-worn franchises has fans watching closely.

#1

Critics Consensus: Guardians of the Galaxy is just as irreverent as fans of the frequently zany Marvel comic would expect — as well as funny, thrilling, full of heart, and packed with visual splendor.

Synopsis: Brash space adventurer Peter Quill (Chris Pratt) finds himself the quarry of relentless bounty hunters after he steals an orb [More]

#2

Critics Consensus: Enlivened by writer-director James Gunn’s singularly skewed vision, The Suicide Squad marks a funny, fast-paced rebound that plays to the source material’s violent, anarchic strengths.

Synopsis: Welcome to hell–a.k.a. Belle Reve, the prison with the highest mortality rate in the US of A. Where the worst [More]

#3

Critics Consensus: A slimy, B-movie homage oozing with affection for low-budget horror films, Slither is creepy and funny — if you’ve got the stomach for it.

Synopsis: Wheelsy is a small town where not much happens and everyone minds his own business. No one notices when evil [More]

#4

Critics Consensus: Guardians of the Galaxy Vol. 2‘s action-packed plot, dazzling visuals, and irreverent humor add up to a sequel that’s almost as fun — if not quite as thrillingly fresh — as its predecessor.

Synopsis: Peter Quill and his fellow Guardians are hired by a powerful alien race, the Sovereign, to protect their precious batteries [More]

#5

Critics Consensus: A galactic group hug that might squeeze a little too tight on the heartstrings, the final Guardians of the Galaxy is a loving last hurrah for the MCU’s most ragtag family.

Synopsis: In Marvel Studios “Guardians of the Galaxy Vol. 3” our beloved band of misfits are looking a bit different these [More]

#6

Critics Consensus: Super‘s intriguing premise and talented cast are drowned in a blood-red sea of graphic violence, jarring tonal shifts, and thinly written characters.

Synopsis: After his wife (Liv Tyler) leaves him, a fry cook (Rainn Wilson) emulates a TV superhero and transforms himself into [More]

#7

Critics Consensus: A star-studded turkey, Movie 43 is loaded with gleefully offensive and often scatological gags, but it’s largely bereft of laughs.

Synopsis: Twelve directors, including Peter Farrelly, Griffin Dunne and Brett Ratner, contributed to this collection of outrageous spoofs and stories. A [More]

Ace Greene has been making waves on Love Island USA Season 7. Not only did one of his fellow Islanders jokingly call him out for acting like the “president of the villa,” his hot-and-cold love connections and budding new friendships have been keeping viewers on their toes as each new episode drops. 

If you spend time scrolling on social media, you’ll likely seen Ace before. The Los Angeles-based content creator and influencer currently has millions of followers on Instagram and TikTok, and has gone viral many times with his dance class videos. As he continues to keep viewers intrigued with his journey on Love Island USA, read on to learn all about the Islander, his age, connections, and more. 

RELATED: The Love Island USA Season 7 Cast: Every Islander That’s Entered the Villa

Love Island USA’s Ace Greene calls himself a “short king”

Ace introduced himself on Love Island USA as a “short king” who’s 5’10” tall. 

“The benefits to being a short king — dudes who are 6 foot plus hide behind their height. I’m not that type of dude, you gonna get this personality off the rip, baby,” Ace says in his Love Island USA intro. “Now I might be 5’10, but I ain’t got no problem talking to taller ladies. If you’re 6’2, 6’3, I’ll chop that tree.”

RELATED: How to Vote for Love Island USA Season 7: An Easy Guide (DETAILS)

Ace Greene and Chelley Bissainthe met each other before Love Island USA

During the Season 7 premiere episode, it was quickly revealed that Ace and Chelley Bissainthe had met before Love Island USA. “Wait, wait, wait. This can’t be real life,” Chelley said as Ace walked into the villa. Ace then explained that they met in New York “outside of the club.”

Chelley later told the girls she and Ace “were talking on Instagram and stuff” after they first met, but their conversations didn’t progress into anything because they live far from each other. Since then, however, the two Islanders have quickly formed a connection in the villa and have been on a rollercoaster together as new bombshells have shaken things up. 

Ace, who’s formed friendships with Nic Vansteenberghe and Taylor Williams, has also been outspoken about what’s happening in the villa. During the early days of Season 7, when Huda Mustafa and Jeremiah Brown quickly locked in on each other and lots of drama immediately followed, Ace did not hesitate to tell them he thought their connection was a “scam.”

RELATED: What We Know So Far About Love Island’s Mailbox Twist: “The Islanders Speak Up…”

RELATED: Is Love Island USA Filmed in Real-Time? The Schedule Is Wild (DETAILS)

How to watch new episodes of Love Island USA Season 7

Find out what happens with Ace when new episodes of Love Island USA Season 7 air daily, except on Wednesday, at 6 p.m. PT/9 p.m. ET exclusively on Peacock.

Jonathan Bailey recently shared that Jeff Goldblum contacted him when he landed the Jurassic World: Rebirth gig.

Speaking with PEOPLE Magazine, the actor, who found fame by starring in Bridgerton as Anthony, recalled the time when his Wicked co-star Jeff Goldblum reached out to him

Jonathan recounted him saying that “just have a great time.”

He even gushed over the actors who starred in the previous three Jurassic Park movies by saying, “They’re all just incredible, iconic actors.”

It is pertinent to mention here that Jeff played the character of The Wizard of Oz in the musical Wicked whereas in Jurassic Parke he starred as Dr. Ian Malcolm, a mathematician and chaos theorist.

Moreover, the Bridgerton star admitted in a former chat the pressure of leading his upcoming role as Dr Loomis in Jurassic World: Rebirth, releasing on 2nd July 2025.

The insider mentioned, “There are moments where, yes, you feel like you have to be excellent just to prove you can do it.”

He went on to add, “There’s the weight of history, and the many brilliant people who came before who’ve changed how we talk about sexuality. Being an out gay actor, historically, meant you wouldn’t be able to play straight—and there weren’t many gay parts to play, either.”

“That’s changed massively. But there’s still work to do,” the actor noted in this chat with The Hollywood Reporter. 

Russell glacier, at the edge of Greenland’s vast ice sheet, sounds as if it’s crying: moans emanate from deep within the slowly but inexorably melting ice. Andy Ferguson, one half of dance duo Bicep, walks around in its towering shadow recording these eerie sounds. “Everyone comes back changed,” he says of Greenland. “Seeing first-hand climate change happening like this.”

It’s April 2023 and, in the wake of Bicep’s second album Isles cementing them as one of the leading electronic acts globally, Ferguson has travelled to Greenland as part of a project to collaborate with Indigenous musicians and bring the momentous struggle of this region – and even the planet – into focus.

The project will take two years to come to fruition but next month sees the release of Bicep’s first soundtrack and accompanying film Takkuuk, pronounced tuck-kook. It’s an Inuktitut word that came from throat singing duo Silla, one of the Indigenous collaborators: “It translates to literally ‘look’ but has the connotation that you’re urging someone to look at something closely,” says Silla’s Charlotte Qamaniq. “The Arctic climate is changing rapidly so in the context of the project it’s: ‘look, the adverse effects of climate change are obvious.’ But it’s also: ‘hey, look how cool Inuit culture is!’”

I join Ferguson on this first trip along with representatives from EarthSonic, a non-profit organisation dedicated to raising awareness about the climate crisis through art projects. Ferguson’s Bicep partner Matt McBriar stays home ahead of the birth of his first child.

When we land at Kangerlussuaq airport, first opened as a US airbase in the second world war, it’s -10C, bright and crisp. Ferguson is staying with our driver Evald who, on learning that Ferguson and I are Man United fans, exclaims: “Manchester United is my religion! Old Trafford is my church!” His home has a huge Lego model of the stadium. Across the next week we see the northern lights – in Inuit myth, it’s dead souls playing ball with a walrus’s head – and ride dogsleds and snowmobiles, but there’s a sobering tone to the beauty and adventure.

Russell glacier is a 20km journey by four-wheel drive on a rough dirt road. The ice sheet covers 80% of the country, but loss of ice from Greenland and Antarctic ice sheets has quadrupled since the 90s due to climate change, and is the principal driver of rising sea levels. Scientists predict if the world continues on a course towards 2.5C heating it will take us beyond a tipping point for both ice sheets, resulting in a catastrophic sea level rise of 12 metres. Standing under a vast glacier that is hundreds of thousands of years old, but which could disappear within my daughters’ lifetime, is discombobulating.

Next morning it’s on to Sisimiut for Arctic Sounds, a showcase for music from across the Arctic region and beyond. Sisimiut is Greenland’s second city, home to 5,000, and a thriving metropolis compared with Kangerlussuaq. Rock and metal are the most popular music, alongside rap and other Indigenous music and the standout acts include an incendiary performance by Greenlandic rapper Tarrak. “Seeing Tarrak perform was so powerful,” Ferguson says, with “everyone chanting in this language I’d never heard before. It felt punk. It’s rare to see that nowadays when everything is so homogenised.”

The project is allowing Bicep to flex different musical muscles. Playing a simultaneously melancholic and euphoric style of tech-house and electronica, Bicep broke through in the mid-2010s. Their track Glue became a ubiquitous rave anthem among gen Z, and led to the success of Isles, which reached No 2 in the UK charts and earned them two Brit award nominations. Everything was rosy, but it was, in Ferguson’s words, “all sugar, no sour”, so they created alter egos Chroma and Dove to show their harder, headier side. The Arctic was an opportunity to challenge themselves again.

After Ferguson returned from Greenland, the first thing Bicep did was construct a drum kit from ice samples and other field recordings of local sounds including husky chains, then created demos, “really just chord structures we know we can write around” and sent them to the Indigenous artists. They didn’t expect to get almost full songs in return, but on hearing what came back, the duo realised “we needed to step back and not be the focal point”. A gig on a glacier had been one initial mooted idea, but the Greenland trip made it obvious such a gig would be “tone deaf”, says Ferguson. Through conversations with Indigenous artists, “it became clear this needed to be us shining a light on them”.

At times, progress seemed suitably glacial, but eventually a collection of Indigenous artists from Greenland and the wider Arctic region recorded their contributions at Iceland Airwaves festival in Reykjavík in November 2023, where many of them were in town performing, including Tarrak, Silla, vocalist Katarina Barruk and more.

When I catch up with Ferguson and meet his Bicep-mate McBriar in late 2024, they’re buzzing about the results, and by late May, I’m finally able to hear the full thing in their Shoreditch studio. From the first bars of opener Sikorsuit, featuring Greenlandic indie band Nuija, it’s clear the duo have managed to pull myriad styles and dialect into a cohesive whole. “It doesn’t sound anything like us – and it doesn’t sound like them,” McBriar says. “That’s what you hope to achieve from a collaboration.”

Tarrak collaboration Taarsitillugu opens with a sparse breakbeat and becomes a full-on rave banger, while on her track Dárbbuo, Barruk sings in Ume Sámi, an endangered Uralic language spoken by fewer than 20 people. “I went in to the studio and just poured my heart out because of the tragic state the world is in,” she says, “then Matt and Andy worked their magic.”

There was synchronicity, despite different languages. “It shows a strong connection between us Indigenous sister and brothers,” explains Barruk, who is Swedish. “Without me knowing takkuuk means look, I created lyrics which ask the other person to vuöjnniet, to see, so one doesn’t need to feel so alone. Alone in the fight for our lands, our ways of living, our language, culture and taking care of the Earth.”

As the project developed it was clear it needed context, so Bicep asked Zak Norman, who designs their brilliant on-stage visuals, to create an immersive installation. Norman worked with Charlie Miller, a documentary film-maker who went on the original Greenland trip, on a film that introduces the artists and explores the displacement and marginalisation of their communities, cultures and language. Norman used adapted infrared cameras to give the footage otherworldly pink and purple hues, reminiscent of Richard Mosse’s 2013 video artwork The Enclave. The film is a series of vignettes for each track, and it certainly deepens the music, with eerie landscapes layered with interviews. The work will premiere on the giant wraparound screens at London’s Outernet next month, before touring venues and festivals across the world.

The project has taken on yet another hue in the wake of Donald Trump’s recent expansionist proclamations. “It’s a circus,” says Tarrak. “The first time Trump asked to buy Greenland [during his first. term as president] we took it as a joke. Now I can see there’s some seriousness – but it’s still just weird, in 2025, to try and buy a country. I know they’re more interested in what’s under the ground than the people, but we have to be smart about it as Greenlanders, stick together and be aware of people trying to divide us.”

Bicep experienced their own existential crisis when McBriar had to have surgery for a large tumour on his brain’s pituitary gland last year, from which he’s thankfully made a good recovery. They’re now deep into their third album proper, though it won’t see daylight from their basement studio for at least another year. “We wrote [Isles] pre-pandemic so it’s a complete different world now. With Chroma we wanted to get that aggression out and cleanse ourselves of what we wanted to do, just straight club tracks. Now I think we’re coming full circle.”

How will you judge the success of Takkuuk, I ask. “You can’t quantify awareness,” says Ferguson. “If it starts people on a journey to learn more about Greenland then it’s achieved something.

“It’s easy to switch off with climate change, I switch off myself sometimes,” he continues. “But if you start telling the story in different ways, different narratives, ways people can visualise it, at least it’s a start. Because for the next generation it’s going to be the focal part of their life.”