Ian Bourland

Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits Towards the end of Joe Biden's presidency in 2024, I found myself at the Kennedy Center in Washington, DC, walking a majestic balcony cantilevered over the Potomac, the monumental city lighted by the sunset.

Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits Essex Hemphill visited London for the first time in 1986. At that time, the poet was already a fixture in the Washington, DC gay community.

This week, I invited a movie-buff friend to see Opus (2025), which was touted as a ‘horror-musical’. He declined, stating, ‘It’s been attempted, but never pulled off.’ He was right: the film – in which rookie reporter Ariel Ecton (Ayo Edebiri) is invited to the remote compound of an aging pop icon – was neither scary nor especially musical. In an early scene, Ecton laments the slow progress of her climb from celebrity profiler to outright celebrity.